Canadian Society of Cinematographers Magazine June 2013

Canadian Society of Cinematographers

$4 June 2013 www.csc.ca

Philippe Lavalette csc V02 #03

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Inch’Allah Peter Rowe csc’s Adventures • WFW Turns 50

Soirée CSC Pub CSC Pub Night Tuesday, June 25, 2013 7:00 – 9:00 PM

Imperial Pub

In the Library (Upstairs) 54 Dundas St. East, Toronto www.imperialpub.com

Take this opportunity to get together and share news, experience, technical information and good times.

Lundi 3 juin 2013 18h00 – 21h00

La première micro brasserie à Montréal 809 Ontario Est (coin St Hubert)

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Venez “discuter boutique” et Partager vos nouvelles expériences.

Nous encourageons les étudiants à venir Rencontrer les members du CSC!

We encourage everyone from students to CSC Full Members to attend!

Montréal

Toronto

CSC Pub Night series continues with two more nights in Montréal and Toronto

A publication of the Canadian Society of Cinematographers

We facilitate the dissemination and exchange of technical information and endeavor to advance the knowledge and status of our members within the industry. As an organization dedicated to furthering technical assistance, we maintain contact with non-partisan groups in our industry but have no political or union affiliation.

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Still from Inch’Allah

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Philippe Lavalette csc on Inch’Allah

By Fanen Chiahemen

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Credit: Allan Levine

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.

FEATURES – volume 5, No. 3 June 2013

Peter Rowe csc’s Adventures in Filmmaking By Fanen Chiahemen

Credit: Kayla-Jane Barrie

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.

William F. White Turns 50 By Fanen Chiahemen Columns & Departments

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From the President In the News wired@csc.ca Tech Column CSC Lighting Faces Workshop Camera Classified CSC Members Productions Notes / Calendar Cover: Photo by Philippe Lavalette csc

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Canadian Cinematographer June 2013 Vol. 5, No. 3 EDITOR-IN-CHIEF Joan Hutton csc EDITOR EMERITUS Donald Angus EXECUTIVE DIRECTOR Susan Saranchuk admin@csc.ca EDITOR Fanen Chiahemen editor@csc.ca COPY EDITOR Karen Longland Editorial Intern Kayla-Jane Barrie ART DIRECTION Berkeley Stat House WEBSITE CONSULTANT Michael Jari Davidson

From The PRESIDENT Joan Hutton csc

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his column is all about numbers and they are very, very good numbers. The latest figures for 2012, released by the City of Toronto, show that for a second year in a row, spending on film and television production in old Hogtown has smashed through the $1 billion ceiling. In fact, 2012 topped 2011’s banner $1.128 billion year by a robust 5.9 per cent to close just shy of $1.2 billion, cementing Toronto’s stature as a top production centre in North America, just behind Los Angeles and New York. Even more impressive, these expenditures are only for productions that have an on-location component and do not include productions shot inside studios such as Pinewood or broadcaster studios.

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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.

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Production spending in Toronto hit the $1 billion mark once before in 2002. However, that was when the dollar dropped to a low of 65 cents U.S. Since then, our dollar has steadily risen and has remained relatively at par with the U.S. greenback since 2009.

Obviously it’s no longer the lure of cheap money that is creating all this work in Toronto. So, what’s the draw? I chalk it up to three elements; people, facilities and incentives.

Toronto, and by extension Ontario, for the past 40 years, has been building and nurturing a skilled and talented pool of producers, directors, writers, cinematographers and production personnel that can go toe to toe with the best anywhere in the world.

There are over 25,000 production professionals that make Toronto their home base.

Secondly, top-of-the-line production and postproduction facilities and services are sprinkled throughout Toronto and surrounding areas that can cater to any type of production, no matter the size or complexity. Ontario government figures show that in the past three years, over $100 million has been invested by private companies into equipment, VFX houses and studio space. For example, Pinewood Studios boasts a 46,000-square-foot sound stage, the biggest in North America.

The third and most important element is comprised of the incentives and tax breaks offered by the various levels of government. Show producers how they can stretch their production dollar and they will knock on your door. Toronto has hung out a huge neon shingle saying it’s more than ready to do business.

What is also an eye-opener is spending by domestic productions for the home and export market. It’s up a whopping 16.85 per cent to almost $500 million. It seems our homegrown film and television industry is alive and kicking field goals in Toronto.

Canadian Mail Product Sales Agreement No. 40013776

Some industry analysts say that the Toronto film and television industry now has the depth and mass to create what is called a virtuous circle for continued growth. Imagine our industry as a compound interest bank account that continues to accrue and give in perpetuity. I can only hope that 2013 proves the analysts right.

Return undeliverable Canadian addresses 131–3007 Kingston Road Toronto M1M 1P1

Have a great summer and good shooting to all!

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In The News The Beauty and the Beast camera team. Back row, from left: Max Armstrong (B Cam 2nd AC), Andrew Macklin (B Cam 1st AC), Kevin Camilleri (DMT), Onno Weeda (B Cam operator), Courtney Graham (A Cam 2nd AC), Marcel Janisse (A Cam 1st AC), John Baxter (trainee). Front row, from left: Dave Sheridan (A Cam Operator), David Greene csc (alternating DOP), D. Gregor Hagey csc (alternating DOP), Jonah Greisman (trainee).

Member News The feature drama Inch’Allah, shot by Philippe Lavalette csc (see cover story), recently received the World Cinema Best Picture honour at the Phoenix Film Festival, as well as the Special Jury Prize at the Beijing International Film Festival.

D. Gregor Hagey csc and David Greene csc recently wrapped Season 1 of the series Beauty and the Beast, a modern-day retelling of the fairy tale. Hagey and Greene shot alternating episodes.

The University of Toronto Magazine, on its “Where Are They

Now?” blog, in April profiled alumnus Michael Boland csc and his recent memoir Through the Lens of My Eye: Adventures of a Documentary Cameraman. Boland was also profiled in the Peterborough Examiner.

Spanish Cinematography Society Names New President The Association of Spanish Cinematographers (AEC) in April announced Andres Torres has been elected president of the association. Porfirio Enriquez AEC will serve as vice-president, while Pol Turrens AEC will be the second vice president. Enriquez will focus on the international relationships of the AEC, especially with IMAGO.

Credit: Marco Preti

IMAGO Announces Cinematography Forum

Michael Boland csc 60 feet up on a filming platform.

IMAGO in April announced the IMAGO Cinematographers’ Forum, a three-day master class that will invite three accomplished cinematographers and directors for talks on the craft of cinematography. The seminar will be structured as a dialogue between the respective cinematographer-director teams and the audience, with discussions, exchanges of views and experience, and Canadian Cinematographer - June 2013 •

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screenings of clips from the filmmakers’ works, giving them the opportunity to explain their artistic choices. The forum, which is being organized in cooperation with the Austrian Association of Cinematographers, will take place in Vienna from October 18-20, 2013.

Filmmaker, Cinematographer Les Blank dies Les Blank, acclaimed director, producer, cinematographer and recipient of Hot Docs 2013 Outstanding Achievement Award, passed away on April 7 at the age of 77. As part of the award, to celebrate Blank’s distinguished career, Hot Docs screened a retrospective during the 20th annual festival, which ran from April 25 to May 5. Blank was born in Tampa, Florida, in 1935. His most notable films include Dry Wood, Gap-Toothed Women and Always for Pleasure.

Media Award Nod for 2011 CSC Awards Host DiMarco Out There with Melissa DiMarco has been nominated for Best Entertainment - Comedy Program for this year’s Rockie Awards, which celebrate the best in television and digital content worldwide. DiMarco hosted the CSC Awards Gala in 2011. The Rockie Awards will be held on June 11 as part of the Banff World Media Festival in Alberta.

ACCT Announces New Membership Director The Academy of Canadian Cinema & Television in April announced that Karen Bruce has been appointed the Academy’s

director of membership. Bruce was formerly the director of Canadian Initiatives for the Toronto International Film Festival, where she was in charge of programs including Film Circuit, Canada’s Top Ten, Student Film Showcase, Talent Lab and Producers Lab Toronto. Recently she has been a consultant with various organizations including Cinéfest Sudbury, the Canadian Media Production Association and the Toronto Film Critics Awards.

