Canadian Society of Cinematographers Magazine January 2014

Canadian Society of Cinematographers

$4 Januar y 2014 www.csc.ca

Devil’s Knot Paul Sarossy csc, bsc, asc

HFR

Ready for Its Close-up or Work in Progress?

David Moxness csc

The Tomorrow People Helicam Platforms Take Off

A publication of the Canadian Society of Cinematographers The Canadian Society of Cinematographers (CSC) was founded in 1957 by a group of Toronto, Montreal and Ottawa cameramen.

Since then over 800 cinematographers and persons in associated occupations have joined the organization.

FEATURES – volume 5, No. 8 January 2014

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Cate Cameron/Warner Bros. Entertainment Inc. © 2013 WBEI. All rights reserved

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Reconstructing Devil’s Knot

By Fanen Chiahemen

David Moxness csc Captures The Tomorrow People

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By Fanen Chiahemen

14

Joan Hutton csc

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.

Courtesy of Remstar Films

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.

HFR: Ready for Its Close-up or Work-in-Progress? By Ian Harvey Columns & Departments 2 4 16 19 20

From the President In the News Tech Column Camera Classified Productions Notes / Calendar Cover: Actors playing the murder victims cross a pipe into the forest. Egoyan says the pipe in the film was reconstructed because “it felt like an iconographic moment in that place.”

Photo: Courtesy of Remstar Films

Canadian Cinematographer January 2014 Vol. 5, No. 8 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

From The PRESIDENT Joan Hutton csc

W

hat a terrific way to start the New Year! Five CSC members have been selected as nominees by the American Society of Cinematographers for their 28th Annual Outstanding Achievement Awards in the one hour and half hour episodic series and the television movie/miniseries categories. This is a record for the CSC at this significant industry event. I would like to congratulate Pierre Gill csc, David Greene csc, Ousama Rawi csc bsc, Matthew J. Lloyd csc and Jeremy Benning csc on their accomplishments.

The winners in their respective categories will be announced by the ASC on February 1 in Los Angeles. We wish everyone the best of luck.

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.

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2 • Canadian Cinematographer - January 2014

Another huge date to mark off in everyone’s calendar is the 57th Annual CSC Awards Gala taking place on March 22 at the Westin Harbour Castle on Toronto’s lake shore. I’m always astounded that our awards tradition, which started nearly 60 years ago as a backyard barbecue with a couple dozen cinematographers patting each other on the back, has blossomed into this elegant event that attracts more than 350 people each year to celebrate the art of cinematography and our industry in general. An underlying reason why the CSC Awards Gala has been so successful is due, in no small part, to those sponsors of the CSC, who choose to support our event, both financially and in kind to our event. Their unconditional “giving back” to our community is to be commended. These sponsors, with their contributions and through their presence, can be seen at the Awards Gala each and every year. The CSC thanks you.

The CSC Annual Awards show is also a very organic entity that expands, contracts and shapes itself to changes in our industry. This year, it’s expanding the competitive categories by adding an award for best cinematography in a Webisode to reflect our craft in cyberspace. The entry forms for the 57th CSC Annual Awards are out and can be downloaded from the CSC website. I hope to see you all at the Gala!

Another important event to watch in 2014 is the IMAGO Annual General Assembly in Delphi, Greece, on April 25-26, when an historic vote is to take place. IMAGO is essentially the European Federation of Cinematographers, consisting of 34 full member European cinematography societies. IMAGO for many years has been striving to become an international umbrella organization that represents cinematography societies from all over the world. The CSC has long supported this push and has been a non-voting associate member of IMAGO for several years. In April, IMAGO votes to expand its mandate to include for the first time, non-European societies as full members with voting rights. I will be in attendance in Delphi, where I hope I and the CSC will have much to celebrate.

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In The News

Jeremy Benning csc; David Greene csc; Ousama Rawi csc, bsc; Matthew J. Lloyd csc; Pierre Gill csc

CSC Members among ASC Award Nominees The American Society of Cinematographers has selected its television nominees for the organization’s 28th Annual Outstanding Achievement Awards. Among the nominees are: Pierre Gill csc for The Borgias (“The Purge”); David Greene csc for Beauty and

the Beast (“Tough Love”); Ousama Rawi csc, bsc for Dracula (“The Blood is the Life”); Matthew J. Lloyd csc for Alpha House (“Pilot”); and Jeremy Benning csc for Killing Lincoln. Full details on the nominees and categories can be found on the ASC website (theasc.com). The winners will be announced at a gala on February 1 in Los Angeles.

