Canadian Society of Cinematographers Magazine November 2013 by The CSC

Canadian Society of Cinematographers

$4 November 2013 www.csc.ca

Douglas Koch csc Captures

The Grand Seduction Allan Leader csc: Unclaimed • Norman Quick csc

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Doug Koch csc

Douglas Koch csc Captures The Grand Seduction By Fanen Chiahemen

Allan Leader csc Shoots Unclaimed By Fanen Chiahemen

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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 digital professionals, from the aspiring student and camera assistant to the news veteran and senior director of photography.

FEATURES – volume 5, No. 6 November 2013

Norman Quick’s personal photo collection

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.

Remembering Stormin’ Norman: Norman Quick csc By Dale Gervais

Columns & Departments 2 3 18 19 20

From the President In the News Tech Column Camera Classified Productions Notes / Calendar Cover: Koch shoots over the water during production of The Grand Seduction. Photo: Patrice Lapointe

Canadian Cinematographer November 2013 Vol. 5, No. 6 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

From The PRESIDENT Joan Hutton csc

hen the first digital cameras hit the market, there was much murmuring that this signalled the beginning of the end for cinematographers. Anyone could now pick-up a camera and start shooting. Of, course this is like shooting craps. You might win, but most likely you’ll lose. It’s always baffled me why anyone would put their production at risk by hiring an inexperienced person with questionable skills as their “cinematographer.” Shooting digitally is a complex endeavour requiring cinematographers who have risen to the challenge by embracing and then mastering the technology.

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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. Subscribe online at www.csc.ca.

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2 • Canadian Cinematographer - November 2013

As amazing as digital technology is, it has bred awkward situations for cinematographers. I’m sure every DP has run head-on into the “immediacy syndrome,” where anybody and everybody is asked their opinion about the setup and lighting. The nature of digital cinematography allows for the image to be viewed on monitors before the record button is pushed or instantly in playback. This is generally a good way to spark an agreement or a discussion between the DP and the director over their vision. Where it bogs down is when everyone is allowed to critique the shot. I’ve even heard of a situation where guests on set were asked their opinion. This scatter gun approach only undermines the cinematographer and his or her skill, which has taken years to develop, but it also highlights the insecurity of the director and perhaps the production itself. Even more vexing is the scenario where a camera has already been purchased or locked into a rental and the producer is on the hunt for a cinematographer. However, the camera is the wrong choice and will not meet the production’s expectations, requiring fix-ups in post at great cost in time and money. What does a prospective DP do? Point out the camera’s shortcomings and risk not getting the job. Or, does one keep quiet, go for the paycheque and hope for the best? The results will probably be less than satisfactory and will make no one happy. It’s a digital age dilemma. With cameras becoming cheaper, and to a certain degree more user friendly, there is an expectation that anyone can make their project look like a Hollywood blockbuster by simply pressing a button. This is a digital dream fostered in part by the technology and partially by the marketing of some of the manufacturers. Not all cameras are created equal, and it takes the experience and skill of a cinematographer to know which one is best for realizing a production’s vision. Producers, directors, and manufacturers who think the role of the DP has diminished with the dawn of the digital technology are short-sighted and simply wrong. Cinematographers, with their creative and technical knowledge, are needed now more than ever.

In The News

Fritz Spiess Archive

John Holosko csc

15 t h A n n i v e r s a ry C e l e b r at i o n

The Fritz Spiess Archive will be holding its 15th anniversary celebration at the University of Toronto Media Commons on November 8 at 6 p.m. A founding member of the Canadian Society of Cinematographers and former CSC President, Fritz Spiess csc was a commercials cinematographer. Because of the many awards his commercials won and the awards that were created in his name, he became known as the “dean of Canadian cinematographers.”

Technicolor Opens Visual Effects Studio in Montreal Technicolor in September announced the opening of a new visual effects studio which will employ more than 200 artists in Montreal. Furthermore, the group has announced that it will be relocating all its postproduction installations to a single site equipped with the latest technology. The new visual effects studio, opening under the brand MPC, will be located in the old town of Montreal. This installation, promoted by the Government of Quebec, will complement an existing network of six studios in locations around the world (London, Vancouver, New York, Santa Monica, Bangalore and Amsterdam). The new prem-

For information about the event, CSC members should call Gunild Spiess at 416-225-5970 or email info@fritzspiessarchive.com.

ises were set to officially open on October 28. The team in Montreal was already working on projects such as Into the Woods (Walt Disney Pictures), X-Men Days of Future Past (Twentieth Century Fox) and Cinderella (Walt Disney Pictures).

