Canadian Society of Cinematographers Magazine April 2011

Canadian Society of Cinematographers

$4 April 2011 www.csc.ca

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Jack Cardiff asc • CSC 2011 Award Nominees • Don Carmody

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.

CORPORATE SPONSORS All Axis Remote Camera Systems Applied Electronics Arri Canada Ltd. Canon Canada Inc. CinequipWhite Inc. Clairmont Camera Cooke Optics Ltd. Creative Post Inc. D.J. Woods Productions Inc. Deluxe Toronto FUJIFILM Canada Inc. Image Media Farms Inc Kingsway Motion Picture Ltd. Kino Flo Kodak Canada Inc. Lee Filters Mole-Richardson Osram Sylvania Ltd./Ltée PS Production Services Panasonic Canada Panavision Canada Rosco Canada Sim Video Sony of Canada Ltd. Technicolor Videoscope Ltd. Vistek Camera Ltd. William F. White International Inc. ZGC Inc. ZTV

FEATURES – volume 3, No. 1 April 2011 Black Narcissus

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A Tribute to the Brilliance of Jack Cardiff asc By Wyndham Wise

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Chris Oben Shoots Digital 3D on Splinter Unit for Disney’s TRON: Legacy 3D By Chris M. Oben, CSC Associate Member

Resident Evil: Afterlife

16

Canada’s Man in Hollywood: The Don Carmody Interview on the Occasion of His 100th Film By Wyndham Wise Columns & Departments 2 From the President 3 Letters to the President 5 What’s New: Image Media Farm Re-Brands

6 In the News

24 CSC Award Nominees

25-27 CSC Members / Camera Classified

28 Productions Notes / Calendar

Cover: Beau Garrett from TRON: Legacy 3D. Image courtesy of Disney Enterprises Inc.

Canadian Cinematographer April 2011 Vol. 3, No. 1 EDITOR-IN-CHIEF Joan Hutton csc CO-EDITOR-IN-CHIEF George Willis csc, sasc EDITOR EMERITUS Donald Angus

From The PRESIDENT

EXECUTIVE DIRECTOR Susan Saranchuk admin@csc.ca EDITOR Wyndham Wise mfa editor@csc.ca ART DIRECTION Berkeley Stat House PROOFREADER Karen Longland

Joan Hutton csc

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his is an era of vast and rapid change for film and television. What we do now to channel this change will have a profound effect on the stability and creative future of our industry. So when I received an invitation to attend the 2011 International Cinematography Summit Conference (ICSC) from Michael Goi asc, president of the American Society of Cinematographers, I readily accepted.

STUDENT INTERNS Savia D’cunha Krystyna Hunt WEBSITE CONSULTANT Nikos Evdemon csc www.csc.ca ADVERTISING SALES Guido Kondruss gkondruss@rogers.com

Taking place this May in Los Angeles, ICSC 2011 is a think tank gathering created by the ASC to share knowledge between cinematographers worldwide of emerging technologies and to discuss the future of the craft in light of developments such as virtual production and 3D. This is not a festival or tradeshow, nor will issues regarding labour be put on the agenda. Goi says the conference will uniquely “focus on understanding how the evolution of our tools is influencing our ability to do our job, and also how we may better influence the critical elements that affect the craft of cinematography.”

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.

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 - April 2011

The agenda of the four-day conference is still being formulated; however, through consultations with some of the attending countries, here are some of the possible topics: • The role of the cinematographer in virtual production and animation • The archiving, preservation of film and digital elements • 3D and how it has affected our craft • The evolution and future of digital capture • The future of film as an origination and archival medium • What our part should be in educating the next generation of cinematographers • Ways cinematography societies can develop a more active exchange of information and to combine our efforts on areas of importance I would like to hear from you, the CSC membership, or anyone who reads this column on what should be addressed at ICSC 2011. I would like to know what my fellow cinematographers think is important for our future. I will then take the larger consensus groupings and put the ideas before the conference should they not already be on the agenda. This conference underscores that we are very much part of a global industry and need to be on the same page concerning the essentials of our craft and the issues that affect the preservation of cinematography. So please send your thoughts to admin@csc.ca.

The CSC congratulates all the winners at this year’s Genie Awards. Especially André Turpin, who received the Best Achievement in Cinematography Genie for Incendies, and to the four other nominees, two of whom were CSC members, Bernard Couture csc for 10½ and Ronald Plante csc for Piché, entre ciel et terre.

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letters to the president

Dear Joan, The “First Dates with the Arri Alexa� article in Canadian Cinematographer February issue had excellent insights and information from three very experienced DOPs. As a cinematographer at the mid-level of her craft, I really love information like this, as it helps me become better at what I aspire to in this industry. I would love to read an article specifically on “curves� and how to better control them in digital vs. film – what to look out for, what you should know and how to do it. That sort of information would be very helpful. This was touched on a bit in the February article and also at the Oceans screening last month at Deluxe, Toronto. French DOP Phillippe Ros shared amazing information on how he controlled the gamma curves in the Sony 950s, which were the underwater cameras he used, to match the 35-mm film stocks that were use for the above-water scenes. I was a sponge, soaking up every word!

Thanks again for the article, and I am looking forward to more technical information in the magazine.

Sarah Moffat, Cinematographer Dear Joan, Just wanted you to know I enjoyed Lance’s article on the Arri Alexa. I have just finished a very ambitious series with it and it blew me away. I’ve worked with every major digital system out there and this one knocked my socks off. It is truly a “game changer� and nothing else comes close.

Anyway. Keep up the good work. I’m sure it can be rather thankless at times.

All the best, Robert McLachlan csc, asc Dear Joan, Thank you for the excellent editorial in February’s edition. It was insightful and pertinent.

Chris M. Oben, Associate Member

Canadian Cinematographer - April 2011 •

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4 • Canadian Cinematographer - April 2011

By Wyndham Wise

W

e keep growing because we provide first-rate customer services and people enjoy working with us and we have an amazing team,” Image Media Farm founder and president Roger Williams told Canadian Cinematographer over the phone from Vancouver. “Image Pacific Communications was the original company, then we created Image Central in Toronto about 5 or 6 years ago. In 2009 we branded the company nationally because we were operating as two distinct companies. Now we’re in the middle of redesigning our website. I wanted to bring the company together nationally, and it’s working out really well.

“In the late 1970s and early 1980s,” Williams said, “I worked as a recording engineer in Edmonton. I went to do a bit of work with ITV in the days it was producing SCTV. I helped fill in once in a while then I went back to school and learned more about television and came out as camera guy. I started with sports and news and moved on to DOP on a great many documentaries in the 1990s with Discovery, CTV, TSN and a whole host of international networks, always freelance.

At 2010 TIFF, Image Media Farm was involved in numerous behind-the-scenes endeavors. In the capacity for which it has long been acknowledged as an industry leader, IMF provided services for the promotion of key feature films, producing press junkets for all Alliance releases premiering at the festival.

IMF’s contribution to supporting international publicity efforts at TIFF, included junket coverage for The Black Swan, The King’s Speech, Waiting for Superman, FUBAR II and Route 132, all of which used camera packages supplied through IMF. “On our busiest day we had a total of 25 cameras rolling at once in various locations and hotel rooms around Toronto,” Williams said. While on location in Ontario, Williams shot 3D coverage of Niagara Falls as part of an impressive, cross-Canada documentary/promotional production for the Canadian Tourism Commission. “We rode The Maid of the Mist and put the camera on a 50-foot Techno-crane,” he said. In addition to its production services, IMF is expanding its reach into independent production with Chinatown, Canada, a recently completed four-part documentary series airing on Omni Television, and The Lodge, a 10-part reality series for World Fishing Network.

“As a freelancer I started my own company, which was Image Pacific Communications in Vancouver in 1990. I started with one camera, and now we have about 60. When you buy one camera, you then need another, and then a client wants something different. Technology changes. I started with broadcast cameras. I have another company in Vancouver called Inspired Cinema Camera Rentals for film rentals. Image Media Farm is strictly for broadcast.”

It was for many good reasons that the Vancouver Organizing Committee for the 2010 Olympic and Paralympic Winter Games selected IMF as the official chronicler of the 2010 Winter Olympic Torch Relay. Over the course of the 106-day, 45,000kilometre journey of the Olympic flame, IMF’s travelling production team shot over 60,000 digital still photographs and over 800 hours of HD video to fully document the longest Torch Relay ever staged within a single country, in the process recording the participation of over 12,000 Canadian Torchbearers. The journey ended on February 12 in Vancouver, when the Olympic Cauldron was ignited to signal the start of the Vancouver 2010 Winter Olympic Games.

Editors in IMF’s mobile post-production studio, a specially customized motorhome equipped with digital photography processing station and two complete video editing suites, worked continuously, culling daily digital photo highlights and postproducing daily regional relay video highlight packages, six weekly video torch featurettes and daily B-roll footage. To insure that the relay was chronicled every step of the way Williams installed a robotic HD video camera to shoot continuously.