In other news, John Holosko csc was honoured in October at the Lodz Festival in Poland with a best 3D Music Video win for the New York-based band Des Roar.

Film Schools Get 3D Funding

VANCOUVER

CALGARY

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

604-527-7262

403-246-7267

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TORONTO

416-444-7000 TORONTO

416-444-7000

January 2014

HALIFAX

The federal government in November announced a $595,000 investment to Emily Carr University of Art + Design in Vancouver to help fund research into advanced imaging, stereoscopic 3D and 3D printing and prototyping. The funds will purchase stateof-the-art motion capture, postproduction and 3D prototyping equipment.

HALIFAX

902-404-3630

Meanwhile, NBCUniversal announced it had made a generous 902-404-3630

in Oregon, where he had been living and working. A memorial service was held on November 11, which would have been his 67th birthday.

Catherine Legault

Panavision Unveils New Primo V Lenses Optimized for Digital Cameras

gift to Sheridan College that will allow the college to incorporate 3D stereoscopic content production into the curriculum of its film and television programs, including a new Bachelor of Film and Television that launches in 2014.

Industry Honours Renowned Documentarian Peter Wintonick

Panavision in November introduced a new line of Primo lenses, the Primo V series, specifically designed to work with high-resolution 35 mm digital cameras. The Primo V lenses are designed to bring the look and feel of PanaviPeter Wintonick sion Primos to digital cinematography, using the lens elements from existing Primo lenses. Primo V lenses take advantage of specific design adaptations to work in harmony with digital cameras. The Primo V lenses are compatible with any digital camera equipped with PL or Panavision 35 mount systems. They cannot be used on film cameras. The internal transports and mechanics of the Primo V lenses will retain the familiar Primo feel. A set of Primo V primes will include 14.5, 17.5, 21, 27, 35, 40, 50, 75, and 100mm focal lengths.

Filmmakers across the country have been paying tribute to acclaimed filmmaker Peter Wintonick, who died in November at the age of 60 from a rare form of liver cancer. Wintonick was one of the nation’s most renowned international documentarians, with a career that spanned more than 35 years. His best known work included the 1992 documentary Manufacturing Dissent: Noam Chomsky and the Media, which he co-directed with Mark Achbar and on which he was a cinematographer; and the 1999 documentary Cinéma Verité: Defining the Moment, which he worked on with the National Film Board. Wintonick, who was born Trenton, Ont., but based in Montreal, was named Thinker in Residence by the premier of South Australia in 2005. He then went on to win the Governor General’s Award in Visual and Media Arts in 2006. A fundraising drive was launched in November to help complete his last film, Be Here Now. Wintonick is survived by his wife, Christine Burt, and daughter Mira Burt-Wintonick.

Courtesy of Panavision

Former ACS Federal President and Cinematographer Paul Onorato acs Dies Former Australian Cinematographers Society Federal President and cinematographer Paul Onorato acs passed away last month Canadian Cinematographer - January 2014 •

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Reconstructing

Devil’s Knot Paul Sarossy csc, bsc, asc and Atom Egoyan revisit an infamous crime

By Fanen Chiahemen Photos Courtesy of Remstar Films

T

he case of the West Memphis Three was one of the most notorious murder cases of the 20th century: three teenage boys were convicted of brutally killing three eight-year-old boys in mid-‘90s West Memphis, Arkansas, as part of a satanic ritual. It also led to one of the most high profile murder trials, spurring at least four films and numerous books.

Devil’s Knot, whose cast includes Oscar winners Reese Witherspoon and Colin Firth, was shot on the ARRI ALEXA and marks Egoyan’s first digital feature, a frontier he decided to cross with his long-time collaborator director of photography Paul Sarossy csc, bsc, asc, who recalls, “We went to Deluxe together and were trying to decide which way to go, and the lab manager piped up and said, ‘Before you decide, you should realize our lab has completely shut down; we don’t process film anymore. If you make the decision to go film it’s quite a new world out there.’ So it really came down to that conversation, and Atom figured, ‘Well, let’s give it a go.’”

