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A Congolese Tale in Incredible Colour By Nicolas Bolduc csc
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THE CANADIAN SOCIETY O F C I N E M AT O G R A P H E R S
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C S C AWA R D S GALA MARCH 31 2012 Westin Harbour Castle, Downtown Toronto Cocktail Reception 5:30 pm | Dinner and Awards 7:30 pm
For tickets Contact the CSC ofямБce: 416-266-0591 or www.csc.ca
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.
FEATURES – volume 3, No. 10 March 2012
Rebelle: A Congolese Tale in Incredible Colour By Nicolas Bolduc csc
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A Retro 1960s Aesthetic is the Right Look for Rooney’s “Holdin’ On” By David Heuring
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Behind the Scenes with Makeup Artist Teryl Crombie By Fanen Chiahemen
Columns & Departments
2 From the President
4 In the News
20 Tech Column
21 Camera Classified
24 Productions Notes / Calendar Cover: Lead actress Rachel Mwanza in a still from Kim Nguyen’s latest feature Rebelle.
Courtesy of Item 7
Canadian Cinematographer March 2012 Vol. 3, No. 10 EDITOR-IN-CHIEF Joan Hutton csc EDITOR EMERITUS Donald Angus EXECUTIVE DIRECTOR Susan Saranchuk admin@csc.ca EDITOR
From The PRESIDENT Joan Hutton csc
Fanen Chiahemen editor@csc.ca COPY EDITOR Karen Longland Editorial Intern Kayla-Jane Barrie ART DIRECTION Berkeley Stat House 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. 131–3007 Kingston Road Toronto, Canada M1M 1P1 Tel: 416-266-0591; Fax: 416-266-3996 Email: 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.
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2 • Canadian Cinematographer - March 2012
T
he CSC through its membership is a vast storehouse of cinematic knowledge. I figure with some 500 plus members the CSC embodies over a thousand years worth of technical know-how. Imparting this knowledge and experience to others in our industry and to younger generations of cinematographers is a duty-bound obligation that the CSC takes very seriously. It is a part of our credo “to foster and promote the art of cinematography.” Education co-chairs Ernie Kestler and Dylan Macleod csc have developed an ambitious program of courses and workshops. Offering virtually one a month throughout the year, they include: digital camera assistant courses; various levels of lighting workshops from beginners to master classes; workshops for 3D and special effects cinematography; plus a workshop designed specifically for camera operators. Our courses are hands-on for the participants and are held in various industry locations around Toronto. With an eye to the future and slightly further afield, the CSC is planning to develop various other workshops such as cinematography for directors, producers, actors and perhaps even a workshop that deals specifically with cinematography in relation to lighting and make-up. The teaching talent for our workshops and courses are drawn from the CSC’s membership. Participants must apply, and their entrance is dependent on their qualifications in relation to their industry background and work experience. Essentially, CSC courses and workshops are “by professionals for professionals.” Our industry is constantly evolving with technological advancements moving at blinding speeds. The CSC’s educational initiatives strive to keep our profession vibrant and thriving in tandem with the evolution of our industry. I would like to thank Ernie and Dylan for all their hard work and guidance in keeping our educational program relevant and moving forward. At the beginning of February, the CSC held its Annual General Meeting at Technicolor in Toronto. I would like to thank Technicolor for not only providing the space for our AGM, but also for the excellent refreshments and food. The reports from our executive can be found in this month’s issue of the magazine. I would like to thank the CSC executives for their due diligence throughout the year and to all our members who attended the AGM. See everyone next year!
The juries have been held, the nominees and winners have been chosen and we’re just a few weeks away from The 55th CSC Annual Awards Gala. The highlight of our calendar year takes place March 31 at Westin Harbour Castle in downtown Toronto. For more information and tickets please see our advertisement in this month’s magazine, or call our office at 416-266-0591, or head to our website at www.csc.ca. See you there! To all our readers of Canadian Cinematographer: Good shooting!
Michael Condon, SOC VP Digital Division
Andree Martin VP Technical Services
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In The News
Fellag in Monsieur Lazhar. Courtesy of eOne Films.
CSC Members’ Films Nominated for Genie Awards Films shot by CSC members are among the nominees for the 2012 Genie Awards: Ronald Plante csc is nominated for Monsieur Lazhar in the Achievement in Cinematography category. Monsieur Lazhar is also nominated for Best Motion Picture, as is Starbuck, which was lensed by Pierre Gill csc. The Genie Awards ceremony will take place on March 8 in Toronto.
FUJIFILM Marks 78th Anniversary FUJIFILM in January celebrated its 78th anniversary since it was established in Japan in 1934. The company’s initial goal was to produce photographic films. In the 1940s and ‘50s, it manufactured film products such as motion picture, X-ray and camera film. From the 1960s through the 1980s, business expanded to include colour paper, recording media, photo finishing equipment, graphic arts materials and diagnostic X-ray imaging. In 1988, FUJIFILM opened its manufacturing plant in Greenwood, South Carolina. In the late 1990s and into the 2000s, the digital imaging transition began. The company now has a diverse portfolio, ranging from imaging to medical systems to biopharmaceutical manufacturing.
HD Source Named as Products Dealer HD Source Inc. and Sony of Canada, Professional Solutions Group recently announced the appointment of HD Source as an Authorized Professional Products Dealer. HD Source will be servicing the corporate communication, educational and medical imaging markets in and around the Greater Toronto Area. Under the agreement, HD Source will work closely with Sony Canada
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to develop the target markets, providing solutions for today’s requirements using the new technologies developed by Sony.
Illumination Dynamics Adds Charlotte Camera and Camera Dolly Departments to Website U.S. rental company Illumination Dynamics, part of the ARRI Group, has added the Charlotte Camera and Dolly data to its website. In an effort to make company information more easily accessible, visitors to the Motion Pictures, TV and Commercials area of the website will find the Charlotte departments listed in the left-side menu. The new section features technical data, product descriptions and manufacturer information for the cameras and dollies.
Encore Expands Postproduction services to New York Encore, a Deluxe Entertainment Services Group company, announced in January its expansion into New York, building on its West Coast network of postproduction facilities for television. Encore’s New York location is based out of Deluxe and offers television post and visual effects.
Staff Announcements at Whites, Sim Video William F. White International has promoted Cherylene Merlo to manager of Whites Interactive. Merlo will be in charge of rentals of interactive equipment, especially Viral Vans for on-the-go digital filmmaking. She will report to Rick Perotto, VP of business development for Comweb Corp. and WFW. Meanwhile, Sim Video has hired Marty Meyer to replace Cliff Hsui as the camera department manager in its Los Angeles office.
Canadian Cinematographer - March 2012 •
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Rebelle
DOP NOTES
A Congolese Tale in Incredible Colour 6 • Canadian Cinematographer - March 2012
By Nicolas Bolduc csc
In the spring of 2011, Nicolas Bolduc csc travelled from Montreal to the Democratic Republic of the Congo to shoot Kim Nguyen’s latest feature Rebelle, a drama about teenagers fighting with a rebel army. Bolduc had worked with Nguyen before, lensing his 2010 film La cité. Other films Bolduc has shot include Le banquet (2008) and Denis Villeneuve’s short film Next Floor.
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THE APPROACH The Congolese way of life has an energy that director Kim Nguyen wanted to capture. He had visited Kenya, Burundi, Cameroon and Rwanda before choosing the Democratic Republic of the Congo. From Montreal I couldn’t quite understand the choice from a cinematographer’s standpoint. The pictures Kim had showed me after finding the first locations were so alien to me that I couldn’t even imagine shooting in a country so vast, chaotic and unfriendly. I couldn’t see the film. But Kim had felt something over there and it was difficult for him to explain what it was. Realism was the most important part of our work on the film, and the challenge was trying to capture the magic that transcends everyday life there.