Image courtesy of Image Media Farm.

“

WHAT’S NEW

Image Media Farm Re-Brands

Image Media Farm founder and president, Roger Williams, on location at Niagara Falls, for a 3D shoot for the Canadian Tourism Commission.

Canadian Cinematographer - April 2011 •

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In The News John Walker csc behind the drum kit in a promotional shot for his awardwinning documentary, A Drummer’s Dream.

A Drummer’s Dream Wins FIPA d’Or

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t the 24th International Festival of Audiovisual Programs (FIPA), in Biarritz, France A Drummer’s Dream from director John Walker csc won the FIPA d’Or Grand Prize in the performing arts category. FIPA, little known in this country, is a big deal in Europe and has been compared to the American Emmy Awards. The feature-length documentary, produced by the NFB in co-production with John Walker Productions, is a rare and unique assembly of some of the greatest drummers in the world.

Set at an idyllic music camp for emerging musicians in rural Ontario, A Drummer’s Dream focuses on a rare assembly of some of the most versatile drummers in the world, including Nasyr Abdul Al-Khabyyr, Dennis Chambers, Kenwood Dennard, Horacio “El-Negro” Hernandez, Giovanni Hidalgo, Mike Mangini and Raul Rekow, who have backed up the likes of Miles Davis, Dizzy Gillespie and Carlos Santana. It showcases their explosive talent – running the gamut from Latin and rock to jazz and soul – as well as their passion, humour and irresistible personalities.

The Kennedys Set for Broadcast in the U.S. Muse Entertainment has found a new U.S. broadcast home for The Kennedys – ReelzChannel. The replacement home on the indie cable channel follows Muse and co-producer Asylum Entertainment seeing their eight-part series axed by A&E Television Network’s History channel in the U.S. Muse CEO Michael Prupas, who also executive produced The Kennedys, welcomed the U.S. sale. The Montreal-based producer also defended the miniseries against earlier accusations from the Kennedy family of misrepresenting the famous American political dynasty with its miniseries. “We accurately and authentically recreated each of the events that occurred. Anyone who watches the show will agree that the Kennedy family emerges from our treatment as a legendary American family, who made an enormous contribution to the world and to their country, but were beset by epic tragedies,” he said in a prepared statement.

6 • Canadian Cinematographer - April 2011

The controversial miniseries The Kennedys, DOP David Moxness csc, is now set for broadcast in the U.S. in April.

ReelzChannel deal, which will air the controversial miniseries from April 3, brought relief to Shaw Media. It remains committed to airing The Kennedys in Canada. The ReelzChannel deal is conditional on the U.S. broadcaster getting a world premiere for The Kennedys. Shaw Media remains undecided whether to air The Kennedys on its Global Television conventional network or one of its specialty channels. Source: Playback.

Bollywood Oscars In recognition of the size and importance of the East Asian Diaspora in Canada, the OMNI network will be the official Canadian broadcast partner for the International Indian Film Academy, covering the glitzy three-day awards celebration from June 23 to 25, culminating with a Bollywood awards show from Rogers Centre, Toronto.

Steve Cosens csc Lenses Edwin Boyd Producer Allison Black and director Nathan Morlando of Euclid 431 Pictures shot Edwin Boyd with Scott Speedman (Underworld, Barney’s Version) in the title role, DOP Steve Cosens csc. Set in 1949, the film chronicles the notorious escapades of Canadian bank robber and aspiring silver screen star Edwin Alonzo Boyd.

The production also features Brian Cox (X-Men 2, The Bourne Identity). Shot in Sault Ste. Marie, Ontario on a five-week shoot, Morlando collaborated with Boyd himself on the film’s script.

Boyd passed away in 2002 at the age of 88 and will not be able to finally see his name in lights. He was a Second World War veteran

“outside the box” has kept me with Clairmont since 1989 ; when I first

Always thinking

arrived in Vancouver to operate on the series “Booker.” I immediately noticed a couple of things. Denny and his staff are as passionate about

cinematography as I am

and they treat all people equally.

The camera trainee or the indie filmmaker gets the same care and attention to detail as the seasoned DP. I have always shared this philosophy. This is a

collaborative business and

everyone does his or her part. If ever I am looking for a

creative

solution to a problem, I can always count on the Clairmont staff to research, acquire or even manufacture the

solution. I get the feeling that it’s not all about profit margin but

about a sense of

pride in supplying the

newest, best and most well maintained equipment. Achieving and assisting

creative vision comes first and foremost. This is what I mean about thinking “outside the box” . There are a lot of rental houses out there, but there is only one Clairmont Camera.

Attila Szalay HSC, CSC

www.clairmont.com

In The News

and a family man who rose to 1950s media fame as a gentleman bandit who undertook dramatic bank hold-ups and two prison breaks from the Don Jail in Toronto.

Cullen, who was honoured for his voice work on the animated television series Jimmy Two-Shoes. Stage star Fiona Reid received the Award of Excellence.

William F. White Mentorship Program

2010 Canadian Box Office Gross

DHX Media’s Corinne Herman is the inaugural recipient of the William F. White Production Manager Mentorship program with Women in Film & Television – Toronto. This competitive program is designed to provide one emerging Canadian female production manager with hands-on training and mentorship. For 10 days, Herman will join William F. White as an intern to learn about production equipment for digital projects, television and film equipment planning, budget planning and resource management. The intensive training will take place at the William F. White Centre, the company’s new production support complex in Toronto. “This mentorship provides a one-of-a-kind hands-on learning experience in all aspects of production planning,” adds Lowell Schrieder, director of marketing and communications for William F. White.

ACTRA Toronto Awards Late actors Maury Chaykin and Tracy Wright were among the winners at the ACTRA Awards in Toronto. The Toronto chapter of the Canadian performers union honoured Chaykin with the best actor award for his role on the Winnipeg comedy series Less Than Kind. The best actress award went to both Wright and Molly Parker for Bruce McDonald’s rock ‘n’ roll film, Trigger. Wright died last June in Toronto of cancer at age 50 and Chaykin passed away last July at age 61. Other winners at the ninth annual ACTRA Awards included comedian Sean

The Canadian film industry’s report card for 2010 saw homegrown movies gross 3.3 per cent to the total box office nationwide, up modestly from a 2.9 per cent share in 2009. This is a national percentage, and doesn’t take into account considerable difference between the Quebec box office and the rest of Canada. EnglishCanada’s box office still sits at less than two per cent. The Quebec box office was down in 2010, with no film crossing the $4 million barrier. In 2009, De père en flic made more that $11 million.

The year-end results from the Motion Picture Theatre Associations of Canada show $1.03 billion spent last year in Canadian cinemas, with Canadian films accounting for $33.5 million of total ticket receipts. The biggest earner was the Canada/German co-production Resident Evil: Afterlife 3D, which grossed $7.02 million at the nationwide box office on its way to over $300 million in international box office, ahead of DVD sales. It is now official the highest-grossing Canadian film of all time, supplanting the 31-year-old record held by Porky’s.

Other box office jewels for Canadian film last year include Piché, entre ciel et terre with $3.6 million in ticket sales, Barney’s Version with $2.8 (so far) and Incendies with $4.2 million in box office in 2010 (so far), according to data prepared by Zoom Services for MPTAC published by the Playback online. Incendies and Barney’s Version are still screening in Canadian theatres in 2011, enjoying an Oscar bump after their nominations for best foreign-language category and best makeup, respectively.

Wentworth Miller in Resident Evil: Afterlife 3D. The film is 2010’s Golden Reel Award winner with a domestic gross of over $7 million and a worldwide gross of $300 million.

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The F3 is big news LEASE ME

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Vistek launches the Production Video Solutions Group (PVSG). For you, as a film or digital cinematography professional, PVSG represents a one-stop Sony shop. With the addition of the experienced Sales & Service staff of the now-defunct Precision Camera, PVSG gives you full access to Sony Broadcast and Professional products. Plus, Sony Authorized Broadcast Service, with expert repairs to all Sony pro video equipment.

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Order your F3 today. Place your order for the Sony PMWF3K 35mm XDCAM camcorder. The F3, with its super 35mm CMOS sensor, delivers shallow depth of field, high sensitivity and brings a true ‘film look’ to independent movies, commercials, music videos, TV shows, and serves as an ideal B-camera to high-end feature film productions.

