Canadian Society of Cinematographers Magazine January 2012 by The CSC

Canadian Society of Cinematographers

$4 Januar y 2012 www.csc.ca

g n i c i t r E o o h S a l y a C s l r i G b m Bo With

Canon Launch Diary • John Banovich csc Doc

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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 â&#x20AC;&#x201C; volume 3, No. 8 January 2012

Shooting Bomb Girls with Eric Cayla csc By Fanen Chiahemen

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John Banovich csc Tells The Honest Truth

By Zach Fineman

Behind the Scenes with Teresa De Luca C.C.E. By Fanen Chiahemen

Columns & Departments

2 From the President

4 In the News

16 Tech Column

19 Camera Classified

20 Productions Notes / Calendar Cover: Still from Bomb Girls. Courtesy of Muse Entertainment.

Canadian Cinematographer January 2012 Vol. 3, No. 8 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 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 - January 2012

o help shoulder the responsibilities of time and commitment, we’ve teamed several of the positions on the CSC executive board. As we shuffle in the New Year, I am pleased to announce two new appointments. D. Gregor Hagey csc has been made co-chair of the membership committee and will work alongside existing chair Phillip Earnshaw csc. Gregor is no stranger to our executive, being a contributor to our board as a director ex-officio for the past three years. Phil, our long-time membership chair, has been on our executive for many years and has also served as the CSC treasurer. Another director ex-officio, cinematographer Sarah Moffat, joins forces with Nikos Evdemon csc as the CSC’s new publicity co-chair. Besides being an active board member, Sarah is also a regular contributor to this magazine with her insightful Tech Column that slices and dices the gadgetry and tools of our trade. Nikos, along with being our publicity chair since 2005, is the creator and programmer of the CSC website. I wish Sarah and Gregor all the best in their new roles with the CSC and I thank them for their dedication to our society. CSC pub nights are building a head of steam! We’ve added a second city to our lineup, with Montreal holding its first CSC pub night last month at the Irish Pub and Grill. In Toronto, even though we’ve only had two, the attendance has jumped dramatically from 11 at the first outing to over 30 people at our last pub night! For an opportunity to meet others in our craft and industry to talk, exchange ideas, learn, network or simply have fun and some good laughs, CSC Pub Night is the place. Our next one in Toronto is this month, January 17 at the Imperial Pub. For more info, go to our website: www.csc.ca. We’re hoping to establish pub nights in Vancouver, so interested volunteer organizers please call our office at 416-266-0591 or email: admin@csc.ca

The highlight of the CSC calendar is approaching fast. The 55th CSC Annual Awards Gala will take place March 31 at Westin Harbour Castle in downtown Toronto. The awards competition, with 14 categories ranging from news to features is open to all cinematographers and shooters everywhere. The deadline for submissions is January 31. If you think you’ve got what it takes to be a winner, the rules, regulations and entry forms can be found on the CSC website: www.csc.ca/awards/forms/ On a final note to our membership, the CSC 2012 annual general meeting takes place at Technicolor, 49 Ontario Street, Toronto, 6:30pm on February 1. All are welcome! To all our readers of Canadian Cinematographer, have a happy New Year and good shooting!

ÂŠ Kodak, 2011. Kodak is a trademark.

Film Matters. Tell the world why at www.kodak.com/go/filmm atters Film. No Compromise.

In The News

Member News

Courtesy of JS Kastner Productions.

ohn Kastner’s documentary Life with Murder, on which associate CSC member Mark Caswell shared DOP duties with John Westheuser, won for best documentary at the 2011 International Emmy Awards. The documentary, which was produced by JS Kastner Productions and made with the National Film Board, portrays an Ontario family’s efforts to accept their son, who was convicted of murdering his sister.

Still from Life with Murder.

Courtesy of Kodak

In other news, Kim Derko csc received the Cinematographer Award at The Women’s International Film & Television Showcase’s annual International Visionary Awards held at Toronto’s TIFF Bell Lightbox on December 3. The event brings together and recognizes a group of innovative and inspiring women for their achievements in film, television, business and humanitarian work. Kim Derko csc

4 • Canadian Cinematographer - January 2012

ARRI Announces ALEXA Software Update, In-Camera Recording Using Avid’s DNxHD MXF File Format ARRI recently announced the release of Software Update Packet 5.0 for the ALEXA. The update includes an option to purchase a High Speed mode that permits shooting at up to 120 fps. While SUP 5.0 is a free update for ALEXA customers, the High Speed mode it enables is an entirely new feature and can only be activated through the purchase of a license key at the ALEXA License Shop. Each license key is coded to a particular camera and can be selectively enabled or disabled, allowing rental facilities control over which cameras are sent out with High Speed mode. High Speed mode allows ALEXA cameras to capture slow motion images using Apple ProRes codecs (up to 422 HQ 16:9) and Sony 64 GB SxS PRO cards, eliminating the expense of carrying a separate high-speed camera. By using the same Super 35 sensor area as Regular Speed mode, High Speed mode maintains the same depth of field and angle of view for all lenses, along with ALEXA’s wide exposure latitude, high sensitivity, natural colourimetry and organic, film-like image quality. Recording such high data rates requires the use of Sony’s new SxS PRO 64 GB cards. ARRI also announced a major new recording feature for the ALEXA, offering in-camera support for Avid’s open standard and widely adopted Avid DNxHD codec. ALEXA cameras record ARRIRAW uncompressed 3K images that preserve the true 35 mm “digital negative” for mastering and feature archival. Expanding ALEXA’s parallel recording capability to include native support for Avid DNxHD eliminates a transcoding step for the dailies generated by the Avid editing system and creates a more streamlined editorial workflow with seamless final conformance back to the archived ARRIRAW digital negative. The Avid DNxHD recording function for ALEXA will be distributed as a cost-effective, downloadable software upgrade this month. Avid DNxHD codec data rates of up to145Mbit/s (bit depth 8 bit) and 220MBit/s (bit depth 10 bit) will be supported in the initial release. Avid’s highest quality version of the codec, Avid DNxHD 444, will record at 440Mbit/s at 10 bit depth and will be provided as an upgrade for all adopting customers later on during the first quarter of 2012.