So naturally, nothing more than a compelling script could prompt one of Canada’s most celebrated filmmakers to turn his lens on the topic. “I was completely seized by the story of this witch hunt that took place in Arkansas 20 years ago. And I felt it was full of possibility,” Devil’s Knot director Atom Egoyan says. Paul Sarossy csc, bsc, asc Sarossy, who has been He also acknowledged that working in HD for years, crafting a feature film version of the story would shepherded Egoyan into the world of digital by be full of challenges, given all the versions of the “organizing an environment that was very familcase that had come before it. “It was a very dif- iar and filmic, so ultimately he was doing what ferent type of film for me,” the director says. “A he has always been doing.” Indeed, Egoyan obfilm that would allude to many different genres serves that with digital “you end up having to of storytelling – horror, murder mystery, docu- light as carefully as you would on film,” but he mentary, courtroom drama – and we had to find took advantage of the speed that shooting digital allows. “It meant we could work a lot faster. We a visual way of representing them all.”

Canadian Cinematographer - January 2014 •

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had 140 pages to shoot in five weeks. It was unlike any schedule we’d ever worked on before. We knew the story would have to be retold in the editing because it was so complex and the amount of material was so intricate in terms of the various points of view.”

Whatever trepidations Egoyan had initially, Sarossy says, “he ended up loving working with HD, and within days he was Mr. Digital.”

The filmmakers’ next big decision became where to shoot, since, visually, to Egoyan, West Memphis “wasn’t really interesting.”

But he says his goal was not necessarily to make the film locations look like the real settings. “I wasn’t held to that,” the director says. “I didn’t feel that was the responsibility of this film. I feel if you want the exact location you can go to the documentary. I was really trying to find what worked dramatically.”

The production instead scouted locations in Georgia where they found stand-ins for the two key settings in the story – the forest where the victims’ bodies were found and the courtroom where the trials played out.

For the woods, “It was more important to find a thick overgrown forest than the much lighter forest that you would find in Memphis, which didn’t have the dramatic contour I was looking for,” Egoyan says.

And while the real courtroom was a “fluorescent-lit cinder block and windowless space,” Sarossy says, the courtroom the production found was an old-fashioned classical courtroom with large windows and tall ceilings. It ended up being “an absolutely perfect location,” Sarossy says. “We were able to have a fair amount of control over the lighting, and in some cases more dramatic lighting that allowed us to invest a little bit of visual interest into what’s a fairly banal situation.”

The bonus was a balcony outside one of the windows where Sarossy could install a row of 18K HMI lights to create controllable sunlight in the trial scenes, which took place over several weeks.

“We could mediate the effect of daylight in that space because it was a daylight of our own making,” Sarossy says.

Sarossy, whose recent projects include The Borgias and Copper, worked with a set of Panavision’s Primo Prime lenses, as well as the occasional Primo Zoom. “It was quite a marked contrast working in that manner because when you work on a TV series the zoom just automatically goes on, and it’s a given that everything will be shot with a zoom just for the speed and efficiency of things,” Sarossy offers. “But with Atom the shots are so well worked out and known that you can actually plan a shot with a Prime lens and work in that fashion, so it’s definitely interesting from my point of view revisiting the discipline of a feature shoot with Atom.”

Because so much of the film takes place in the courtroom, in the interest of time, the crew had to forego conventional long master shots with the camera gliding through the room. “I was shooting in a much less rigid way than I normally would,” Egoyan recalls.

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“There are scenes that are very immediate and almost shot in a documentary fashion. We just had to move very quickly and were using different skillsets from our other movies.”

Devil’s Knot does still feature some signature Egoyan composition. In the scene where one of the murdered boys’ mothers, Pam Hobbs (played by Witherspoon), is informed that her son is dead, the camera lingers above her, never quite showing the stricken mother’s face. Egoyan fans may recall similar composition in the bus crash scene of The Sweet Hereafter.

“Very often, Atom shoots very tragic moments at a distance,” Sarossy observes.

