Canadian Society of Cinematographers Magazine October 2013

Canadian Society of Cinematographers

$4 October 2013 www.csc.ca

Right Kind of Wrong The

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Luc Montpellier csc

Brendan Uegama csc: Suddenly • Remembering John Gunn csc

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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.

CORPORATE SPONSORS All Axis Remote Camera Systems Applied Electronics Arri Canada Ltd. Canon Canada Inc. Clairmont Camera Codes Pro Media Dazmo Camera Deluxe Toronto FUJIFILM North America Corporation FUJIFILM, Optical Devices Division Fusion Cine HD Source Image Media Farm Kingsway Motion Picture Ltd. Kino Flo Kodak Canada Inc. Lee Filters Miller Camera Support Equipment Mole-Richardson PS Production Services Panasonic Canada Panavision Canada REDLABdigital Rosco Canada SIM Digital Sony of Canada Ltd. Technicolor The Source Shop Vistek Camera Ltd. Whites Digital Sales & Service William F. White International Inc. ZGC Inc. ZTV

Still from The Right Kind of Wrong.

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Luc Montpellier csc: The Right Kind of Wrong By Fanen Chiahemen

Making Suddenly By Brendan Uegama csc

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John Banovich csc and the Sony F55

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Still from Suddenly

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. 5 October 2013

Credit: Chris Turzak

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.

By Shayne Zwickel, Special to Canadian Cinematographer

Columns & Departments

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4 10 16 18 19 20

From the President In the News Announcements Tech Column CSC Remembers John Gunn TIFF 2013 Camera Classified Productions Notes / Calendar Cover: Leo (played by Ryan Kwanten) takes off on the hang glider, while his friends Neil (played by Will Sasso) and Jill (played by Jennifer Baxter) try and stop him in The Right Kind of Wrong.

Canadian Cinematographer October 2013 Vol. 5, No. 5 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 ART DIRECTION Berkeley Stat House WEBSITE 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 - October 2013

From The PRESIDENT Joan Hutton csc

A

specialty channel on basic cable dedicated solely to Canadian produced films. What an inspiring and novel idea! It would be a sure-fire venue to cultivate and promote Canadian culture and our industry to Canadians.

Unfortunately, the Canadian Radio-television and Telecommunications Commission doesn’t seem to think so.

In my column last April, I wrote about Starlight: The Canadian Movie Channel, which applied to the CRTC to do just that, bring Canadian movies directly into our homes. While committed to showcasing Canadian theatrical releases, Starlight would also be a delivery system for Canadian MO’s, documentaries and TV series.

The venture was being backed by the who’s who from our film industry, such as Robert Lantos and David Cronenberg. Being on basic cable and basic service from direct-to-home satellite providers, Starlight would have had a guaranteed audience and, just as importantly, Starlight would have ploughed a substantial portion of its subscription revenue, 45 cents per month per subscriber in this case, back into producing Canadian feature films. It had all the hallmarks of a win-win proposal, but the CRTC refused Starlight’s proposal, citing that they “did not demonstrate that Canadian feature films are unavailable in the broadcasting system.”

As I sit here writing this column, I’m trying to remember the last time I saw a Canadian feature aired by a broadcaster. It sure isn’t within recent memory.

Canadian broadcasters long ago stopped promoting and showing Canadian-made features on television, opting instead to put their financing muscle behind TV series where they’ve done an admirable job. It is possible to see a Canadian film on television, through specialty channels such as the Independent Film Channel, found on more expensive cable tiers. But Canadian films on these channels are infrequent. Then there is pay-per-view, such as Rogers Video on Demand, where they do have a Canadian section. But the selection is limited and costs a premium to watch. Neither of these options is cost effectively geared to building a Canadian film viewership.

Beyond television, Canadian features can be found to some degree in urban movie theatres, but don’t blink because their runs are usually very short. While in rural Canada, finding a Canadian movie at the local Bijou can be challenging. Starlight is a missed opportunity that would have made it easy for many Canadians to connect with films made by Canadians.

However, the CRTC decision may have a silver lining. It highlights the need for a federal review and upgrading of Canadian film policy to avert a looming crisis. As an industry, we need to push hard for a better deal for our features in Canada. The alternative is a diminished homegrown film sector and a lessened cultural identity.

Canadian features stack up with the best produced anywhere the world – they just need to be seen by Canadians.

In The News

Courtesy of SIM Digital

The director’s station.

SIM Digital Helps CTV’s Spun Out Shift into High Gear

Kodak Wins Approval to Emerge from Bankruptcy

SIM Digital recently provided production and postproduction equipment, services and support for the debut season of Spun Out, a new multi-camera sitcom from CTV and Project 10 Productions. SIM designed and built a complete file-based workflow for the show that extended from the cameras through final delivery and included such features as real-time delivery of fullresolution camera media from the set to the editorial team. Spun Out is CTV’s first live multi-camera show to be produced with a complete file-based workflow. SIM Digital designed a multicamera system consisting of four Sony F900R cameras that fed a pair of Cinedeck digital disk recorders housed in a custom-built flight pack that became the show’s master control room. Camera media captured by the Cinedecks was recorded in real time to Avid ISIS shared storage system employed by the show’s editorial team and to G-Raid drives for back-up. Editorial media was recorded as Avid native, DNX-175X files, providing editors with access to full-resolution camera media literally moments after it was captured on stage. The show is slated to premiere on CTV this winter.

A U.S. bankruptcy court in August confirmed Kodak’s plan of reorganization. The plan describes the company’s strategy to emerge from bankruptcy, restructuring as a technology company serving commercial imaging markets. The plan also reflects the company’s effective utilization of the U.S. bankruptcy process to achieve its key reorganization objectives, including successfully reducing legacy costs, liabilities and infrastructure; exiting or spinning off businesses and assets that were no longer core to its future; and focusing on the company’s most profitable business lines.

Kodak’s plan of reorganization will become effective upon emergence. The company was expected to finalize the remaining aspects of its reorganization and emerge from bankruptcy in September.