Identity FX Embraces SGO Mistika Platform; Unveils New Category of 2D and 3D VFX, Stereo Conversion, Colour and 4k Stereo DI Finishing Services Identity FX announced recently it has embraced the SGO Mistika 4K system and is unveiling a new category of comprehensive 2D and stereoscopic 3D production and postproduction services. With the newly-installed Mistika 4K colour grading and stereo 3D system at the core of its service offerings, Identity FX delivers a combination of services that enables the studio to deliver camera-to-delivery 2D and stereo 3D services to its client base of Hollywood studios and feature film, television and commercial production companies worldwide. Additionally, Identity FX is now providing clients with enhanced on-set stereo solutions, including stereo dailies, real-time stereo

previz, and on-set compositing, while continuing to offer VFX and Stereo Supervision.

Cinedeck EX v2.5 Upgrade Delivers Even Better User Experience and Performance

Honey Badger Releases New Gear Rental App

Photo by Alex Gibson

Cinedeck recently announced the release of the Cinedeck EX v2.5 recording, monitoring and playback system. Features of the new software include a new and enhanced playback engine, expanded timecode operations, upgraded audio metering displays, and a new Windows-based, desktop remote controller for multiple Cinedeck EX systems. Chief among the enhancements of the Cinedeck v2.5 release is a new playback engine, which has been completely rewritten and provides a vastly improved user experience compared to prior versions. Crucially, the new engine enables users to take advantage of Cinedeck Controller, a free Windows-based desktop application, which provides basic deck control of the Cinedeck EX. Cinedeck Controller, which comes bundled with the new software release, allows users to remotely control up to 24 Cinedeck units, browse a list of clips recorded in the current scene folder, and to control recording and playback on multiple units independently or simultaneously. Academy Award-Winning Filmmaker Paul Haggis Named Chair of CFC Film Programs

Honey Badger Software, in cooperation with Silverado Systems, has released a production and postproduction rental app called RentMe that provides appropriate rates for short-term rental items. It can be used by those looking to rent gear for a project or those wishing to rent out their own items. The app also helps determine whether purchasing or renting an item would be the most cost-effective for longer time periods. RentMe uses an algorithm that the majority of the worldâ&#x20AC;&#x2122;s rental facilities use to determine short-term prices. It is available on the Apple iTunes App Store.

Academy Award-Winning Filmmaker Paul Haggis Named Chair of CFC Film Programs Canadian Film Centre in November announced Academy Award-winning filmmaker Paul Haggis as Chair of the CFC Film Programs including the Cineplex Entertainment and Short Dramatic Film Programs. As Chair, Haggis plans to deliver one Master Class a year and to help the CFC promote greater international awareness of its Film Programs and the talent within them. The Cineplex Entertainment and Short Dramatic Film Programs offer an intense creative and professional immersion in the art and business of dramatic filmmaking for directors, producers, writers and editors. With a focus on entrepreneurial spirit and collaboration, these programmes maintain a balance between the artistic and commercial aspects of the filmmaking industry, while nurturing originality and fostering creative risk-taking.

Canadian Cinematographer - January 2012 â&#x20AC;˘

emen

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By Fa c cs

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Still from Bomb Girls.

his month Global will kick off a six-part, one-hour series depicting what is perhaps an underexplored side of the Canadian experience during the Second World War. Set in the 1940s, Bomb Girls follows the lives of a group of women working in a munitions factory building bombs for the Allied forces fighting on the European front. Co-created by Michael MacLennan (Flashpoint, Queer as Folk) and Adrienne Mitchell (Durham County, Bliss), the series features such talent as Academy Award nominee Meg Tilly, Jodi Balfour (The Sinking of the Laconia) and Charlotte Hegele (Murdoch Mysteries).

fare. “This was such an exciting thing because it had the potential to capture the Mad Men-esque vibe of going back into a period and finding a contemporary viewpoint and infusing it aesthetically with a contemporary modern perspective,” Mitchell says, referring to the popular AMC 1960s-set drama. “The idea that these women went from making apple pies to making bombs, that extreme and the paradoxes and ironies that they lived with lent themselves to an exciting viewpoint. There was the sense that there was so much pressure to still be feminine. Wear lipstick yet make a bomb.”