“It’s the eye of God,” Egoyan explains of his decision in Devil’s Knot. “The eye of some spirit looking down and having created this. There’s something supernatural about this entire crime scene. The fact that these boys were found brutalized and mutilated, naked, bound by their own shoelaces, and yet, there’s not a shred of evidence, no DNA, no blood, no footprints, not a branch was moved – it was a completely undisturbed scene. I wanted to convey that there is some other force at play. Certainly this is a very religious community that believes they are watched

by God, and they believe in the presence of Satan and the presence of evil. It’s very much part of that culture. I thought it was important to punctuate the documentary-style, on-the-ground shooting, with these shots that were almost mystical.”

That scene includes a tracking shot that starts with the mother collapsing to the ground and moves into the forest, where the dark events occurred. Indeed, Egoyan says he wanted a more “focused and theatrical” way of lighting the forest to play up its otherworldly quality. In one night scene, the crew justified the lighting from the police car headlights, creating an eerie light from below, while the characters disappeared into the dark, essentially swallowed up by the woods.

But Sarossy recalls that the best light they got in the forest happened almost supernaturally: “We had an incredible downpour one day, and the entire production shut down for the duration of the storm. So we waited it out, and then this amazing light emerged at the end of the storm. It was great,” he says, laughing. “Nothing to do with me. It was simply what nature provided.”

Clockwise from top left: Egoyan confers with actor Colin Firth on the set of Devil’s Knot. Top right: James Hamrick plays Damien Echols, one of the accused in Devil’s Knot. Middle: The production found an old-fashioned classical courtroom that was “an absolutely perfect location” for the courtroom, Sarossy says. Bottom: Devil’s Knot reconstructs the highprofile trial of the West Memphis Three.

Canadian Cinematographer - January 2014 •

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David Moxness csc C

a

p

t

u

The Tomorrow People

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r

e

s

By Fanen Chiahemen

T

eleportation, telekinesis and telepathic communication are just everyday realities for the Tomorrow People, a genetically advanced race of humans born with paranormal abilities. But this race is forced to hide out in an abandoned subway station from their rival faction, Ultra, a paramilitary group of scientists who see the Tomorrow People as an existential threat. Unlike other supernatural series like Smallville, Arrow and Sleepy Hollow, almost all of the ensemble cast of The Tomorrow People, airing on CW, have special powers. David Moxness csc (The Kennedys, Revolution), who alternates DP duties with Dermott Downs, tells Canadian Cinematographer what this means for him.

Canadian Cinematographer: How would you describe the look of the show?

David Moxness csc: We’re not too comic book-y. Some of the other scifi shows revolve around a comic book style with a lot of primary colours and wide-angle lensing. We have a more naturalistic approach. The series is set in the present day, in New York, so the environments that we choose are very present day. There are no elaborate schemes to change the environment in any way. It’s just got a present day, real-world feel, and we spice it up with flashbacks to tell the backstory of our characters.

CC: How would you describe the colour palette?

DM: It is colourful, but it’s not over-the-top rich, primary colours. I like to play hot practicals and hot windows to give a lot of depth to the shots and the framing. our colour palette is typically cooler gray muted tones for our Ultra set, and Ultra characters are often in dark suits. In the subway station sets I’ll use more sodiums and yellows and greens as accents in the background and splashes on the wall.

CC: How did you visually offset the flashback scenes?

DM: My approach to the flashbacks is to go with a lower contrast feel.

I’ve typically been shooting the flashbacks with low contrast filters, adding a number two or even a number four low contrast filter to give it an immediate different feel and different emotion by drawing some of the contrast out of the original image. Also I’ve been using some sepia and antique filters to shift it into that realm a little bit, so my present day work is more contrasty and a little bit harder edged, and my flashbacks are soft with more of an ambient light feel.

CC: What is your approach to the lighting?

DM: We have a traditional grip and lighting package supplied by Paramount Vancouver. We use mostly tungsten instruments. I have a whole array of everything from 20-kilowatt Fresnels to lightweight Kino Flo fluorescents. We’re all incandescent based on our stage. We have a couple of large translights that we have outside of our high-tech office set. A lot of projection through the windows of the set to create a naturalist feel with light coming in from the outside. We shoot two cameras quite often; it’s just the way television has gone to be able to muscle through the material in a day and get the coverage, so I tend to use as broad a source as I can – large 8x8 and 12x12 soft sources. This allows me to get tighter angles at the same time and look after our actors in a pleasing way in terms of photographing them.