FUJIFILM and SpectraCal Announce Strategic Initiative for Precise Monitor Correction with IS-Mini And CalMAN FUJIFILM North America Corporation and SpectraCal recently announced a strategic joint initiative to expand the usability of precise monitor correction solutions for the professional video production and postproduction industries using FUJIFILM’s IS-mini image processor and SpectraCal’s CalMAN Studio software. FUJIFILM’s engineers worked closely with SpectraCal’s engineers to utilize its innovations and help make the IS-mini’s power available to a wider market. The collaboration of IS-mini and CalMAN expands the IS-mini’s operation to any probe type that CalMAN supports along with more detailed reporting functionality. A new version of CalMAN Studio now directly controls Fujifilm’s new IS-mini to create a Color Cube (generally known as a 3D LUT) to correct video signals. Movie and television production professionals use the Color Cube to make extremely precise colour adjustments to video reference monitors.

Color Cube correction has previously required tools many times more expensive than the IS-mini and CalMAN Studio.

Veteran Cinematographer Gilbert Taylor bsc Dies Gilbert Taylor bsc, known for his work on Star Wars, The Omen, and Dr. Strangelove, died in late August at the age of 99. A founding member of the British Society of Cinematographers, Taylor began his career in 1929 as a camera assistant at Gainsborough Studios in London, U.K. During his career, he worked with such directors as Alfred Hitchcock and Roman Polanski. Taylor also worked for six years with the Royal Air Force during the Second World War, filming the aftermath of night-time raids over Germany. He retired from feature filmmaking by 1994, but continued to work on commercials and took up painting. The BSC honoured him with a lifetime achievement award in 2001.

Cinematographer Christopher Doyle Launches App Australian cinematographer Christopher Doyle recently launched an interactive iPhone and iPad app called “Away With Words” displaying his daily street photography. The app indexes Doyle’s photography collection alphabetically so users can peruse the photos or select them by letter.

Hong Kong-based publishers Art Asia Pacific helped design the app, which is available for $0.99 in the Apple App Store. Doyle is best known for his collaborations with Hong Kong director Wong Kar-wai on such films as In the Mood for Love, 2046, Chungking Express and Days of Being Wild.

Canadian Cinematographer - October 2013 •

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Announcements

New CSC Members

Ilias Adamis - DOP/Cinematographer - Associate

Layton Burton - DOP - Associate

Photo: Annita A.H.Â

Dave Lam - DOP/Cinematographer - Associate Photo: Tomasz Kurek

Rasha Amer - Cinematographer - Affiliate Photo: Mark Anthony Hogan

Kirk Neff - DOP - Associate Photo: John Narvali

Robert Scarborough - Cinematographer/CamOp - Associate

David Wowchuk - DOP/CamOp - Associate

Julien Cheron - Cinematographer - Affiliate

Samuel Lehner - Cinematographer/ Web and digital media designer - Affiliate

Photo: Joseph Truong

Photo: Terry Wowchuk - Finelight Studio

New CSC Members not pictured Associates Ian Macmillan - Cinematographer/CamOp Duraid Munajim - Cinematographer Kevin Rasmussen - Cinematographer/CamOp Tyler Richardson - CamOp Brian Allen Stewart - Cinematographer/CamOp Martin Wojtunik - Cinematographer Affiliates Francis Ferland - News Cameraman/Editor John Ker - Student

Bruce Marshall - Producer/Actor - Affiliate

Dave Tse - 2nd AC - Affiliate

Photo: Christos Tsirbas

Photo: Theo Smart

New CSC Sponsor The CSC welcomes camera and equipment rental company Fusion Cine as a new sponsor.

4 • Canadian Cinematographer - October 2013

Luc Montpellier csc

The

Right Kind of Wrong

By Fanen Chiahemen

I

n The Right Kind of Wrong, opening nationwide this month after a Toronto International Film Festival premiere, a writer - turned - full - timedishwasher goes to great lengths to win over the unlikely object of his affection. Like many modern fairy tales, or romantic comedies as they’re more popularly known, its discourse on relationships is told from a hyper-real world.

A scene from The Right Kind of Wrong, an eOne Films release.

6 • Canadian Cinematographer - October 2013

The novel on which the film is based, Tim Sandin’s Sex and Sunsets, takes place in “a mythic mountain town,” director Jeremiah Chechik (Benny and Joon, Diabolique) says. “It’s an amalgam of many places.

So we just chose the most suitable mountain town we could find anywhere, and that was Canmore and Banff, [Alberta]. It just has an idealized quality.

Everywhere you look is beautiful, and it felt like the perfect place to make the movie.” Chechik decided early on that the stunning backdrop would do more than serve as a setting for the story (“I wanted the landscape itself to be a character in the film”), and he sought a director of photography who would give the landscape its stage.

Fortunately, he had seen Sarah Polley’s 2011 romantic drama Take This Waltz, shot by Luc Montpellier csc whose handling of the Toronto-set story left an impression on him. “I thought anyone who could make Toronto feel like the most magical beautiful city really is extraordinarily talented,” Chechik says, laughing.

“I think Jeremiah and [producer] Robert [Lantos] were both very much wanting to think outside of the box. How do we make this film stand out from anything else?” Montpellier says. “It’s a romantic comedy, but we wanted to turn it on its head a little so the audience could experience it in a unique way. We wanted an amplification to all the decisions in the film. From my lighting and the camera movements to costume, makeup and hair, everything needed to be considered that way. Even the colours are saturated to a point where they go a little bit beyond reality.”

Photos this page by Brian Reid

So they decided to shoot full anamorphic, with Montpellier pairing the then-newly released ALEXA PLUS, with its 4:3 sensor, with Panavision’s C- and E-series anamorphic lenses, and capture in ARRIRAW format, a first on a Canadian-produced, locally shot feature film. “I thought that the combination of new technology and more legacy lenses was the perfect combination for this film because it was a marriage of the old and the new,” Montpellier explains. “You end up with quite a unique look – this very modern looking image but there’s a slight timeless quality to it at the same time. The optics are slightly soft around the edges, and that’s what I love about the anamorphic lenses. I just love the contrast of the lenses but with the dynamic range of the ALEXA. To me the ALEXA has the most filmic digital grain; it just made it perfect.”

DOP Luc Montpellier csc with director Jeremiah Chechik.

Although the costs of shooting this way were prodigious for a Canadian shoot, Panavision and Technicolor were dedicated to seeing the filmmakers’ vision through. “We were quite close to Luc as a DP we’ve worked with for a number of years,” Jeff Flowers, Panavision’s vice president of marketing in Western Canada, says. “When we start with cinematographers early in their career and make a commitment to support them, that becomes part of that support.”