While the prospect of shooting a period piece is usually daunting, Mitchell, who directed the first two episodes of Bomb Girls, embraced the opportunity to depart from her usual modern-day

The prevailing atmosphere of the era that Mitchell discovered in research is in fact what inspired the show’s visual aesthetic. “One of the women that we interviewed in Ajax, Ontario, who worked

6 • Canadian Cinematographer - January 2012

Courtesy of Muse Entertainment

Eric Cay la csc ( left) w directo ith r Adrie nne Mit chell.

at a munitions factory said, ‘We actually thought the Germans were coming here, to Toronto.’ So it was very important that they were living in the moment – literally, smell, touch, sight, taste – ‘cause you don’t know what’s going to happen tomorrow,” Mitchell says. “To visually convey that, I wanted to make sure that the colours were almost hyper-real and very saturated and very alive. I really wanted to stay away from a sepia-toned, fuzzy, hazy, setin-the-past kind of vibe; I wanted the colours to really be alive.” To realise her vision, Mitchell tapped Quebec cinematographer and long-time collaborator Eric Cayla csc, who has shot multiple episodes of Durham County. Mitchell sent Cayla a lookbook featuring photos taken in the 1940s with Kodachrome stock, which emphasize reds and blues. Those images served as a palette for Cayla and Mitchell. According to Mitchell, Cayla is “very good at working with an idea and going with it. So once he and I started to look at the Kodachrome stock, he found a way to make it suitable for our show. We just started exploring colours, keeping it cooler and keeping the blues a really crisp blue. The red and the blues are the sort of hallmark colours of the series.” For Cayla, a little bit of nostalgia motivated him to explore the era visually. “I thought it was a nice period, and the premise was interesting,” he says, adding, “It was about the period where my parents grew up. When I saw the Kodachrome lookbook, my parents had those pictures.”

but giving a ‘40s feel. Mulholland Drive is an example, so is Heavenly Creatures by Peter Jackson. They explored heavily with saturated colour in a vivid, haunting, hyper-real way,” she says. Also, the 2001 Jean-Pierre Jeunet film Amélie served as an example of how images can be beautiful and at the same time authentic, according to Cayla. “We were looking for authenticity in the characters and in every home and everywhere we were going without it being flat. You don’t want it to be realistic documentary style, you want to control the look,” he explains. One of Cayla’s approaches was to alter the lighting to reflect each principal character’s personality or background. With Balfour’s Gladys, a wealthy socialite who loves the glamour of

To me it’s not just about the look and the lighting when you’re a cinematographer for television, it’s to tell the story. – Eric Cayla csc

Mitchell, too, drew on visual depictions of the past for inspiration. Her film references were “movies that were contemporary

Canadian Cinematographer - January 2012 •

Courtesy of Muse Entertainment

Eric Cay la csc ( centre directo left) an r Adrie nne Mit d chell on the set of B omb Gir ls.

Hollywood movies, “we decided to make it look like a very classic Hollywood period movie, so when I’m lighting her I’m thinking of that. It also goes with the location where she lives. Since it’s a very wealthy family, it’s very luminous, very rich,” Cayla says. “So you’ve got the strong back light, you’ve got the conventional key light with the two eyes well lit. I used diffused Fresnel MoleRichardson lights instead of soft lights, so it’s a little harder, with sometimes more diffusion on the camera.” On the other hand, for Tilly’s Lorna, a supervisor at the munitions factory who comes from a modest background, “it’s more like a vintage look. So the deep greens and strong reds get faded out a bit. Lighting wise, it’s darker, the lights are lower on the floor,” Cayla says. “We used Chinese lanterns, bounced lights on the floor, so the lighting comes from lower areas and not high from the ceiling. I was also using Kino Flos with diffusion.” For Lorna and the other less well-off characters, Cayla’s reference was not Hollywood films but films of the French New Wave, and he referred to German expressionism for some exterior locations. “There are scenes where we have shadows on walls and more expressionism kind of lighting,” he says, adding that it works well with the other looks and is not disconnected from the rest of the story. Despite Mitchell’s many collaborations with Cayla, on Bomb Girls she gained a new appreciation for his style. “What sur-

8 • Canadian Cinematographer - January 2012

prised me with him is he doesn’t have to bring out the artillery in terms of over-exaggerating lighting a set. He can create very strong statements with minimal light. He’s a painter. He just works with nuances and uses light like a paintbrush, and that’s what surprised me and thrilled me every day working with him,” Mitchell says. With much of the show’s action taking place in the munitions plants, Cayla needed to bring that artistry to what could have been a bleak setting. “In the factory, we went for strong colours, strong blues and reds,” he explains. “The whites I let burn because, again, when you look at the Kodachrome films back then, there wasn’t much latitude, so as soon as you had white shirts overexposing from the sun it just burned. In those days factories were flat-lit; fluorescents started to exist, and they had overhead lights, so I didn’t really go for realistic lighting, but I didn’t want to make it fake either, so my references were fluorescents but not flat.” While shooting film was beyond the production’s budget, Cayla found that the ARRI ALEXA gave him the latitude he needed. “Of all the cameras, ALEXA was a great choice, because it has a lot of latitude and options,” he says. The tight schedule called for mostly two-camera shooting, which saves time, but it meant sacrificing some compositions and angles. The solution? “I try to create an atmosphere even in a close-up,” Cayla says. “In a