KINSHASA As the plane approached the capital, Kinshasa, I could see thousands of grey metal rooftops stretched out as far as the eye can see, all scattered between trees like sprouts of broccoli. Abandoned, rust-coloured planes -- some no more than 10 years old -- sat on the runway, looted and gutted. I stepped out of the airport to a bustling crowd of taxi drivers, Congolese families, and people who were obvious airport pickpockets. It all was very chaotic and made me a bit uneasy. There was the smell of dust, smoke and burning plastic in the air, and the humidity mixed everything up into a salty tropical cocktail. Even accompanied by a security officer, the stories I had heard of corruption, violence and war obviously came to mind as we walked through the dark open-air parking. We drove for more than an hour toward the city on a six-lane boulevard with no street lamps, in a black cloud of dust and burning diesel. In the smog the slow traffic was lit only by the car headlights, and there were thousands of people everywhere. Some children were selling the traditional plastic bags of water to motorists. Others sold car carpets, cloths, toys or anything they could find to make a dollar. It seemed like a hell of a mess. The chauffeur leaned over and locked my door as I was texting my girlfriend about what I saw. The light of the phone in the dark could be seen from far away, he said. A minute later, a kid appeared from nowhere and fiddled at the door latch to go for the phone. Not even an hour in Congo and my idea of the film we were going to shoot wasn’t clear, but I crossed off any classic storytelling, moody lighting and over-organized schedules serving complex
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camera work and machinery! All that was completely out of the question. Kim’s approach seemed perfect for this place.
SHOOTING When I was prepping La cité with Kim in 2008, we flirted with the idea of shooting it digital. In Tunisia, shooting in the desert with the dust-filled air, the washed out skies, and knowing that we were going to shoot with a lot of available light, including torches, well, there just was no compromise. Nothing could beat 35 mm. For Rebelle, we were going in a similar direction, lots of handheld with tons of natural light, but it was a more realistic tale that had to feel almost like a documentary. On top of that, there were some night scenes, and I didn’t want any of that classic “moon lighting” or any lighting, for that matter, that could feel artificial. So I didn’t even try to avoid digital, and just thinking of getting film in and out of the Congo was a logistical nightmare! I tested the many digital formats available before the shoot, and I fell in love with the ALEXA in a flash. It was light, versatile, and I could pick it up with one hand and throw it on my shoulder for an improvised shot. The cards held 14 minutes of footage, and some takes would actually fill up the card. Sometimes during a very long take, so as not to break the actors’ bubble, I would drop the camera on a thigh and my assistant would quietly reload in 10 seconds in the midst of the action. What an evolution! And the digital eyepiece was so bright and so precise that I could adjust the aperture by eye on the fly. It even gave any milky sky contrasted with dark black skin the depth I could filter and colour time as easily as with film. There is no “culture” as we know it in Kinshasa. No theatre, no cinemas, no museums. But there are thousands of artists waiting to be pushed in the right direction. They don’t have the means to create, but the raw talent is quite remarkable. The kids Kim cast for the film lived on the streets. They had no parents and no education. They couldn’t even read or write, but their energy was astounding and genuine. Since they couldn’t read the script, the dialogue was improvised, and given that they weren’t trained actors, we shot the film in continuity to give them a sense of the complete story. Page one was day one of principal photography, and Kim took it one day at a time, feeding them information gradually. They were living the film as we went through the pages, and so was I. I woke up every morning without knowing what was to come, or how to shoot it. How rare is that in this business?
On set we would discuss the plan of action, and I would usually give myself a 300-degree radius workspace so I could pan and hop around the actors with Eric Bensoussan my first AC, and François Péloquin the boom operator. The set was always prepped to be shot from any angle. We would never rehearse because I feared we would miss the best action, and Kim wanted to keep the spontaneity in the acting. If we had to shoot something more than once, I became self-conscious, and the camera work didn’t feel as natural, as improvised, as documentary. If I knew too much what was going to happen, the feeling was lost. If we were loosing spontaneity, I would quickly tell Kim that I’d do something different in the next take. I would change the framing dramatically, back up quickly or get really close in the action. This was a game I loved to play with Eric the focus puller, who never got a chance to take a single mark on the whole film! When I would improvise suddenly, he was fantastic at picking up the pace and – I don’t know how – never got crosschecked. Except one time, on the second day of shooting, in a village plagued by cholera in real life, Eric was running madly at my side, and we were zigzagging between fake rebels shooting their way through a village. I felt him trip and fall and roll in a heap of garbage and torn metal. He got up dazed and unharmed, but he admitted that his judo years had come back to save his ass. The shot was in focus till he dropped. That’s a truly devoted professional.
LIGHTING On La cité the desert light had a soft, round texture, almost too perfect for photography. The February skies brought tons of dust and sand-pumped clouds that would reflect the sun like the biggest unbleached bounce I could ever dream of. Sometimes when the sun was out, I only had a difference of a single stop on the light meter between shadow and light. It was quite incredible. Kinshasa, on the other hand, is south of the equator, and July is their winter. During the two months I was there, the clouds were very low and thin and they felt wet. My Western instinct was constantly telling me it was going to rain, but it never did in two months. Not a single drop. The skies were milky, soft and terribly polluted. Three hours before the sun would set, it became an orange orb in the sky, as if it were setting. There was something very apocalyptic about it. The city itself has 8 million people packed in a cloud of diesel and humidity with open-air sewers and burning waste on the street. To go as natural as possible, the simpler I built a lighting and camera package the more liberty I had and the more I could be in the actors’ physical bubble. Kim and I always wanted to be close to Rachel Mwanza – who plays the lead Komona – with a 32 or a 40 mm, and this was quite challenging from the start because if there’s something insane to non-actors it’s those three bumbling fools who are jumping around them every time they hear, “Action!” The actors had to get used to me and accept my presence, and they could never be intimidated by me, never wait for me, never redo a take because of me and never think I was anything other than part of what they had to do. For the lenses, I opted for the Ultra-Primes because they’re sharp as hell, but also because they’re lighter than the Cookes for hand-
Previous page: Still from Rebelle. Above: Alain Lino Mic Eli Bastien (left) and Serge Kanyinda in scene from Rebelle. Next page, Serge Kanyinda, Rachel Mwanza and Karim Bamaraki.
Canadian Cinematographer - March 2012 •
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Photos Courtesy of Item 7
buildings and ponds - where he would throw unwanted guests in the basin with the crocodiles - were now an abandoned concrete ruin, inhabited by thousands of bats. Our rebel camp, set in the old crocodile basin, was the biggest set of the film. The night scene was a victorious rebel party thrown by the leader to congratulate the soldiers on a successful assault. On the menu: an improvised soccer game, musicians, dancing, food grills on wood fires, the works. Rebel sentinels surveyed the camp, and actors roamed the scene participating in the celebration.
held. Furthermore, in wide-open mode the Ultras don’t have that strange circular flare effect like the Cookes do. Then I got the new Shape handheld grips that are made in Montreal, and they made an incredible difference for the camera work. While framing, I could adjust the handles with a quick click of a button and modify the configuration of my hands to almost anywhere around the lenses and follow focus. This was truly a major step for holding longer takes. For the lighting package, while intentionally shooting in a 300-degree radius, large bleached bounces were often of no use, and HMI lights during the day were out of the question. In the jungle, there’s nothing I hate more than feeling the shadow of an HMI, bounced or not. I didn’t want to “feel” any light, and I was often so close with a 40 mm that I would have had problems with shadows anyways. But mostly – since I got so close to the actors, and their skin is so dark – I avoided the square bounce effect in the eyes of the actors. That felt phony and staged. Black actors have fantastic reflective skin to film, and the light, be it natural or artificial, just envelops their faces elegantly. Trying to light them artificially so that it seems natural isn’t as simple as with Caucasians, I find. The only times we lit with HMI were for those rare day interior scenes, and I used the 1.8 Arris that are very powerful and that can be plugged into a wall. I would then bounce the light on an existing surface so the eye of the actor would reflect the set and not a white artificial surface. We also had a couple of small tungsten lights in the truck, some 650s, 300s and peppers that we used for the night shots, but I rarely used them, preferring normal sockets with bulbs that I could actually put in the shot or just throw on the ground like they would have done in real life.