Also, ARRIRAW files can be difficult to handle in postproduction, Montpellier says, “but that’s where Technicolor were real heroes in that aspect. They were really willing to dive in with both feet to do a 4:3 ARRIRAW anamorphic shoot. And they really put a lot of research and development in making sure their systems on the set were going to be right. And we had their mobile lab on wheels which was key as far as being able to deal with all this material in the field because we didn’t have a laboratory and we were generating our own dailies on the set.”

of the bluish haze over the horizon. “It was a perfect palette for what we were trying to do,” Montpellier says. “And it became the palette for the wardrobe and the colour temperature of light that I used.”

To get the look just right, Montpellier and Chechik did some rigorous testing. “I’ve become quite well versed in colour correction on my own. I’ve had to learn all these tools, so that when I’m discussing things with the director and the creative team,

“All of us wanted to do it because we knew it was the right thing for the film,” Technicolor’s Technical Operations Manager Brian Reid says. “With those RAW images and more pixels we knew we would get the full breadth and scope of the landscape. The images are fantastic.”

The mountains also provided a pre-existing palette for the film – the warm earth tones, the green foliage and the cooler tones

The ALEXA on the set of The Right Kind of Wrong.

Canadian Cinematographer - October 2013 •

7

I can actually show them,” Montpellier says. The DP captured dozens of still and digital images of the locations, sometimes with a Canon DSLR. He and Chechik then created the look of the film on a DaVinci Resolve. “We would pick colours within a frame, isolate them, desaturate them, isolate skin tones. So we ended up painting digitally. You could say almost every shot in the film had a special effect. Instead of leaving that to chance in post we really needed to create our palette. We made all our colour decisions in preproduction and during production, and that information was carried on through to post, and that’s what’s kind of unique but you’re seeing a lot more of that happening, just because there’s a lot more digital manipulation these days in post with creating your final look.”

The colour tests also informed how much lighting Montpellier would need to do for the exterior shots in order to create a consistent look. In fact, Montpellier says he ended up doing more exterior lighting than is typical for him but that it was necessary to create contrast, which enabled him to isolate certain colours, especially in skin tones.

Offsetting the beautiful landscape outside were the intentionally drab interiors that were reflective of the characters’ realities.

“Outside you’ve got beautifully heightened coloured vistas that almost look like postcards, but then we would contrast that with our lead character’s workplace,” Montpellier says. For Leo’s workspace, a restaurant kitchen, the crew found a kitchen that was lit with banks of cool white fluorescent fixtures. One of the tubes in the location even flickered, and Montpellier left it that way. He simply added a few more tubes in places as practical sources and altered the colour temperature to enhance the blue-green tones.

If the interiors were shot with the same romance as the exteriors, he says “you would miss the point of his work environment, the kitchen, being depressing to him. I really wanted you to feel the impact of the shift when we went into the kitchen.”

Montpellier’s policy of letting the environment dictate how he would light applied to interiors as well. “I’m a big fan of creating a stage for the actors and being as unobtrusive as possible for them. In studio environments that we’d build from nothing I very much tried to build in the problems I would have on a location shoot that might make the light react in a certain way,” he says.

For example, rather than having light sources hanging from a grid, Montpellier had light coming from windows and practical sources. He placed large sources like 18Ks outside windows and let the light shine through. “When you restrict yourself like that you end up with a light design that’s a lot more naturalistic.”

Top: (From left) Montpellier, Chechik, producer Robert Lantos, postproduction supervisor Doug Wilkinson and senior colourist Mark Kueper.

Second: Lantos (left) and Chechick (right) on the set of The Right Kind of Wrong. Third: Leo (played by Ryan Kwanten) outside the bookstore, reading his ex-wife Julie’s new book in The Right Kind of Wrong. Fourth: Leo and Colette (played by Sara Canning) getting close in The Right Kind of Wrong.

8 • Canadian Cinematographer - October 2013

Although most of the interiors were shot in a studio (Leo’s apartment was built in an off-season curling rink in Banff ), the filmmakers wanted the interiors to feel like they were shot on location. To recreate the outside world through the windows, Montpellier’s gaffer took photographs of the real exteriors, enlarged them and hung them outside the studio windows to serve as backdrops, which could be lit for day or night. For example, “In daylight, I had to light in such a way to create enough brightness outside so that it felt like the cameras just almost couldn’t hold the detail, which to me subconsciously tells

separate places, so Montpellier and his gaffer were constantly consulting large diagrams that showed where the light sources were coming from in order to keep track of things. Montpellier recalls one particularly challenging sequence in which Leo, who is afraid of heights, does a hang gliding gag to impress his love interest. It required multiple stunts, effects and construction cranes, but most importantly it was shot in three days over which the light changed quite dramatically. “So I really had to be conscious of how the sequence was going to cut together,” Montpellier recalls. “We had three cameras, and it’s a location where I couldn’t use huge overhead diffusion sources because it was basically an area where there were dead windmill farms around. We couldn’t risk flying diffusion frames because it would be dangerous, so ultimately I had to create a consistency in the scenes without any tools, so it was a mixture of postproduction and making sure things matched and cheating the directions.”

It was during those moments when having the Technicolor OnSet Truck was particularly helpful, Montpellier says. “I could just walk out of the studio and go look on this truck and call up any day’s day. I could even take in a test shot if I wanted to and start timing it together to try to match it very much like I would in a lab. So it was very useful on a tight schedule like this to be able to do that and make sure our choices were really good.

Sara Canning plays Colette in The Right Kind of Wrong, an eOne Films release.

an audience we’re on location,” Montpellier says. He had a series of 10Ks and Maxi Brutes on the floor around the exterior of the house. “And then we bounced all these tungsten sources up to create a certain softness and that was kind of our base light for the exterior. And then depending on the time of day, I would bring in harder light sources to create the sun to be able to match things in studio to location,” he says.

Matching was a cornerstone in the production of The Right Kind of Wrong. In some scenes, different directions were shot in two

“Shooting in a place like Banff, getting your dailies back at this resolution was almost unheard of,” Montpellier continues. “We were getting this ARRIRAW footage processed and getting them back the next day just like you would if you were shooting in Toronto, Montreal or Vancouver. And the Technicolor truck was equipped specifically to an ARRIRAW show, and that’s what’s great about those guys. They send it out equipped to handle the specific needs of your project. That’s I guess the future of laboratories now. They realise they have to offer all these on-set services to support the filmmakers because of the more instant feedback with the images you’re getting. So it’s a real fascinating time right now. The way we make films is drastically changing more and more each year.”