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10 • Canadian Cinematographer - April 2011

A Tribute to the Brilliance of

Jack Cardiff asc

By Wyndham Wise

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IFF presented the Toronto premiere of Craig McCall’s documentary Cameraman: The Life &Work of Jack Cardiff in February at the Bell Lightbox. Told largely in Cardiff ’s own words, the film features testimony from over 20 noted actors, directors and technicians, including Martin Scorsese, Charlton Heston and Lauren Bacall. An accompanying Lightbox program of Cardiff-lensed films opened with Michael Powell and Emeric Pressburger’s Black Narcissus (1947), preceded by a special presentation by award-winning cinematographers Paul Sarossy csc, bsc (The Sweet Hereafter, Chloe) and John Bailey asc (Groundhog Day, Country Strong), who discussed Cardiff ’s ongoing influence on their profession. Sarossy told the audience that seeing Black Narcissus had a huge impact on his choice of career. It’s one of cinema’s most beautiful films – a visual and emotional stunner.

(1985). He received two more Oscar nominations, for War and Peace (1956) and Fanny (1961). In the late 1950s, he turned his attention to directing, the result of which earned him another Oscar nomination for Sons and Lovers (1960). His credits include The Long Ships (1964) and Young Cassidy (1965). In 2001, he was given an Honorary Oscar for Lifetime Achievement.

Jack Cardiff asc (1914–2009) entered British films at four as a child actor and continued as a camera assistant at 13. He was the clapper boy on one of Alfred Hitchcock’s early British sound films, The Skin Game (1931). By 1936 he was a competent camera operator and worked in that capacity on such distinguished productions as The Man Who Could Work Miracles, As You Like It, The Ghost Goes West (all 1936), Knight without Armor and Britain’s first three-colour Technicolor film, Wings of the Morning (both 1937; he was the first Technicolor cameraman in the U.K.). As a colour expert, Cardiff photographed may travelogue shorts and was a second-unit cameraman on The Four Feathers (1939).

With the Crown Film Unit of the Ministry of Information during the Second World War, he photographed many documentaries, including the excellent Western Approaches (1944; he was operator on the series). Following the war, he became one of England’s most accomplished DOPs, and provided the dazzling camerawork for three legendary productions by Michael Powell and Emeric Pressburger. His first feature for them was A Matter of Life and Death (1946), also known as Stairway to Heaven, followed by the very popular Black Narcissus starring Deborah Kerr (1947; he received an Academy Award for best colour cinematography), set in the Himalayas but entirely shot at the Pinewood Studios, and The Red Shoes (1948), the hugely influential ballet film. He became famous for his expressionistic use of colour and the use of the camera in a painterly fashion. He was an accomplished artist in his own right.

He moved to Los Angeles and shot Hollywood classics such as Alfred Hitichcock’s Under Capricorn (1949), John Huston’s African Queen (1951), The Barefoot Contessa (1954), The Vikings (1958), Death on the Nile (1978) and Rambo: First Blood Part II

Oscar-winner Jack Cardiff asc was the first DOP to use the original threecolour Technicolor camera in Europe, on Wings of the Morning in 1937.

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Chris Oben Shoots Digital 3D on Splinter Unit for Disney’s

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he mid-1980s TRON era was a seminal period for many teens, including myself. As kids growing up in the 1980s we all went through ‘the TRON phase.’ Not since Star Wars could we attach ourselves to the entire experience after seeing the movie. We spent hours talking about the movie, wishing we had the action figures and playing the video game; that neon, glowing-blue machine consumed countless quarters and hours. In my town it was at the Rose Garden Chinese restaurant. I’m not sure I had ever gone in before the TRON game showed up, and I’m certain I haven’t been back since. The movie and the game had an allure that spoke to the teen psyche in those days, the good users vs. the evil Master Control Program. I remember us banding together and taking turns trying to beat the game… to no avail.

By Chris M. Oben, CSC Associate Member 12 • Canadian Cinematographer - April 2011

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p r o g r a m . ”

Chris Oben, CSC Associate Member on the set of TRON: Legacy 3D.

March 2009

I get a call that I had been hoping for. It was Jonas Steadman, IATSE 600, first assistant camera, ‘A’ camera focus puller and lead 3D technician for Disney’s TRON: Legacy 3D. With the blessing of DOP Claudio Miranda asc (The Curious Case of Benjamin Button), Steadman had just invited me to join the main unit camera department as they prepped the biggest-budget digital-3D film ever made in Canada.

Unlike Avatar, which used 2/3-inch CCD digital cameras, a decision had been made to use full 35-mm sensor cameras for TRON: Legacy. Six freshly available Sony F35s had been delivered to the studios at Canadian Motion Picture Park in Vancouver nearly a month ahead of shooting. Three Pace-Cameron 3D rigs had also been provided. There are two ‘mini-rigs’ and a ‘maxi-rig’ all designed to accommodate the F35s. Lenses were T1.3 Arri Master Primes.

On the sound stage Miranda is holding court in the kingdom of technology. I absorb my surroundings like a sponge taking note of the types and placement of lighting fixtures for the wardrobe tests that are underway. Miranda is using a KinoFlo blanket light directly above the camera and an eight-foot two-bank KinoFlo fixture on the floor. Interestingly, he has rounded black corners made of show card on the 10-foot diffusion frame. I work out that these corners are designed to shape the specular highlights and reflections of light sources to look like practicals not ‘film-lights.’

I note that Miranda had chosen to balance the F35 at 3200K, but light with 5600K balanced sources effectively letting the blue spectrum dominate the signal that we see on the 3D monitors.

The Pace truck is up and running. This truck is an entire digital imaging, data capture, data management, post-production, 2K RealD screening facility all in a 40-foot semi-trailer. Wherever the camera goes, this truck must be within 250 metres and connected via fibre optic cables. The captain of this 3D ship is Robert ‘Bruno’ Brunelle, lead digital systems engineer.

I meet Pace 3D technician Manning Tillman. Manning is specifically responsible for the Convergence-I/O carts that each 3D rig is connected to. This is where the 3D tech and/or first AC checks the accuracy of focus, lens alignment, and convergence and sets the interocular distance. It is at the I/O cart that both of the F35s Dual Link HD-SDI signals are converted into a fibre optic signal and sent back to the Pace truck to be reconverted back to HD-SDI and recorded on one of 4 Dual 10TB Codex digital recorders.

I am introduced to Visual FX supervisor and Academy Awardwinner Eric Barba. Eric and I will collaborate on a number of VFX specific shots throughout the film. I realize that ultimately this film will be in Eric’s hands as the VFX guru.

April 2009

On day one of principal photography, the crew is in 2D mode. The gear has been converted and re-prepped for the 14 day, 2D portion of the work that starts the 64-day principal photography schedule. On the call sheet I am listed as digital - imaging technician. Oddly, one of my first tasks is pulling focus for main unit A camera operator, John Clothier, on a handheld shot of a motorcycle stunt from the cab of a semi-trailer. This and other rigged 2D setups are shot on 35mm film with an Arri 435. The 2D F35s also come out to play for coverage of the chase scene shot in urban Vancouver. As a DIT I help run cables and calibrate Miranda’s Sony reference monitors. Looking back, day one was very diverse in terms of my responsibilities but I realize now that I had truly just scratched the surface of the wide range of duties that I would perform over the course of filming TRON: Legacy.

I meet with unit publicist Lee Anne Muldoon, Disney producer Justin Springer, EPK producer Steve Stone and Blu-ray content producer David Melvin to discuss EPK and the Blu-ray extra content. They ask me to DOP both. For me, this is a dream coming true. I’ll actually get the chance to shoot something related to the film.

Canadian Cinematographer - April 2011 •

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All images courtesy of Disney Enterprises Inc.

“ W e lc o m e

Main unit. Day 12. A note in the advance schedule for day 14 reads: Welcome to TRON World. Buckle Up. In 3D, things change dramatically from a DIT/assistant point of view. The chance for technical error increases exponentially. Bruno has his work cut out for him engineering the Pace truck, keeping the machine well oiled. There are many potential snags battled in 3D, including intermittent genlock sync and probably the biggest concern, the fibre optic cable. We all keep alcohol tech swabs in our pockets to deal with the regular need to clean fibre optic contacts connecting the convergence/IO carts.

Everyone knows Jeff Bridges is laid back right? After all, he is ‘The Dude.’ But what is he going to be like to work with? One day late in April, we are scheduled to photograph tests of Bridges in his black self-lit robe. In anticipation of Bridges imminent arrival, first AC Robin Lindala and I have lined up an F35, and I have pre-lit the set with an eight-foot KinoFlo on the floor and two 4x4-foot KinoFlo sidelights. The south stage door opens and in comes Bridges and an entourage of crew members. He strides

and lighting style. Once the 10K fill light was set up, we keyed the actor with a long four-bank KinoFlo and finally highlighted the neon on the game itself with a Dedo kit. There was a long discussion about whether the blue joystick controller of original TRON game was originally self-lit. In the end we shoot it both ways using a four-inch Kino Micro-Flo taped directly to the controller to create the blue glow.