Canadian Cinematographer - January 2014 •

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1

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4

Some of our exterior shots end up being natural light. We use large diffusion frames and negative blacks and what-not to shape and control the light. I always put a little bit of an eye light to make our characters pop.

CC: What is your role in selling the supernatural elements like telepathy and teleportation?

DM: We often do quite extreme close-ups of eyes and ears and that sort of thing to sell the telepathy. We’ve worked a lensbaby lens into our arsenal and have used that as a bit of a motif for the telepathy, so what we do is shift the focus plane between the eye and the ear, or the ear and the person in the background. People can teleport as well, and our actors and background performers have gotten really good at that. If someone teleports, we do a freeze, the camera holds still and then they’ll move to their next position, and then we’ll pick up. So we do a lot of poor man’s motion control in a way that will stop the camera mid-move and then when the person has gotten to their second position, we’ll continue the move, and the visual effects department will put a little bubble in the middle to blend the start and stop of the camera.

CC: Can you give an example of how you heighten the tension in suspenseful scenes?

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5 DM: Some of it is through lighting, of course, but my choice of lenses is also important. In one scene, for example, we were in the Ultra set, and one of our characters was going through some rigorous mental torture, so to speak. And I shot it very close and wide. I think my longest lens was 27 mm including the close-ups, and I think it really shows the pain this guy was in.

CC: What other interesting tools were you using besides the lensbaby lens?

DM: One motif we have established that’s pretty consistent is for the fight sequences we’ll shoot on a sharp shutter, 90 or 45 degrees, just to sparkle up the those sequences. We shoot some of our stunt sequences at a higher frame rate so we can do a little speed ramp in the editing phase. Sometimes we use a low-angle prism if that’s the right thing for a particular environment. And we use a crane here and there if it seems to make sense for the scene and location.

CC: Can you talk about your approach to composition?

DM: The camera (ARRI ALEXA) is pretty much always moving whether it’s a little bit on a slider or a long dolly track, just to keep the background alive. I do try to shoot the Ultra scenes

6

7 closer and wider because we have great ceilings on that set and a lot of chrome and glass and shiny floors, so that’s kind of an interesting space to be wide with the lenses. With the Tomorrow People I make it more conventional, not super long, but I compress those locations and images a little bit more. I’m always aware of when it’s become about the camera just moving and when it’s the right emotions for the scene. My job is to make sure it’s about the scene. But for the most part we’re always on the move with our characters so it lends itself to constant camera movement.

CC: You shot the high-profile mini-series, The Kennedys, for which you won a CSC Award. What do you get to do on a sci-fi show that you don’t get to do on a period piece like The Kennedys?

DM: I think with a period piece and drama it’s just a different style of shooting. With a sci-fi, in some ways there are no rules. I don’t have to treat all the telekinetic stuff the same way each time.

I don’t have to treat the telepathy the same. I can keep exploring to try to find new ways to tell the story. With sci-fi shows there are more opportunities for exploring visual language, and I think the visual language is broader. In other words, there are more techniques that one could employ to tell the same story. At the end of the day it’s all about telling the story. Bottom line, no matter what the genre is, how do we best visually tell the story?

8 1. David Moxness csc (centre) on the set of The Tomorrow People.

2. Conferring with the cast of The Tomorrow People. 3, 4, 5 & 6: Stills from The Tomorrow People. 7. Shooting on location in Vancouver. 8. On the set of The Tomorrow People. Previous page: Still from The Tomorrow People.

All photos: Cate Cameron/Warner Bros. Entertainment Inc. © 2013 WBEI. All rights reserved, except # 6: Jack Rowand/Warner Bros. Entertainment Inc. © 2013 WBEI. All rights reserved.

Canadian Cinematographer - January 2014 •

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HFR

By Ian Harvey Photo by Joan Hutton csc

Ready for Its Close-up or Work in Progress?