SIM Digital Acquires PS Production Services SIM Digital in May announced that it has acquired PS Production Services Ltd. The move by SIM follows a string of acquisitions including Bling Digital in 2009 and Master Key Finishing in 2012. Current PS President and CEO Douglas Barrett will be stepping aside to pursue new ventures after almost seven years at the helm of PS. Integration between the two companies will begin immediately with all SIM Canadian offices now offering digital cameras, lenses and accessories, lighting, grip and package trucks, as well as Bling Post Services including: dailies, data management, off-line postproduction and finishing.

DAX Opens Toronto Office Los Angeles-based DAX – which provides cloud workflow and media asset management applications and services to companies that produce, distribute and license audio-visual content – recently launched Canadian operations and its first international office in Toronto. Use of the new Canadian entity, DAX Cloud ULC, by U.S. clients shooting in Canada, and by Canadian clients shooting worldwide, will avail clients to Canadian tax credits. The office, located at 693 Queen Street East, will be headed by Managing Director Thomas Walden.

wired@csc.ca

Wearable Gear For the last 10 years, I have been a fan of Salomon hiking and trail running shoes. Several of my film peers have all gotten turned on to them. No laces, open mesh for hot climates or Gortex waterproof, there is a model for every situation. Super lightweight with good grip and support, great for being on your feet all day, in any terrain.

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Jeremy Benning csc

Here’s a solution I used on The Newsroom, a comedy series that was shot all handheld. Because Ken Finkleman is 6’ and I’m only 5’3”, shooting handheld was a bit of a problem – the background was always the ceiling because I had to point the camera up. So I bought myself a pair of 4” platform shoes and had my assistant carve a 5” thick piece of hard foam to fit my shoulder on one side and the bottom of the camera on the other. With these two aids, I managed to make the camera 6’ high, so no more looking up into the ceiling. It was a bit difficult walking backwards on platform shoes balancing the camera on this thick chunk of foam, but it worked.

Joan Hutton csc

GUIDELINES: Please send any comments you have to wired@csc.ca. Please note that not all comments will be published and that we may edit any comment selected for publication.We are also open to suggestions for topics. w Each submission must be limited to 75 words. w You must include your name in the email for CSC records, but you may use a pseudonym for the publication if you wish. w We would like to focus on comments featuring positive recommendations or suggestions.

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w The choice of which submissions will be printed and when is solely up to the discretion of the CSC’s Editorial Committee. w This column is generally not for: event announcements, or product or trade promotions.

Philippe Lavalette csc on

Credit: Philippe Lavalette csc

Inch’Allah

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here are moments in the politically-charged drama Inch’Allah where you can easily forget you’re watching a feature film and believe you’re witnessing real events. The camera is often unsteady as it follows the protagonist through Israel and the Palestinian territories.

Sometimes it lingers on details you might be inclined to stare at in real life – a little boy squatting in a small mountain of garbage by Israel’s West Bank barrier, for instance. At other times, it gets uncomfortably close to raw emotion, holding on a weeping face or the contortions of a woman in labour.

For director Anaïs Barbeau-Lavalette, whose credits include Les petits géants and Le ring, shooting with a documentarian’s eye was the most natural way to tell the story that had been brewing inside of her since she travelled to the region to make the 2005 documentary Si j’avais un chapeau.

“I had travelled a lot in Israel and was shocked by certain things I witnessed, and it made me want to keep going back,” she explains. “And the more I went, the less I understood, and so the more I wanted to go deeper. I needed to write the story to get it out of me.”

Inch’Allah follows Chloé, a young Canadian doctor navigating the unpredictable world of checkpoints, soldiers, refugee camps and markets that make up daily life in the divided West Bank. Unable to bridge the friendships she makes on both sides of the barrier, the outsider finds herself drawn into the conflict, leading her to ultimately make a life-changing choice.

Barbeau-Lavalette’s goal here was to depict reality, not create an aesthetically pleasing image, which is why she chose her father, Philippe Lavalette csc, with his strong documentary background, as director of photography.

“It was an easy decision for me,” the director says. “Although he can work with light and make a beautiful, impressive painting, I didn’t want to paint a beautiful painting. I wanted it a bit harsh.” continues on page 8

By Fanen Chiahemen

Canadian Cinematographer - June 2013 •

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Shooting over 38 days in Jordan, both knew they would succeed by capturing the film in an organic way – keeping the crew and equipment light, moving quickly and staying close to the actors.

“I didn’t want the actors to follow us; I wanted us to follow the actors. I didn’t want to say, ‘Okay, you can move from there to there.’ I wanted them to be in their energy and move the way they needed to move, and we would just go where they went,” the director says.

To capture the action, Lavalette chose the Penelope Aaton, shooting in 2-perf on 5219 Kodak film stock. “The producers decided to use film because the colours were truer and more realistic. It was great because the Aaton is a very light camera, so I could move easily,” the DOP says. “I needed a light camera. For the director, it was very important to keep the colours true because it’s not a sad movie. Colours are also a character in the film for her and for me too. So the film is faithful to the colours – red is red, green is green, joy is joy. And it’s better than digital.”

Of course, shooting on film meant waiting two days to see dailies, which were processed at Vision Globale in Montreal. “It’s always a risk; producers don’t like it,” Lavalette says. “And you have to wrap the set before you receive the rushes. It’s always difficult, but it was the right way for me and for the film.”

The style of shooting that Lavalette employed required him to work mostly with available light in all situations. “In the Middle East, interiors are very dark, and I tried to keep the same feeling,” he says. “So I was working with silhouettes and shadows. I didn’t try to lower the contrast.” In those scenes, he was able to keep the actors and action visible by backlighting with 4K HMIs. The same philosophy applied when shooting exteriors, but things became more labour intensive when filming scenes at what was supposed to be the West Bank barrier – which was in fact a 350-metre wall built by the crew.

“We found an amazing location – a valley right in the heart of Amman, the capital. On the hills, there are homes overlooking the valley and others under construction, so we immediately associated that with Israeli settlements. At the bottom of the valley, there were Bedouin tents which we also ended up using in the movie,” Lavalette recalls.

Previous page: Shooting at the 350-metre wall built by the crew.

Above and next page: Stills from Inch’Allah.

All photos on these pages: Stills from Inch’Allah

The crew found that the best layout for the wall was in a northsouth direction, which meant the wall would be in sunlight in the morning and shaded by the afternoon. “The big challenge was keeping the continuity with light and working with the moving sun,” Lavalette says. “So I had to work out a precise schedule with the first assistant director to shoot for the sake of continuity.

Still, we often had to cheat by following the basic rule – starting with the wide shots when there was sun, and then once darkness fell, it was easier to light small areas with a powerful source, such as a 6K HMI. It’s a very classical way of working.”

Lavalette recalls with some amusement that working around the wall had some unintended hazards. “When the wall was built, the Bedouins rebelled because they believed we were trying to

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separate ‘the rich,’” he says. “It took some lengthy negotiations, but they finally participated in the film enthusiastically.”

Part of the story also required shooting in a real refugee camp, often at night. Even in those scenes, Lavalette used available light from the camp, which consisted of streetlights emitting a greenish light, as well as small fires in the distance. The cinematographer was able to capture the action by using Zeiss Ultra Prime lenses with a T-stop of 1.3.

“We just had to adjust and work in very low light,” he says. “Of course, you have to be aware that a 1.3 lens is not at its best and that the depth of field is very small. We deliberately chose to go to the extreme and take the risk.”

Zeiss Ultra Primes, he adds, were also an optimal choice because of their weight. “Knowing that most of this film would be shot off the shoulder, I knew that the Aaton Penelope camera equipped with a Zeiss would be the most flexible and more ergonomic tool for this kind of shooting,” he says.

The other realities of shooting in crowded places like refugee

camps and markets is controlling people – or rather, not being in control of people. “But that’s my strength,” Lavalette offers. “It’s a strength that comes from documentary, being well-adapted to the situation.” For example, when faced with the problem of people looking at the camera, Lavalette simply tricked them. “You set up so people think you’re going to shoot in one direction, and then you just quickly shoot in another direction. You have to be very flexible, if not you’re dead.”