Courtesy of Muse Entertainment

Still from Bomb Girls.

close-up, I try to give it volume, depth and atmosphere, through contrast, through the right choice of colours, the right angle of light that falls on a face, so it’s interesting to watch. I try to give it more of a painterly look. I try to keep it rich all the time even in an insert or a detail of a book or something. And all that fast because you don’t have time. Every setup has to be done in five or 10 minutes.” Saving money on film stock meant that Cayla could have more time in postproduction, and he in fact devised a system that simulated film shooting. “I’m deliberately shooting as if shooting film. Therefore there’s no DIT [digital imaging technician],” he says. “I did some extensive tests with the lab and came up with three different setups for each ASA rating that I’m referring to when we’re shooting. So I tell the assistants, ‘Use setup A, B, or C for specific ASA ratings.’ I have three setups at 1600, 800 and 200 ASA. So when I do a lighting setup if I’m outside or inside or whatever, I call for the ASA and setup. And that is followed up to the dailies, as if I’m on film. So then I see what I’ve shot, how I’ve shot it and how I have exposed it,” he explains. However, that process necessitated him to be present at the colour timing stage. “I’d rather have a bit more time in post than using the time on set. It also would mean having another monitor setup on set. It’s time-consuming, so I’d rather be beside the director talking about the shots, talking about what’s needed and not on another monitor setting looks. So it’s much more efficient on set.

“To me it’s not just about the look and the lighting when you’re a cinematographer for television, it’s to tell the story. You’re there to support the directors, writers, producers, and give them ideas on how you can shoot a scene and have all the shots needed to tell the story and to give a scene a lot of rhythm. So if you spend hours on lighting, you’re beside the track, and it’s not worth it. To me that’s the challenge of a cinematographer on a television series more than on a feature,” Cayla says. Mitchell never had any doubt that Cayla could meet those challenges. When she signed on for Bomb Girls she knew she would need a director of photography “who could bring a very strong level of artistry to the show, who could think outside the box and who could do it in a way that still meets a demanding schedule,” she says. “Eric Cayla is one of the only DOPs I’ve ever worked with who can combine those elements in such a seamless way.” She adds, “It’s so important to work with people that you have a history with because you have a shorthand, and that makes it so much easier when you get into big huge shows like this. I don’t have to get into elaborate discussions. I can just show him a few images, and he understands and he gives me images. It’s just a constant collaborative back and forth. We can move from the Durham County bleaks to that very vibrant sense of first colour. I just want to continue working with him on future projects.” Bomb Girls starts January 4 at 8 p.m. on Global. Canadian Cinematographer - January 2012 •

John Banovichcsc Tells The Honest Truth

By Zach Fineman Special to Canadian Cinematographer

Photo by Alison Soroka

A re-enactment from The Honest Truth.

he Honest Truth is a one-hour broadcast documentary directed and produced by John Banovich csc and coproduced by Alison Soroka -- and shot with the Sony PMW-F3 -- that explores the issue of domestic violence. It was inspired by the story of Maria Catroppa, a 69-year-old Surrey, British Columbia, woman who was murdered in her home in late 2009. She had been stabbed 126 times. Her husband was convicted of her killing in 2011. ZF: How long have you been a director and DOP? JB: My first experience in the director’s chair was 11 years ago and I have been functioning as a DOP for 18 years. ZF: What was your role on this documentary, and why did you choose to get involved with this subject matter? JB: I functioned as director and producer, as well as the 2nd DOP for interviews, B-roll and re-enactments. I got involved because of the serious nature of this issue and the need to bring awareness to it. Most of the time domestic abuse is hidden away, not reported and is only exposed after it is too late, as was the case with Maria Catroppa, the story our documentary is based on. ZF: Who were some of the primary crew members? JB: Glen Taylor was our initial DOP for victim interviews and some of the re-enactments. My co-producer and company founder was Alison Soroka, who came to me with the project idea earlier this year. ZF: So the documentary includes interviews, as well as re-enactments? JB: We interviewed the two daughters of Maria Catroppa, Jay and Pina, as well as the lead police investigator. Most of the re-enactments were shot on location with narrow, short hallways and smaller bedrooms. We shot the majority of these sections on 35 mm and 50 mm so the camera was some distance from the actors. As well, we had various lighting setups, a jib and small slider dolly tucked into these areas, making it difficult to move very far. ZF: Tell us about your experiences with the new Sony PMW-F3 and with the S-Log, uncompressed out.