NIGHT SCENES One scene in the film that I’m quite fond of is the rebel camp scene at night. We were shooting at an old palace that Mobutu Sese Seko – the crazy dictator that ruled the country for more than 30 years - had built in the 1980s. The palace was inspired by a visit he made to China where he had been so fascinated by the Imperial Palace that he flew in 200 Chinese architects and painters and built a Chinese palace with a view on the Congo River. The insane
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I was thinking if real rebels were having a party in this exact spot, how would they have lit the place with the little they had? So to remain authentic to our approach, I wanted to light the set, not the actors, and still be able to shoot 300 degrees. I asked our incredible set designer Emmanuel Fréchette to hang bare neons on the walls here and there and have a couple of wooden stands lying around on the set where I could suspend some clear household bulbs. We also built real wood fires everywhere, and I had the art department get the rebel vehicles’ headlights pointing in the direction of the soccer game. That way, the camera was always getting a light in the frame at any moment or a violent flare. Even the main palace building in the background was lit simply with a double 4-foot neon thrown on the ground. The effect was amazing and the ALEXA was getting it all with so little light. We threw in a little smoke to get some silhouettes, and I put the camera on my shoulder. We did two improvised 14-minute takes of the whole scene without any rehearsals. I jumped around the kids playing soccer, I ran between them to catch some of the actors in the melee, I shot the sentinels guarding the citadel, I got wide shots and close-ups of the musicians, others eating, dancing, laughing, whatever I saw that could be cool. In two long takes, the scene could never be more natural. No one knew where I would be going next, and it kept the actors and extras in the moment and the team on their toes. In this case, the realism of the lighting was more important than the classic physical beauty of it. And it came out great. Films are not shot in Kinshasa, or anywhere in the Congo, for that matter. The reasons are of course political, and that is why hundreds of United Nations trucks patrol the city. The armed rebels are outside the city, thank God, but when the sun sets in Kinshasa, it’s to each his own. The under-lit streets are very dangerous and no one goes out at night without a chauffeur, locked inside an SUV. Gangs of kids – the chégué - are hidden in shadows. These are just street kids with no families, trying to make a dollar. They have no guns because they’re too expensive, but knives and machetes are common. In the script, there were a lot of night scenes, but they were almost all changed to day scenes because of the dangers of shooting night. We needed more guards and more police protection, but because of the corruption we couldn’t even trust the police. This is why this film for me was not just a film; it had much more meaning than anything I’ve shot. Upon my return, my impressions of Kinshasa are a never-ending palette of colours, lights and shadows that stayed printed on my retina for months. Just can’t wait to shoot like that again.
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4
Retro 1960s Aesthetic
is the Right Look for Rooney’s “Holdin’ On” By David Heuring Special to Canadian Cinematographer
The decision to shoot film on the Rooney clip was the first step. “Marcus and I have done jobs on every format imaginable, digital or film,” says Lloyd. “I came up shooting film, and I find the effects I can accomplish in camera are infinitely more diverse and interesting than what I can emulate digitally. Obviously, each format has its advantages, but for jobs where I really need to nail a particular effect, I want to do it on film. In this case it was simply a matter of understanding how our reference films had been shot.”
T
he 1965 Beatles film Help!, directed by Richard Lester and photographed by David Watkin bsc is now seen as an antecedent to MTV and today’s vibrant, inventive world of music videos. Director Marcus Herring and cinematographer Matthew Lloyd csc hearkened back to this film, and other 1960s music-related short films, in designing their approach to their latest project, a clip for a track by the band Rooney titled “Holdin’ On.” In preparation, Herring printed and studied hundreds of images from the Beatles film. Herring and Lloyd had previously teamed on several music videos. “Marcus has a really interesting process of image-making,” says Lloyd. “His aesthetic comes from an almost impossibly deep library of images. He is into the craziest stuff. His references are so precise and manicured, it’s almost unbelievable. He is very much interested in recreating the look and feeling of things gone by. One day it’s an obscure Rita Pavone video, and the next it’s a Russian punk performance or a ‘70s B-movie you’ve never heard of.” Lloyd’s challenge on projects with Herring is often to find technical ways to recreate the looks of these references. He says that Herring provides an environment in which his collaborators can find their way to the right solutions. “It’s a wonderful process, because there’s no psychology involved,” says Lloyd. “Everything is very clear and I am liberated to go off and try new things.” Devising the right approach to the Rooney clip required a very specific process. “These images had such a clear aesthetic that I couldn’t help but try to emulate,” says Lloyd. “Almost every shot in this video, save a few random ideas, is a direct reference of that film. It was very important to Marcus to try and recreate the energy he felt in the original film. I was tasked with figuring out how to get this look.”
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Lloyd’s research showed him that most of the films Herring referred to were shot on 16 mm colour film, printed to positive stock, edited on film, and then released to television, which transferred images from the print rather than the negative. Since the advent of the telecine in the early 1970s, transferring from the negative has been standard procedure. “There’s a certain quality to print film that simply cannot be duplicated in telecine,” says Lloyd. “It’s an analog system. We had extensive conversations, but it was clear that the best approach was to mimic the original process – shoot the whole job on 16 mm colour film, print everything to a positive and then telecine from the print.” The choice of stock – KODAK VISION3 200T Color Negative Film 7213 – depended on a number of factors, all aimed at recreating the older look. “I find that shooting low-speed tungstenbalanced stocks uncorrected, outside, and timing the images back later yields a more subdued, de-saturated palette that works a little better for me,” says Lloyd. “I knew going into the project that we would print all the footage before transferring it, so I decided to pull process the negative throughout. I often employ pull process on the 7213 stock. When I shoot it outside, I rate it at 100 ISO, which has a tendency to soften the blacks and reduce chroma saturation, which I like.” The lower contrast that the 200-speed film delivered when “pulled” dovetailed with the printing process to deliver the look Herring envisioned. “When you go to print, you can end up with a full contrast image and very hard blacks,” Lloyd explains. “You have to be very precise with exposure and where things lie on the curve. I tend to want to expose by eye, but my first assistant, David Edsall, always keeps a close watch on where black and white are in relation to the stop on the lens.”
Previous page: Matthew Lloyd csc. Above: Rooney
Lloyd used an ARRI SR3 High Speed camera from Panavision Hollywood, with a Canon 10-110 mm lens, which was chosen in part for its flexibility and range, and because zooms and nonstandard frame rates are part of the aesthetic the filmmakers were after. “The SR3 is such a well-built and hassle-free machine, that I haven’t really ever been interested in any newer 16 mm systems,” says Lloyd. “We needed the high speed capability for the slow motion work. All the slow motion sequences were shot at 150 frames per second.”
until we got to the telecine,” says Lloyd. “Shooting on film keeps you on edge. You really have to think about the effects you want and how to achieve them. All of the most innovative and compelling looks are done on film for the simple reason that it keeps you aware and affords you the flexibility to try new things.”
The “Holdin’ On” clip was photographed in one day at a national forest in the Antelope Valley in Southern California. The location was chosen because it provided a wide variety of geography, and because the light would be right. Lloyd used essentially no additional lighting. He controlled and redirected sunlight using bounce and diffusion. “Marcus and I really have a no-fuss approach when we work together,” he says.