D

irector James Cameron calls High Frame Rate (HFR) the “future of digital cinematography,” but others aren’t so sure the technology is anything more than a novelty.

The only way to decide is to get a first-hand look, and that’s just what 30 or so attendees at the Screen Industries Research and Training Centre’s CSC Wisdom Lecture Series demonstration and presentation did last fall.

What they discovered is that HFR 3D provides a powerful tool for directors to enhance the story – if they learn how to master it. The SIRT event was a chance to explore what HFR looks like close up with a presentation on the background of film rate and its evolution to what is happening in the exhibitors’ marketplace from projector maker Christie Digital Systems and SIRT’s Technology Director Bert Dunk csc, asc.

Cameron appeared on screen to introduce a series of sample scenes shot at 24, 48 and 60 fps which he made free of copyright for the industry to get a good look at HFR and its benefits. The frustrating part for many eager to see the proof of HFR in action is that so far we’ve only had one major feature release, Peter Jackson’s The Hobbit: An Unexpected Journey, shot at 48 fps 3D, which is a year old and drew mixed reviews.

Others were in the pipe: Ore Nyabagam (Nov. 13), billed as the world’s first 2D HFR from Sri Lanka’s version of Bollywood, Avatar 2 (2016), and The Hobbit: The Desolation of Smaugh (Dec. 13), but it’s still slim pickings for HFR mostly because of the cost.

Both Cameron’s footage and SIRT’s own collection of scenes shown that night clearly illustrated the issue of artifacts like shudder (also called judder), flicker or stroboscopic artifacts when panning a scene in 3D or 2D at standard frame rates.

The scenes also illustrated how motion becomes stunningly captivating when captured and shown in HFR and how slow motion scenes captured at 60 fps can be double printed for even more spectacular results.

Certainly there’s no getting away from the “enhanced reality” of HFR, whether at 48 fps or 60 fps. It can look too much like “video” with that “Soap Opera Effect,” noted Allan Fernandes, product manager, entertainment solutions business Unit of Christie, which is working with SIRT and a host of partners to

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explore HFR from capture to exhibition. The Soap Opera Effect (SOE) makes movies or other content look like it was shot in a studio for a soap opera. It’s super crisp and real, and it looks fake because it lacks subtlety.

HFR does sharpen images both in the foreground and background, but as Dunk pointed out, it’s easy enough to increase the shutter angle to lengthen the exposure and reintroduce motion blur back into the foreground action while keeping the background sharp.

One issue is light. HFR needs more light because each frame – at 48 fps or 60 fps – passes through the gate more quickly thus gets less exposure. (The calculation on how to get an effective shutter speed to introduce motion is fairly simple and the f-stop can be adjusted accordingly: effective shutter speed = (frame rate times 360) divided by shutter angle.)

More interestingly, as both Cameron’s and SIRT’s footage show, HFR all but eliminates that shudder effect on pans, even when shooting through a wrought iron fence, which at 24 fps is maddeningly distracting, but smooths over at 48 fps and is all but gone at 60 fps.

Of course, HFR is nothing new, noted Fernandes, though Douglas Trumbull’s attempts to make it a standard 40 years ago were rebuffed by the studios, who feared film costs would skyrocket and exhibitors who worried their projectors would burn out running three times speed.

Go back to the dawn of cinematography, and while Edison’s patent specified a frame rate of 36 to 40 fps, the cost of film saw that rate halved, to 16 fps during the hand-cranked silent era. When that proved too slow for sound in the mid 1920s, it bumped to 24 fps, chosen as the slowest rate acceptable for sound and cost to keep the bean counters happy.

In some ways, the industry is still stuck with a look – the film look – which was defined in the 1920s. With HFR and higher resolution – the standard of 1080p is shifting to 2K and 4K, while soon 8K will also be mainstream – the challenge is to manage the balance between spatial and temporal resolution. Get it out of balance and you have SEO or at the other end, an image that looks like it’s shot in an earthquake. It all comes down to

Bert Dunk, csc, asc at the Screen Industries Research and Training Centre’s CSC Wisdom Lecture Series demonstration and presentation.

temporal perception the way the human eye sees it and the brain processes it.