For the Tron: Legacy Blu-ray, my micro crew and I shoot with a Red camera alongside the main unit. First AC Robin Lindala has prepped the Steadicam and the Red package from Clairmont Camera. Our director, David Melvin wants to enhance and differentiate the look of our work for the Blu-ray from the main unit, so we choose a Clairmont 32-mm anamorphic lens for the Red. We want all the characteristic lens flares that an anamorphic lens delivers. The EPK crew has also asked us to film an interview with the production designer Darren Gilford. I suggest using the Steadicam for a walk and talk through the safe-house set using an HVX200.

“The realization of director Joseph Kosinski’s vision was largely made possible through DOP Claudio Miranda’s carefu across the room looking very Darth Vader-esque and ominous.

He approaches me directly and says, “Hi… I’m Jeff.” I think to myself, “Yes, this is the Dude.” Introductions out of the way, one of the suit technicians turns on Bridges’s suit and we see it glow for the first time on camera.

Once Bridges’s test is complete, lamp op, Randy Jablonka and I tighten up the lighting for a closer shot. We need to simulate a low level yet shapely glow for a makeup test with Beau Garrett. We start by pulling in the two 4x4-foot sidelights and bringing the eight-foot KinoFlo on the floor closer to Garrett’s toes. Garrett plays the lead siren in the scene where Sam’s suit is put on in preparation for the disc game. Head of makeup, Rosalina De Silva, is on hand to see the results of her teams’ efforts with Garrett. Rosalina and I look at the images together and I see that she is happy with Garrett’s look.

May 2009

Referred to as B unit on the main unit call sheet, we are scheduled to shoot a 1980’s recreation of Flynn’s Arcade for a flashback sequence of a teenager and 40 arcade goers playing the original TRON videogame. For this 2D shot, we are using a Sony HDW-F950 camera tethered via fibre to a Codex recorder in the Pace truck 250 metres away. Second AC Herb Crowder and first AC Rusty Deluce are busy running the fibre optic cable from our small set two stages away from main unit back to the Pace trailer. This way Miranda and director Joseph Kosinski can see our work live and give feedback.

The crew gather at call time and I meet with A.D., David Klohn and gaffer Shawn McLaughlin to discuss the first shot. Relative to main unit, the crew is very small and I quickly realize that I will be stepping into a bigger role than the camera operator position indicated on the call sheet. From the very first shot it is clear that I will be responsible for deciding both camera position

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July 2009

The call sheet reads: Sc. 30 - Int. Disc Game - Player Basket - Sam and other combatants rise up on rotating platform (crane down from 30 feet). Key grip Steve Sherlock and gaffer Jeff Pentecost were the stars of the show as they made setting up and lighting the blue screen look easy while the crane tech, head tech, dolly grip, focus puller and I worked out the move to the best of our ability to match the Maya rendered pre-viz. This is easily the most complex choreographed camera move we achieve on second unit.

The shot takes us nearly 15 takes, but ends up in the very first 3D trailer in theatres.

Joseph Kosinski and Claudio Miranda are between setups on the main unit and have taken a moment to review a shot that we had just completed on the 2nd unit. Kosinski has a saying, “keep it nodal.” It has become kind of a mantra that he and Miranda would use when describing the director’s vision for the visual aesthetic of the camera work for TRON: Legacy 3D. ‘Nodal’ to Kosinski meant perpendicular and symmetrical, never dutch or off-angle. Kosinski and Miranda were largely inseparable on the set of TRON: Legacy 3D. It is a very clear example of the importance of the partnership between director and cinematographer. The realization of the Kosinski’s vision is largely made possible through Miranda’s careful choreography of the technical components of camera, grip and lighting.

In reflecting on the time I spent as lighting camerman/operator on the set, I can wholeheartedly say that every ounce of my accumulated experience and knowledge was brought to the table in order to achieve the shots required of us on the splinter unit every single day. To this end, we were congratulated by producer Justin Greene for completing every shot we set out to get without exception. On the last day of principal photography, most of the crew exceeds another 70-hour week. In my case, it is a seventh straight day. We wrap as the sun comes up, shake hands and

admire Kosinski’s new TRON-ified LED light strip jacket complete with light disk gifted to him by the costume department. Then, at long last, it is time for the crew to take some well-deserved rest.

February 2010

I accept the supervising producer position at Greedy Productions in Vancouver. Responsibilities include producing and shooting The Making of TRON: Evolution, the Video Game for Disney Interactive/Propaganda Games.

March 2010

The first TRON: Legacy 3D trailer is released on-line. This is the first time I see the material since we shot it. I am amazed by the fact that my work as DOP/operator is featured in seven of the 50 shots in the two-minute trailer.

December 2010

My wife, Stanka, and I attend the cast and crew only screening

ul choreography of the technical components of camera, grip and lighting.” Chris Oben in Vancouver. For most of the movie, my jaw is open as I drool over the imagery and the incredible CG work. It seems like 20 per cent of the disk game is footage from our 2nd unit. Possibly due to the incredible Daft Punk soundtrack, this is the most immersive 3D that I have ever experienced. Jeff Bridges’s on-screen presence dominates and his performance is seamless.

My wife and I and the audience love the film. There’s enthusiastic applause as the credits roll. It’s a big moment, yet, sadly, the entire splinter unit camera crew, including electrics, grips and script supervisor, is un-credited.

January 2011

I see TRON: Legacy in IMAX 3D. It’s an entirely new film to me, and I am impressed that nearly half the film is extended into the full IMAX frame. It is an even more immersive experience.

My Duties on TRON

TRON: Legacy 3D: Lighting Camerman/A Cam OP 3D & 2D; Lighting Camerman/OP for the test unit (wardrobe & makeup); DIT for the main unit; witness camera, assistant/OP. TRON: Legacy EPK: original cameraman. TRON: Legacy Blu-ray content: DOP/OP/Steadicam. The Making of TRON: Evolution, the videogame: supervising producer/DOP.

TRON: Legacy 3D, Splinter Unit Crew

Lighting Camerman/OP: Chris M. Oben; 1st ADs: Bruce Franklin & Brad Jubenville; VFX supervisor: Eric Barba; Digital system engineer: Robert ‘Bruno’ Brunelle; 1st ACs: Robin Lindala, Rusty Deluce, Dan Venti & Simon Jori; 2nd AC: Ahmad Al-Tamimi; 2nd AC witness camera: David Wesley Kyle; Pace 3D Data System tech: Manning Tillman; Gaffers: Shawn McLaughlin, Jeff Pentecost & Simon Hunt; Key grips: Steve Sherlock & Jesse Regimbal; Makeup: Rosalina De Silva; Stunt coordinators: David Leitch & Scott Ateah; script supervisor: Elspeth Grafton.

Garret Hedlund

Canadian Cinematographer - April 2011 •

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Canada’s Man in

The

Don Carmody Interview

O

ne of Canada’s most successful film producers, with a record six Golden Reel Award winners to his credit, Don Carmody celebrates his 60th birthday in April.

Over the years he has produced many films with CSC DOPs, including three with the late Reginald Morris csc (A Christmas Story, Porky’s, Porky’s II: The Next Day), two with Glen MacPherson csc, asc (Snake Eater II: The Drug Buster, Resident Evil: Afterlife 3D), Pierre Gill csc (The Art of War, Polytechnique), Robert Saad csc (Shivers, Death Weekend) and also with Steve Danyluk csc (Breakaway), Peter Benison csc (Meatballs III: Summer Job) and the late Don Wilder csc (Meatballs). In 2010, Carmody won the Best Picture Genie Award for coproducing Denis Villeneuve’s heartwrenching Polytechnique.

I had the privilege of sitting down and talking to him at his Toronto production office in February while he was in prep for Silent Hill: Revlation 3D, the 100th film that he has either produced or executive produced over the span of a 40-year career.

Don Carmody

WW Where and when were you born?

Photo credit: Ralph Lucas, coursety of NorthernStars.ca

DC I was born in Providence, Rhode Island, 1951, and brought up in Boston. My family ended up in Montreal when I was 11 years old.

WW How did you become interested in film?

DC While I was in Loyola High School, I was attending classes at the Musée des Beaux-Arts. My parents lived in a town outside of Montreal called Rosemère, which was noted for its golf course.

It wasn’t noted for anything else aside from being this little English island in the middle of a French community. My train left every morning at 7:20 a.m. and came home every evening leaving downtown Montreal at 6:30 p.m. My classes in high school ended at 3:15, and I was always interested in art, so I enrolled in classes at the Musée after school. When it came time

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for my university education, I marched into my father and I said, ‘You know that money we’ve been putting aside for my college education? Let’s use it as a down payment on a garret where I can paint.’ My father basically marched me to the door and said, ‘You come back through that door in two weeks with a letter accepting you to some institute of higher learning where you can get at least two initials after your name or you don’t come back.’