Lloyd recently shot second unit on Oliver Stone’s feature film Savages. Main unit director of photography Dan Mindel asc, bsc says the production used “every film format known to man” in order to provide Stone with a wide range of options in the editing room.
The film was developed at FotoKem in Burbank, where the negative was pull-processed one stop and printed to KODAK VISION Color Print Film 3383. That print was transferred via telecine to ProRes 4444 QuickTime files. After editing, Lloyd did the final colour timing on a Da Vinci Resolve system. “By the time the images had gone through the photochemical process we designed, there really wasn’t much to be done in final colour correction,” says Lloyd. “The pull-print combination really yielded the perfect look, and shooting uncorrected knocked enough colour out of the images. In the end, I think we really did justice to the original reference material. Both the band and Marcus were very pleased with the results. “I will admit that I was nervous the whole way through shooting
Lloyd also recently photographed Robot and Frank, a feature film starring Frank Langella and Susan Sarandon that premiered at the 2012 Sundance Film Festival. The film is the feature debut of well-known commercial production house Park Pictures. “I always saw cinematography as the real language of cinema, and when I read about or watched skilled cinematographers at work, I felt such a deep sense of connection with the art of filmmaking,” Lloyd says. “It is truly the most fascinating occupation one could ever hope to be involved in.” Canadian Cinematographer - March 2012 •
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Photo Credit: Guido Kondruss
AGM Reports Left to Right standing: Karen Longland, Robert Bocking csc, Carlos Esteves csc, Mitch Ness csc, John Hodgson, Fanen Chiahemen, Alwyn Kumst csc, Carolyn Wong, Bentley Miller, Sarah Moffat, Pasha Patriki csc, Joe Sunday phd, Ernie Kestler, John Tarver csc, George Hosek csc, D. Gregor Hagey csc, Antonin Lhotsky csc. Left to Right sitting: Phil Earnshaw csc, Peter Benison csc, Michael Jari Davidson, Joan Hutton csc, Susan Saranchuk
President’s Report
F
ollowing our call for nominations of elected officers this past year, no nominations were received for the Board of Directors with Office, and the current executive has agreed to serve for another year. Our auditors for this year are Bob Bocking csc and John Hodgson. The structure of the executive board went under a major change in 2011. A number of the executive positions have become shared responsibilities to compensate for the growing demands on these volunteer jobs. This restructuring also allows for the smooth transition of duties should a co-chair resign. In that event, the remaining co-chair will hold down the fort, so to speak, until a replacement is found. Ron Stannett csc and Carolyn Wong have undertaken the responsibilities of co-vice presidents of the CSC. D. Gregor Hagey csc joins Philip Earnshaw csc as membership co-chair, Dylan Macleod csc shares responsibilities with Ernie Kestler heading our education department, and Sarah Moffat joins Nikos Evdemon csc in Public relations. Our new co-chairs were drawn from our executive where all had been serving as Directors Ex-officio. George Willis resigned as our vice-president on July 5, 2011. He was a creative forward thinker and great asset to our society. He will be missed. Our industry continues to make seismic shifts with new technologies and systems emerging almost daily. This not only affects our profession but it has also had an impact on Canadian Cinematographer. With the decreasing use of film, one of our long-time and biggest advertisers, FUJIFILM abruptly pulled its advertising from the magazine last September citing “the trend nowadays seems to be leaning to the producers’ final say on what to shoot with.” This is an analogy with which I and many others do not agree. Making a medium shooting decision has always
14 • Canadian Cinematographer - March 2012
been a collaborative effort between the cinematographer, director and producer even when it was just film. Back then it was a matter of the best stock on which to shoot a particular production. The process is no different in today’s digital world. The CSC continues to adapt to our changing industry and remains the organization of record for cinematography in Canada. We have remained relevant and we will continue to do so as our mandate to foster and promote the art of cinematography dictates. The 2011 CSC Awards Gala at the Westin Harbour Castle hosted by the funny and talented Melissa DiMarco continues to be a tremendous success. I would also like to mention that this was the first year our juries were held in our clubhouse at William F. White. The only exception was the features category, where 35 mm prints were screened and judged at Technicolor in their wonderful theatre and the features digital media at the Deluxe Theatre. Beyond our Society, CSC members continue to be recognized in Canada and around the world with a host of nominations and wins at other awards shows and film festivals. There are far too many to mention in this report, but every nomination and every win is a tribute to our organization as well. Sincere and heartfelt congratulations to all CSC members for their outstanding wins and nominations. I had the good fortune last year to attend the first International Cinematography Summit Conference hosted in Los Angeles by the American Society of Cinematographers. In attendance were 57 delegates representing 22 cinematography societies from around the world. The purpose was to open a global dialogue to tackle issues and challenges that cinematographers face each day
in an industry that is continuously changing in a digital world. What was quite amazing was how similar our concerns were no matter where we lived in the world. Probably the most poignant and vigorously discussed topic was image ownership. In Europe the concept of co-authorship rights of cinematographers, which puts their contribution to a production on the same footing as producers, writers and directors, has taken a toehold in some 15 countries. This is a notion that is not without merit, but so far unheard of in North America. There was a lot to bite off and chew at the ICSC, but a mission statement was created and the groundwork laid for future summits.
Michael Obadia, Steve Robinson, Donna Santos, and BJ Szabicot. Dylan Macleod csc and Ernie Kestler, Education Co-chairs
The CSC has had a tremendous success with our new bi-monthly pub nights in Toronto. The first one was held last September and there were only 13 of us. But the numbers jumped dramatically after that and seem to be hovering around 30 attendees. The pub nights are open to the film and television industry in general, and all are welcome. The CSC is now also holding pub nights in Montreal, and Vancouver is on the horizon. Joan Hutton csc, President
The decisions regarding the awards are made by the Awards Committee who were: Robert Bocking csc, Chair, Bert Dunk csc, George Hosek csc, John Hodgson and Susan Saranchuk. There were 146 entries. The juries were held in Toronto at the CSC Clubhouse, Deluxe and Technicolor. The juries were chaired by Robert Bocking csc and John Hodgson. John produced and edited the Awards Gala show tape with David Oliver at Soho Post and Graphics.
CSC Vice Presidents’ Report
Publicity Report
There were 13 sponsor events attended by CSC members and one CSC screening during the year 2011. These events include: Sim Video Technology Open House; Panavision Open House; Panasonic Canada Inc. Open House; William F. White and CinequipWhite February Freeze Trade Show; Sony Canada Toronto HDCAM SR Sneak Peak Event; CSC Screening of Oceans and a Q&A with cinematographer Philippe Ros; Sony product launch at Vistek; Crew Party at William F. White; ProFusion trade show and seminars by Vistek; EPIC RED showcase at Sim Video; Sony of Canada preview of the F65 4K Camera; Free seminars and product demonstrations at Vistek; Canon’s historic announcement of new Cinema EOS System at Paramount Theatre, California; and the launch of Sony’s 3D Camcorder and F65 4K Digital Camera at SIRT. Ron Stannett csc, Vice President and Carolyn Wong, Vice President
As in previous years, one of the best publicity vehicles available to the CSC is its website at www.csc.ca. Our entire membership listings, our executive, the CSC history, Canadian Cinematographer, demo reels, award winners and nominees, education courses, plus any and all information or announcements pertaining to the CSC can all be found on our website. It is essentially our organization’s window to the world.