Dazmo Digital Merges with Camera Department Dazmo Digital in September announced that it would be merging with Camera Department. Both companies specialize in providing the latest in camera, video assist, and playback rentals to the film and television industry. The combined companies will go forward together under the new name Dazmo Camera. The Canadian Cinematographer - November 2013 •

new company was set to begin operating out of the current Camera Department location at 221 Norseman Street in Toronto as of September 23. The facility features newly renovated prep lanes, state-of-the-art lens and camera alignment rooms, 24/7 accessible on-demand equipment lockers.

Dashwood Wins Top International 3D Imaging Award

in Ontario focused on helping small-to-medium-sized digital media companies with applied research, testing, consulting, and training services that boost innovation. The new centre will build on Sheridan’s existing Screen Industries Research and Training Centre, expanding it to include more robust and specialized services within the film, television, and interactive digital media sectors. Services will include testing, benchmarking, consulting, seminars and workshops, and referrals. The funds are dedicated for operational expenses for five years with the possibility of renewal. Sheridan is one of three institutions across Canada awarded TAC funding this year. In related news, SIRT will be joining forces with William F. White International to conduct research and development to launch a high-speed imaging truck in Toronto. With financial backing from the Ontario Centres of Excellence, the initiative aims to develop production and acquisition technology that enables high-speed filming rates up to 10,000 fps, while correcting problems filmmakers have shooting at high speeds, such as flicker and arc wander.

ARRI Debuts AMIRA Documentary-Style Camera

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At this year’s IBC, ARRI unveiled the AMIRA, a documentarystyle camera with an ergonomic design optimized for single-

Tim Dashwood with Lumiere Award.

Dashwood Cinema Solutions, developer of film and TV production software tools for the Mac, has received the International 3D & Advanced Imaging Society’s prestigious Lumiere Award. Dashwood was awarded the Lumiere at a special event at Paramount Pictures Studios in Hollywood on September 18. Accepting the award, the company’s founder CSC associate member Tim Dashwood said, “It’s very rewarding to know that something I selfishly designed just to make my own job as stereographer a little easier has been embraced by so many 3D professionals around the world.”

SIRT To Become Ontario’s First Digital Media Technology Access Centre Sheridan College in September announced it had received a $1.75 million award under the Natural Sciences and Engineering Research Council of Canada’s (NSERC) College-Community Innovation program to create a Technology Access Centre (TAC)

4 • Canadian Cinematographer - November 2013

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Douglas Koch csc and director Don McKellar survey the landscape of Newfoundland.

6 â&#x20AC;˘ Canadian Cinematographer - November 2013

Douglas Koch csc Captures

The Grand Seduction By Fanen Chiahemen

n The Grand Seduction, Don McKellar’s latest feature, residents of a tiny Newfoundland fishing harbour must convince a city doctor to move into their community so they can secure the building of a petroleum plant that will create much-needed jobs. The comedy is in the absurd lengths the townsfolk, spearheaded by their mayor (played by Brendan Gleeson), will go to seduce the young doctor (Taylor Kitsch) into taking up residence in the harbour. If it sounds familiar, it’s because The Grand Seduction, written by Michael Dowse and Ken Scott, is a remake of the popular 2003 Quebec film, Seducing Doctor Lewis (La grande séduction). A classic social comedy with the feel-good spirit of films like Waking Ned Devine and The Full Monty, The Grand Seduction, which also stars Gordon Pinsent and Mary Walsh, got a hearty reception at this year’s Toronto International Film Festival where it had its world premiere. Shot in the small harbours near Trinity Bay in eastern Newfoundland, The Grand Seduction also serves up plenty of local colour,

Credit: Marlène Gélineau Payette

which director of photography Douglas Koch csc helped achieve by shooting the film like a serious drama. “I didn’t make any attempts to make it funny in the photography. So, no zany wide lenses or anything like that,” Koch says. “The philosophy heading into it was to use nice atmospheric lighting.” Not surprisingly, given that the Newfoundland setting was an essential element of the plot, another character in the story, so to speak, the natural summer beauty of the place informed the palette for the film. “It’s a very vibrant and colourful place,” Koch notes. “There are all these crazy pink rocks; the undercover is very striking greens, and the water’s a beautiful colour. So that was the aesthetic in terms of the use of colour.”

Koch and McKellar(right) on location shooting The Grand Seduction.

For the most part, the interiors are equally vibrant. Production designer Guy Lalande says when he went on location scouts he was struck by the use of wallpaper in the homes, particularly the older ones. “In the period houses, they would use layer upon layer of wallpaper, because that’s how they would weatherproof their homes,” Canadian Cinematographer - November 2013 •

Patrice Lapointe

Lalande says. “And the wallpaper is usually very wild. You don’t find quiet tones of wallpaper.” Not only does the eccentric interior design provide some points of humour in the film, but it was also a treat for Koch, who was relieved at not having to try to make what he calls “boring” interiors look interesting. “I had very few white or beige walls to deal with,” he recalls. The Grand Seduction was shot on a single ARRI ALEXA camera, supplied by Michel Trudel in Montreal, with the Cooke i5 lenses (T 1.4). “Knowing there would be situations where there could be big issues with dynamic range and things where you would get inside and it would be a really un-lightable shot, say you’ve got high contrast or something like that, I just knew the camera would handle it really well,” Koch says.