Both the director and DOP believe Lavalette’s flexibility and streamlined style of shooting, cultivated on documentary shoots, were an indispensable strength on the film. “It’s my way of working. I come from the documentary school, so I need to keep everything light – camera, crew and equipment,” Lavalette says.

And working with his daughter was an asset because he knew the story so well after many discussions with her. “We were very prepared. We spent a lot of time together choosing position, camera, lenses. The production paid for two weeks of prep, but for me it’s been 10 years,” he says laughing.

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Peter Rowe csc’s

Adventures in Filmmaking Few people can tell stories about climbing volcanoes and crossing the Arctic in their lifetime; fewer still can say they did so under the banner of one profession. But that has been the very breadth and height of Peter Rowe csc’s career.

After more than 40 years of travelling the world in his capacity as a documentary and dramatic filmmaker, Rowe decided it was time to pen his memoir, Adventures in Filmmaking, due out this month.

“I told a couple of people stories about some extreme things that I’d done, and they encouraged me to write it down,” Rowe says.

Quite simply, he says, “I’ve been all over the globe shooting adventures,” and it was time to share his tales.

It’s a story that originates in the mid-1960s when Rowe began making underground student movies at McMaster University.

By the late ‘60s, Rowe had landed himself work, first at CBC and then with legendary filmmakers Allan King and Richard Leiterman.

He then embarked on a career that took him to every corner of the world, bringing him face to face with tornadoes, hurricanes, and other natural disasters, as well as some legendary music figures. And he’s still going strong, recently venturing to the top of 14 of the world’s volcanoes for a new show.

He simply wants readers to get a kick out of the adventures he’s had.

“My interest was to entertain people, to write a fun read,” Rowe says. In the process of revisiting his escapades, he sometimes had to enlist the help of those who were there. “There’s a saying – if you can remember the ‘60s, you weren’t really there,” Rowe says. “I had to call a few people up and ask them about things that happened back in that tumultuous decade.”

By Fanen Chiahemen

Rowe, who is also a musician, reveals that before he got into filmmaking he was planning on becoming a rock star. However, he has no regrets about his choice of career. “It has a certain longevity that music doesn’t have,” he muses.

It has also allowed him to have a broad approach to the entertainment industry. “I’ve been able to create my own projects, write them, go to distant parts of the world and shoot them,” he says. “No two days are the same.”

Excerpt from Adventures in Filmmaking by Peter Rowe csc

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f you were young and hip in the 1960s, there was only one thing that was a bigger deal than film, and that, of course, was music. In 1969 I was making my first feature film, Neon Palace.

For it, I orchestrated an elaborate reconstruction of a ‘50s rock and roll movie, and through that, I got more and more into filming music. I filmed everyone from the Jefferson Airplane to the Mothers of Invention to the Doors and the Velvet Underground.

In 1969, following the breakup of The Beatles, John Lennon came twice to Canada. I was involved both in the film of he and Yoko Ono’s Bed-in in Montreal, and in filming their impromptu performance later that summer (with Eric Clapton playing lead guitar) at the Toronto Rock and Roll Revival.

I’d film these music gigs in part to finance my wacky little feature. By the summer of 1970, I had the shooting and editing on it completed, then briefly got involved with producer Willem

“It was great fun writing it,” he recalls. “In filmmaking there are all kinds of gatekeepers that have to approve everything you do. The one thing I hate about filmmaking is the begging for money and the scrounging around and the looking for work and the paperwork to put a deal together. Writing is remarkably problem free.You’ve got the energy to do it and you do it.”

For Rowe, there was a simplicity to the creative process that appealed to him, and he is now planning another book – this one on music.

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Credit: George Kourounis

As much as he loves his chosen profession, after decades of making films, writing a book was a welcome change of pace to the grind of show business.

Poolman in the organizational shenanigans of the big Festival Express “Peace Train” that crossed Canada, full of rock stars having their every drunken move captured by a team of cameramen. As it left Union Station, I winged off to London to supervise the blowup of my Neon Palace to 35 mm. While there, I learned of the plans for the Isle of Wight Rock Festival, and determined to get to the big gathering. Originally I went simply as a spectator, with my girlfriend of the period—but that changed once I got there.

Credit: George Kourounis

In the late ‘60s, Zal Yanovsky was probably the most successful Canadian rock performer there was—co-founder and lead guitarist for The Lovin’ Spoonful. I’d hitchhiked around the US to the Spoonful’s music, and then met Zal when he and his girlfriend Jackie Burroughs performed cameos in a quirky and successful little film I edited for filmmaker Martin Lavut called At Home.

Credit: Mark Robinson

By 1970 the Spoonful had broken up, and Zal was playing backup guitar for Kris Kristofferson, who happened to be onstage when I arrived on the first night of the Isle of Wight Festival. How he saw me out in the huge audience I’ll never know. The 1970 Isle of Wight Festival, with an estimated attendance of 600,000 to 700,000 people, is believed to have been at the time not just the biggest rock festival ever, but the second largest assembly of people in one place ever on the planet. (It is claimed only the siege of Stalingrad had more.) The Isle of Wight was nearly twice as big as Woodstock. It was just a giant sea of people that stretched as far as the eye could see. There are some massive religious gatherings in India—I filmed a huge (and crazy) one in 2009, but even it didn’t compare with the numbers at the Isle of Wight.

For some reason musicians used to take forever to tune their guitars back then. As Kristofferson interminably tweaked the tuning on his electrified acoustic, I squirmed and inched my way closer and closer to the stage. As I got close enough, an

Credit: Hayley Spurr

Previous page: Peter Rowe csc in the Arctic.

Top: Peter Rowe csc with Maasai tribesmen in Kenya.

Middle: Shooting Hurricane Ike in Galveston, Texas, 2008.

Bottom: Still Filming: Peter Rowe csc (with climbing partner and daughter Brianna Rowe) summits Guatemala’s 3976m peak Mt. Acatenango in April for his new feature documentary Angry Planet: Volcanoes.

Right: Adventures in Filmmaking book cover

Canadian Cinematographer - June 2013 •

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Canadian Cinematographer - June 2013 • 13 Presented by The Visual Technology People

impatient-looking Yanovsky, scanning the crowd, caught sight of me. With a quizzical look in his eye, he moved to Kristofferson’s mike, and shouted out, “Peter! What the hell are you doing here?” Whatever my answer was, he couldn’t hear it. Kristofferson seemed a little taken aback that his session player had taken the spotlight, so he determined that the tuning on his low E string was finally satisfactory, and moved in to take the mike back. Zal shouted at me to come backstage after the set, and Kristofferson launched into his tale of being busted flat in Baton Rouge, waitin’ for the train, feelin’ nearly faded as his jeans.

Following the Kristofferson set, I made my way backstage, and found the ever-effervescent Yanovsky. He told me that a mutual friend of ours, Toni Myers, was also backstage somewhere, preparing to produce a big film on the festival. When I showed up, I was hired on the spot, handed an Arriflex BL camera, introduced to the director Murray Lerner, and thrown into a musical maelstrom that lasted four days and nights.

© Kodak 2013. Kodak and Vision are trademarks.

The festival began every day at about noon, with local Isle of Wight bands. By mid-afternoon other British bands would hit the stage, and by evening the stars would start playing. The headliners would sometimes not appear until long after midnight. At 4 a.m. they shut things down, but by noon the next day the massive P.A. system would be back on again with the volume cranked well past eleven. The line-up included Joan Baez, Tiny Tim, Leonard Cohen, The Doors, Emerson, Lake and Palmer, The

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14 • Canadian Cinematographer - June 2013

Moody Blues, Ten Years After, Donovan, Joni Mitchell, Richie Havens, Chicago, Jethro Tull, and The Who. The festival was an utter organizational shambles. The “Music Should be Free” crowd attempted to tear down the gates and get in without paying. The area was so huge—hundreds of acres in size—that it was impossible to patrol, and eventually breaches in the temporary fencing were made and the freeloaders stormed in.