EDUCATION REPORT On November 5 and 6, 2011, the CSC held a Lighting Workshop at the William F. White Centre in Toronto. The course was extremely well received by the participants who came from Toronto, Bowmanville, Sunderland, Thunder Bay, North Bay and Winnipeg to attend. The instructors were Joan Hutton csc and Ernie Kestler, and on day two they were joined by Carlos Esteves csc, who helped supervise the lighting exercises being done by the various groups. Tony Smith was the gaffer on both days. Sarah Moffat was there on both days to lend a hand. Michael Obadia, one of the participants, produced a DVD showcasing all of the lighting exercises shot, and each participant received a copy. CSC members paid $250 to take the workshop, while non-members paid $350. The workshop generated a modest surplus for the CSC. The participants were Luther Alexander, Greg Biskup, Alex Chavez, David Hodge, Robert Howard, Shaun MacLellan, Arjun Manokaran, Sean Marjoram, Bruce Marshall, Mike Moore,
Awards Report The 2011 CSC Awards ceremony was held Saturday, April 2, 2011, at the Frontenac Ballroom at the Westin Harbour Castle in Toronto. The gala event was attended by 296 members, sponsors and friends. The evening was hosted by Melissa DiMarco, actor, journalist and star of Citytv’s Out There with Melissa DiMarco.
My main focus has centered on the CSC website, which leaves very little time for anything else. I am pleased to welcome Sarah Moffat as Co-Publicity Chair. Sarah will be expanding CSC publicity efforts through social media and networking. We are exploring ideas of a CSC online discussion forum, a VLOG - Video Log, and lecture series to help our community grow and share ideas across Canada and from generation to generation. The CSC website generated nearly 1,252,000 successful requests in 2011, and that averages out to over 104,000 requests each month or an average 3,500 successful requests each and every day. The largest portion of the yearly traffic was for Canadian Cinematographer at 37%. The website’s busiest month was January with over 136,000 requests, while our slowest month was July with just over 87,000 successful requests. We had hoped that most of our full and associate members would subscribe to CSC Reels for their demos. There are currently 28 full and associate members who subscribe to CSC Reels for their demos. This figure has dropped from 35 in the previous year. There are 33 members who have direct links from our website to their demo reels at other websites, which is down from 45 members in 2010. As well, 185 members have direct links from their CSC listing to their personal websites, which usually contain their demo reels. Nikos Evdemon csc, Publicity Chair Canadian Cinematographer - March 2012 •
15
Treasurer’s Report For the past few years, CSC executive and staff have focused efforts and activities on the great value provided by the society to our members and our sponsors, and the past year has produced the financial fruits of these efforts. The current financial viability of a non-profit organization like the CSC is often measured by the accumulated surplus/deficit at year end. We were last in a surplus position at the end of 2005, and were then devastated by large deficits in both 2006 and 2007. It has taken us until now to reverse this situation, ending the year 2011 in an accumulated surplus of $ 9,999.54. This is a modest surplus relative to the size of our financial commitments, but it is very welcome.* This result was made possible by many sponsors who recognize the significant value they obtain by strategically addressing CSC members in their funded activities. Use of their own products and services is greatly influenced when they invite our members to technology/process events. Our awards gala has become the annual highlight of cinematographic talents that benefit the whole creative industry, and our sponsors show how important that is to them by actively participating and contributing. Content in Canadian Cinematographer is the basis for many decisions made by our members, and that publication is largely made possible by the advertising purchased by our sponsors. Even as shifts occur (as they have multiple times throughout our history), the 1 12-01-06 10:23 AM with companies CSCCSC_Ad_Outlines.pdf maintains its impartial stance, working
both in traditional and in emerging technologies to leverage our members’ vision. Our financial wellbeing depends on this partnership with our sponsors, and we will continue to provide them great value. Value for our members is also in constant discussion by the CSC executive and staff. Professional development is truly important as new processes are added to our options, and doubly important when our members need to make, explain and support informed choices; this is a major focus of our education events, our periodic meetings, and our publication. We have expanded a networking initiative known as “Pub Night” that is already active in Toronto and Montreal, and soon in Vancouver; lively discussions among the members attending are due primarily to shared interests and creative concepts. The quality of images produced by our members is now recognized to be so high that it is a personal accolade to have an entry even nominated in the diverse categories of our annual awards. Our recent liaison with other cinematographic societies has generated more international recognition for our members and potential opportunities for them. For all this and more, the annual fees for members continue to be extremely low when compared with other similar organizations. In past years, I have detailed the relative contribution of a few CSC programs to the financial results. This year, I would prefer to indicate simply that all activities are interlinked and important contributors, even those that might seem to receive a financial subsidy. We still are conscientious about each area of expense, reviewing what we can or cannot do within our assessment of the current economic climate. Finally, I am proposing a modest increase in some fees for the year 2013, convinced that the CSC will still remain the best value for any similar professional society. Joe Sunday phd, CSC treasurer
Membership Report The membership committee met once in 2011 to review submissions of those who wished to upgrade to full membership. As usual we followed the standards laid out in our bylaws and regulations, and the following six cinematographers have earned the privilege of putting CSC after their names. Hanna (Johnny) Abi Fares csc; Norm Li csc; Matthew Lloyd csc; Anthony Metchie csc; Boris Mojsovski csc; and Ali Reggab csc.
C
M
Y
CM
MY
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In 2011 our numbers increased again for the third year in a row. Although we are concentrated mostly in Ontario, British Columbia and Quebec, we have a membership of 475 people spread out across the country in every province except Prince Edward Island.
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We said goodbye to one member in 2011, Peter Luxford csc, who passed away on July 29 after a short battle with lymphoma. An obituary was published in the October 2011 issue of Canadian Cinematographer. Philip Earnshaw csc, Membership Chair *Any CSC member who would like a copy of the 2011 Treasurer’s report, financial summary can email Joseph Sunday, phd at jsunday1@creativeaffinities.com.
16 • Canadian Cinematographer - March 2012
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BEHIND THE SCENES
Teryl Crombie: Makeup Artist
Teryl Crombie, centre
M
styles in that some are there to do their job and only their job, and some DOPs approach it as a team effort. You can only hope you get paired up with a DOP on a project that is open to the collaborative effort being put forward.”
Although some projects, such as films or shows set in contemporary times, require a more straightforward approach to makeup, for the more stylistically intricate shoots, Crombie appreciates DOPs who are open to discussion. “Some DPs have different
In addition to being thoroughly knowledgeable about the tools of her trade, Crombie and her peers must also be relatively well versed in cinematographers’ tools, and being married to a camera operator (CSC member Rod Crombie), she certainly has her foot in the door. On set, she says, “I’m always asking what we’re shooting on. If I feel like I have a good relationship with the camera operator or DOP, I will ask to look through their lens too. I always pay attention to what lens they’re on because then I know how much detail is going to be seen. Like if they’re going into a longer lens, they’re going to be picking up more detail and doing tighter shots. Then I know that I definitely need to step in and make sure that everything is okay for finals and make sure the talent looks good. If it’s a wider shot, I may not need to step in. Sometimes we use a slow motion camera, and things like that I would need to know because every single detail, depending on how wide or how tight the shot is, you’re going to see.”
akeup artist Teryl Crombie’s trade has taken her on projects ranging from independent films, feature films, corporate shoots, live television, and commercials. Most recently the Calgary native contributed to the prosthetics department on the much-anticipated blockbuster Resident Evil: Retribution. Regardless of the size and scope of the project, open communication with a director of photography is almost always integral to her work. “Usually it comes down to the look of the show or the story that’s being told, and making sure that you’re speaking the same language as the director of photography in terms of colours and tones being used, and for the specific look and finish they’re going for in post,” Crombie says. Albert Dunk csc -- who lensed the 2000 made-for-television film Children of Fortune, on which Crombie also worked -- agrees. “It’s really all about communication,” he says. “The more you can talk about and agree on how things should look as far as the way folks see it, that’s what it’s all about.”