Marlène Gélineau Payette

Indeed, it’s hard to see how Koch would have been able to shoot some of the night exteriors without a camera like the ALEXA. “We had a few wide night scenes where there was nothing in the way of light in these little fishing villages and harbours that we were shooting in,” Koch recalls. “Each of them had two streetlights or something. When darkness came there was nothing to sponge off or anything. When you don’t have huge lighting artillery it really helps to have such a sensitive camera and fast lenses that perform well wide open.”

Top: The crew shoots a scene in a cove. Bottom: McKellar and Koch.

8 • Canadian Cinematographer - November 2013

Koch was even able to capture characters moving inside in the dark, with the kerosene lanterns they were holding providing the only lighting in the scene, although the lanterns took some getting used to for other reasons. “These beautiful kerosene lanterns

Patrice Lapointe

look great, but a lot of times they don’t work very well,” Koch says. “I literally told the art department, ‘You have to become the master of these things because we’re actually relying on them really heavily. You’ve got to be able to trim the wick and know how these things work and be able to keep the glass from blackening up.’ Again it looked great. It increased my confidence in being able to use more of these practical things with minimal augmentation of film lighting. It’s pretty amazing how the combination of these cameras and lenses now really allow for great light with practicals, firelight, candlelight, torch light.”

Koch recalls one serendipitous moment in which the crew were filming a scene at night by the harbour and were surprised to see

Patrice Lapointe

In one memorable scene, the former mayor is seen absconding from town in the middle of the night, illuminated, as he packs up his car, by the light pouring out of the open front door of his house. “A carefully placed cheat light was hidden that emulated the light from the open doorway in the wide shot. Once we came in tighter for coverage, it was easy to move that light around as needed,” Koch says. He also used edge lights in some places to pick things up. “We had a lift in the background out of frame. We had some par cans up there just to pick up little rock details in the background to give it some depth, and then we could rim light things we wanted in the foreground. It can take some getting used to because a lot of these par cans are sometimes overly bright, and you have to tip them up and waste light off into the night sky because you’re actually using the edges of them because they’re so bright.” Top: Cinematographer Doug Koch csc. Bottom: The crew captures a comical scene against a beautiful backdrop.

Canadian Cinematographer - November 2013 •

Doug Koch csc top three photos this page and photo on next page. Marlène Gélineau Payette

Top: The townsfolk learn to play cricket in an effort to impress a young city doctor who is considering relocating to their community. Above left: Residents listen in on the doctor’s phone conversations to learn more about him. Directly above: Brendan Gleeson in action. Opposite page: Brendan Gleeson (left) and Gordon Pinsent in The Grand Seduction.

10 • Canadian Cinematographer - November 2013

of sufficient level of luminosity that you cannot lose them when you go for the sky.”

Marlène Gélineau Payette

And of course there was always the possibility of matching things in the DI suite. In postproduction, Koch and McKellar spent a few days at Montreal’s Vision Globale with colourist Mark Lucier. Being his first digital feature using a digital intermediate, Koch was pleasantly surprised even before he got into the DI suite. “It helps when you’re shooting, knowing you can put power windows in later and darken the sky down and such,” he says. “You’re not fussing about struggling to darken it down while you’re shooting. The creative potential for that kind of stuff is amazing.” an almost-full moon, its light shimmering off the water. “It was amazing because it was lined up perfectly for the shot,” Koch recalls. “And the way the waves were forming, it actually formed a wide band of reflection off the sea. And I had never done this before, never actually used real moonlight. I thought, ‘This is hilarious. People will think it’s CG or something, it’s so ideal.’ But we were just there at the right time.” In daylight, the main concern for Koch was continuity because coastal Atlantic weather is notoriously changeable, and the difference between soft light and hard sunlight can be quite dramatic. “A big fear for a cinematographer is you’ve just gotten some big wide shot in the sun and then the clouds roll in, then it’s raining, and then sunny again. Luckily for us we only saw a little bit of VANCOUVER CALGARY 604-527-7262 403-246-7267 that,” Koch says. But sometimes the clouds did roll in quickly after sunshine, and in those moments “we’d pull out big guns and 604-527-7262 403-246-7267 attempt to make it look sunny in tighter shots that were lightable. In soft light, we would just take silver bounces and scoop up what was actually there. And just push it in to pick up actors’ eyes and such,” Koch says.