From Left to Right: Maya Samy plays Pia, Ryan Kwanten plays Leo Palamino and Mateen Devji plays Ravi in The Right Kind of Wrong, an eOne Films release.

Canadian Cinematographer - October 2013 •

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Tech Column

Breaks the ” x o B Sound Barrier “Magic

D

SLRs with 1080p video capture fast became a good option for many shooters because of their pricing and wide range of crisp, fast lens options. Many a still shooter stepped up to the world of motion photography using the same familiar equipment as they’d started their journey with. They’re compact, rugged, take standard media cards and are available and repairable almost anywhere.

Time and advancing technology have blurred the lines further between purpose-built video cameras and the flexible, reliable and ubiquitous DSLR, but there remained one major hurdle, the sound. The audio capture, to be honest, was crap. Between the tiny, tinny capture quality and the onboard Automatic Gain Control (AGC), which can’t be adjusted, sound levels could be all over the map and pretty rough in any event.

The options were to record sound with a separate unit such as a Zoom H4N or to rig up a Roland R44 and use postproduction software to synch it all up later.

TASCAM, a well known brand in the audio capture, and part of the TEAC brand, brought something to the NAB show that caught a lot of people’s eyes, if not ears, in the form of the DR60D DSLR Four-Track Solid State Recorder (tascam.com/ product/dr-60d/).Essentially, it’s a small black box, a little smaller than a DSLR that mounts to the camera, tripod or rig and which can either capture, pre-amp and pre-mix higher quality sound to the camera or act as a stand-alone recording system, separate but synchronized with the video capture. It does this through two main quarterinch XLR or TRS inputs, offers phantom power to condenser mics, and captures at a range of audio quality starting at MP3 and going up to 96Hz/24-bit to SD/SDHC cards. It’ll also accept the shotgun mics many DLSR users have been using to up the sound capture using the 3.5 mm input.

The technology at the core are HDDA pre-amps, AD converters, and there’s camera in, camera out with headphone monitoring, and it all mixes to four tracks which can be configured separately to allow two to be back-ups at adjusted sound levels should the main tracks inadvertently peak over and clip. There are also two remote control options.

All this is pretty amazing, but even more attractive is the price: around $350. It won Best of Show at NAB last spring and has been getting a steady stream of buyers at Vistek, the sole Canadian distributor. “We were pretty excited to win Best of Show at NAB,” says Garyn Jones, marketing manager at TASCAM. “We knew we had a great product, but we were surprised and thrilled to win.”

He says TASCAM sees DSLRs as a growth market opportunity

10 • Canadian Cinematographer - October 2013

with more and more independent filmmakers gravitating to them because of their price, availability and portability. “It’s sort of the Garage Band app of the 1990s,” he says, referring to the Apple software which turned laptops into recording studios. “It’s just so much easier for independent filmmakers to make videos.”

Sound synching software improvements were a great leap forward, but there is still a driving need in the market for the DR-60D. Indy filmmaker Aviv Rubinstien couldn’t agree more. He used nine Canon XF100s, three DSLRS, one with a TASCAM box, to capture this year’s Survive DC event, a twist and blend of a marathon and hide-and-seek staged in the U.S. capital one night last May. Some 1,500 participants signed up and were either tagged orange as a runner or blue as a hunter. Captured runners become hunters until the first runner reaches the finish line after passing all the required checkpoints.

“I participated last year and it was fun, so this year I wanted to make a documentary of it,” Rubinstien says. “The TASCAMs were amazing. I call them magic boxes. The sound quality was great and they were so easy to use I didn’t even have to refer to the manual.”

He adds that the clean sound and portability made it easy for crews to interview people as they participated. “Some of them were paranoid they’d be spotted and caught, so having the equipment as concealable as possible was a plus too,” he said.

“I like DSLRs because they’re small and they capture in low light too. We can do stuff now with this equipment that wasn’t possible five or even three years ago.”

Over at the Toronto Vistek store, Video and Production Technology Manager Brian Young has also seen and heard a lot of buzz around the DR-60D. “There’s a steady stream of people coming in and asking about it, so the word is getting around,” according to Young, who spent more than 22 years at Sony before joining Vistek. “DSLRs typically don’t have as good a sound as it could be but they’re not optimized for motion picture sound recording, so you really have to add another device to improve the quality,” he says. “This unit really sings and brings together in one unit what people may have used two devices for in the past, so it’s two products for the price of one. The weight and ease of mounting are also major factors,” he continues. “It really doesn’t add a lot of weight.”

The only downside, reports Rubinstien, is battery life. “It takes four standard AAs, so you can run to the store and get them anywhere,” he says. “But it goes through them really quickly, so you need to have eight on hand.” TASCAM does offer an optional battery pack and an AC adapter, and Jones also reports there were issues getting orders filled over the summer because of the high demand, but he hopes things would be resolved by fall.

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.

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DP NOTES

Making

Suddenly

By Brendan Uegama csc

Oliver Glaser

she rebuffs his advances. Todd visits the house and is immediately suspicious of Baron, but no one will listen to the ravings of a drunk. Once Todd realizes what is going on, he manages to kill one of Baron’s crew but is captured. Now he and Ellen must find a way to stop Baron and his men before they kill the president.

On the set of Suddenly.

I

n October of 2012, I received an email from a producer I know, Devi Singh, about shooting a film titled Suddenly, with Uwe Boll directing. Shooting was to start in December, and the movie starred Ray Liotta, Dominic Purcell and Erin Karpluk.

At the time I wasn’t aware that it was a remake of a 1954 film of the same name, starring Frank Sinatra and shot by director of photography Charles G. Clarke. One weekend, while I was in the middle of filming another show I was on, I went to meet with Uwe at his house. We discussed the film, he watched some of my work, and he asked me to shoot it. Uwe and I had minimal conversations about the original 1954 version. I watched the original, but we didn’t hold to it stylistically. We knew ours would be different from that version.

The film is about an ex-marine, Baron (Purcell), who, posing as a Secret Service agent, catches wind of a U.S. presidential stopover in a small town called Suddenly, and is tasked to assassinate him.

In the town lies a house situated on a hilltop with the perfect vantage point, which is owned by Pop, Ellen (Karpluk) and her son, Pidge. The assassins fool the local cops except for one, Todd (Liotta). A washed-up former war hero and deputy who is now the town drunk, Todd served with Ellen’s deceased husband and has developed romantic feelings for her over the years, although

12 • Canadian Cinematographer - October 2013

I only had two weeks of prep between the time I wrapped production on the film I was on and going to camera on Suddenly, which was not ideal; I like to be involved intensely during prep, but with the schedule and budget, it was just not possible.