Before the third day, when the promoters gave up and threw all the gates open, declaring that the festival was free, I filmed inside an army Bell tent with them. I was cross-legged on the ground, as were they, and a parade of the managers of Hendrix, The Who, Cohen et al—mustachioed and buckskin clad dudes with joints behind their ears, came in and sat across from them, angrily negotiating the terms of their stars’ performance. From time to time gate managers would open the fly of the tent and unceremoniously dump huge plastic tubs of one and five pound notes on to the ground between us. Once the negotiations were completed, the festival organizers would start picking fistfuls of notes up off the ground, count off five hundred pounds, or whatever the agreed artist fee was, and hand it to the managers.

Backstage was rock ‘n’ roll pandemonium. At one point a girl suddenly pulled all her clothes off and threw herself on Pete Townshend, just as The Who were about to go onstage. A roadie grabbed the naked girl off the startled rock star, and threw her aside like a used tissue. Murray and I were filming right on the stage, only a few feet from the performers. While Joni Mitchell was crooning her gentle song about getting back to the garden, some mental anarchist ran on stage, grabbed her mike, and began a diatribe about capitalism and freedom and not getting ripped off by The Man. No one stopped him. Mitchell just stood back as everyone let him have his say, until finally one of DJs grabbed him and booted him off. Joni returned, somewhat shaken, to finish her set.

The temporary stage had a grid of Fresnel lights above it, surrounded by some wide strips of black bunting. During Leonard Cohen’s late-night set, the breeze blew some of the cloth on to the back of one of the hot lamps, and it began to smolder. Smoke began drifting up off the roof of the stage. In the middle of “So Long, Marianne”, one of the organizers ran on to the stage, pulled the mike away from Cohen, and began shouting at the audience, in his thick cockney accent.

“Look, we got a problem ‘ere, aright? Is there a fireman in the ‘ouse? Oy said, is there a bloody fireman in the ‘ouse?”

Apparently there was. Several louts—looked more like bikers than firemen to me—volunteered. Because the crowd was now so tightly packed together, they had to be lifted into the air, and pushed over the heads of others towards the stage. Eventually, they made it, and enthusiastically clambered on to the stage (big dopey two-fisted waves to their friends) and up the scaffolding toward the smoldering cloth. Cohen waited (probably tuned his guitar—as mentioned, a popular way of killing time). We filmed the volunteer firemen doing their thing. Then came the craziest moment. They put out the little burnt piece of cloth—then,

apparently to indicate to all of us that all was now safe, they lit a railroad flare. The crowd gasped. Even the unflappable Leonard stopped tuning and looked up. Then they began waving the flare around, as if to say, “It’s all okay,” and began to climb down.

Cohen returned to his set list.

After my sixteen-hour days of shooting, I would trek through the vast hordes of people searching for my girlfriend, her friend, and our little campsite on one of the hills far above the concert stage. I’d crash from perhaps 5 a.m. until 11, then make the long one-hour trek back through the waking crowd to the stage, for another day of filming rock ‘n’ roll.

Highlights of the event for me were Miles Davis (insanely great, if you could handle that kind of music) and Jimi Hendrix. As we were filming Hendrix from the side of the stage, I saw the most excessive rock ‘n’ roll move ever. Hendrix used those tall Marshall speakers popular in the ‘70s, on either side of the stage. During Mitch Mitchell’s lengthy drum solo in the middle of “Foxy Lady,” Hendrix moved to the side of the stage, slammed his bare arm against the edge of the Marshall stack, (and out of the spotlight), and a roadie pulled out a needle and shot him up. Hendrix moved back into the spotlight and returned to his wicked guitar playing. Maybe it was just Vitamin B-12 in the syringe.

The festival wound down. The sleep-deprived, eardrum-busted hordes made their way off the island. As for the films of the

Festival Express and the Isle of Wight, the extraordinary and exclusive footage sat in a mess of litigation, unpaid bills, and unfinished editing for nearly thirty years. I forgot about both of them until 2001. I had just finished my filmed biography of Joshua Slocum, the first man to sail alone around the world.

After his epic sail, Slocum moved from Nova Scotia and Boston to live in Martha’s Vineyard, where he gave magic lantern presentations about his epic voyage in a town hall. Now, the people who ran the same town hall asked me to come, one hundred years later, to show my new film about Slocum.

During my time there, they mentioned they had a filmmaker living on the island—Murray Lerner. They connected me with him, he came to my screening, and he gave me a DVD of the Isle of Wight film titled Message to Love. All those years later, he had finally released it in 1997. A few years later, I got a call from Willem Poolman. He and his son Gavin Poolman and Bob Smeaton had finally pulled together the footage and added interviews with the Festival Express survivors to make the rockumentary feature film Festival Express. He invited me to the premiere. The film became a million-dollar box office and DVD success, proving again that as the song from the era had it, people out there are (still) turning music into gold.

Adventures in Filmmaking is available at amazon.com and at the Bell Lightbox TIFF bookstore.

Canadian Cinematographer - June 2013 •

15

William F. White Turns 50

Photo: Kayla-Jane Barrie

Because the company’s clients themselves drive investments in new equipment, WFW takes every opportunity to get feedback from the field. To that end, “[National Director, Technical Support & Development] Mike Harwood travels the country visiting sets on a frequent basis,” assessing client needs and expectations, Bronfman says. The company is often the first in Canada to acquire the latest technologies and is often the exclusive provider of many such technologies.

William F. White Chairman/CEO Paul Bronfman

W

illiam F. White is Canada’s oldest and largest production equipment provider, and the company is marking its 50th anniversary by doing what Chairman and CEO Paul Bronfman sees as the cornerstone of its success.

“What’s kept us at the forefront is a robust combination of innovative people – who are our single biggest asset – leading-edge expertise, and the most technologically advanced arsenal of equipment in the industry,” Bronfman says. “Our investments in new technologies have kept us one step ahead of the competition.”

Indeed, Whites has always invested in its equipment roster, but it really ramped up purchasing of new technologies when the film and television industry began bouncing back, particularly in Ontario, in 2010. Since that time, the company has acquired the latest in technological advancements, including the Kino Flo Celeb LED lighting, ARRI lens-less HMI Par systems, new high-speed camera support vehicles and offroad camera cars, as well as the new TechnoDolly, which is being used on the TV series Orphan Black.

According to Bronfman, the rebound in the film industry is thanks to the various tax credits instated across the provinces, with Ontario leading the way in June 2009 when the Dalton McGuinty government expanded the Ontario Production Services Tax Credit to an all-spend tax credit – in other words, covering all eligible production costs incurred locally, rather than just labour costs.

“That was really the trigger of the recovery in Toronto,” Bronfman says. However, he praises efforts across the country for bringing in big-budget, big-name productions. “Canada is reliable. There are no surprises. You know what you’re going to get. Our tax credit base is what makes us extremely stable. When you walk onto a set in Vancouver or Toronto it’s just as good, if not better, than walking onto a set in LA or New York,” he says.

While most provinces have been supportive of the industry, Bronfman admits he is disappointed with the Saskatchewan government’s decision to eliminate the film tax credit (see “An Industry in Crisis,” Canadian Cinematographer, February 2013), but he says it’s important not to focus on the negative. “I still think those folks in Regina will see the light and realize they made a huge mistake and reinstate some sort of tax credit, as it has proven to create economic activity,” he says. “All the other provinces in this country all realize the economic impact of our industry and the fact that it creates jobs,” he adds.

As Bronfman puts it, the only two constants in the production industry are change and uncertainty. However, as long as companies like William F. White continue to uphold the highest standards, “Americans will continue to use Canada as their back lot,” he says.

Image: Courtesy of William F. White.

But perhaps more importantly, producers here at home will also win big from such investments in the industry, Bronfman posits.

“Canadians have got world-class infrastructure, world-class studios, world-class production equipment and technical support to make shows the world wants to watch,” he says.

“Ten or 12 years ago, a third of business was Canadian and twothirds was American. Today over two-thirds is Canadian, and one-third is American,” he continues. “Our company has become much more active with Canadian production companies and Canadian producers. And that’s the strength of our industry – our amazing homegrown talent.”