18 • Canadian Cinematographer - March 2012
This approach, according to Dunk, is Crombie’s strength as a makeup artist. “It’s her attention to detail. She’s always concerned that the look of the character is appropriate for the script.” He adds that he marvels at how makeup artists like Crombie can make people look more appealing without making them look made up. “That to me is a real art,” he says. That art has been Crombie’s saving grace in the age of digital filmmaking. HD, she says, “weeds out a lot of heavy-handed makeup. Which is great because you’ve got to be very deliberate in your choices and very well blended and in tune with the character but making sure that you don’t see the makeup. It creates edges that you don’t think are there. Sometimes you can’t see it with your eye. You have to be on top of your game and on top of good products to be able to change it up. With the skin, if something works one week it may not work the next.” Still, she doesn’t pine for the days of film shooting. “Why look back?” she says. “Every style has its pros and cons. We’ve moved on. It’s just a matter of letting old styles go.” And there are opportunities every now and then to adapt to shooting different formats. “When I did the 2010 Canada Walk of Fame, we shot in HD and transmitted standard def. So I had to adjust what I was doing to match the output. That meant I needed to add a little more makeup and be really well blended so that you wouldn’t notice it on HD, but to give enough coverage so that when it went into standard def it would look like there was enough makeup, so it would still look natural enough. So there are still times when you need those skills. “
Like cinematographers, Crombie strives to stay abreast of current techniques and equipment in order to stay marketable. “The last couple of years, I’ve gone down to LA and done some upgrading. So it’s a matter of making sure your skills are always being progressed and you’re always working at it. I subscribe to industry trade magazines and go to trade shows and I do lots of practice days to make sure that my skills are up to snuff,” she says. “And always asking questions and being open to learning and aligning myself with mentors who work bigger budget shows and who are doing different kinds of projects.”
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Canadian Cinematographer - March 2012 •
19
F3 IN S-Log By Sarah Moffat
T
he Sony F3 is a lightweight professional HD camera with a sophisticated Super 35 mm CMOS sensor and PL mount. The image quality is quite impressive using the standard REC709 gamma curve at a said eight-stop dynamic range, though on a scope with a chart it produces a few more. The in-camera Picture Profile options allow for manipulation to RGB, contrast and saturation, as well as the Gamma selections CINE1 to CINE4. Although the camera does very well in low light, the sensor is actually capable of seeing more. Wanting more dynamic range and colour depth out of the camera, I sought S-Log. I called John Deboer at Sim Video, and he had an upgraded F3 brought in from Vistek for some tinkering. The S-Log upgrade happens to the camera system’s firmware and costs over $3,500. Note: Some rental houses have yet to upgrade F3 bodies to do S-Log, so be sure to ask about S-Log capabilities and costs if this is a format you wish to shoot in.
This upgrade allows the camera to record in what is called a Log. As John Banovich csc talked about in an interview in the January issue of Canadian Cinematographer (see John Banovich csc tells The Honest Truth, January 2012), Log is short for Logarithmic, and allows for more information to be recorded. The expansion of image information from REC709 to S-Log is about eight times. S-Log, or Log, is not RAW, though it is an 800% increase of dynamic range, which allows for capture of everything the sensor can really see. Let’s try to better understand Log and REC709 for a moment. The standard curve in most digital cameras is called REC709. It is a measure for consistency of picture from start to finish. It represents the contrast and colour that the eye generally sees. However, it doesn’t necessarily show everything the camera’s sensor is capable of. REC709 offers a suitable and nice-looking image for most broadcast shows, mostly in factual/reality using a fast-paced workflow for final output on web or TV. Though if looking to the big screen, where the image is stretched out, or to major networks who have higher broadcast standards, then it would make sense to seek more dynamic range, faster mb/s speed and greater colour depth out of the camera. Enter Log. S (Sony)-Log was specifically designed for the F3 sensor. The first major benefit to shooting S-Log is an increase in dynamic range, up to 13.5 stops, from what I could see. The camera no longer has to compress the image into an .MPG2 onto SxS cards at a maximum speed of 35mb. Now in 4:4:4, from the DUAL LINK stream, out to a 10-bit record deck of choice, usually best set to Apple ProRes, it can write to a speed of 100mb/s. The gamma curve becomes almost flat, in a way providing more dynamic range and allowing for much more control in post over the colour “look” desired. Also the jump from 8-bit to 10-bit may sound small, but it is four times more colour information. Hence S-Log truly does provide a lot more.
20 • Canadian Cinematographer - March 2012
Here’s a trick for those using a recording device with perhaps one HD SDI in, and willing to sacrifice a little image to save a few rental dollars, or time and money in post: you can pull a 422 S-Log image out of the “Monitor SDI Out” BNC on the back of the camera. That output was intended to be for a director/ DP monitor, however you can cheat it! I did, and it worked well, out to a Mini-KiPro. But be aware: while in S-Log you have access to an LUT (lookup table) menu for that Monitor Out. There are many LUTs you can choose from in the menu, and if you hook up the camera to a monitor and flip through the LUTs, you can actually see the image colours change on screen, as each LUT has its own gamma curve. Though if you shoot with an LUT selection on, that is the look you will record. Yes you can still manipulate the image in post somewhat, though not as much with all LUTs off, and in S-Log only. When you turn the LUT off, the image on the monitor becomes sort of dull-looking, that is the “Log.” It is absorbing far more light information than most monitors can comprehend, as they are also standardized to REC709. To get around this look on the monitor, you can convince the director and others that it’s going to look great by dialling up the colour and contrast knobs on the monitor. Sort of “faking it,” and also so you don’t hear, “Why does the picture look all washed out?” for the whole day! I discovered this in my own test so far and also talked with Dylan Macloed csc, who has been shooting a ballet story with the National Ballet of Canada. He has been using two F3s and shooting in S-Log. “We did shoot S-Log. We monitored REC709. I had the editor apply a slight curve to our dailies. But by shooting SLog we were able to capture as much information in camera as possible and preserve it for the final transfer,” he says. I have been testing the F3 in S-Log for an upcoming narrative and am looking forward to working with a greater dynamic range and more colour depth. Giving me more than what the camera has already provided, without the upgrade, is going to be so exciting to see in post! Sarah Moffat’s camera experience includes motion picture and still photography. She has worked in drama, documentary and live broadcast.
Photo by Sarah Moffat
Tech Column
Review: Sony
Used Leica Geo System Disto Laser Measurement Devices Attention crew technicians interested in selling used Leica Disto Laser Measurement devices for cash to upgrade to newer models. Contact: Alan J. Crimi, Panavision Canada Corp. at 416-258-7239, shipping, receiving and client services at 416-444-7000 or alan.crimi@panavision.com. www.panavision.com. Wanted: 35mm and 16mm prints. I have recently acquired a 35mm projector and would like to have a print library on hand. If you have or know of any film prints gathering dust and in need of a caring home, contact Christopher at 902 644 3604 or cbifilms@ eastlink.ca Short-Term Accommodation for Rent Visiting Vancouver for a shoot? One-bedroom condo in Kitsilano on English Bay with secure underground parking, $350 per week. Contact: Peter Benison at 604-229-0861, 416-698-4482 or peter@peterbenison.com. Looking for a home in the GTA area while shooting a project? Kelly Mason, cinematographer, is renting her fully-furnished home in Mississauga. It is modern, renovated, open concept, fireplaces (2), hardwood floors. Walking distance to all amenities, Go Train, restaurants, Metro, Starbucks, Homesense, Dollarama, and more. 2500/mth + utilities; 3 bedroom, 3 bath. 4-6 month lease starting January 5, 2012. No Smokers and no pets please. Contact Kelly at 647.993.6183; kelly@kellymason.com. Equipment for Sale OWN A PIECE OF CINEMA HISTORY: selling a vintage Bell & Howell 2709 camera with mags. THE film camera of the 1920s and ‘30s; assorted other goodies. Contact: dkoch198@hotmail.com. Lighting Kit: 3 - 400/600W. ColorTran Mini Pros c/w stands, scrims, gels, dichroic filters, spare bulbs, case $ 225.00. ProSine 1000 inverter. Input: 12V, Output: 120 Vac - True 60 Cycle Sine Wave, will drive small HMI c/w shipping case $ 200.00. Monitor Shipping Case c/w Monitor tripod stand $ 60.00 Hard Shell Shipping Case $50.00
Nikon Still Camera - D200 c/w 24-120 mm Zoom Lens Extra charger & battery Mint Condition $ 400.00
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. 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 $12,000. 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.