10 • Canadian Cinematographer - January 2012

JB: The massive Super 35 mm sensor offers terrific exposure latitude, which was greatly needed as we shot in several low-light settings in order to recreate some of the moments in the story. It was necessary to have a shallow depth of field creatively to bring our audience closer to the victims and the subject matter, to focus the attention on the elements that matter and bring a stronger emotional response, as is the case with most dramatics. The F3 is smaller and lighter, making it ideal for getting into tight quarters and for all of the handheld shots. We were the first to get the uncompressed upgrade, with the help of Genesis Matrix and Sony Canada, which opened a whole new world of intense detail and rich, deep colour. ZF: Can you elaborate on what S-log and uncompressed recordings are? JB: Sony uses an LUT (look up table) that records alongside the video content. Log is short for logarithmic, which offers a much greater dynamic range of information recorded versus the traditional method of linear recording. This allows for the ability to open and manipulate the video information in post, using the LUT and extracting information, especially in the shadows and highlights that may not have been visible by the naked eye prior. ZF: I understand you recorded to an SSR (Solid State Recorder). Which one, and what was the experience like? JB: The Cinedeck. We recorded simultaneously to SXS cards as well, giving us a failsafe, lower quality backup. However, originally my intention was to use it as a proxy source for the assemble edit only. My team and I have high hopes for the Convergent-Design Gemini 4:4:4 as it appears to be the best solution for our needs. ZF: Why do you say “best solution”? JB: It’s lightweight with lower power consumption, multiple card recording and is not working through a Windows OS platform, to list just a few features that we expect will greatly improve our experience in the field. ZF: What were some of the other cameras you were working with? JB: Canon 60D to cover second angles on the F3 interviews;

Panasonic HPX370 for on-the-street ENG type material; Panasonic HPX3700 for in-the-field interviews. Every camera had its application, as it was important that we give each element its own unique look for the purpose of the visual story.

ZF: How did these multiple workflows come together on set and in post? JB: We used a series of dedicated drives to download the material to and then upload them to a larger drive for archival purposes, as well as backing all raw data up to a real time active service. All converted files were transferred to a dedicated postproduction drive ready for ingestion into FCP (Final Cut Pro). Colour grading has been a challenge especially with the more compressed imagery. ZF: Can you elaborate on some of these challenges? JB: The Canon records at a very low bit rate to a .mov file using H264 compression, which lacks a lot of detail and information in the blacks and highlights. It was almost impossible to get much

Photo by Michael Toay

ZF: What type of lighting setups were used to create the look? JB: My visual storytelling approach was to use the camera and postproduction as supplemental tools to lighting in order to create the look of the piece. The primary interviews were a combination of small Fresnels, Kinos and a small HMI par. We used a number of spotted 100-, 150- and 30- watt Fresnels with LEDs for soft, short fill in the re-enactments. Exteriors were a combination of various types of bounce and a small HMI par. John Banovich csc picks up the first Gemini 4:4:4 in Canada with Byron Drinkle from Genesis Matrix Vancouver.

of it back out of these files. The opposite was true about the uncompressed data from the F3/Cinedeck. We had to downgrade the image detail and dynamic range in an effort to match. ZF: Where will this piece be available? JB: A six-minute version will be available on our website www. endingabusemedia.com, social networking sites such as YouTube and Facebook, as well as several domestic abuse resource sites associated with the project. Johnâ&#x20AC;&#x2122;s website: www.JohnBanovich.net

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Canadian Cinematographer - January 2012 â&#x20AC;˘

Behind the Scenes with

Teresa De Luca C.C.E.

By Fanen Chiahemen

De Luca, who is one of the editors on the new Global miniseries, is particularly appreciative of the work of Erica Cayla csc with whom she has also worked on Durham County and Haven. “He’s more of an artist than a technician. He seems to be putting a lot of attention into what the scene actually means. That’s really helpful for me in the editing room. So we kind of embellish each other’s creativity by me not worrying about which shots I have to use.” Even though they don’t work in the same physical space, working with the same DOP on multiple projects builds a partnership, according to De Luca. “I’m very happy when I know it’s him that’s doing it because I know what to expect. He has so much experience, I never go, ‘Oh, what was that?’” she says with mock horror. “The vision is there, so it’s consistent in each episode. “ Still, editing a television show comes with its own set of unique challenges, regardless of the DOP’s talents. “With a feature you’re dealing with one storyline and the arc is within that one storyline, so you can easily maintain in your head that this is what you’re driving for, this is what happens in this story. On a TV series there’s the paid TV where you don’t have the commercial breaks, and then, like Bomb Girls, network TV that has the commercial breaks, and it’s written towards that; they’re written for the commercial breaks to come at a specific dramatic moment. It’s all storytelling so you really adjust to the format in which you have to tell the story. With TV you have to make decisions much quicker, it’s a tighter schedule so you have to be able to not

12 • Canadian Cinematographer - January 2012

Photo by Tad Seaborn

he relationship between an editor and a director of photography is “like a long-distance romance,” according to Bomb Girls editor Teresa De Luca C.C.E. “You really have to appreciate the sort of unspoken, unwritten creative aspect that each of the two creative people bring to the table. We try to show off each other’s best work.” Even though in this day and age, especially in television, the editor does not work side by side with the DOP, De Luca says, “The way that we’re a team is that we’re bookends. They do it on the set and then we bring it together at the end, along with the mixing and the sound people. We’re sort of there like bookends keeping all this together on a shelf. We subconsciously validate each other’s work in the sense that if the artistry wasn’t in the cinematographer’s intentions then it’s really hard for us to create it in the editing room.” Editing, like cinematography, “becomes invisible when you’re watching it, when you’re not paying attention to it. When it flows, that’s when you’ve done your best job, when you’re paying attention to the story,” she adds.