16 • Canadian Cinematographer - June 2013

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Tech Column

Illumina Lenses’ Focus is Quality on a Budget W

hen the first prototypes of the Illumina S35 lenses from Luma Tech arrived a couple of years ago, Richard Metzker of Vancouver rental house Inspired Cinema took them for a test drive. “We tested them against some 20-year-old Zeiss Super Speeds, and they had some issues with flare and some mechanical problems, but that’s typical of pre-production sets,” he says. “But they were as sharp as the older Super Speeds.”

When the second iteration arrived, most of those issues were fixed, and he still expects improvements to continue with the Russian-made lenses which are causing many in the industry to take notice. “They changed the coating of the internal elements at the edges, reduced the geometric distortion in the demo set and cleaned up the barrel lettering,” he says. “We bought two sets of the Illuminas, which we now rent.”

The price is extraordinary. For less than $40,000 you get a set of six lenses built by LOMO optical design in St. Petersburg, Russia, ground from the same glass supplier used by Cooke, Zeiss and Leica, namely Schott of Germany.

The lens set consists of 18, 25, 35, 50, 85 and 135 mm (with a 14 mm in development) and aperture range of f1.2 for 18-85 mm, giving f1.6 in the 135 mm, giving T1.8- T22, all with a front diameter of 95 mm on a PL mount capable of 5K capture.

Other notable technology: A double-helicoid thread focus mechanism on bearing that means zero rotation of elements while the lens front and iris gear track back and forth.

There are still some minor issues, which are being retroactively fixed, he says. For instance, some binding of the focal ring when hand pulling focus if there’s any other pressure on the front of the barrel, and maybe making the iris blades less reflective. But for sharpness, speed and value, they’re tough to beat, he says.

Gregory Mirand, founder of Luma Tech, maker of the Illumina S35 series, says the ground-up plan was to make a set of lenses to be fast, sharp and affordable. Russian by birth and now living in Florida, Mirand is a veteran of the cinematography industry, arriving in Canada in 1975 and working as a camera and optical technician. He ended up at Kingsway Film Equipment selling Cooke lenses before moving to the United States in 1990 to design and manufacture the Illumina S16 lenses for Super 16 mm film format.

“If you’re on a lower budget or if you’re chasing daylight, they’re half the cost of Leicas and a third of Zeiss,” he says. When resolution tested against a set of Leica or Zeiss primes at $200,000 or $140,000, the Illuminas punched well above their weight as noted at filmicdigital.com and reduser.net.

Those lenses were a hit for years. In 2008, he hooked up with LOMO in St. Petersburg to design and make the Super 35 lenses, which would also work with large sensor digital cameras.

“LOMO is the anamorphic lens leader, they make the biggest telescopes, 6 metres in diameter, it’s a very good factory,” he says.

18 • Canadian Cinematographer - June 2013

But he noted that perfection is a hard master and the real sweet spot is not to over-build or over-design the lenses.

“You can get 300 lines of resolution with a lens,” he says. “But what’s the point of that if no one is really going to see the difference? It’s like having a Ferrari that can do 300 km/h but only driving on a road where the limit is 100 km/h.”

Going from a T1.9 to T1.3 is double the precision, double the grind and design quality of the glass and double the work and cost. What he wanted with the Illumina S35s was value. To prove his point, he demonstrated in a dark hotel room with a RED camera in Las Vegas at NAB in 2009. “I had a guy say he was using a regular Zeiss T2 and he thought they were just fine,” he says. “So I said, ‘Come into the room.’ At T2 there was nothing. You can play with the buttons on the RED, and he tried, but nothing happened. I said, ‘Open to T1.3,’ and suddenly the picture came. You don’t need extra light. You don’t need to bring lights, which gets expensive.”

They’re also in tune with the trends, he says, noting that stylistically, DOPs are edging towards shallow depths of field, shooting wide open. “No one wants to shoot at T4 anymore, though they do, but there’s stylistic choice to shoot with a much shallower depth of field,” he says. “People get hired because they shoot a shallow depth of field and can pull it off.”

Ian Harvey is a veteran Toronto-based journalist who writes for a variety of publications and covers the technology sector.

He welcomes feedback and eagerly solicits subject matter ideas at ian@pitbullmedia.ca.

It’s that T1.3 at that price with the inherent sharpness that is getting attention, Metzker says. “Because they’re at a T1.3 and they’re not that expensive, $85 a day per lens, they’re less then half the price of an Ultra Prime and a third of a Master Prime, people can use them for anything,” he says. “In terms of colour, they’re very close to Master Primes or any Zeiss lens, maybe just VANCOUVER CALGARY a little warmer even.”

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Canadian Cinematographer - June 2013 •

19

CSC Faces Lighting Workshop clockwise from top: Alwyn Kumst csc, Elena Lau and Brendan Jeffers (on screen), and Andrew Forbes Workshop participants Sydney Kondruss & Brandon Morin

All photos: Joan Hutton csc

Brendan Jeffers

“The workshop was a wonderful chance to hang out with other cinematographers in this really collaborative and creative environment to share experiences and ideas, all the while under the supportive eyes of three directors of photography whose work I really admire.” - Andrew Forbes “Cinematographers’ talk and instruction were perfect. A wonderful two-day experience that will definitely have an effect on my future shooting.” - James Lewis “The combination of talented, experienced mentors and lots of hands-on time makes for a fantastic workshop.”

- Rob Roy

T

he CSC in April held its Faces Lighting Workshop in Toronto with instructors Joan Hutton csc, Alwyn Kumst csc and Carlos Esteves csc. The workshop offered the participants practical knowledge on the fundamentals of achieving the most efficient and captivating interview lighting setups.

Here’s what some participants had to say about it:

20 • Canadian Cinematographer - June 2013

“A great environment to play and learn. Great teachers who really care about passing on their knowledge.”

- Andrew Oxley “Taking the faces workshops can give you a different perspective by industry professionals.” - Carmelina Crocco “The CSC Faces Lighting Workshop has opened my eyes about all of the intricate details that we need to consider when lighting people.” - Mark Andrew Sirju

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, 604-229-0861 or peter@peterbenison.com.

Liberty Village Office Space Approximately 1,250 sq ft of fully furnished, turn-key office space in prime Liberty Village location available to established television or new media production company in shared office setting. Features include glassed boardroom, 2 closed door offices, internet access, alarm system and shared kitchen. Please reply by email to john@hlp.tv or call John at 647.891.4027 Equipment for Sale Asahi Pentax spotmeter (just serviced) 425.00. Minolta Colormeter III F 750.00. Spectra Professional IV 250.00. Spectra Professional IV A 300.00. Minolta Spotmeter F (need repair) 100.00. Bernard Couture: p.bc@sympatico.ca; 514-486-2749 Professional U/W housing from renowned world leader Amphibico.

2006 Sony HVR-A1U camera with 0.7x wide adapter and all accesories. 2006 Amphibico EVO-Pro housing with .55x wide conversion and flat port. Rare model built in small quantity. Most camera functions accessible. About 60-70 dives. Complete overhaul and pressure tested by factory in 2010. 3.5’’ LCD Monitor, rebuilt in 2010. 2 compact Discovery 10W HID lamps by Amphibico with batteries and chargers.

Spare o-ring for all. Soft and hard carry cases. All in good condition. Price: $4,200. E-mail or call for photos and more information. 514-941-2555, daniel@dvdp.ca FOR SALE 4X4 Petroff Mattebox, barely used. Can be used with 15mm rod support or clip-on.