During prep, we worked on finding the right locations for the story. The house was very important to get right, so we looked at quite a few places. We shot the picture in Squamish, BC, and in just 12 days, the quickest for almost everyone on board. It helped that the shoot didn’t require too many locations, and half our days were spent in the main house location. We shot two cameras almost the entire show, both RED EPICS equipped with Angineux Optimo zooms, supplied by Clairmont Camera Vancouver. I love the look of the EPIC and I know it well. And with the amount of handheld and small locations, I knew the compact size would help. Initially, Uwe wanted to shoot ALEXA, but after showing him some footage from the EPIC, he agreed to try it.

My camera team consisted of Oliver Glaser as A Cam operator, and myself operating on seven of the 12 days. The other days were split between Chris Kepensiki and Chris Moone. A Cam first AC was Duncan Vogul and B Cam first AC was Luke Barlow.

Our first six days were shot at our main home location. The trick was shooting in the mountains over 12 days in December and maintaining a consistent look since the film takes place over the course of one day. Since it was December, our daylight shooting hours ended by 4 p.m., so we needed to make sure we could carry the look and work throughout the day. At first we talked about placing Translights with images of the town outside the windows, but we ultimately voted against it. We decided instead to close up the windows of the house with draperies and shutters and to rely on VFX when we needed to connect our

of course, luckily, we had a talented cast.

Oliver Glaser

interior of the house to our exterior street location, where the president is set to arrive. We placed a number of 6K HMIs and 4K HMIs around the house and bounced them or shot them through diffusion. Inside, we didn’t have much space, so I used a lot of gellekos and Kinos, as well as Joker 200s, 400s and 800s with Chimeras. We shot the majority of the film with daylight balanced sources. During nightfall, we placed Cyan 30 on our HMIs to give it a nice cool look, and it worked beautifully for the picture.

The overall approach of the film was to keep it raw and free. The entire movie, minus one dolly shot, one Steadicam shot and a few crane shots, was all done handheld. The decision was made early on, as Uwe wanted to make sure we allowed the actors the freedom to move and to keep the energy going from the start.

At one point in the film, the villains lock up the family in the basement of the house, which only has one window, giving only one possible escape route. The power in the house is out, so there was only one motivated source of light, except for a few times when characters with flashlights came in. The low ceilings were only 7ft, but the exposed wood structure gave us areas to hide small lights. We lit this set with single tube Kinos, plus a 4K HMI or a 1200W HMI coming through the window. We set a bunch of 1ft, 2ft and 4ft tubes around our set, diffused them and knocked them down to keep a dark, ambient feeling. I generally do not use a lot of Kinos but on this film they served their purpose.

The climax of the film is the arrival of the U.S. president. He approaches town in a motorcade and greets a small but patriotic group of Suddenly locals. This scene was all shot at night, and we shot on the main street in Squamish. Production designer Renee Read built a stage and podium near an intersection, and this was the only day we used three cameras. We lit primarily from rooftops and had three 10Ks hitting our podium, with our crowd and the street near us. We also placed a bunch of blondes down the street where the motorcade approached, plus some 1200K HMIs for some texture on the sidewalks and streets. To add a bit of fill at the podium, we placed a 5K bounce off camera. We lit the scene in such a way that we could shoot the arrival and speech all in one. Although it took us nearly all day to set up, we were able to wrap after three hours of shooting.

Top: Uegama shoots a scene on Suddenly. Middle: Actress Erin Karpluk as Ellen in Suddenly. Bottom: Still from Suddenly.

Another large concern for me and everyone on board was consistency of weather, since the film takes place in one day. Shooting in the mountains in Squamish during December proved to be difficult for weather continuity as you could imagine! The sky was often overcast, there was a lot of rain, and, over the last four days of shooting, a lot of snow, including one day when we had to shoot in the forest all day. We woke up to 6 inches of snow! We had to find a way to make it work so we could keep shooting. Luckily, we were able to do so with story point changes and in editing.

Shooting Suddenly was great, and Uwe is a good director to work with. He knew what he wanted and needed for editing. My crew VANCOUVER CALGARY 604-527-7262 403-246-7267 was great on this show as were the heads of all departments. And 604-527-7262 403-246-7267

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Canadian Cinematographer - October 2013 •

902-404-3630

13

John Banovich csc and the Sony F55

By Shayne Zwickel, Special to Canadian Cinematographer

I

recently got the opportunity to work with John Banovich csc as a camera assistant with his Sony F55 on the indie film Neutron Zombies. Sony really went for it with the PMW-F55 camera, giving 4K, 2K and 1080p in RAW and compressed, without crop factors; high-speed recording of up to 240 fps in 2K; SLog2 curve with huge latitude; a global shutter; and ergonomically designed to sit directly on the shoulder. The camera’s 16-bit linear RAW 4K output enables Sony’s optional AXS-R5 recorder and the simultaneous RAW (online) and onboard SxS recording (offline) to bring ease to post workflow. Sony’s planned firmware upgrades are scheduled to bring higher frame rates, more operating features and recording options to help future-proof equipment. I spoke with John about his experiences with the camera.

SZ: So, John, you have shot on the RED and on the ARRI ALEXA, has Sony finally answered the “heavy hitters” with its production-worthy 4K golden boy camera, the F55? How does it stack up?

JB: I have worked with pretty much everything on the market; you don’t want to make a comparison to the RED MX or SCARLET because it’s really not a fair comparison. With respect to the ARRI ALEXA, it’s very similar in whole light latitude, but the major difference is of course that the F55 is a true 4K camera, so you’re dealing with much more information. Their workflows are similar in that they’re very easy to use, both the F55 and the ARRI ALEXA. However, I still consider the ALEXA to be a phenomenal studio camera.

SZ: What are some of the key features of the camera you’ve come to know and love, taking it out of the studio and into the elements?

JB: The F55 allows you to record a proxy as well as 4K simultaneously and with no external device required. Other cameras are capable with external recorders, but with the F55 it’s automatic. Sony has obviously thought that through long in advance. Another beautiful feature is the ability of the F55 to record 180 frames per second in 2K internally or 240 fps externally. I’ve got a Gemini 4:4:4 recorder that allows you to record uncompressed too. Also, Sony is using the new Olivine lithium iron phosphate battery technology so the batteries aren’t very heavy. This was a great advantage having worked with it recently on a documentary shoot in the bush where we were trying to limit the size and weight of everything. Generally speaking, you’re bringing one or two batteries a day out there.