I went back to the Musée and I was commiserating with my live-drawing teacher, who was a well-known Quebec artist, Charles Gagnon. He had been fooling around with film; little animation things. He said, ‘I’m teaching film at this college next year and I think they give a degree.’ This turned out to be Loyola College, which had the very first communication arts department in Quebec, and sure enough they offered a degree. So I enrolled and, much to my father’s dismay and disdain, got my degree in communication arts. My major was in film production. Later I got a law degree from McGill. My father was overjoyed. ‘When you graduate, you’re going to do your articling year with this guy.’

I told him, ‘I have no intention of practicing law, I just want to make sure I don’t get screwed.’

So, really, my father and I didn’t speak for a number of years, although later he did become my biggest fan.

WW I see on your résumé that you landed a job as a driver on Robert Altman’s McCabe and Mrs. Miller.

DC I was the teaching assistant to a well-known film critic, Marc Gervais, who was teaching firm theory. He was the coolest priest I ever met. I became his assistant because I knew how to run a projector. He was always lending his favourite students out to various friends of his who wanted cheap labour. Virtually everybody in Marc’s class ended up working on a Paul Almond film for free. One day, he said, ‘Who wants to go out to Vancouver?

Robert Altman is a good friend of mine and he needs some

additional labour.’ I managed to catch a ride on a drive-away car and I took the train from Calgary. I worked on McCabe and Mrs. Miller as a gopher. One day I happened to be driving Julie Christie and she liked me, so I ended up being her driver. It was great and I loved Julie Christie. I’m still smitten.

WW I also see that you were involved, but un-credited, with The Apprenticeship of Duddy Kravitz.

DC They didn’t give credits in those days to anybody but the top people. The producers couldn’t get the locations that they needed because nobody knew the Jewish community in Montreal and it was a bit closed. In those days there was a lot of thinking that they were somehow going to make Duddy Kravitz not the way it was meant to be made, but rather make fun of the Jewish community. Even though I wasn’t Jewish, I knew the big people in the community. There were a lot of places that were closed to the filmmakers before I got involved with my connections.

WW You ended up at Cinépix, which was a distribution company run by John Dunning and André Link. How did that come about?

DC Ted really liked me on Duddy Kravitz and recommended me to a friend of his, the director George Kaczender. He was shooting a movie called U-Turn, and I got a job on that one.

I was officially the assistant production manager, but my job entailed basically being in Montreal. The film was being shot in Smith Falls, Ontario and every day I drove from Montreal to Smith Falls with the dailies. When I got there, I would run the dailies. George would give me his notes to take back to the editors in Montreal. Then the editors would give me the first edits, which I would drive over to Cinépix and show them to John and André. Invariably I would be sitting in the screening room beside John and he would dictate his notes to me. That was my real film school. It was an amazing process.

WW You were involved with Ivan Reitman on both Shivers and Rabid, the two early Cronenberg features. Ivan is credited with producing them. What was your function?

DC While I was at Cinépix, André walked in one day with Ivan and said, ‘Here you go. You guys work together. Ivan’s going to be producing these things and you’re going to work with him.’

So we did the early David Cronenberg pictures and Death Weekend with Bill Fruet and a bunch of things all the way through to Meatballs.

WW After Meatballs you moved down to Los Angeles.

DC I didn’t work for two years after Meatballs. I couldn’t get anything done. In Hollywood, you’d go take a meeting and then the guy wouldn’t return your phone calls. Eventually I learned that in Hollywood, nobody says no because they don’t want to but you have to learn how to read a yes. Anyway, I had been down there for some time spinning my wheels when Harold [Greenberg] called and said, ‘Look, I’m getting really busy here and I need somebody to run the production side of Astral, so will you come back and be my vice president in charge of

Ted Kotcheff’s The Apprenticeship of Duddy Kraviz, with Micheline Lanctôt and Richard Dreyfuss, DOP Brian West.

production?’ I came back, and all of a sudden found myself supervising all these Sandy Howard movies, which were drivel.

WW I believe you actually left Astral before you went to work on Porky’s.

DC I had left Los Angeles to work with Astral on a contractual basis. I went to talk to Harold and said, ‘Where am I going to go from here? My last name is not Greenberg, so I’m not going much higher here and I can’t keep making these Sandy Howard movies.’ I had nothing against Sandy. He’s a lovely person and one of the funniest men I’ve ever met, but he didn’t have great taste in movies. I said, ‘I’ve got to go back to making my own stuff.’ The American director Bob Clark came to me and said, ‘I hear you’re leaving Astral and here’s a movie that I’ve been trying to get made. Will you help me?’ It was Porky’s. I took it to Harold.

He had a lot of resistance from the people around him, but he thought it was hysterical and his kids, Joel and Steven, thought so as well. That was what kept the thing going, because it was quite difficult to put that deal together. There were all kinds of caveats.

Harold would only get involved if there was another partner.

Mel Simon was the American shopping centre guy who had wasted so much money on so many movies that hadn’t hit at the box office. He agreed to join us for a certain piece of the action. Then he turned to us and said, ‘I’m not sure if it’s suitable for American distribution. I’m not involved unless you line up a distributor.’ So we got 20th Century Fox interested in picking up Canadian Cinematographer - April 2011 •

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guy down from her office. He was basically there to tell us that Fox was not going to distribute the movie. I remember after the screening, he stood up and said, ‘You guys know that I’m here to can this movie. But I can’t. This is the funniest thing I’ve ever seen and I think its going to do terrific business.’

WW I’d like to move onto another film that still shows on television at Christmas, A Christmas Story, which is another Bob Clark film.

DC Bob had been working on the screenplay since Porky’s and had always been talking to me about it. With the success of Porky’s, we didn’t need the support of the CFDC, although we shot the picture mostly in Canada with a few days in Cleveland. The interesting thing about A Christmas Story, which plays 24 hours a day at Christmas on TBS in the States and a few other stations, is that it’s never shown a profit. It was made for $4.5 or $5 million, I can’t remember exactly, but in their infinite wisdom, MGM released the picture in June. It didn’t do all that well and there was no home video in those days. It wasn’t until a number of years later that it became a personal favourite of Ted Turner. Since it was made, the rights have been sold at least seven times. There were lawsuits all over the place and I don’t know who owns the rights anymore.

WW After A Christmas Story you wrote, produced and directed your first film. Would you tell me about The Surrogate.

Denis Villeneuve’s Polytechnique, DOP Pierre Gill csc

the U.S. rights for a very small percentage. The weird thing about the movie was juggling those three financing entities, and every time I turned around, one of them was getting cold feet. One was in Los Angeles, one was in Montreal and one was in Indianapolis.

I was constantly on a plane jumping around.

We had the entire crew in the North Miami Beach Holiday Inn on my American Express card. They could eat there, they could drink there, but if they stepped one foot outside of that hotel they were on their own. Another part of the deal with Astral was we had to qualify as a Canadian film. I remember having these meetings with the teamsters and saying, ‘Okay, I’ll sign your teamster agreement, but I’ve got to have Canadian drivers.’

They had to have a Canadian mother. They had to have a birth certificate, but they kept sending me people like, ‘My mother’s cousin is a Canadian, so I qualify, right?’ And I went, ‘no way.’

The deal that we had made with 20th Century Fox was with Norman Levy, who was head of distribution. Sherry Lansing, who had just become head of the studio, hated the script.

Norman wanted the film because he wanted to piss her off, or so we were told. I have no idea if its true or not, but, knowing Hollywood, it could quite possibly be true. When it came time to screen the movie, we were running on fumes because it was very expensive shooting in Florida. We had pretty much toasted our contingency. We held the screening, and Lansing sent this

18 • Canadian Cinematographer - April 2011

DC By that time I had produced maybe 20-odd movies I said, ‘I know what to do and I can do this.’ I had a script that John and André wanted to finance and I said, ‘I want to direct this because I know I can do it.’ I wanted to prove to myself that I could do it.

The Surrogate was an unabashed, commercial, sexy thriller type of thing that was made to make money. In those days there was a lot of interest in R-rated thrillers. Not only were they doing well in the theatres, they were doing well on the new home video, which was a way of getting around a lot of censorship in various countries. It was one of the hardest things I ever did. The one thing that movie taught me was that I was a producer and not a director. I have been a lot nicer to directors ever since.

WW What’s your relationship with your DOPs? François Protat shot The Surrogate and you have worked with him many times and a lot of other very good Canadian DOPs. DC Most of the other jobs on a film set I’ve ether done or I certainly know how to do, so it’s pretty hard after all these years to pull the wool over my eyes. I can still walk on a set and get a sense when a DOP is taking too long, but I usually cut them slack because I don’t know everything about it. I don’t know how to paint with lights, so to speak, and I know that good ones do.

I certainly appreciate speed because I know that’s helpful to the director to get as many set ups as he wants, but I don’t pretend to know what the DOP does. I look at these cameras and go, ‘Too many knobs and dials, and I have no idea what they do,’ so I do cut them a lot of slack.

WW You have a reputation of bringing American films to Canada and convincing people in L.A. that Canada’s a good place to shoot.