INCLUDES: Single stage (option to add two more stages); 1X 4X4 tray + 1X 4X5.65 tray; Petroff Eyebrow; Zacuto lens donut; 15mm rod support bracket; 85mm ring adapter. Bought originally for $650 CDN asking $450 (firm). GREG BISKUP p. 647 405-8644. Email: greg@biskupcine.com 2 Arrilite 2k’s like new very little use with 4 way barn doors, 5 scrims, 4 2k bulbs, 3 1k bulbs and Arri case in very good condition $1100 Call 416 712-1125 or mfp123@rogers.com Duncan MacFarlane 1- Nikon 200mm F2 Century Conversion PL mount, std film gears on focus and iris (32 pitch-mod 0.8), Duclos reversing gear, shipping case included $4,500 excellent condition 1- Angenieux 25-250 T3.9 Arri bayonet mount with PL adapter, std film gears on focus, zoom, and iris (32 pitch-mod 0.8), lens support and collar, shipping case included $2900 1- Angenieux 25-250 T3.9 Arri PL mount, std film gears on focus, zoom, and iris (32 pitch-mod 0.8), lens support and collar, shipping case included $2900 1- Tamron 300mm F2.8 Arri bayonet mount with PL adapter, std film gear on focus (32 pitch-mod 0.8), 42mm filters: clear, 2 x 85, shipping case included $1,200 2- Tamron 180mm F2.5 Arri bayonet mount with PL adapter, std film gear on focus (32 pitch-mod 0.8), $900ea 1- Carl Zeiss Jena (DDR)180mm F2.8 Pentacon Six mount, with Arri PL adapter and Micro 4/3s adapter, $1,000 iris can be de-clicked and std film gears on focus and iris (32 pitch-mod 0.8) added on request $750 1- O’Conner 50 fluid head with Mitchell, Mini-Mitchell, 150mm ball bases and tie-downs, 2 quick release plates extra hardware (pan module needs fluid) $500 2- Working Chrosziel Fox single channel wireless systems and many spare parts: 4- working Handsets, 2- working MDRs, 1- dead MDR, 2- working FMG-6 motors, 1- working but jumpy FMG-6 motor, 1-FMG-6 motor for parts, all handsets have been converted to Sony L batteries, 2 Battery chargers, 3 batteries, 4 straight antennas, 4- 90º antennas, 28 focus scales, 4- 0.8 32 DP motor to lens gear, 3- 0.8 32 DP motor to lens gear (extended for lens travel), 3- 0.6 40 DP motor to lens gear, 4- 0.5 48 DP motor to lens gear, 4- 0.4 63 DP motor to lens gear, 7 motor cables, 4 Arri 24Volt power cables, 2- Aaton 12Volt power & run cables, 1- Heden motor cable, Arri 12Volt film camera power cable, 2-Panavision 24 Volt power cables, 1 12 Volt Aaton power cable, 1 P-Tap power cable, 1- Aaton run cable, Arri SR3 run cable, Moviecam run cable, Panavision run cable, 1- Video camera run cable 1- Arri 11 pin Fischer run cable $2500 Contact: stephen.reizes@gmail.com AATON XTR SUPER 16. Camera package includes body, video relay optics, extension eyepiece, three magazines, Cooke 10.5mm-60mm 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 Separately: - Nikon 50mm-300mm F4-5E.D. lens with support – $1000 - Kinoptik 9-8mm-35mm format lens comes with sunshade – $1,400 Contact: stringercam@shaw.ca 1) Panasonic 3D Professional Full HD Video Camera (AG-3DA1) The AG-3DA1 is the world’s first professional, fully-integrated Full HD 3D camcorder that records to SD card media. The AG-3DA1 will democratize 3D production by giving professional videographers a more affordable, flexible, reliable and easier-to-use tool for capturing immersive content as well as providing a training tool for educators.

At less than 6.6 pounds, the AG-3DA1 is equipped with dual lenses and two full 1920 x 1080 2.07 megapixel 3-MOS imagers to record 1080/60i, 50i, 30p, 25p and 24p (native) and 720/60p and 50p in AVCHD. Camera is very new. Includes Kata Carrying case, 4 batteries. To view photos/questions email frank@tgtvinc.com or call 416-916-9010. Asking price: $17,500 (includes tax). Will ship out of province.

2) Proline 17 inch Teleprompter Included is both PC AND Mac versions for our industry leading Flip-Q teleprompter software. Flip-Q automatically “Flips” the secondary output on your laptop so both the operator and talent will see perfect reading left-right text. The ProLine 17 standard LCD panels are the lightest weight, lowest profile designs in their class. In addition, they offer both VGA and composite video inputs adaptable with any computer output or application. They also offer flexible power options including 100-240V AC or external 12v DC input. Price includes Tripod attachments and Pelican carrying case. Complete tool-less set-up. To view photos/questions email frank@tgtvinc.com or call 416-916-9010. Asking Price: $2,000 (includes tax).

Sony PMW-F3 with S-Log Excellent conidition with low hours, Optional RGB S-Log upgrade installed, Kaiser top handle, Optional on-board mic, 32GB SXS card “A series” - 100mb/sec, All factory accessories and manual $11,000.00 Shape Composite F3 Shoulder Mount - NEW NEW!! Never Used. Still in box. Can be used with Panasonic AF-100, Sony FS-100, FS-700, HDSLR, Canon 5D, 7D, 60D, Black Magic Cinema, Red MX, Red Scarlet, Red Epic $800.00 new plus shipping and taxes.

Asking only $600.00 GoPro Hero2 camera - Outdoor package In excellent condition with minimal use 11MP HD HERO2 Camera, Waterproof Housing (197’ / 60m), HD Skeleton Backdoor, Rechargeable Li-ion Battery, USB Cable, Helmet/Chest Strap, Head Strap, unused Adhesive Mounts, Three-Way Pivot Arm, Manual/instructions, 4 GB SanDisk SD card, Original packaging $300 Photos available. Contact John Banovich 604-726-5646 or JohnBanovich@gmail.com Nikkor AF-S VR 500mm F 4 IS ED Lens. Super rare and very hard to find!!! Serial # 204153 Perfect condition. Not a scratch on it!!! Only one year old. Included Hard Shell Case, Lens Hood, Lens Strap, Case strap. Come with Manfrotto Carbon Fiber tripod, Jobu head and Jobu Mounting Bracket. Asking price $9000.00 gandalf-merlyn@shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile) BL III Camera Kit $3750 Or Best Offer gandalf-merlyn@shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile) ARRIFLEX BL3 BODY WITH PL MOUNT, 4 PERF MOVEMENT, VARIABLE SHUTTER, FULL 35MM GATE, VIDEO TAP ELBOW, 2 X ARRI 400’ BL MAGAZINES, 2 X POWER CABLE, CASES FOR CAMERA, MAGS. BL IV Camera Kit $8,950 Or Best Offer gandalf-merlyn@shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile) ARRIFLEX BL4 BODY WITH PL MOUNT, 4 PERF MOVEMENT, VARIABLE SHUTTER, FULL 35MM GATE, ARRIGLOW MODULE AND ARRIGLOW GROUNDGLASS IN RED, CEI COLOR 4 VIDEO TAP CAMERA AND ELBOW, CEI ELECTRONIC RETICLE GENERATOR, BL4 VIEWFINDER EXTENSION, WIDEANGLE EYPIECE WITH HEATED EYECUP, POWERCABLE FOR HEATED EYEPIECE, ARRIFLEX 4 x 5 SWINGAWAY MATTEBOX, ARRI FF2 FOLLOW FOCUS WITH EXTENSION, WHIP AND 2 GEARS, 15MM ARRI SLIDING BASEPLATE SET WITH 2 X 18” AND 2 X 12” STAINLESS STEEL 15MM RODS, 5 X ARRI 1000’ BL MAGAZINES, 2 X ARRI 400’ BL MAGAZINES, 3 X DOUBLE POWER 12 VOLT BATTERIES, 2 X 12 VOLT CHARGES, POWER CABLE, CASES FOR CAMERA, MAGS, MATTEBOX, ETC.,FILM TEST HAS BEEN SHOT. gandalf-merlyn@shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile) JVC GY-DV300 Broadcast Quality camcorder. 4x3 or 9x16 switchable 750 horizontal lines with several extra batteries and carrying case. Plus and external Shure VP88 stereo microphone with Rycote bracket and wind screen with high wind cover and extra mic cables. Asking $ 1200.00. Contact Robert Bocking csc 416 636-9587 or rvbocking@rogers.com for more information.

Equipment for sale!! All equipment in excellent shape!!