The batteries are lighter, they last longer, you need fewer of them, and that’s huge, so to speak.

14 • Canadian Cinematographer - October 2013

SZ: What are some features you have noticed that Sony has missed with their first 4K-capable camera?

JB: The demand for high frame rates from advertisers and even from distributors, all the way to our audience, is increasing. 240 fps is the current cap, so I’d like to see a firm upgrade to approach 300 fps. I’d even like to see it go beyond that. There are of course specialty cameras out there that are designed to take thousands of frames per second but only in short bursts, so kudos to Sony for making this work and making it work in 2K and 4K. Reminding everyone again that the camera, the F55, is a tool, it’s not the ideal camera for every situation. Coming from the world of emulsion you would typically pick a high-speed film stock for low-light situations and slow, fine grain film stock for daylight application, but even the characteristics of the colour curve of the stocks were different for shooting wildlife versus studio work versus feature work. There were different choices, and you would choose the film stock based on your needs. As a director, I want to have a tool that’s going to give me the most versatility and flexibility possible. The F55 delivers just that.

SZ: Is this a camera you would consider abandoning film for?

The weight alone must be a blessing when you’re out in the bush!

JB: I have been working in emulsion for more than 20 years, I have a fondness for it. It’s a love, it is somewhat of an art form really. But we’ve evolved to such a point now that the digital process is much easier in many respects and much quicker with the digital picture quality finally up to par. I’ve got a beautiful SR2 super 16 mm camera. It looks great on my shelf but hasn’t seen film in many years. It’s more of a distant memory almost, if you will. With digital, we’re now able to look at our dailies instantly, we’re able to put the image out to everyone now, in almost real time, anywhere. I have a distinct style and I use specific tools that have kind of grown up with me as a cinematographer, and it doesn’t matter whether it’s an emulsion-based project or a digital-based project. That being said, a lot of time the bottom line comes down to budget. With the digital quality finally there, the option to shoot on film is almost a thing of the past.

SZ: What are some of the recent projects you’ve played with this camera on?

JB: Neutron Zombies, a zom-com that I have been directing and DPing. The F55 was so well suited for it because we were shooting a lot of it at night, in darkness, and due to budgetary constraints, we were forced to use some smaller daylight source

to have a reflective surface. But to our advantage, it was raining, which added a different effect altogether. Having said that, as a wildlife director/cinematographer, green of course is a necessity, and it is one of my favourite, if not my favourite, colour tone to work with, obviously. In the case of the zombie movie, we were not trying to hide or conceal the background as a setting. If anything, we wanted to try to make it obvious to our audience that we were in a forest by having some low frequency greens push through a bit. I mean, it’s a zombie film named Neutron Zombies, so having a little bit of green on the faces actually played very well to the realism of that setting.

SZ: Can you think of some advantages of shooting 4K on the film that you wouldn’t have gotten otherwise?

JB: Well, certainly, and the simple answer is the ability to have all that information to work with in post. Shooting in low light, for example, and having the latitude to be able to pull back information that the eye did not seem to capture made it far superior to, say, a camera like the F3. Even in our case, shooting with some compression, it still yielded amazing results.

Jake Bachmeier

SZ: What surprised you coming from the F3 while using and testing the F55?

John Banovich csc with F55 on a wildlife shoot.

lights. The F55 afforded us the ability to stay at base IO 1250 and still have a lot of light to work with.

Exiting the Wild is a BBC-style environmental documentary, and we’re shooting under all kinds of conditions. Although we’re working with other kinds of cameras on this, the F55 was our primary camera simply because it gave us the ability to shoot 17X9 in 4K. Also, it just did such a great job in S-log2 of capturing 16bit colour space, allowing us a huge amount of freedom in post to really stretch everything out. I’m doing a documentary titled No Greater Love that is an animal compassion piece, and while the interviews are being conducted on an F3, we’re using the F55 to shoot the bulk of it. It’s a retrospective piece, so most of the material was in the camera already long before the F55 existed, and so it’s going to be interesting to see how the F55 4K stacks up with content that came from 720P cameras or even standard def 480 cameras, Beta SP, MiniDV. SZ: On the zombie movie how do you think the camera fared in the forest with all the green around? For example, white balance?

JB: We intentionally lit with a lower temperature light source, and we set our white balance higher to trick the camera into falsely setting it high. I let very little of the key light source fall onto the greenage, and the reason for this was we did not want

JB: The F3, in my opinion, is still an amazing camera because of the size of the sensor, because of the depth of field and great latitude; it’s an amazing tool for documentaries and reality TV, which is where I use it still. What the F55 has is great latitude, but it’s the highlights. How it held the sky, for example, once again shooting under natural light in the wilderness. It can hold those very white cumulous clouds in a time lapse with an amazing amount of detail, at the same time being able to hold my foreground several stops under-exposed. Seeing the evolution, it’s the logical place to go from an F3 because the F3 was good at it, but the F55 is superior. Certainly, in terms of the highlights, the information above 100 IRE is definitely superior to anything I’ve ever been able to get out of any RED camera, period.

SZ: Are there any other anecdotes from the shoot or specific examples of how this camera was an asset to specifically the last film you did, the zombie film?

JB: It was small, the footprint of the camera is small, and that was a major advantage for us being able to get it around with a smaller crew, with limited support, and in some cases challenging weather conditions. The nice thing about this camera is that the side LCD display is big. It’s easy to read even in pitch black, even in horrible weather conditions, and has fast functions that you need. The fact that it’s small means we can tear it down to a very compact camera, making it light, making it very portable, a lot of power in a small package. I’d actually like to give a special thanks to the crew that came out and braved the sometimes chaotic elements.

Tip of my hat to them for being there in challenging conditions and throughout the nights. And hats off to my friends at Fusion Cine for supporting us with everything, no questions asked.

Andrea Berglund contributed to this article.

Canadian Cinematographer - October 2013 •

15

CSC Remembers

John Gunn csc 50 Years after

John Gunn csc on the set of The Forest Rangers.

John Gunn csc (first row, second from the left) is seen in a vintage crew photo from The Forest Rangers.

16 • Canadian Cinematographer - October 2013

From the archives of John Gunn csc

Wendy Gunn

Wyman Pattee

Wendy Gunn

The cast of The Forest Rangers at the reunion in Kleinburg, Ont.