ponder on things, to keep up with the shooting schedule and get all your scenes done.” De Luca does regret that the fast pace at which television shows are shot nowadays has eliminated the opportunity to collaborate with the other creative heads on a project like she used to. “Since digital editing, we don’t screen the dailies in the lab anymore. Everyone just screens them on their own on DVD. I like to know what people are thinking. It fuels what I do in the editing room,” she says. Even though she studied filmmaking at Concordia University in Montreal, De Luca says her real teachers have been other films. “I’ve been a cinephile for a very long time. I’m a product of the late ‘60s and really enjoyed all those films in the 1970s and was heavily influenced by European films. Film was considered an art. When I was younger it seemed to be helmed by a lot of people who were artists. And then Star Wars happened, and all of a sudden the word ‘blockbuster’ came into our vocabulary and changed things. Not to say that some of the blockbusters aren’t good films and aren’t artistic.” In fact, De Luca says she sees top-notch editing in all kinds of films. “There is an artistry in all of the stuff that we do, even in the blockbusters. I will sometimes be very impressed with the simplicity of how a film is put together and then be in awe of those big, mega James Bond-type things where you go, ‘Oh, my God, there were, like, 100 shots in that scene,’” she says. When it comes to technological advances, De Luca sees a potential positive effect on editing. “I think that the generation that has grown up on social media and YouTube and all that are going to be much better at this than we are. It’s going to be second nature to them. They already have a visual sense, they already understand the visual language.” But, she adds, veterans like her will still be valuable. “The thing about editing that is like writing is that there’s a certain aspect to it where you have to have life experience, and I kind of feel secure with that.”

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Canadian Cinematographer - January 2012 •

Canon Launch Diary

By Ron Stannett csc

On November 3, Canon made an historic announcement of its new Cinema EOS System in a lavish event at Paramount Studios in Los Angeles. Among the many industry representatives and artists who attended was veteran cinematographer Ron Stannett csc, who agreed to keep a diary of his experience for Canadian Cinematographer. Here he shares his account of the event.

e flew down to LA and were met by the Canon limousine, which transported us in style to the Hollywood Renaissance Hotel and Spa. Small world: first two people I saw were the two gentlemen that were seated in front of me on the plane! Ron Silverstein, President of Vistek, and Kevin Parker Vice President of Vistek, a couple of the nicest guys you want to meet and generous sponsors and advertisers with the CSC. Then along came John Helliker, Director of the Screen Industries Research and Training (SIRT) Centre; John Deboer, Chief Operating Officer, Sim Video, another of our advertisers; and then Doug Koch csc, who I have not seen in ages, with Nigel Akam, both directors of photography. There were also other representatives of the industry from all over Canada, 15 all told. We headed off to dinner at BOA, a Hollywood hotspot. Our host was Ian Macfarlane, Senior Vice President, Canon Canada, along with his team Justin Lam, Wanda Randell, Hiroyuke (Harvey) Shimizu, Neil Stephenson, Ryu Nagase and Carlo Beltrano. Unfortunately, Kazuto (Kevin) Ogawa, President and CEO, was unable to attend the dinner and we were to meet him at Paramount the next day. As much as we tried, even after a couple of wines, we could not get anybody to reveal what was going to be unveiled!

Photo by Ron Silverstein. Camera images courtesy of Canon.

The next day at the Paramount Theatre we viewed five films that had been shot with the new Canon Cinema EOS C300 and the C300 PL cameras and Canon EF lenses. I drooled over the Canon EF 30 - 300 mm 2.95 lens and the 14.95 - 60 mm 2.6 lens. Focus breathing is virtually zero on these lenses. Canon is working on a short zoom, no specs as yet, which will complete the package. With this camera and lens package you could go where no man has dared to. After seeing the five impressive films, we found out that some of the footage was shot at 20,000 iso! I am still trying to get my head around that one. Okay, I can hear it coming. “You don’t need lights,” you say. Well, yes, you do. You still have to light to a mood that fits the film you are shooting. That does not come built into the camera Ron Stannett csc and Ian Macfarlane, Senior Vice President, Canon Canada

14 • Canadian Cinematographer - January 2012

or the location. However, it’s amazing what this camera will do with very little ambiance. The dynamic range is excellent with around 12 stops latitude, according to Canon specs, but most think it could go beyond this to maybe 15 stops. Here are some specs on the camera: the camera has a Super 35 mm Canon CMOS sensor designed for high frame rate motion pictures, offering high resolution and shallow depth of field. To quote Sam Nicholson asc: “Wow, I’ve never seen the back-kick off the filter, but then again I’ve never shot at 16,000.” I personally wish the viewfinder were on the side of the camera, instead of protruding out of the back. However, most felt that the image from the 4” LED monitor was an excellent choice, with a whatyou-see-is-what-you-get quality. It has two peaking modes and a magnified focus assist function. It can be attached to the camera in a number of places. The camera also has built-in neutral

density glass filters giving you 2, 4 and 6 stops of filtering. It is dust and splash proof and has a built-in silent cooling system, which means your camera runs cool, quiet and clean. The handgrip is adjustable and removable. The grip rotates 360 degrees and is constantly accessible to the stop/start, iris control, and the multi-controller buttons are always at your fingertips. Now, get this: the camera can be controlled up to 150 feet away over a wireless network! Meaning you can programme it on your computer, smartphone or tablet and control focus, iris, white balance, gain and other parameters. Oh, and you can also start-stop the camera. The camera set at 1280 x 720 will shoot 60 fps. It also has settings for PAL shoots at 25 fps and 50 fps. This camera gives you great images and skin colour right out of the box! When asked about IR problems, nobody had experienced any. To sum up, with the range of Canon lenses available, and if you have budget concerns, then this is the camera for you, giving a quality much like the ALEXA. You will of course have to decide between an EF mount or a PL mount. You can get further specs at www.canon.ca. During the event, Canon also presented The Film Foundation with a generous donation to further the foundation’s mission. This was accepted by none other than Mr. Martin Scorsese, who established the foundation in 1990. Do you think I could get near him? Not a chance.