Panasonic AJHDX900P High Definition Camera, Panasonic Stereo Microphone, Canon Zoom Lens 8x160 (J20a x 8B4 IRS), Dionic 90 Anton Bauer Batteries & charger, Anton Bauer mini fill light 12 V, Marshall 7” HD-SDI LCD Monitor & accessories, 2 x Porta Brace camera bags, Sony Digital Betacam (DVW700) and accessories, Sachtler fluid head VIDEO 20 III & Sachtler tripod legs fibre & fibre case. Call 613-255-3200, Total $ 25,000.PL mount prime lens set (Sony) 35mm, 50mm 85mm all T2.0. Mint condition. Used briefly for one shoot $5200.00 John Banovich, csc 604-726-5646 JohnBanovich@gmail.com Panasonic BT-S950P 16:9 / 4:3 SD Field Monitor for Sale (Excellent Condition) - $100.

Portabrace included Please contact Christian at (416) 459-4895 or email cbielz@gmail.com OWN A PIECE OF CINEMA HISTORY: selling a vintage Bell & Howell 2709 camera with mags.

THE film camera of the 1920s and ‘30s; assorted other goodies. Contact: dkoch198@hotmail.com.

VIDEO & AUDIO GEAR FOR SALE: (2) HVX-200 Panasonic P2 Camcorders $1,500 each; (1) DSR-1500 Sony DVCAM recorder, $1,500; (1) Sony DSR-1 DVCAM dockable recorder $1,000; (3) Sony PVV-3 Betacam recorders $500 each; (3) Mitsubishi XL25U video projectors $500 each; (1) Mackie 1604VLZ audio mixer $500; (1) Glidecam PRO2000 camera stabilizer $200; (1) Glidecam DVPRO RIG camera stabilizer $300; (1) Yamaha P2075 amplifier 75W stereo/150W mono $500; (3) HVR-Z1U Sony HDV camcorders $1,000 each; (1) Sony DSR-300 DVCAM camcorder $1,500; (1) For-A VPS-400D 8 input SDI switcher $2,700; (2) Sony WRT822/WRR861 wireless transmitter/receiver – no mic - $750 each; (2) Sony BRC-300 remote control P/T/Z cameras $1,990 each. Call Ted Mitchener at ZTV Broadcast Services 905290-4430 or email ted@ztvbroadcast.com.

Services Flicker-Free HMI & Hi-Speed Cameras available with operator/gaffer (Toronto) Includes a new ARRI M18 1800W lensless HMI with Arri 1000Hz Flicker-Free Ballast, stand, and lots of head cable. It’s as bright (or brighter) than a T5 but runs on household AC 120V and draws less than 20Amps. We also have the Sony FS700 Super-35 CMOS sensor high-speed camcorders with PL, Nikon, Canon, or Pentax mounts. Great for overcranked product shots on a budget. 60fps, 120fps or 240fps @ 1080p and 480fps @ 720p. Other camera/grip/electric & 3D support gear available as well. Contact Tim at 1-888-580-3274 ext.700 or tim@dashwood3d.com Need your reel updated? Looking for an editor? I am a CSC associate member who is also an editor with my own FCP suite. I am willing to trade my edit suite time in exchange for rental of your gear, or shooting advice, or both. Please send email to miurabucho@gmail.com.

Do you travel between Toronto and Hamilton for production every day? Need a place to: screen dailies, host your production office that’s close to both? Hill’s Production Services www.hillsvideo.com.

We are a full Service Production Company with cameras and edit bays for making EPKs. Some grip gear, if you find yourself in the field, short of one or two items. Hill’s also has office space and a mobile screening room. Located just off the QEW in Burlington, check us out 905-335-1146 Ask for Rob Hill.

Camera Classified is a free service provided for CSC members. For all others, there is a one-time $25 (plus HST) 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 - June 2013 •

21

Camera Classifieds

Equipment Wanted Edmonton Film Cooperative wants your unused Arri 35 mm camera. Do you have film cameras languishing on a shelf? Give it a new life, give it to a film coop and we will give you a healthy tax credit.

Have a 35BL, a 235, a 435 gathering dust because everyone is Red cam nuts? Have other great camera accessories? Let us know, let’s make a deal. Contact Andy @ rentals@fava.ca and work a great deal.

CSC MEMBERS

CSC FULL MEMBERS Johnny Abi Fares 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 Eric Cayla csc Neil Cervin csc Henry Chan csc Marc Charlebois csc Rodney Charters csc, asc Bruce Chun csc Damir I. Chytil csc Jericca Cleland csc Jonathon Cliff 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 Nicholas de Pencier csc Kamal Derkaoui csc Kim Derko csc Serge Desrosiers csc Jean-Yves Dion csc Zoe Dirse csc Mark Dobrescu csc Wes Doyle csc John Drake csc Ray Dumas csc Albert Dunk csc, asc Philip Earnshaw csc Gamal El-Boushi csc, acs Michael Ellis csc Carlos Esteves csc Nikos Evdemon csc Mark Foerster csc David Frazee csc Marc Gadoury csc Antonio Galloro csc James Gardner csc, sasc David A Geddes csc, asc Ivan Gekoff csc Laszlo George csc, hsc Pierre Gill csc Russ Goozee csc Steve Gordon csc David Greene csc Michael Grippo csc D. Gregor Hagey csc Thomas M. Harting csc Pauline R. Heaton csc Brian Hebb csc

David Herrington csc Karl Herrmann csc Kenneth A. Hewlett csc Robert Holmes csc John Holosko csc George Hosek csc Colin Hoult csc Donald Hunter csc Karim Hussain csc Samy Inayeh 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 Serge Ladouceur csc George Lajtai csc Marc Laliberté Else csc Barry Lank csc Philippe Lavalette csc Allan Leader csc John Lesavage csc Henry Less csc Pierre Letarte csc Antonin Lhotsky csc Norm Li csc Philip Linzey csc Matthew J. Lloyd csc J.P. Locherer csc Dylan Macleod csc Bernie MacNeil csc Glen MacPherson csc, asc Shawn Maher csc David A. Makin csc Adam Marsden csc Robert Mattigetz csc Donald M. McCuaig csc, asc Robert B. McLachlan csc, asc Ryan McMaster csc Michael McMurray csc Stephen F. McNutt csc, asc Simon Mestel csc Anthony Metchie csc Alastair Meux csc Gregory D. Middleton csc C. Kim Miles csc Gordon Miller csc Robin S. Miller csc Paul Mitchnick csc Boris Mojsovski csc Luc Montpellier csc Rhett Morita csc David Moxness csc Douglas Munro csc Kent Nason csc Mitchell T. Ness csc Stefan Nitoslawski csc Danny Nowak csc Rene Ohashi csc, asc

22 • Canadian Cinematographer - June 2013

Harald K. Ortenburger csc Gerald Packer csc Barry Parrell csc Pavel “Pasha” Patriki 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 Don Purser csc Ousama Rawi csc, bsc William Walker Reeve csc Ali Reggab csc Stephen Reizes csc Derek Rogers csc Peter Rowe csc Brad Rushing csc Branimir Ruzic csc Jérôme Sabourin csc Victor Sarin csc Paul Sarossy csc, bsc, asc Michael Patrick Savoie csc Ian Seabrook csc Bobby Shore 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. T arver csc Paul Tolton csc Bert Tougas csc Chris Triffo csc Brendan Uegama csc Sean Valentini csc Brett Van Dyke csc Gordon Verheul csc Roger Vernon csc Frank Vilaca csc Daniel Villeneuve csc Daniel Vincelette csc Michael Wale csc John Walker csc James Wallace csc Tony Wannamaker csc Peter Warren csc Andrew Watt csc Jim Westenbrink csc Tony Westman csc Kit Whitmore csc, soc Brian Whittred csc Ron Williams csc George A. Willis csc, sasc

Glen Winter csc Peter Woeste csc Kelly John Wolfert csc Bill C.P. Wong csc Kevin C.W. Wong csc Bruce Worrall csc Craig Wrobleski csc Yuri Yakubiw csc CSC ASSOCIATE MEMBERS Daniel Abboud Joshua Allen Don Armstrong Vince Arvidson François Aubry John W. Bailey Douglas Baird Maya Bankovic Russell Bell Gregory Bennett Guy Bennett Jonathan Benny André Bériault Aaron Bernakevitch Roy Biafore Christian Bielz Thomas Billingsley Stan Bioksic François M. Bisson Martin Brown Scott Brown Richard Burman David J. Cain Stuart James Cameron Lance Carlson Jon Castell Mark Caswell Maurice Chabot Stephen Chung David Collard René Jean Collins Jarrett B. Craig Rod Crombie James Crowe Micha Dahan Tim Dashwood Michael Jari Davidson Russ De Jong Vincent De Paula Reuben A. Denty Karan Dhillon Randy Dreager Tony Edgar Carl Elster Duane Empey Pouyan Fard Barry Fontaine Marc Forand Andrew Forbes Greg Fox Richard Fox Kevin A. Fraser Gleb Galkin Brian Gedge Jason Alexander George Yorgos Giannelis