Wendy Gunn with Gordon Pinsent

C

Cast members reminisce during a reunion Q&A.

BC Television’s The Forest Rangers was one of the most popular shows to grace Canadian airwaves. The show, about a group of kids and their adventures at a Hudson Bay fort, was this country’s first series in colour and was also popular abroad, airing in more than 40 countries. The Forest Rangers ran for three seasons – between 1963 and 1965 – totalling 104 episodes, all but one DPed by founding CSC member and 1965 President John Gunn. Born into a film family in England, Gunn began his career in 1939 as a combat cameraman with the Army Film Unit in North Africa before immigrating to Canada in 1955. Having died in 1967, at the age of 45, Gunn did not live to see how enduring The Forest Rangers’ legacy would be and that a 50th anniversary celebration – organised by dedicated fan John Deakin – would bring together all nine junior Forest Rangers for a first-time reunion and draw some 250 people from as far away as the United Kingdom. Gathering this past spring on the Cinespace Studio lot in Kleinburg, Ont., where the series was shot, former colleagues and cast members – including Gordon Pinsent, who played Sergeant Scott – remembered Gunn fondly.

John Gunn csc on the set of The Forest Rangers.

One of his daughters, Wendy Gunn, who attended the reunion, told Canadian Cinematographer, “They told stories on the stage about my dad. It was really fantastic.” To commemorate Gunn’s achievements on the show and throughout his career, Wendy shared some images from the reunion, as well as some archival set photographs.

Note from actor Gordon Pinsent to Wendy about

her father:

Hi. Gordon Pinsent here, one of the most All I can say is that I can easily single him out as true and honest enjoyable men to work with. I have an eye for g to a good people, and you were always sure that you were talkin s fun to look and trustworthy man from the word go, and it was alway recall too vividly forward to seeing him when I got to work. I can’t le fast-flying the details of our meetings but in an unpredictab . That you can business such as ours, he stood at the very front count on.

Very best regards.

Gordon Pinsent

Canadian Cinematographer - October 2013 •

17

CSC at TIFF

2013

CSC congratula tes the followin g members whose films w ere screened a t the 2013 Toronto Intern ational Film Fe stival

Gala Presentations Douglas Koch csc, The Grand Seduction (dir. Don McKellar) Luc Montpellier csc, The Right Kind of Wrong (dir. Jeremiah Chechik) Adam Swica csc, The Art of the Steal (dir. Jonathan Sobol) Special Presentations Yves Bélanger csc, Dallas Buyers Club (dir. Jean-Marc Vallée) Nicolas Bolduc csc, Enemy (dir. Denis Villeneuve) Nicholas de Pencier csc, Watermark (dirs. Jennifer Baichwal and Edward Burtynsky) Daniel Grant, The Husband (dir. Bruce McDonald) Paul Sarossy csc, asc, bsc, Devil’s Knot (dir. Atom Egoyan) Contemporary World Cinema David Greene csc, Empire of Dirt (dir. Peter Stebbings) Ronald Plante csc, Stay (dir. Wiebke von Carolsfeld) City to City Elias Adamis, The Daughter (dir. Thanos Anastopoulos) Short Cuts Thomas Billingsley, Pilgrims (dir. Marie Clements) Daniel Grant, Relax, I’m From The Future (dir. Luke Higginson) Karim Hussain csc, Method (dir. Gregory Smith) Samy Inayeh csc, Portrait as a Random Act of Violence (dir. Randall Okita) Midnight Madness Norm Li, Afflicted (dirs. Derek Lee and Clif Prowse)

18 • Canadian Cinematographer - October 2013

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, 604-229-0861or 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 Canon Wide angle Lens J11A X 4.5 B4 IRSD and Canon Servo Zoom Control ZSD-300 Value 27 000$ Asking only 3 500$ Sony Camera XDCAM EX1, 2 Sony Battery BP-U60, 1 Sony Battery BP-U30, 1 Sony Wide Conversion Lens X 0,8 VCLEX0877, Sony AC Adaptor / Charger BC-U1, 2 Sony SxS 8Gb, 4 E-Film MxR, Porta Brace Camera Case PB2700IC All in very good condition Value 10 700$ Asking only 3 200$ Porta Brace Rain Slicker RSEX1, Like new: 125$, Porta Brace Lens Cover LC-M, Chroziel Matt Boxe S1001, Chroziel Sunshade S1001FF, Chroziel Adaptator S1001158SR, Chroziel Step-down Ring 80mm S100180, Tiffen Filtre 3X3, FX#1, FX#2, Polariser, Grad ND9 Value 1 545$ Asking only 400$, Sony Camera Handycam HDR-HC7, 2 Sony Batteries NP-FH100, Sony Wireless Mic ECMHW1, Tiffen Filter 37mm UV, Century-Precision ,55 WA ADAPTER 55WA37, KATA Rain Cover KARC18 Value 2100$ Asking only 350$, Elmo Suv-Cam SD ELSC5C and accessories New Value 1 200$ Asking only 200$, Anton Bauer UltraLight & Ul Soft Box Asking only 150$, Frezzi HMI Sun Gun & Frezzi Soft Box Value 1 700$ Asking only 400$, Gitzo Tripod carbon finer legs GI 1380/38/7kit Value 1 200$ Asking only 500$, Porta Brace Rain Slicker for Pro Camcorder RS55 like New Asking only 150$, Script Boy Wireless T.C. System needs minor repair Asking only 200$, 3 x ETC Par Source Four Light with GP TVMP Light Stand Adaptor Asking only 175$, Eartec TD-904 Pro intercom EATD904 Value 1 050$ Asking only 300$, Shure Mixer FP33 & Porta Brace audio mixer case Asking only 450$, Minolta Lightmetre + Adap.5° 4F Asking only 250$ , Beachteck passive dual XLR adaptor DXA-5Da like new Value 369$ Asking only 150$, Sony Monitor SD PVM-14N1U new Asking only 75$, 2 Camera Canon Dig Rebel 10Mp XTi, Sigma 70-300 F4-5.6 Super C-AF, 4 Canon Batteries and accessories Asking only 850$, Porta Brace monitor Case for Panasonic BT-LH910 like new Asking only 100$ andrepaul@me.com or call 514 831-8347 • 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.

E-mail or call for photos and more information. 514-9412555, 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; 15 mm rod support bracket; 85 mm 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 2- Transvideo Titan HD Transmitter and Receiver kits. $3000ea. 2 for $5500. Similar in style and operation to the Boxx Meridian.