DC When I started doing pictures in Los Angeles, one of the first was for Columbia Pictures. I came in on Jagged Edge to replace a producer who had managed to get himself kicked off the set. I became his eyes and ears on the set. Columbia said, ‘You did a great job on that, how about doing some more for us?’ I said, ‘If you really want to save some money, why don’t you consider moving some of these movies up to Canada?’ ‘Oh, well, there’s nothing in Canada. We would have to bring everything in.’ I said, ‘Oh, no. I’ve shot these movies in Canada and there are great people, especially in Toronto and Montreal. Then with pictures such as Spacehunter, which we shot a good chunk of it in Vancouver, they said, ‘Oh, my God. The stuff you shot in Vancouver is just as good as the stuff you shot in L.A.’ I said, ‘Yes, and look at the cost.’

So they started giving me smaller pictures that didn’t have a lot of big clout behind them and I’d bring them to Toronto, kicking and screaming with their directors. They thought they were being sent to Siberia. Over the years, eventually, the word got back that this is not a bad place to shoot and there are really good crews and actors.

WW I want to move onto 1990s, and another one of your Golden Reel Award winners, Johnny Mnemonic with Keanu Reeves. You had a big success with that one.

DC I got involved because of Robert Longo. Ever since art school I’ve been collecting art and I have a fairly extensive collection of American contemporary art. Longo was a hero of mine and when I heard that he was involved in adapting Johnny Mnemonic I got in touch with him. It was a bit of a challenge because Robert had never directed a film before, but he has the most amazing eye and I remember the battles between him and DOP François Protat on the film. François would call me and say, ‘Come down here.

He has the camera on its side.’ I would come down to the set and François would say, ‘I don’t know what to do. He won’t listen to me and look at the camera.’ I’d say, ‘Alright, Robert, show me the shot.’ Keanu would step in frame. ‘Shit, that’s kind of cool.’

I turned to François and said, ‘Relax, just let him do it’ until the next battle.

WW You are listed as a production consultant on Good Will Hunting, the Matt Damon and Ben Affleck film that made them both stars.

DC I started doing pictures for the studios, especially when they didn’t have other producers to call on. Then Kevin Hyman, whom I had known from Film Finances, the bond company, called me up and said, ‘Listen, I’ve left the bond company and taken the job as head of production for Miramax. We’ve got some money, but we have to make them cheap. They don’t care where we make them, but I need somebody who can make movies cheap and be a politician. Would you be interested?’ I flew down to meet with Harvey and Bob Weinstein, got yelled at a little bit by Harvey, and we began a working relationship. I made eight movies for Miramax over the years and one of them was Good Will Hunting.

At the time I was also doing a movie with Sharon Stone called The Mighty. I said this was serious overlap, and we need to bring in a line producer, but I’ll oversee the picture. Part of my job

Christian Duguay’s The Art of War, DOP Pierre Gill csc

was to convince Ben and Matt that we could make Toronto look like a stand-in for Boston, which we did. We ended up shooting in Boston for seven days and the rest of the movie was shot in Toronto. I loved working with Harvey and Bob. They were always terrific to me and always very supportive. They gave me my opportunity to work on Chicago.

WW Let’s move on to Chicago then.

DC Right after The Mighty, Harvey said to me, ‘You like musicals, kid?’ Kid? I’m older than he is. I said, ‘I love musicals. I’m like a closet musical freak. When I get sick, I sit in bed and watch musicals.’ He said, ‘Well we’re going to do Chicago now.’ I had seen the original Bob Fosse production. I met with the original writer, Larry Gelbart from M.A.S.H. It was a funny script, but it was your standard Hollywood musical. It was quite old fashioned, and Harvey, rightly so, was nervous. He told me, ‘I don’t know if this is going to work because no musical since Cabaret has worked.’ We went through several other writers, but they couldn’t get it to work either, so it was put on the back burner.

Miramax owned the rights to make Rent as a movie. But they couldn’t get it together as a movie, so they decided that they were going to do it for television. To direct it, they had hired Rob Marshall, who was a famous Broadway choreographer who had done Annie for television. When Rob met with Miramax he said, ‘Oh, you want to talk about Rent. I was hoping you wanted to talk about Chicago. I’d be honoured to do Rent, but Chicago would make a terrific movie.’ He had the idea that if all the numbers happened on the stage of the Onyx Theatre and it only existed in Roxy’s head. Eureka! It was like the light bulb had gone on. We made the movie for $40 million and the rest, as they say, is history.

Canadian Cinematographer - April 2011 •

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or co-producers. Marty, because he liked me, allowed me to be called the co-producer. But Marty has never made a film in his life. I must say, I consider Harvey to be the producer of that movie.

WW Then you picked up the Resident Evil franchise. Did you know the video game before you got involved?

DC No. I wasn’t a gamer. When it came to making Silent Hill later, I had to call my son because I couldn’t get off the first level.

WW For Resident Evil: Apocalypse you closed down the bridge over the Don Valley in Toronto for a day.

DC One of the reasons that I love shooting in Toronto is because, quite frankly, they let me get away with murder. They’re very supportive, and on Driven I shut down University Avenue from six until nine every night for a week, running cars up and down the street. We shot Resident Evil in the middle of the SARS crisis, so there was very little shooting in Toronto. I guess I was a bit of a local hero for bringing in a big movie. We shut down City Hall for nine days running, and at the end of the movie we blew the place up.

WW Let’s move on to Polytechnique, which is a lot different from Resident Evil. Basically, it’s a low-budget independent Canadian movie without a great deal of box office appeal.

DC Yes, very, very different. I had this envelope from Telefilm Canada. I didn’t even realize those things existed and actually the first year I didn’t use it and gave it back. People were like, ‘You what? You gave the money back to Telefilm!’ The following year I was determined to do something with the money Telefilm had allotted me. I had been talking with the guys at Remstar for a number of years about doing something together. They had this script by Denis Villeneuve and asked me to take a look.

Top: Catherine Zeta-Jones in Chicago. Bottom: Adelaide Clemens in Silent Hill: Revelation 3D

WW Actually, you didn’t get the Oscar for that film, did you?

DC No. It was Marty Richards, who was the owner of the rights and was the original producer on the first Broadway show. He knew that if the picture was done properly there was going to be an Academy Award nomination and he didn’t want to share it with anybody, not even Harvey. We were all executive producers

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I met with Denis. He’s definitely is an auteur director. He had his own way of doing things. I would see the dailies and say, ‘This is astonishing. How did he do this?’ I think the only kind of tension we had was when he delivered his cut. I asked, ‘Where’s the movie?’ He showed me the film, and I said, ‘This is amazing, but where’s the rest of it?’ because it was only 75 minutes long.

‘What’s going to happen when you show this to Telefilm? They’d say you’ve put all this money into this and this is what you’ve got?’ Denis said, ‘I had a longer version, but it didn’t work. Then I cut one even shorter and that didn’t work either. This is the right length.’ From my commercial film making point of view, I sign contracts where the movie has got to be a minimum of 88 minutes and a maximum of 110. Denis said, ‘No, this is my movie. It’s 76 minutes and that’s what it is.’ I think, actually, if it had been longer it might have become unbearable. Denis was right. He’s a brilliant director, and I would work with him again anytime.

WW Then you returned to the Resident Evil franchise. Resident Evil: Aferlife is now officially the most successful film in Canadian film history, finally supplanting Porky’s.

DC I really enjoyed doing the movie. We had done three and the studio wanted another. Paul Anderson, the writer/director, discussed how do we could do it. Was this going to be the swan song, or could we figure out a way of kick starting for five, six and seven? Paul said, ‘I’ll really knock it out of the park as much as I can, but I want to do it in 3D because this really lends itself to 3D.’ I was the one that was reticent, because I had done a 3D movie in 1983, Spacehunter, that didn’t work out so well. I was the one saying, ‘I don’t know if 3D is a flash in the pan. The new technology is way better then it was, but are we just going be shooting ourselves in the foot here?’

The decision was to shoot it in 3D because with the new systems we could always throw away the right eye/left eye stuff and release it in 2D. Paul is a very dedicated and studious director. We looked at everything that had ever been released in 3D. We went back to The House of Wax and all the new stuff.

We checked out the various systems. There were only about three systems that were really viable at that time. We saw 30 minutes of Avatar and were blown away by it. The decision was to go with the Pace system, which was used on Avatar. We brought in Glen McPherson as DOP. He’d done a 3D movie before and was up on the latest technology. We did the 3D right and we’re doing the sequel to Silent Hill in 3D as well. I think 3D is going to be around for a while. I keep thinking if we were shooting Chicago now, we’d do it in 3D. When it’s done right, it’s great.

I’ve seen some of these recent conversions, and they’re not done right.

Ivan Reitman’s Meatballs, DOP Donald Wilder csc

WW In addition to Silent Hill: Revelation, you have recently produced a couple of other low-budget Canadian hockey films, Breakaway and Goon.