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But those kinds of cheats were not as straightforward in wide shots. “That’s where the DP’s job really is the toughest,” Koch muses. “You’re forced to anticipate and say, ‘What do I do? Assume there’s going to be a greater majority of sun light, hard light or get more clouds? Should we go soft light or hard light?’ And then have to commit to it and that’s what the scene becomes.” Sometimes the crew could just let the changing sky become part of the scene. “That part of the world is known for its landscapes, and that includes the sky, and you do get very dramatic skies. So we let that play,” Koch says. For example, when the doctor first arrives in town by boat, the atmosphere visibly transitions from hard clean sun to diffused sun to a heavy overcast sky and then back to full sun. “The trick is to lift the actors up, bring their faces up, and that allows you to expose more for the sky and holds more detail,” Koch explains. “If you just work with available light and you go for faces and ignore the landscape, the sky will be much brighter. The sky is the light source; it’s illuminating everything you’re seeing. If you’re trying to dig out some exposure to get their eyes out under hats, the first thing you’ll lose is parts of the overcast sky. Make sure the stuff you really care about, usually the actors, are

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Canadian Cinematographer - November 201310/7/2013 •

4:25:27 PM

By Fanen Chiahemen

Allan Leader csc

n 1968, at the height of the Vietnam War, U.S. Special Forces soldier John Hartley Robertson was shot down over Laos while on a classified rescue mission. Forty years later, war veteran Tom Faunce, on a humanitarian mission in Southeast Asia, learned of a mysterious man living in a remote village in south-central Vietnam. The man claimed he was Robertson, mistakenly listed as killed in action and left behind by the U.S. Army. The man spoke no English, only Vietnamese, and said he had been confined and tortured by Vietnamese captors. After meeting the stranger, Faunce, who has dedicated his life to helping people in need, became convinced of the man’s story. He subsequently embarked upon a quest to prove Robertson’s identity and attempt to reunite him with his family in the United States – including the wife and two daughters who believed he was killed in action – all the while working against government forces in both countries.

That quest is documented in Emmy Award-winning filmmaker Michael Jorgensen’s film Unclaimed, shot by Allan Leader csc. The documentary premiered this year at Toronto’s Hot Docs festival and has garnered international press attention, as much for its haunting narrative as for the controversy at the centre of it. Since the film came out, questions continue to be raised about Robertson’s identity, and the U.S. government has maintained he died in a fiery helicopter crash more than 40 years ago and that the man claiming to be Robertson is a fraud.

Myth Merchant Films

For Leader, knowing the potential firestorm that would erupt around it, Unclaimed was a hard project to agree to take on initially. “The story brings with it a lot of controversy. I knew it would be potentially risky on a lot of levels,” the Calgary-based director of photography says. “It was a project I really had to sit down and be completely transparent with my wife about and say, ‘No one can really guarantee our safety, but is it something we still feel compelled to pursue because we want to be part of seeking out the truth?’ I was really fortunate that my wife gave me the green light to tell this story. While she was concerned, she said, ‘If you feel strongly about telling the story, promise me you’ll be careful, and I’ll support you.’” Making the endeavour more challenging still was the fact that as far as the crew went, Leader and Jorgensen were basically it. For one thing, Jorgensen, who in 2005 won a CSC Award in the documentary category for his film Lost Nuke, likes to keep his crew lean so as not to be slowed down. “The benefit of working that way is that when it comes to shooting documentary and uncontrolled action, in my opinion, the only way you can really direct is by looking through the viewfinder and having your hands on the camera because it’s all happening in real time,” Jorgensen says. “And really the guy who’s holding the camera is ultimately

12 • Canadian Cinematographer - November 2013

directing it because he’s sequencing and shooting our shots and giving the coverage. Al and I have very much the same sensibility when it comes to story and we agreed on the style and the approach to this.” But the production also had to stay lean because the scenes that were shot in Vietnam had to be captured under the radar. Despite the fact that neither government has officially confirmed Robertson’s identity, Robertson says that after more than four decades he is still monitored by the government in Vietnam. “He maintains he has been under surveillance by government officials and told he’s American,” Leader says. “He’s commonly known in his village as ‘the foreigner.’” Leader recounts that the first time he and Jorgensen interviewed Robertson, in a non-descript hotel, halfway through the interview they received news that two government officials were interrogating the front desk receptionist about their arrival and demanding she surrender the filmmakers’ passports. “When we travelled with John, say we went for coffee, there would sometimes be two guys behind us who John recognized as government spies who followed his movements regularly,” Leader says. “So anything we could do to draw less attention to ourselves as a film crew was ultimately more important than any of the compromises technically.” That ruled out bringing any large “broadcast-looking” cameras into the country, Leader says. He and Jorgensen had filmed several television pilots together with DLSRs, and although they love the cinematic tones and depth of field of full frame DSLRs, Leader believed capturing audio with a DSLR would be too challenging without a sound person on board. The cinematographer had been reading about the as-yet-unreleased Canon C300 and thought it would be “a viable alternative to the DSLR,” he says. “It would give us a comparable and superior look and solve all the technical challenges of a DSLR. Audio issues were addressed with XLR inputs and the rolling shutter of a DSLR was virtually eliminated. Unlike Leader’s Canon 5D II DSLR, there were no issues of having to stop recording after 12 minutes to catch up and let the camera process information. “It also gave me the ability to monitor critical focus properly,” he says. Because of the camera’s large sensor, Leader could maintain a tight depth of field, and he shot as close to a stop of 2.8. As the C300 was not yet on the market, obtaining one took some campaigning. “I basically worked my way up the food chain and built a relationship with an executive at Canon Canada and convinced him that we really wanted to use this camera,” Leader