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 $900 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) $400Contact: 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 416916-9010. 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 416916-9010. 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, ThreeWay 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 EYE-

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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 613-2553200, 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 VPS400D 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 905-290-4430 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 GST) insertion fee. Your ad will appear here and on the CSC’s website, www.csc.ca. If you have items you would like to buy, sell or rent, please email your information to editor@csc.ca.

Canadian Cinematographer - October 2013 •

19

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 Member Production Notes 100 (series); DOP Philip Linzey csc; to January 24, 2014, Langley Almost Human (series); DOP David Geddes csc & Michael Wale csc (alternating episodes); to December 1, Vancouver Arctic Air III (series); DOP Bruce Worrall csc (alternating episodes); to November 26, Aldergrove Bates Motel II (series) DOP John Bartley csc, ASC; to November 21, Vancouver Beauty and the Beat II (series); DOP Bruce Chun csc & David Malkin csc (alternating episodes); to April 22, 2014, Toronto Beethoven’s Big Adventure (feature) DOP C. Kim Miles csc; B Camera Operator Gordon Miller csc; to October 8, Halifax Cashing In IV (series); DOP Alwyn J. Kumst csc; to October 4, Winnipeg The Best Laid Plans (mini-series); DOP Gavin Smith csc; to October 22, Ottawa Coconut Hero (feature); DOP/Operator Brendan Steacy csc; to October 21, Toronto Covert Affairs IV (series); DOP Colin Hoult csc (alternating episodes); to October 10, Toronto Crawlspace (feature); DOP Scott McClellan; to October 1, St. John’s Defiance II (series); DOP Thomas Burstyn csc, frsa, nzcs; to December 17, Toronto Degrassi: The Next Generation XIII (series); DOP Mitchell Ness csc; to October 24, Toronto Fairly Odd Summer (movie of the week); DOP Thomas Harting csc; to October 29, North Vancouver The Good Witch IV (TV movie); DOP John Berrie csc; to October 4, Toronto Hannibal II (series); Camera Operator Peter Sweeney; to March 20, Mississauga, Heartland VII (series); DOP Craig Wrobleski csc; B Camera Operator Jarrett Craig; to December 9, Calgary Helix (series); DOP Stephen McNutt, csc, asc; to December 9, Montreal Lost Girl IV (series); B Camera First Assistant Marcel Janisse; B Camera Operator Anton Van Rooyen; to October 21, Toronto Lucky 7 (series); DOP Luc Montpellier csc; B Camera Second Assistant Megan MacDonald; to December 2, Toronto Motive II (series); DOP Ryan McMaster csc; to January 24, Burnaby Murdoch Mysteries VII (series); DOP James E. Jeffrey csc & Yuri Yakubiw csc (alternating episodes); First Assistant Kevin Michael Leblanc; to November 15, Toronto Once Upon a Time in Wonderland (series); DOP Attila Szalay csc, HSC; to January 16, Burnaby Republic of Doyle (series); DOP David Herrington csc; to December 3, St. John’s Reign (series); DOP Paul Sarossy csc, asc, bsc; B Camera Operator/Steadicam Andris Matiss; to December 5, Toronto Seed II (series); DOP Gerald Packer csc; to December 9, Dartmouth Step Up 5 PACE 3D (feature); DOP Brian Pearson csc; to November 5, Vancouver Supernatural IX (series); DOP Serge Ladouceur csc; Camera Operator Brad Creasser; to April 20, Vancouver Tomorrow People (series); David Moxness csc; to December 5, North Vancouver Suits III (series); OP Michael Soos; B Camera Operator J.P. Locherer csc; October 31, Toronto Yamaska V (series); DOP Daniel Vincelette csc; to December 6, Montreal

Calendar of Events 9-20, Festival du nouveau cinéma, Montreal, nouveaucinema.ca 18-3, Antimatter: Underground Film Festival, Victoria, B.C., antimatter.ws

OCT

26-Oct. 11, Vancouver International Film Festival, viff.org OCT

22-26, St. John’s International Women’s Film Festival, St. John’s, NL, womensfilmfestival.com 16-20, imagineNATIVE Film Festival, Toronto, imaginenative.org 17-25, Toronto After Dark Film Festival, torontoafterdark.com 19-29, Calgary International Film Festival, calgaryfilm.com

20 • Canadian Cinematographer - October 2013

NOV

26-Oct. 5, Edmonton International Film Festival, edmontonfilmfest.com

21-24, Planet in Focus: Environmental Film Festival, Toronto, planetinfocus.org

CUT. SHAPE. FOCUS. TUNE. ARRI introduces the first LED-based lights to truly match the versatility and homogeneity of conventional tungsten Fresnels: a new generation of focusable, tuneable lights that offers complete control, combining breakthrough performance with incredible efficiency.

www.arri.com/l-series

Dynamic Duo Not only do Sony’s PMW-F5 and PMW-F55 feature an incredible dynamic range – a minimum 14 stops. Both 4K cameras feature a Super 35mm image sensor, giving shooters plenty of resolution and formats options, including the ability to capture 4K and 2K RAW footage using Sony’s new AXS-R5 recorder and AXSM media.

The F5 and F55 can also capture HDCAM SR (MPEG4 SStP) in both 4:2:2 and Full RGB, as well as 8 bit XDCAM 50 Mb/s 4:2:2, and 10 bit XAVC 100 Mb/s 4:2:2 codecs to high-speed Sony SxS cards.

And man, they’re super fast! For high frame rate capture, you can record RAW at up to 240 fps, without cropping and/or windowing the sensor. Or record up to 180 fps 2K using the XAVC codec directly to SxS cards.

And like the other dynamic duo, the F5 and F55 can be outfitted with an array of dazzling gadgets, including a new series of Sony OLED and LCD viewfinders, which provide better brightness, contrast response, and image clarity.

Pumped and ready for action, the dynamic F5 and F55 are standing by at Vistek.

Sony-Authorized Professional Solutions Sales & Service Centre Expert service to go along with the best technology Sony has to offer.

CommeRCiAl PRo Video Direct: 416-644-8010 • Fax: 416-644-8031 • Toll-Free Direct: 1-866-661-5257 • CommercialVideo@vistek.ca

Photo | Video | digitAl | SAleS | RentAlS | SeRViCe

The Visual Technology People

www.vistek.ca