WW Among the 100 films you have produced, are there any favourites, anything that really stands out?

DC Breakaway is a Bollywood hockey film, and Steve Danyluk shot that one. He used to be a gaffer for me way back in the day.

Again, I’m using Telefilm envelope money to help fund it. I’ve always been fascinated by the kind of multicultural mix that is Toronto and I’ve been trying to develop something that told the immigrant story the way it is in Canada. Then this script came along telling the story about these Punjabi kids who wanted to play hockey. Their parents are from India, but they’re Canadian and they grew up hanging out with other kids and, of course, playing hockey. There’s a great scene where the father is really pissed off at his son and says, ‘Why are you playing this hockey?

Nobody plays it. A million people play cricket.’ His son looks at him and says, ‘What time does Cricket Night in Canada come on, dad?’

Goon is in post. We shot it in Winnipeg with Mike Dowse, the FUBAR guy, the perfect director. The original story came from Seth Rogen, Evan Goldberg and Jay Baruchel who were all on the set of Knocked Up. They were talking about why there isn’t a great Canadian hockey movie and they came up with the idea of Goon. Evan and Jay wrote the screenplay and they got it to me. Slapshot is one of my favourite movies and even though I’m not a hockey fan, I love Slapshot. We shot Goon with a great cast [Baruchel, Liev Schreiber, Sean William Scott, Eugene Levy], and it’s coming together very nicely. It will be ready later in the fall.

DC It’s the one that makes a lot of money. I always go back to something that John Dunning said to me and I truly believe it.

Once I asked him the same question, ‘Of all these movies that you’ve made, which one is your favourite?’ I expected him to say this one or that one. Maybe Meatballs or Valérie, the one that launched his career. He said, ‘There are no favourites. These movies are like my children. I just send them out into the world, dressed in the best clothes that we can afford, and just hope somebody loves them.’ I will always remember that comment. Every movie I make I wish it success. I never make a movie thinking it’s crap. I always hope that it’s going to find an audience.

WW Let’s take a different angle. Is there one that you regret making?

DC Battlefield Earth. I did it to pay my divorce attorneys. I didn’t understand it and I didn’t like it. John [Travolta] showed up, and he was about 50 pounds overweight. Once I saw the aliens, I went, ‘We’re doomed.’ I really enjoyed working with Roger Christian, who was the director, and his DOP [Giles Nuttgens] was an amazing guy. It could have been so much better, and there are still elements of it that work. If you look at the miniatures and the visual effects, it’s an astonishing achievement considering what it was made for.

WW On the flipside, what is the one you got most pleasure working on?

Canadian Cinematographer - April 2011 •

21

DC That would be Chicago. We worked seven days a week. It was really hard work and we were short of money. But what a joy it was to go to the set everyday. Rob Marshall is one of the nicest men on earth and everyone was behind the movie. We’d be doing a dance number, and I’d look behind me and there were all the drivers lined up. You never see the drivers on set, in Toronto or Hollywood or anywhere. They’re usually in their trucks taking a snooze or reading the paper. There they were, all lined up watching the dance numbers.

her numbers where she slides down a pole in the prison, does a cartwheel over a chair and then does the splits. It’s about two in the morning, and she’s been doing this thing flat out nine times.

She says, ‘Oh my God, my thighs hurt. Does anybody want to ice my thighs?’ She looks up and just burst out laughing because every guy in the place had his hand up.

I have a great Catherine Zeta-Jones story. We’re shooting one of

DC Thank you very much.

WW It’s a great story. Perhaps we can end on that note. Thank you very much for your time. Good luck in the future and on your 100th film.

Selected Credits McCabe and Mrs. Miller 1971 (driver) The Apprenticeship of Duddy Kravitz 1974 (location scout) Shivers 1975 (p) Death Weekend 1976 (assoc. p) East End Hustle 1976 (p) Rabid 1977 (co-p/pm) Meatballs* 1979 (production executive) A Man Called Intrepid 1979 (exp, miniseries) Porky’s* 1981(p) Being Different 1981(exp) A Christmas Story 1983 (co-p)

Porky’s II: The Next Day 1983 (p) Spacehunter: Adventures in the Forbidden Zone 3D 1983 (p) The Surrogate 1984 (p/d/sc) Meatballs III: Summer Job 1986 (p) Snake Eater II: The Drug Buster 1989 (sc) Weekend at Bernie’s II 1993 (co-p) Johnny Mnemonic* 1995 (p) The Late Shift 1996 (p,TV) Good Will Hunting 1997 (consultant) 54 1998 (exp) The Mighty 1998 (co-p)

22 • Canadian Cinematographer - April 2011

The Boondock Saints 1999 (co-exp) Get Carter 2000 (exp) The Art of War* 2000 (exp) Battlefield Earth: The Saga of the Year 3000 2000 (exp) he Whole Nine Yards 2000 (co-p) Angel Eyes 2001 (exp) Driven 2001 (exp) 3000 Miles to Graceland 2001 (exp) The Caveman’s Valentine 2001 (exp) The Pledge 2001 (exp) Chicago 2002 (co-p) City by the Sea 2002 (exp)

Gothika 2003 (exp) Resident Evil: Apocalypse* 2004 (p) Assault on Precinct 13 2005 (exp) Silent Hill 2006 (p) Lucky Number Slevin 2006 (exp) The Boondock Saints II: All Saints Day 2009 (p) Polytechnique** 2009 (p) Resident Evil: Afterlife 3D* 2010 (p) Breakaway 2011 (p) Goon 2011 (p) SIlent Hill: Revelation 3D 2011 (p) * Golden Reel Award for producing the high-grossing Canadian film of the year. ** Genie Award for Best Picture.

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Canadian Cinematographer - April 2011 •

23

0

2011 CSC AWARDS GALA NOMINATIONS

THE ROY TASH AWARD FOR SPOT NEWS CINEMATOGRAPHY Adam Blair, Obstacles in Haiti, CTV News; Gord Edick, G20 Shots Fired/Protesters Confronted, Global News; George Papadionysiou, Despair in Port-au-Prince, CTV News THE STAN CLINTON AWARD FOR NEWS ESSAY CINEMATOGRAPHY Allan Leader csc, Race the Base, Daily Planet, Discovery Channel; Jim Moule, Ice, CTV News, Calgary; Kirk Neff, Field of Dreams, 16:9 The Bigger Picture, Global CAMERA ASSISTANT AWARD OF MERIT Yves Drapeau, Elizabeth House, Tobias Sarin, Kerry Smart CORPORATE/EDUCATIONAL CINEMATOGRAPHY Sarorn Sim, To Rebuild Haiti; Sarorn Sim, Hope School; Kelly Wolfert csc, BC Blueberries STUDENT CINEMATOGRAPHY Sponsored by Panavision Canada Gregory Biskup, Vidalonga, York University; Tess Marie Garneau, Play.Stop.Rewind,York University; Samuel Lebel-Wong, Seeing Maggie Pootoogook, Ryerson University LIFESTYLE/REALITY CINEMATOGRAPHY Matthew Phillips csc, Beast Legends: Fire Dragon; Peter Rowe csc, Angry Planet “Crystal Cave”; Tony Wannamaker csc, Party Mamas III “Sharon” DOCUDRAMA CINEMATOGRAPHY Jeremy Benning csc, The Egyptian Job; Damir Chytil csc, Breakout “Pittsburgh 6”; Ray Dumas csc, The Real Jack the Ripper ROBERT BROOKS AWARD FOR DOCUMENTARY CINEMATOGRAPHY Barry Lank csc, Nature of Things “Save My Lake”; John Walker csc, Winds of Heaven: Emily Carr; Tony Wannamaker csc & Stefan Randstrom, Inside Disaster Haiti MUSIC VIDEO Samy Inayeh, Blake McGrath “Relax”; Samy Inayeh,V.V. Brown “Shark in the Water”; Brett Van Dyke csc, Shane Yellowbird “Watching You Walk Away” PERFORMANCE Brendan Steacy csc, Last Call DRAMATIC SHORT CINEMATOGRAPHY Daniel Grant, Hangnail; Simon Shohet, Rosie Takes the Train; Craig Wrobleski csc, June FRITZ SPIESS AWARD FOR COMMERCIAL CINEMATOGRAPHY Gamal El-Boushi csc, acs, Massr El-Naharda Egypt Today; Christopher Mably, Tropicana Arctic Sun; Adam Marsden csc, Brita Bottles TV DRAMA CINEMATOGRAPHY Sponsored by Sim Video Productions Ltd. Pierre Gill csc, Fakers; Ousama Rawi csc, bsc, Ben Hur (Night 2); Ron Stannett csc, Flicka 2 TV SERIES CINEMATOGRAPHY Sponsored by Technicolor Toronto Rene Ohashi csc, asc, Nikita “2.0”; Ousama Rawi csc, bsc, The Tudors “Ep. 410”; Stephen Reizes csc, Flashpoint “Acceptable Risk”; Michael Wale csc, Smallville “Shield”; Glen Winter csc, Smallville “Abandoned” THEATRICAL FEATURE CINEMATOGRAPHY Sponsored by Deluxe Nicolas Bolduc csc, La Cité; Paul Sarossy csc, bsc, Chloe; Paul Sarossy csc, bsc, The Duel; Brendan Steacy csc, Small Town Murder Songs; Adam Swica csc, Casino Jack SPECIAL HONOUREES AT 2011 CSC AWARDS BILL HILSON AWARD: Rob Sim, President, Sim Video, “For outstanding service contributing to the development of the motion picture industry in Canada.”