Camera Classifieds
Equipment Wanted
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 416459-4895. 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 TN9U 9-inich colour monitor, $60. Photos available for everything. Contact: johnbanovich@ gmail.com or 604-726-5646. For Sale
Contact Jim Mercer csc: jim.mercer@rogers.com (Cell) 416-930-3485 Selling a Super 16 Modified SBM Bolex Camera Body. This Comes with: All original screws; Rewind Crank; Original Leather Strap; Bayonet Mount & Cap; Viewfinder; Rubber Eyepiece. This body has been super 16 modified, it was a rex-5 body professionally converted to bayonet mount. This body has been professional serviced in the summer of 2011, professional tightened and oiled. This body has also been professional re-calibrated for precision 24 f.p.s This viewfinder has been professional re-adjusted for the comfort of super 16 view. Leather is is pristine condition, has been properly conditioned. This camera is perfect working condition and still the cosmetics still look amazing for today. Other accessories available (MST, MM Motor, Bolex Battery Pack, Magazines, H16 non-reflex, etc). To further inquire, e-mail: andrewglennmiller@gmail.com
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.
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.
Sony DXC-D30 3 Camera Live Production Package includes three DXCD30 cameras/camera backs/ CCUs and multicore camera cables; Panasonic WJ-MX70 8 input switcher; full camera and switcher monitoring package and waveform/vectorscope; equipment rack for camera monitors & CCUs. Wired and operational. $19,500. Contact Ted Mitchener at ZTV Broadcast Services for complete list of equipment: 905-290-4430 or ted@ztvbroadcast.com. 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. 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-DV7-AW, NTSC, mint condition, as new, 61hours drum time, $7,000. All cameras with porta-brace covers. All owned by
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604-527-7262
403-246-7267
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Canadian Cinematographer - March 2012 •
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CSC MEMBERS
CSC FULL MEMBERS Johnny Abi Fares csc Jim Aquila csc John Badcock csc Michael Balfry csc Christopher Ball csc John Banovich csc John Stanley Bartley csc, asc Stan Barua csc Yves Bélanger csc Peter Benison csc Jeremy Benning csc John Berrie csc Michel Bisson csc Michael Boland csc Nicolas Bolduc csc Thomas Burstyn csc, frsa, nzcs Barry Casson csc Eric Cayla csc Neil Cervin csc Henry Chan csc Marc Charlebois csc Rodney Charters csc, asc Damir I. Chytil csc Jericca Cleland csc Arthur E. Cooper csc Walter Corbett csc Steve Cosens csc Bernard Couture csc Richard P. Crudo csc, asc Dean Cundey csc, asc Steve Danyluk csc Kamal Derkaoui csc Kim Derko csc Serge Desrosiers csc Jean-Yves Dion csc Zoe Dirse csc Mark Dobrescu csc Wes Doyle csc John Drake csc Guy Dufaux csc Ray Dumas csc Albert Dunk csc, asc Philip Earnshaw csc Gamal El-Boushi csc, acs Michael Ellis csc Carlos Esteves csc Nikos Evdemon csc David Frazee csc Marc Gadoury csc Antonio Galloro csc James Gardner csc, sasc David A Geddes csc Ivan Gekoff csc Laszlo George csc, hsc Pierre Gill csc Russ Goozee csc Steve Gordon csc Barry R. Gravelle csc David Greene csc Michael Grippo csc Manfred Guthe csc
D. Gregor Hagey csc Thomas M. Harting csc Pauline R. Heaton csc Brian Hebb csc David Herrington csc Karl Herrmann csc Kenneth A. Hewlett csc Robert Holmes csc John Holosko csc George Hosek csc Colin Hoult csc Donald Hunter csc Mark Irwin csc, asc James Jeffrey csc Pierre Jodoin csc Martin Julian csc Norayr Kasper csc Glen Keenan csc Ian Kerr csc Jan E. Kiesser csc, asc Alar Kivilo csc, asc Douglas Koch csc Charles D. Konowal csc Ken Krawczyk csc Alwyn J. Kumst csc Jean-Claude Labrecque csc Serge Ladouceur csc George Lajtai csc Marc Laliberté Else csc Barry Lank csc Philippe Lavalette csc Allan Leader csc John Lesavage csc Henry Less csc Pierre Letarte csc Antonin Lhotsky csc Norm Li csc Philip Linzey csc Matthew J. Lloyd csc J.P. Locherer csc Larry Lynn csc Dylan Macleod csc Bernie MacNeil csc Glen MacPherson csc, asc Shawn Maher csc David A. Makin csc Adam Marsden csc Donald M. McCuaig csc, asc Robert B. McLachlan csc, asc Ryan McMaster csc Michael McMurray csc Stephen F. McNutt csc, asc Simon Mestel csc Anthony Metchie csc Alastair Meux csc Gregory D. Middleton csc C. Kim Miles csc Gordon Miller csc Robin S. Miller csc Paul Mitchnick csc Boris Mojsovski csc Luc Montpellier csc Rhett Morita csc
22 • Canadian Cinematographer - March 2012
David Moxness csc Douglas Munro csc Kent Nason csc Mitchell T. Ness csc Stefan Nitoslawski csc Danny Nowak csc Rene Ohashi csc, asc Harald K. Ortenburger csc Gerald Packer csc Barry Parrell csc Brian Pearson csc David Perrault csc Barry F. Peterson csc Bruno Philip csc Matthew R. Phillips csc André Pienaar csc, sasc Zbigniew (Ed) Pietrzkiewicz csc Ronald Plante csc Milan Podsedly csc Hang Sang Poon csc Andreas Poulsson csc Don Purser csc Ousama Rawi csc, bsc William Walker Reeve csc Ali Reggab csc Stephen Reizes csc Derek Rogers csc Peter Rowe csc Brad Rushing csc Branimir Ruzic csc Jérôme Sabourin csc Victor Sarin csc Paul Sarossy csc, bsc Michael Patrick Savoie csc Ian Seabrook csc Gavin Smith csc Christopher Soos csc Brenton Spencer csc Michael Spicer csc John Spooner csc Ronald Edward Stannett csc Pieter Stathis csc Brendan Steacy csc Barry Ewart Stone csc Michael Storey csc Michael Sweeney csc Adam Swica csc Attila Szalay csc, hsc Jason Tan csc John P. Tarver csc Paul Tolton csc Bert Tougas csc Chris Triffo csc Sean Valentini csc Brett Van Dyke csc Gordon Verheul csc Roger Vernon csc Frank Vilaca csc Daniel Villeneuve csc Daniel Vincelette csc Michael Wale csc John Walker csc James Wallace csc
Tony Wannamaker csc Peter Warren csc Andrew Watt csc Jim Westenbrink csc Tony Westman csc Kit Whitmore csc, soc Brian Whittred csc Ron Williams csc George A. Willis csc, sasc Glen Winter csc Peter Woeste csc Kelly John Wolfert csc Bill C.P. Wong csc Kevin C.W. Wong csc Bruce Worrall csc Craig Wrobleski csc Yuri Yakubiw csc CSC ASSOCIATE MEMBERS Joshua Allen Don Armstrong Vince Arvidson François Aubry John W. Bailey Douglas Baird Maya Bankovic Gregory Bennett Guy Bennett Jonathan Benny André Bériault Aaron Bernakevitch Roy Biafore Christian Bielz Thomas Billingsley Stan Bioksic François M. Bisson Martin Brown Scott Brown Richard Burman David J. Cain Stuart James Cameron Lance Carlson Jon Castell Mark Caswell Maurice Chabot Stephen Chung David Collard René Jean Collins Jarrett B. Craig Rod Crombie James Crowe Micha Dahan Tim Dashwood Michael Jari Davidson Russ De Jong Vincent De Paula Nicholas de Pencier Randy Dreager Duane Empey Andreas Evdemon Barry Fontaine Andrew Forbes