Shoots

Unclaimed Canadian Cinematographer - November 2013 â&#x20AC;˘

Previous page: Tom Faunce walks along the Vietnam Veterans Memorial Wall. This page: Still from Unclaimed. Next page top: Tom Faunce, a Vietnam War veteran and humanitarian, seeks the true identity of a man claiming to be an American MIA and vows to reunite him with his family. Bottom: Cinematographer Allan Leader csc shoots in a field in Vietnam.

14 â&#x20AC;˘ Canadian Cinematographer - November 2013

says. “I made a commitment to buy it as soon as he could get me one, and he committed one that was on the production line. We got a camera in our hands three days before principal photography. “Fortunately, the camera was very intuitive,” Leader continues. “The menu systems weren’t overwhelming, and I was up to speed after a few days. Without question it was the right choice.” But sometimes even the Canon wasn’t enough to keep them inconspicuous, so Jorgensen and Leader resorted to other means. For example, they needed shots of Robertson’s remote village, but going there with a camera was too risky. So they bought a fishing vest and Tilley hat, cut holes in the vest pockets and hat and concealed four GoPros in them. Robertson wore the vest in his village, capturing images without attracting attention. Leader also concealed a GoPro in a small cardboard box that housed an electrical outlet, and he had Robertson place it in his house. “There was no other way to obtain these images, and while the quality was not great, the content was far more important,” Leader says. He adds that he filmed himself showing Robertson how to shoot with the GoPro and how to conceal the camera in his vest “so if we ever needed to explain how we got that footage no one could accuse us of doing anything illegal. Transparency was at the forefront of our minds throughout this project. We knew that once the film was released there would be attempts to discredit much of the claims being made by our key characters.” Despite all the surreptitious shooting, the photography is unmistakably beautiful. Perhaps it’s because Leader had a clear visual reference in mind before starting the film: Terence Malick’s Tree of Life. “It’s unpredictable and cinematic with a cinéma vérté approach,” Leader explains. “It just really felt like it was a journey, as the camera often follows the subject versus leading, and it just made sense to utilize the same authentic approach in Unclaimed. We never knew what was going to happen next, and there were so many points where even though you went into the situation thinking this is what is possibly going to unfold, it would completely turn around on you. We were towed along throughout the journey.”

film is shot with no supplemental lighting.” In one scene Faunce visits the U.S. Vietnam Veterans’ Memorial in Washington, D.C. The memorial is a black stone wall with the names of fallen and missing American service member etched into it. The scene was shot at 4 a.m. in virtual darkness, when no one else was around to keep the focus on Faunce, who visits to make a charcoal etching of Robertson’s name. There is virtually no other light in the scene except for the tiny pot lights that run alongside the wall. “That’s where the camera really did excel,” Leader says. “I utilized the C300’s ability to shoot 20,000 ISO to bring out detail in the shadows.” More importantly, Leader says, “It allowed us to film a powerful scene under existing light which meant we didn’t significantly impose our process upon our subject, Tom.” In another early morning scene, Leader was able to capture an exquisite scene at sunrise in Arlington National Cemetery. With Tom walking through the vast rows of fallen soldiers, it serves as the backdrop for the film’s introduction to the journey ahead. Leader says that being behind the camera did not necessarily provide protection from the heart-wrenching moments he, Jorgensen and Faunce encountered on their journey. “When we first interviewed John and we showed him a photo of two women, who were his American daughters, he clenched the photo against his chest and started weeping uncontrollably because he immediately recognized them. I was sobbing while filming the scene.” Leader says. “Unclaimed is the most emotionally compelling story I’ve ever told. As a human being, I don’t know how you can be immune to the raw emotion that unfolds in this film.”