Camera images courtesy of Canon.

The night was wrapped up by a three-course dinner, complemented with Napa Valley wines. This was held, believe it or not, under a clear tent that stood on the tank where they shot Moses parting the waves in The Ten Commandments. That’s Hollywood! Seated with me was Kris Kostiuk, Marketing Consultant for Vidcom in Vancouver; Larry Lavoie, Sales Manager, CinequipWhite; and Andrew Lapierre, President of Vidéo MTL. Just to give you an idea of how many were there, Rodney Charters csc, asc and I went table bouncing to find each other and never did! Canadian Cinematographer - January 2012 •

Photo by Sarah Moffat

Tech Column

R e v i e w :

FUJINON 75-400mm T2.8-3.8 By Sarah Moffat

im Video in late November invited me in to play with the relatively new FUJINON 75-400/T2.8-3.8, image format super 35/16:9 - I love it! Weighing in at a near 20lbs, (exact weight 19.6lbs), this heavyweight packs a punch! The FUJINON 75-400 T2.8 is the first PL mounted lens with a back focus adjustment. Not only that, but the big deal is it also contains a sort of self-compensating assembly – a device that acts as a thermostat in a way and triggers an expansion or contraction of the material inside in temperature shifts, which “self-compenstates” for focus drift. During my test at Sim Video I was impressed that all the marks were bang on when I measured them out. Even after taking the lens outside into colder temperatures for a while, no drift. And when I brought it back inside, still no drift. Should you need it, the back focus adjustment screw is located at the bottom side of the barrel near the mount, and the lens comes with a tiny special tool to adjust it. Although you may never need the tool, it will cost you $50 to replace it, so don’t loose it! I spoke with Mike Nadis, lens technician at Sim Video, and he loves this lens technology. He said, “It’s brilliant! It eliminates the use of shims entirely. I call it the ‘self-compensating assembly,’ as

16 • Canadian Cinematographer - January 2012

I have not been given a proper name for it. It virtually eliminates focus drifting due to temperature changes. It lines up beautifully every time – 5 is 5, 10 is 10, and even in projection, it is prefect. I think all lenses should be like this. Away with the shim!” Mike also says that in the two years this lens has been at Sim he has not heard back from one job where a physical back focus adjustment was needed on set. The lens works for you, and focus pullers love it. Still curious about this magic self-adjusting rear focus assembly, I followed up with Stosh Durbacz, Canadian sales manager at FUJIFILM North America Corporation Optical Device Division. He checked in with the lab in Japan, and they explained, “Our lens is using lens cell assembled with special material. This material changes length depending on temperature, then compensates drift.” So, there we have it, a “special material.” I’ll stick to Nadis’s name for now, “self-compensating assembly.” Whatever it is, it is awesome! Using an ALEXA to test the lens, I popped the shutter to 45 degrees and just panned around the shop. The exposure was still acceptable with only ambient light due to the fast 2.8 stop on this zoom. Even when snapping into the full 400 mm end, I still had decent exposure in dull light. Swooshing around the shop on all

the action, I loved the way the lens delivered a great visual “being there” look. Makes for a great live action spy lens. Also, there was no barrel distortion at all.

Michael McMurray csc has been using the Premier PL lenses to shoot the fantasy/drama series Warehouse 13. Here’s what he has said about the lenses: “In shooting Warehouse 13, equipment reliability is crucial. FUJINON lenses are workhorses in the film industry, especially for TV series work, because they produce crisp, clean images and colour-match extraordinarily well with each other. The Premier PL 75-400 T2.8-3.8 takes care of all my long lens needs.” David Perrault csc has also been using Sim Video’s FUJINON PL zoom lenses to shoot the action thriller series Alphas and has said: “I’ve been using the FUJINON Premier PL 75-400 T2.8-T3.8 and Premier PL 18-85 T2.0 – they are beautiful lenses. They

Photo by Sarah Moffat

Sim Video President Rob Sim came out to say hi and chat about the lens too – everyone seems to love it. “The Premier PL series are fantastic in that they provide cinematic and television productions with the same caliber of quality expected from the highest performing prime lens. Having the flexibility of a zoom means fewer lens changes on set which keeps the pace moving in a fast shooting environment,” says Sim. “Our investment in the lenses was an easy decision given FUJINON’s superior product development.” He also mentioned how much some senior DOPs love it. offer broad focal ranges, great coatings, and flare rejection qualities, nice markings for focus, and in particular, gorgeous ‘bokehs’ on the 18-85 Premier PL lens.” [Note: Considered the mark of an exceptional lens, a bokeh is the blur in the out-offocus areas of an image. FUJINON PL Mount lenses have the distinction of creating very aesthetically pleasing blurs.] On my next shoot I am going to ask for the FUJINON Premier PL series! Sarah Moffat’s camera experience includes motion picture and still photography. She has worked in drama, documentary and live broadcast.