Cathy Robertson Peter Rosenfeld Albert Rudnicki Steve Sanguedolce Sarmen Sarmazian Andrew W. Scholotiuk Ian Scott Stanislav Shakhov Wayne Sheldon Simon Shohet Rob Sim Sarorn Ron Sim Barry E. Springgay Paul Steinberg Marc Stone Michael Strange Joseph G. Sunday phd Peter Sweeney Aaron Szimanski Peter Szperling André Paul Therrien George (Sandy) Thomson John Thronberg Ian Toews Brendan Uegama John Walsh Lloyd Walton Glenn C. Warner Douglas H. Watson Roger Williams Richard Wilmot Peter Wayne Wiltshire Carolyn Wong Dave Woodside Peter Wunstorf asc Xiao Chen Yu Steven Zajaczkiwsky CSC Affiliate MEMBERS JoAnne Alaric Donald G. Angus Derek Archibald Robin Bain Iain Alexander Baird Abraham Bankole Peter Battistone Russell Bell Jacques F. Bernier Greg Biskup Stuart Blair Tyson Burger Gordon A. Burkell Sean Carson Arnold Caylakyan Bernard Chartouni Fanen Chiahemen Suzy Cooper Brent J. Craig Brad Creasser Carmelina Crocco Colin Davis Dominika Dittwald
Tony Edgar Zachary Finkelstein Randy French Richard Gira James D. Hardie Bruce William Harper John Richard Hergel BA CD Adam Christopher Hickman Perry Hoffmann Robert Howard Brad Hruboska Marcel D. Janisse Nazir Kassam 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 Sean Marjoram Justin McIntosh Ian McLaren Andrew Medicky Matthew Emil Muszalski Kar Wai Ng Andrew Oxley Gino Papineau Graeme Parcher Kalpesh Patel Greg Petrigo Craig Pew Douglas B. Pruss Lem Ristsoo David Rumley Donna Santos Susan Saranchuk Chirayouth Jim Saysana James Scott Alexey Sikorsky Brad Smith Michael Soos Gillian Stokvis-Hauer BJ Szabicot Steven Tsushima Paula Tymchuk Anton van Rooyen Sama Waham Trevor J. Wiens Ridvan Yavuz
Christopher Chapman csc, cfe Robert C. Crone csc, cfc, dg David A. De Volpi csc Kelly Duncan csc, dgc Glen Ferrier John C. Foster csc Leonard Gilday csc John Goldi csc Kenneth W. Gregg csc John B. Griffin 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 Randal G. Platt csc Norman Quick csc Roger Racine csc Robert G. Saad csc Josef Seckeresh csc Michael S. Smith John Stoneman csc Kirk Tougas Y. Robert Tymstra Walter Wasik csc Ron Wegoda csc James A. Wright Keith Young
CSC LIFE MEMBERS Herbert Alpert csc, asc Robert Bocking csc Raymond A. Brounstein csc David Carr csc Marc Champion csc
The following people were granted CSC accreditation on January 12, 2012: Nicholas de Pencier csc Pasha Patriki csc Samy Inayeh csc
CSC HONOURARY MEMBERS Roberta Bondar Vi Crone Graeme Ferguson Wilson Markle Philippe Ros afc
indicates demo reel online, www.csc.ca
Canadian Cinematographer - March 2012 •
23
CSC MEMBERS
Richard Fox Kevin A. Fraser Brian Gedge Yorgos Giannelis Rion Gonzales Dave Gordon Vladimir Gosaric Daniel Grant Jeffrey Hanley Josh Henderson Robert Hill Rory Hinds David M.J. Hodge John Hodgson James D. Holloway Suave Hupa George Hupka David Johns Jorma Kantola Ali Kazimi Ernie Kestler Ryan Knight Shannon Kohli Douglas John Kropla Charles Lavack Robin Lawless soc Byung-Ho Lee Philip Letourneau James Lewis John V. Lindsay Justin Lovell Dave Luxton Robert Macdonald Mario Anthony Madau Jeff Maher Alfonso Maiorana Yoann Malnati Roy Marques Kelly Mason Andris D. Matiss Paul McCool Patrick McLaughlin Gabriel Medina 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 Josh Power Ryan A. Randall Michael Rita-Procter
PRODUCTIONS & CALENDAR
Production Notes Christmas Story II (feature); DOP Jan Kiesser csc, asc; to April 4, Vancouver The Chronicles of Riddick (feature); DOP David Eggby; to March 23, Montreal The Colony (feature); DOP Pierre Gill csc; to March 30, Toronto Copper (series); DOP Steve Cosens csc; OP Mark Willis; to May 28, Toronto Fairly Legal II (series) DOP Dan Stoloff, 3.03 permit; OP Trig Singer; to March 21, Burnaby The Firm (series); DOP Miroslaw Baszak; OP J.P. Locherer, csc; to May 18, Mississauga Flashpoint V (series); DOP Mathias Herndl (669); to June 27, Toronto Fringe IV (series); DOP David Geddes csc, Michael Wale csc & David Moxness csc; OP Chris Tammaro (alternating episodes); to April 10, Vancouver The Haunting III (series); DOP Michael Balfry csc; to May 25, Aldergrove The Horses of McBride (TV movie); DOP Peter Woeste csc; to March 16, Calgary Killing II (series); DOP Gregory Middleton csc; OP Marty McInally; to April 20, Burnaby King II (series); DOP Rudolf Blahacek; OP Dino Laurenza; to March 30, Etobicoke The Munsters (pilot); DOP Mike Weaver, 3.03 permit; to March 19, Vancouver Nikita II (series); DOP Glen Keenan csc & Rene Ohashi csc, asc; OP Steven Adelson 669 (alternating episodes); to April 10, Toronto Once Upon a Time (series); DOP Stephen Jackson; OP Craig Powell; March 20, Burnaby Secret Circle (series); Robert McLachlan csc, asc; OP Michael Wrinch; to April 12, Vancouver Seventh Son (feature); DOP Thomas Sigel, 3.02 Permit; May 2, Burnaby Still Seas (feature); DOP Guillermo Navarro 600; OP Gilles Corbeil; to April 13, Toronto Supernatural VII (series); DOP Serge Ladouceur csc; OP Brad Creasser; to April 5, Burnaby UT Simon Barry Project (series); DOP David Pelletier & Joel Ransom (alternating episodes); OP Ep 1 Peter Wilke; OP William Waring; to May 7, Vancouver XII III (series); DOP Eric Cayla csc; OP Andris Matiss; to July 18, Toronto
Calendar of Events March
April
1-4, Kingston Canadian Film Festival, Kingston, ON, kingcanfilmfest.com
12-21, Images Festival of Independent Film & Video, Toronto, imagesfestival.com
8, Genie Awards, Toronto, genieawards.ca
26-May 6, Hot Docs, Toronto, hotdocs.ca
11, Prix Jutra, Montreal, lesjutra.ca
May
15-25, International Film Festival on Art, Montreal, artfifa.com
2-3, Hot Docs Forum, Toronto
23-Apr. 1, CinĂŠfranco, Toronto, cinefranco.com
10-13, Banff World Media Festival, banffmediafestival.com
31, CSC Awards, Westin Harbour Castle Conference Centre, Toronto, csc.ca
24 • Canadian Cinematographer - March 2012
June
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