Myth Merchant Films

Another technique Leader applied in service of the tense, emotional narrative of Unclaimed was the unconventional use of negative space. “Traditionally, when you’re framing a subject, especially head and shoulder shots, you would frame it with the open space in front of them,” he explains. “When you cut the space in front of them and leave more of the open space behind them it creates an awkwardness.” Leader recalls one scene in which Faunce sits in a café writing in his journal, conveying thoughts about the journey he’s about to undertake. “I framed it with forced negative space awkwardly because at that point in the film we’re learning about Tom’s discomfort and the personal struggles within that he’s encountering in his journey to find out who John is. I wouldn’t use it on most projects but because there is constant tension throughout this film, I often utilized negative space.” Even on night shoots, Leader was able to compose some striking images with very little light because of the C300’s ability to essentially see in the dark. “It shoots at such high ISOs, it reveals detail your eyes don’t see,” Leader says. “I would say 98 per cent of the Canadian Cinematographer - November 2013 •

g n i r e b m e m e R

’ n i m r Sto n a m Nor 3 1 0 2 1 2 9 1 sc, By Dale Gervais c k c i u Q . C Norman

collection ’s personal photo -137041 Norman Quick nada/DND/PA Ca / DND Centre: a ves nad chi Ca Ar ves and y & Archi (Attr.)/Library Photo left: Librar Right: Ken Bell

16 • Canadian Cinematographer - November 2013

orman Quick was born in Toronto on April 22, 1921. As a youth, Norm carried camera equipment for his father, Charles James Quick, who worked in the 1920s with the Ontario Motion Picture Bureau. At the outbreak of war in 1939, Norman enlisted with the Canadian Medical Corps, undertaking training at Camp Borden. After making no less than seven requests, he obtained a posting overseas. Landing in Britain in December 1942, Norm served at the Alton Convalescent Hospital before getting orders to join the Canadian Film and Photo Unit (CFPU) in London. During June and July 1943, he trained as a combat cameraman at Pinewood Studios, where he remembers meeting the great Hollywood director Frank Capra. As a member of No. 2 Canadian Public Relations Group, Sergeant Quick sailed for Italy, filming a German aerial bombing attack on his convoy before disembarking at Naples in November 1943. Sergeant Norman Quick was the last surviving member of the Italian theatre with the First Army Brigade. Stationed in Italy as part of the Canadian Army Film and Photo Unit, Norman was a first-hand witness to some of the most ferocious fighting outside France, documenting bloody campaigns like the Battle of Ortona, also known as “Little Leningrad,” the Gustav Line, the Hitler Line and the Battle for Cassino. Norm won a Mention in Despatches for “all-round performance of his duties in Italy” in recognition of “gallant and distinguished service,” as well as the Italian Star, the FranceGermany Star and the 1939-45 Star. While stationed in Italy, Norman Quick and other members of the Unit were on hand when a young Italian boy came running into their camp to say that a Canadian cameraman had been wounded. Norman recalls running “like hell” down the road to be first on the scene to aid his colleague Sergeant Andy Anderson who was hit by shrapnel. Norman stopped the bleeding and he and his driver loaded Sergeant Anderson and his camera equipment onto a jeep and got him to a casualty clearing station that ended up saving his life.

Some of the films he worked on are currently housed at Library and Archives Canada. Norman Quick was instrumental in aiding The War Amps with the release of their historical boxed set of all 106 issues of the Canadian Army Newsreels. He will be remembered for his quick wit and sharp memory to recall events from so many years ago. He leaves behind the inspiration for a website devoted to keeping alive the memory and historical achievements of all Canadian combat cameramen and women. Norman will also be fondly remembered by the surviving members of the Film & Photo Unit, who put their lives on the line in order to get the films and photos, along with the stories of the men and women of the Canadian Armed forces, sent back home. There is Michael Spencer of Montreal, who was one of the original four members to form the Film Unit and was appointed Member of the Order of Canada in 1989 for his part in the creation of the Canadian film industry. Norman will be missed by his close friend Dave King of Vancouver, who was wounded as a driver while on assignment with the Film Unit in Italy. And Nadine Manning of Beaconsfield who worked in the Film Unit Library, as well as Graham Campbell of Oakville, another combat cameraman who served in the Film Unit along with Norman. Norman Quick, after suffering a bad fall and surgery to repair a broken femur, died peacefully at the Ottawa Hospital (Civic Campus). He was 92 years old. Reprinted with permission from the website www.canadianfilmandphotounit.ca Dale Gervais has been actively researching and documenting the history of the Canadian Film & Photo Unit since 2006. Dale is currently employed as a Film Conservator at the Library & Archives Canada.

Norman and Ernie DeGuire, of Kemptville, were the last two Film Unit men to leave Italy, travelling north to reach Nijmegen in March 1945. After two arduous years in Italy, Norm was expecting some leave in Britain, but had to go into action right away filming Canadian units fighting in the Reichswald Forest. He followed the advance through Northwest Europe to Oldenburg, entering the port of Wilhelmshaven two days before the ceasefire in May 1945. After the war, Norm Quick became a cameraman with the National Film Board from 1945 to 1951, and then rejoined the Army for another 18 years of service before his retirement in 1969.