Rion Gonzales Jose Luis Gonzalez Daniel Grant Jeffrey Hanley Jean B. Héguy Josh Henderson Robert Hill Rory Hinds David M.J. Hodge John Hodgson James D. Holloway Suave Hupa George Hupka David Johns Denise Jones Ali Kazimi Ernie Kestler Ryan Knight Douglas John Kropla David Lam Charles Lavack Robin Lawless soc Byung-Ho Lee Alan Lennox Philip Letourneau James Lewis John V. Lindsay Justin Lovell Robert Macdonald Ian Macmillan Mario Anthony Madau Jeff Maher Alfonso Maiorana Yoann Malnati Roy Marques Kelly Mason Andris D. Matiss Scott McClellan Paul McCool Mike McLaughlin Gabriel Medina Tony Meerakker Tony Merzetti Bentley Miller Paul Mockler Sarah Moffat Helmfried Muller Keith Murphy Iris Ng Christopher M. Oben Eric Oh Ted Parkes Deborah Parks Rick Perotto Allan Piil Josh Power Evan Prosofsky Ryan A. Randall Cathy Robertson Peter Rosenfeld Lawrence Apu Rozario Albert Rudnicki James Sainthill Steve Sanguedolce Christopher Sargent Sarmen Sarmazian Andrew W. Scholotiuk

Ian Scott Stanislav Shakhov Wayne Sheldon Simon Shohet Rob Sim Sarorn Ron Sim Barry E. Springgay Paul Steinberg Marc Stone Michael Strange Joseph G. Sunday phd Peter Sweeney Aaron Szimanski Peter Szperling Ethan Ta André Paul Therrien George (Sandy) Thomson John Thronberg Ian Toews Glenn C. Warner Douglas H. Watson Roger Williams Richard Wilmot Peter Wayne Wiltshire Martin Wojtunik Carolyn Wong Dave Woodside Peter Wunstorf asc Xiao Chen Yu Steven Zajaczkiwsky CSC Affiliate MEMBERS JoAnne Alaric Ryan Alexander Donald G. Angus Derek Archibald Michael Baier Robin Bain Peter Battistone Jacques F. Bernier Greg Biskup Stuart Blair Marcio Bodnariuc Christine Buijs Tyson Burger Gordon A. Burkell Sean Carson Arnold Caylakyan Bernard Chartouni Fanen Chiahemen Devon Chytil Suzy Cooper Brent J. Craig Brad Creasser Carmelina Crocco Dominika Dittwald Francis Ferland Zachary Finkelstein Randy French Richard Gira Shaun Goldsmith James D. Hardie Bruce William Harper John Richard Hergel BA CD Perry Hoffmann Brad Hruboska

Marcel D. Janisse Nazir Kassam Rick Kearney Matthew Casey Kennedy Guido Kondruss Boris Kurtzman Ka Leung Tony Lau Kevin Michael Leblanc Rita Leistner Charles Lenhoff Tony Lippa John Lipsz Alejandro Loera y Chavez Karen Longland Lori P. Longstaff Janek Lowe Robert H. Lynn Megan MacDonald Jill MacLauchlan Parks Sean Marjoram Bruce Marshall Ian McLaren Andrew Medicky Matthew Emil Muszalski Kar Wai Ng Andrew Oxley Gino Papineau Graeme Parcher Kalpesh Patel Sam Perrin Greg Petrigo Ivan Popov Douglas B. Pruss Lem Ristsoo J.J. Robertson David Rumley Alan Ruth Donna Santos Susan Saranchuk Chirayouth Jim Saysana James Scott Alexey Sikorsky Brad Smith Michael Soos BJ Szabicot Dave Tse Steven Tsushima Paula Tymchuk Anton van Rooyen Sama Waham Trevor J. Wiens CSC LIFE MEMBERS Jim Aquila csc Robert Bocking csc Raymond A. Brounstein csc David Carr csc Barry Casson 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 Leonard Gilday csc John Goldi csc

Barry R. Gravelle csc Kenneth W. Gregg csc John B. Griffin csc Manfred Guthe csc Edward Higginson csc Brian Holmes csc Brian Hosking Joan Hutton csc Douglas Kiefer csc Rudolf Kovanic csc Les Krizsan csc Naohiko Kurita csc Jean-Claude Labrecque csc Harry Lake csc Larry Lynn 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 Andreas Poulsson 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 Lloyd Walton Walter Wasik csc Ron Wegoda csc James A. Wright Keith Young 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 Philippe Ros afc indicates demo reel link, via www.csc.ca

Canadian Cinematographer - June 2013 •

23

CSC Member Production Notes Au champ de Mars (feature); DOP Bernard Couture csc; to July 29, Quebec Bitten (feature); DOP Stephen Reizes csc; to August 27, Toronto Cedar Grove (series); DOP Kamal Derkaoui csc; to July 23, Burnaby Continuum II (series); DOP Michael Wale csc (alternating episodes); OP Greg Fox; to June 4, Vancouver Copper II (series); DOP Pierre Gill csc; to July 3, Toronto Covert Affairs IV (series); DOP Colin Hoult csc (alternating episodes); to October 3, Toronto Degrassi: The Next Generation XIII (series); DOP Mitchell Ness csc; to October 25, Toronto Estelle (series); DOP Jérôme Sabourin csc; to August 2, Quebec Haven IV (series); DOP Eric Cayla csc; OP Christopher Ball csc; to September 27, Chester Helix (series); DOP Stephen McNutt, csc, asc; Montreal Hit By Lightning (feature); DOP Arthur Cooper csc; to June 9, Ottawa Killing III (series); DOP Gregory Middleton csc; to June 25, Burnaby King & Maxwell (series); DOP Robert McLachlan csc, asc; to July 2, Vancouver La Galère VI (series); DOP Robert Mattigetz csc; to August 7, Quebec Les temps des roses (feature); DOP Yves Bélanger csc; to June 19, Quebec Nautilus (feature); 2nd unit DOP Roger Vernon csc; to June 22, Burnaby Midnight Sun (feature); DOP Peter Wunstorf; OP Keith Murphy; to June 30, Winnipeg Murdoch Mysteries VII (series); DOP James E. Jeffrey csc & Yuri Yakubiw csc (alternating episodes); 1st Assistant Kevin Michael Leblanc; to November 15, Toronto Pompeii (feature); DOP Glen MacPherson csc, asc; to July 5, Toronto Republic of Doyle (series); DOP David Herrington csc; St. John’s Satisfaction (series); DOP Ken Krawczyk csc; B Camera Operator Matt Phillips csc; to June 28, Toronto Saving Hope II (series); DOP David Perrault csc; trainee J.J. Robertson; to September 24, Mississauga S.O.S. III (series); DOP Marc Gadoury csc; to August 30, Quebec Spun Out (series); DOP Gerald Packer csc; to July 19, Toronto Suits III (series); OP Michael Soos; B Camera Operator J.P. Locherer csc; October 31, Toronto Toute la vérité IV (series); DOP Marc Charlebois csc; to September 15, Quebec Yamasaka (feature); DOP Daniel Vincelette csc; to December 6, Quebec

Calendar of Events 3, CSC Montreal Pub Night, csc.ca JUNE

9-12, Banff World Media Festival, banffmediafestival.com 18-19, ProFusion, profusionexpo.com 25, CSC Toronto Pub Night, csc.ca

JULY

26-28, Toronto Animation Arts Festival International, taafi.com

AUG

23-September 3, The Montreal World Film Festival, ffm-montreal.org

SEPT

5-15, Toronto International Film Festival, tiff.net

24 • Canadian Cinematographer - June 2013

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