Canadian Cinematographer - January 2012 •

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 604-229-0861, 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 Sachtler 7 + 7 Tripod head for sale- $3200. Some missing paint and scuffing but works perfectly. Weighs about 20 lbs. Complete with: Universal (100mm and 150mm bowl) Mitchel plate adapter kit (by Willy’s Widgets- $240 new; extending Pan Bar and handle; eyepiece leveling bracket and rod; tripod adapter plate and 2 x 3/8” screws; padded shipping case - total weight 37 pounds. Case is 10” x 18” x 12”. Tripod is NOT included but a nearly-new 2 stage, heavy duty, carbon fiber Sachtler tripod with spreader is available for another $1500 if you buy as a package. Please email stormfilms@hotmail.com or call 604 307 4198 if you’d like to see photos or look at the head. Sony EX-3 Camera - SOLD JVC HD 100n Camera - SOLD Sachtler Video 20 111 Tripod - PRICE REDUCED - Excellent condition, aluminum legs, ground spreader,hard transport case (price new $11,000 plus tax) - $4000 Contact Peter Rowe at 905 891 9498 or peter@peterrowe.tv 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 HYPERLINK “mailto:dp@andrewwatt.com” dp@andrewwatt.com.

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 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 WJMX50 (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. For Sale 28-Foot Black Camera Trailer with new brakes and tires, 20-foot awning, dark room, viewing lounge, two countertops with lots of storage space, heating and air conditioned, side windows and three access doors. Contact: jwestenbrink@rogers.com. 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.

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. Briese 77 Light, full kit, including Tungsten and HMI flicker-free setup, two Eggcrates and Manfrotto Mega-Boom. Excellent condition, $ 22,000. Contact: pierredp1@gmail. com. Sony Beta SP DXC-D30WSP/PVV3P, PAL, 262hours drum time, $ 2,500; Sony Beta SP DXC-D30WS/PVV3, NTSC, 251hours drum time, $2,500; Sony BetaCam SX DNW-7, NTSC, 257hours drum time, $5,000; and IKEGAMI DV-CAM HL-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,

VANCOUVER

CALGARY

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

604-527-7262

403-246-7267

TORONTO

416-444-7000 TORONTO

HALIFAX

902-404-3630

416-444-7000

Canadian Cinematographer - January 2012 •

902-404-3630

PRODUCTIONS & CALENDAR

Production Notes Copper (series); DOP Steve Cosens csc; to May 28, Toronto The Chronicles of Riddick (feature); DOP David Eggby; OP Francois Daignault; to January 26, Montreal The Firm (series); DOP Adam Swica csc; OP Russ Goozee csc; to April 12, Mississauga King II (series); DOP Rudolf Blahacek; OP Dino Laurenza; to March 15, Etobicoke The Listener (series); DOP Stephen Reizes csc; OP Cudah Andarawewa; to February 15, Mississauga Lost Girl II (series); DOP David Greene csc; OP Rod Crombie; to January 22, Toronto Nikita II (series); DOP Glen Keenan csc & Rene Ohashi csc, asc (alternating episodes); to April 10, Toronto Penthouse North (feature); Chris Seager; to January 29, Ottawa Rookie Blue III (series); DOP David Perrault csc; OP Frank Polyak; to January 23, Mississauga Still Seas (feature); DOP Guillermo Navarro; OP Gilles Corbeil; to April 13, Toronto

Calendar of Events

March

January

1-4, Kingston Canadian Film Festival, Kingston, ON, kingcanfilmfest.com

17, 7 p.m. – 9 p.m., CSC Pub Night, Imperial Pub, Toronto 19-29, Sundance Film Festival, Park City, Utah, sundance.org

15-25, International Film Festival on Art, Montreal, artfifa.com 23-Apr. 1, Cinéfranco, Toronto, cinefranco.com

26, 3 p.m. – 7 p.m., Sim Video Open House, Toronto, RSVP at simvideo.com

31, CSC Awards, Westin Harbour Castle Conference Centre, Toronto, csc.ca

31, CSC Awards entry deadline, csc.ca

April

February

12-21, Images Festival of Independent Film & Video, Toronto, imagesfestival.com

1, 6:30 p.m. to 10:30 p.m., CSC Annual General Meeting, Technicolor Toronto 3-12, Victoria Film Festival, Victoria BC, victoriafilmfestival.com

26-May 6, Hot Docs, Toronto, hotdocs.ca

Back issues online at www.csc.ca

13-17, CSC Awards Juries, Toronto

Canadian SOCiety Of CinematOgrapherS

$4 October 2011 www.csc.ca

16-26, Rendez-vous du cinéma québécois, Montreal, rvcq.com 25-March 5, CSC Digital Camera Assistants Course, csc.ca Take This Waltz

Luc Montpellier csc

Correction In the Peter Luxford obituary published in the October 2011 issue, the last sentence should have read, “Peter is survived by his wife Maggie (née Melvin), children Arran and Caitlin, and sister Gill.” We apologize for the error. V02 #05

20 • Canadian Cinematographer - January 2012

56698 94903

with Sarah Polley

Patch Town • Peter Luxford

csc • Flashpoint

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