Dale Gervais

Norman would tell the story about being in Holland during the winter, when many of the Dutch people were suffering from hunger. He recalls how Dutch children would often beg for food, but on one occasion Norman was rebuffed by the military to not fraternize with the population. Norman would recall how he defiantly entered the canteen and persuaded the cook to make scrambled eggs for the starving children.

Left: Quick with an Eyemo camera. Middle: Quick in Italy, 1944. Right: Group photo of ‘A’ Section, Canadian Army Film and Photo Unit, 2 C.I.D. Left to right: Sgts. W.R. ‘Bud’ Sherwood and L.G. Clarke, Capt, G. Ken Bell, Pte. E.A. Shirreffs, Sgt. N.C. Quick and Pte. G. A. Playford at Canadian Headquarters. Above: Norman Quick csc (right) with combat cameraman Charles “Chuck” Ross. Editors note: Quick and Ross both received the CSC Combat Camera Award in 2010.

Canadian Cinematographer - November 2013 •

Long Live Film

George Eastman House Archive, Rochester, New York.

ilm is dead, right? Better cancel that funeral because in the United States and Europe film is remarkably healthy. Six of last year’s Best Picture Oscar nominees were shot on Kodak film, the last man standing in the world of celluloid and emulsion. Kodak, which emerged from bankruptcy protection this past summer, even boasts “no Academy Award-winning best picture has been made without motion picture film.” Best Picture Oscars have also gone to features shot on FUJIFILM in the last few years (The Hurt Locker, 2010 and The King’s Speech, 2011). While film-based shoots are few and far between in Canada, there are two labs processing film, one in Montreal and the other in Toronto. Pablo Perez, lab manager at the Niagara Custom Lab in Toronto, says they’re still processing 8 mm, 16 mm and some 35 mm stock, mostly for indie productions and music videos. “We have an eclectic mix of clients,” he says, noting some are walk-in, and much is mail order. With the exit of FUJI from film, they’re also carrying some basic stock for sale. The lab has been going for 10 years and is busy, he says, but it’s more a reflection of other facilities getting out of the business and the consolidation of clients across Canada rather than any real trend in growth. It’s hard to put a single reason on it, associate CSC member Vincent De Paula, a director of photography who divides his time between Vancouver and Los Angeles, says. Whether it’s the nature of grain versus pixels, the psychological effect of the frame rate, the detail or colour saturation, every film aficionado has an argument to support using the medium. Last year, Keanu Reeves’ documentary Side by Side: The Science, Art, and Impact of Digital Cinema, explored the question: Is this the end of film? Many of the cinematographers he talked with – and they included Steven Soderbergh, James Cameron, David Lynch, Richard Linklater, Martin Scorsese, the Wachowskis, Christopher Nolan, David Fincher and George Lucas – were passionate about film while others realized that digital is the future and it is now and they have to adapt to push the technology to enhance the key task, to tell a story. (sidebysidethemovie.com.) “I am very keen on film,” De Paula says, recalling how he convinced a U.K. production wanting a film look to just shoot film. “After reading the script I convinced them to shoot on film because, really, that was the best way to achieve the look they wanted. Ultimately, I also saved them money by going with film (with less postproduction costs).” He says he’s talking with a U.S. producer about shooting their next film on S16 mm. “It means there is still interest, and Kodak has signed a deal with six major studios to provide film stock for their productions, so it is not dead,” he said.

18 • Canadian Cinematographer - November 2013

All of which brings us back to digital, in a perverse way. If imitation is indeed the purest form of flattery, celluloid buffs should be pleased that the ultimate compliment being paid to film is the ability of cinematographers and colourists to manipulate the medium to get it to render a film-like quality. Operators have long tweaked their cameras to shoot at 24 fps to soften movement, adjusted the gamma and shortened depth of field with 35 mm still lenses while pushing the camera back. In post, adding grain and other effects will all push the look of digital to film as will careful and detailed colour correction. And, as De Paula notes, the increasing size of chip sensors has opened up more lens possibilities. While preferring film, he also shoots on REDs and ALEXAs and just acquired a Sony F55 to supplement his AATON S16 mm package. “A few years ago, when sensors were much smaller you had to get the camera back and use a long lens to reduce the depth of field and make it narrow,” he says. “But even shooting at 24 fps you never get the same detail and it never looks the same really.” Still, newer cameras do a much better job of capturing blacks, and capturing more dynamic range is possible with more attention to lighting. “Some people try to add more contrast in post but sometimes you do want detail in those blacks,” De Paula says. The key shift in terms of film to digital, he says, is in the approach. “I try not to think, ‘How am I going to get this to look like film?’” he says. “I look at the format and know the pros and cons of that format. I want to get the look in the camera. The manufacturers now are giving us such a huge dynamic range so you can see so much and then decide in post what you want.” Still, he laments, film picks up subtleties digital cannot at this stage: “I can see textures even in 16 mm; I can light a face and see it go from highlight to shadow and how it goes soft.” Even De Paula concedes the comfort zone of film will fade into memory as digital surpasses analog and creative talent begins to harness that power without the urge to reference the past. With the luxury of higher data densities, the creative choices will be around what to leave in and throw out, not about what to add. “Really we should focus on the lenses, they’re more important,” he says. 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.