PRESIDENT’S AWARD: Don Angus, “For outstanding service to the Canadian Society of Cinematographers.”

KODAK NEW CENTURY AWARD: George Willis csc, sasc, “For outstanding contribution to the art of cinematography.”

24 • Canadian Cinematographer - April 2011

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 Philip Linzey 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 Alastair Meux csc Gregory D. Middleton csc C. Kim Miles csc Gordon Miller csc Robin S. Miller csc Paul Mitchnick csc Luc Montpellier csc Rhett Morita csc David Moxness csc Douglas Munro csc Kent Nason csc Mitchell T. Ness csc Robert C. New 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 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 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 Ellie Yonova csc CSC ASSOCIATE MEMBERS Joshua Allen Don Armstrong Vince Arvidson François Aubrey John W. Bailey Douglas Baird Kenneth Walter Balys Maya Bankovic David Battistella Gregory Bennett Guy Bennett Jonathan Benny Jonathan Bensimon André Bériault Aaron Bernakevitch Roy Biafore Christian Bielz Thomas Billingsley Stan Bioksic Francois M. Bisson Martin Brown Scott Brown Richard Burman Lance Carlson Jon Castell Mark Caswell Maurice Chabot César Charlone Stephen Chung David Collard René Jean Collins Jarrett B. Craig Rod Crombie James Crowe Micha Dahan Michael Jari Davidson Vincent De Paula Nicholas de Pencier Randy Dreager Duane Empey Andreas Evdemon Jay Ferguson Andrew Forbes Richard Fox Joshua Fraiman Kevin A. Fraser Brian Gedge Yorgos Giannelis Rion Gonzales Dave Gordon Vladimir Gosaric Daniel Grant

Canadian Cinematographer - April 2011 •

25

CSC MEMBERS

CSC FULL MEMBERS 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 François Dagenais csc Steve Danyluk csc Kamal Derkaoui csc Kim Derko csc Serge Desrosiers csc Ricardo Diaz 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 A. 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

CSC MEMBERS

Jeffrey Hanley Josh Henderson David M.J. Hodge John Hodgson 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 Byung-Ho Lee Philip Letourneau James Lewis John V. Lindsay Matthew J. Lloyd 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 Anthony Metchie 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

VANCOUVER

CALGARY

604-527-7262 403-246-7267 VANCOUVER CALGARY

604-527-7262

403-246-7267

Deborah Parks Pavel “Pasha” Patriki Rick Perotto Allan Piil Scott Plante Ryan A. Randall Ali Reggab Cathy Robertson Peter Rosenfeld Don Roussel Albert Rudnicki Steve Sanguedolce Christopher Sargent Andrew W. Scholotiuk Ian Scott Neil Scott Neil Seale Wayne Sheldon Simon Shohet 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 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

TORONTO

416-444-7000 TORONTO

416-444-7000

26 • Canadian Cinematographer - April 2011

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 Brad Creasser 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 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 Michael Soos Gillian Stokvis-Hauer HALIFAX Steve Thorpe 902-404-3630 Steven Tsushima 902-404-3630

HALIFAX

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 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 Peter C. Luxford 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 HONOURARY MEMBERS Roberta Bondar Vi Crone Graeme Ferguson Wilson Markle

indicates demo reel online, www.csc.ca

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.

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 604-730-0860, 416-698-4482 or peter@peterbenison.com.

Equipment for Sale Pro 35 with three mounts (Nikon, PL & Canon) $4,500; Sony F900 with low hours and accessories, no lens $6,000 obo. Contact: Angela Donald, 416-8494877 or angela@hlp.tv.

Sony DXC-D30 3 Camera Live Production Package includes three DXCD30 cameras/camera backs/ CCUs and multicore camera cables; Panasonic WJMX70 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.

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 416-4529247 or llong@rogers.com.

NEW PRICE – DVW700WS Digital Betacam with viewfinder and two widescreen zoom lenses. Canon J1 5x8 B4WRS SX12 and Fujinon 5.5-47. Very low hours on new heads, $8,000 plus tax. Contact: Michael Ellis at 416-233-6378.

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.

Canon HJ11x4.7Birse HD WA lens one DOP owner, canon factory maintained, $12,000; Canon KJ16Ex7.7 HD lens, mint-used only a dozen times, one DOP owner, canon factory maintained, $5,000; Sennheiser evolution 100 wireless mic kit with wireless lav and wireless handheld mics and receiver with original packaging, mint, barely used, $700. Contact Dave: c 416.553.3356 or email davidwoodside@rogers.com.

For Sale

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

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.

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 DVCAM HL-DV7-AW, 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.

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 BC1WD 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 –

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

CAMERAMAN WANTED We are a family of four planning a trip to Argentina from Canada and we are exploring the possibility of filming the trip, therefore we are looking for a motorcycle cinematographer. The trip would take close to a year and the accommodations would be what we find on the way. We are also planning to go where vehicles other than bikes cannot access, so being a competent rider is essential. Contact: Henry Rekers at atk_nut@shaw.ca.

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 - April 2011 •

27

Camera Classifieds

Equipment Wanted

PRODUCTIONS & CALENDAR

Production Notes Chaos (series); DOP Attila Szalay csc, hsc; OP Richard Wilson; B Cam OP Brian Whittred csc; to April 29, Vancouver Combat Hospital (series); DOP Gavin Smith csc; OP Sean Jensen; to July 15, Toronto Covert Affairs II (series); DOP Colin Hoult csc & Jaime Barber (alternating episodes); OP David Sheridan; to October 17, Toronto Degrassi: The Next Generation XI (series); DOP Alwyn Kumst csc; OP Jeremy Lyall; to November 17, Toronto Flashpoint IV (series); DOP Paul Sarossy csc, bsc & Stephen Reizes csc (alternating episodes); OP Tony Guerin; to September 15, Toronto The Guys Who Move Furniture (feature); DOP Jeremy Benning csc; OP Jason Vieira; to April 7, Toronto Laurence Anyways (feature); DOP Yves Bélanger csc; to April 11, Montreal Life with Boys (series); DOP Mitchell Ness csc; to July 7, Toronto Mirador (series); DOP Jérôme Sabourin; to June 8, Montreal Nikita (series); DOP Rene Ohashi csc, asc; OP Steven Adelson; B Cam OP J.P. Locherer csc; to April 6, Toronto The Samaritan (feature); DOP François Dagenais csc; OP Dino Laurenza; to April 21, Toronto S.O.S. II (series) DOP Marc Gadoury csc; to June 30, Montreal Untitled Santa Project (TV movie); DOP John Berrie csc; to April 7, Toronto Warehouse 13 III (series); DOP Mike McMurray csc & David Herrington csc (alternating); to July 22, Toronto

Calendar of Events April 2, CSC Awards, Westin Harbour Castle Conference Centre, Toronto, csc.ca 28– May 8, Hot Docs, Toronto, hotdocs.ca MAY 4–5, Hot Docs Forum, Toronto 14–15, CSC Lighting Workshop, Toronto, csc.ca JUNE 12–15, Banff World Media Festival

Canadian SoCiety of Cinematograph erS

Canadian SoCiety of CineMatograph erS

$4 Januar y 2011 www.csc.ca

$4 March 2011 www.csc.ca

an exclusive interview with

David Moxness csc, DOP on the Mini series The Kennedys

Pascale Bussières Stars in Marécages

DOP Serge

Desrosiers csc

10-MAR

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08

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28 • Canadian Cinematographer - April 2011

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©Kodak, 2011. Kodak is a trademark.

The Kodak Totem Award Designed to emulate the artistic combination of the art and science of cinematography, the Kodak Totem Award is presented annually to each of the Genie nominees in the ‘Achievement in Cinematography’ category.

This award symbolizes the ongoing dedication and commitment to excellence that the nominees bring to their craft.

Congratulations to the 31st annual Genie Award nominees for Achievement in Cinematography.

Bernard Couture CSC Stéphanie Weber-Biron 101/2 Les amours imaginaires / Heartbeats

André Turpin Incendies

Ronald Plante CSC Piché: entre ciel et terre / Piché: The Landing of a Man

Claudine Sauvé The Wild Hunt