Tech Column

The King of Media Won’t Die

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. 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 VCL-EX0877, 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$, Sony Camera Handycam HDRHC7, 2 Sony Batteries NP-FH100, Sony Wireless Mic ECM-HW1, Tiffen Filter 37mm UV, Century-Precision ,55 WA ADAPTER 55WA37, KATA Rain Cover KARC18 Value 2100$ 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$, Porta Brace Rain Slicker for Pro Camcorder RS-55 like New Asking only 150$, 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. 514-941-2555, 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; 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

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)

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

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.

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

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 604726-5646 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 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 FlickerFree 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 - November 2013 •

Camera Classifieds

Equipment Wanted

CSC Member Production Notes 30 Vies IV (series); DOP Marc Gadoury csc; to November 22, Montreal 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 Beast II (series); DOP Bruce Chun csc & David Malkin csc (alternating episodes); to April 22, 2014, Toronto Being Human IV (series); DOP Pierre Jodoin csc; to December 11, Montreal Defiance II (series); DOP Thomas Burstyn csc, frsa, nzcs; B Camera Operator Duraid Munajim; to December 17, Toronto Hannibal II (series); Camera Operator Peter Sweeney; to March 20, 2014, Mississauga Happily Ever After (feature); DOP Arthur Cooper csc; Camera Operator / Steadicam Daniel Abboud; to November 8, Sault Ste-Marie Heartland VII (series); DOP Craig Wrobleski csc; B Cam Operator Jarrett Craig; to December 9, Calgary Helix (series); DOP Stephen McNutt, csc, asc; to December 9, Montreal Hemlock Grove II (series) B Operator/Steadicam Keith Murphy; to February 25, 2014, Mississauga Motive II (series); DOP Ryan McMaster csc (alternating episodes); to January 24, 2014, Burnaby Murdoch Mysteries VII (series); DOP James E. Jeffrey csc & Yuri Yakubiw csc (alternating episodes); First Assistant Kevin Michael Leblanc; to November 15, Toronto Republic of Doyle V (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 Remedy (series); DOP Stephen Reizes csc; to January 23, 2014, Toronto Seed II (series); DOP Gerald Packer csc; B Camera Operator Alastair Meux csc; to December 4, Dartmouth Sensitive Skin (series); DOP Douglas Koch csc; to December 6, Toronto Suits III (series); Camera Operator/Steadicam Michael Soos; B Camera Operator J.P. Locherer csc; to November 6, Toronto Working the Engels (series); DOP Thom Best csc; to January 9, 2014, Toronto Yamaska V (series); DOP Daniel Vincelette csc; to December 6, Montreal

Calendar of Events 1-10, Vancouver Asian Film Festival, vaff.org 5-16, Reel Asian International Film Festival, Toronto, reelasian.com

20, CSC Pub Night, Toronto, csc.ca NOV

7-10, Silver Wave Film Festival, Fredericton, swfilmfest.com NOV

27, CSC Full Membership Selection Committee Meeting, Toronto

8, Fritz Spiess Archive 15th Anniversary Celebration, University of Toronto Media Commons, info@fritzspiessarchive.com 13-14, Rencontres internationales du documentaire du Montréal, ridm.qc.ca 13, High Frame Rate Seminar, Toronto, csc.ca 20-24, Winnipeg Aboriginal Film Festival, waff.ca

20 • Canadian Cinematographer - November 2013

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

4, CSC Wisdom Lecture Series with Kim Derko csc, Toronto, csc.ca DEC 9, CSC Pub Night, Montreal, csc.ca

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

PMWow! Wonders never cease – at least when it comes to Sony’s PMW XDCAM line of HD422 camcorders. You want new and exciting? Sony delivers with the semi-shoulder PMW-300, the successor to the hugely popular EX3. And the shoulder-mount PMW-400, loaded with the kind of features and specs you’ve been waiting for. Come see for yourself how the Sony PMW-300 and 400 open doors to a range of new creative possibilities and flexible shooting. Visit a Vistek showroom and get ready to be wowed!

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