Digital cinematography, Cameron says, is a new world where the screen can be ever closer to reality as technology evolves: “If cinematography is a window on the world, HFR removes the glass.”

Cameras have evolved and are HFR ready, noted Dunk. The RED EPIC 5K runs up to 300 fps while the ARRI ALEXA can run 120 fps with upgrade. The introduction of digital cinema projection has been a game changer, Fernandes said, with some 90,000 digital projectors installed or ordered worldwide and more planned. The good news is that only a small portion need upgrades to handle HFR, while the majority of the installed base are good to go with only software and some minor hardware upgrades.

There are still challenges. HFR 3D needs strong light to push it on the screen, and HFR at 48 fps or 60 fps means much more data. “The sound guys are also talking about 22 speakers, so there’s more data there,” said Dunk.

As it stands, an HFR 3D with R and L images and full sound is about 500 Gb. Getting that to stream smoothly is the next challenge, Fernandes noted. The emerging standard is a throughput of about 500 megabits per second at 2K, but the next challenge is already on the horizon.

Are you 3D blind?

You’ve heard of colour blindness? How about 3D challenged?

Before the presentation at SIRT participants were tested by Bert Dunk

csc, asc

and an

assistant to measure their capacity to “see” 3D. The results were surprising. Using a Stereo Optical Co. Stereo Fly Test kit, which is a soft, padded book with a 3D fly on one side and a series of graphics on the other, subjects wearing 3D glasses were asked how much detail they could spot. Those with the highest scores were highly “3D” sensitive; those with low scores were 3D challenged. Research generally suggests that about 3 per cent of people do not see “binocularly at all,” while another 7 per cent are 3D challenged.

Existing projectors can only handle 4K at 30 fps, meaning they can’t process 4K HFR which will be the main bottleneck for higher capture resolutions, said Fernandes. As a tool, however, said Dunk, it’s another way for a director to direct the audience’s attention as part of the story telling experience. It’s what the creatives do with the tool that will determine its success or failure.

Canadian Cinematographer - January 2014 •

15

Tech Column

Helicam Platforms Take Off as Technology Improves

B

ean counters rejoice. Technology has spawned a cinematographic tool that producers, directors and directors of photography can all appreciate, and it won’t eat up half the budget.

Radio-controlled helicopter camera platforms may not have the total cool factor of shooting out the side door of the real thing but they are not only more affordable but often more maneuverable and able to capture unique perspectives their full-sized siblings cannot.

They’ve been around for a few years as the boom in RC controls and drones took wing, but it’s in the last year or so that a perfect storm combining state-of-the-art automated gimbals, lighter camera bodies and more powerful batteries and motors is pushing the envelope for cinematic capture.

The machines themselves look relatively simple: a central platform with multiple arms radiating out, each with a rotary engine and blade mounted on it. Appearances are deceiving, however.

Take the S800 from DJI Innovation. It’s a six-engine platform that ranges from $3,000 to $6,000, depending on how you load it up. Add in a Zenmuse gimbal, wireless video transmitters and receivers for real-time streaming of the shot, extra mAh batteries and other goodies, and you’re north of $12,000 and climbing to $20,000.

Still, compared to a crane or a helicopter, it’s a bargain. In the hands of a skilled operator – and here’s the key to New Age aerial image capture – it’ll carry a GoPro HERO3 or a DSLR for seven or so minutes of capture before it will need a battery change.

There’s also a new, fly-out-of-the-box, entry-level product, the quad motor Phantom Vision, which debuted at NAB 2012 and features an integrated Wi-Fi camera shooting 14 Mp and 1080p for about $1,250, and offers up to 25 minutes of flight time.

“We’ve got three National Geographic shows and Discovery

16 • Canadian Cinematographer -

January 2014

shows using an S800, and I hear Michael Bay (No Pain, No Gain) is also interested,” said Nicolia Wiles DJI spokesman. DJI’s lineage is impressive. It was a start-up making software for fullsize, rotary wing drones used in commercial-industrial work such as power line inspection or geological survey.

Texan Colin Guinn had been working with piloted choppers to shoot video to promote his clients’ custom built homes when he saw the potential for unmanned drone platforms and developed a DSLR platform using DJI’s software to control it. Camera shake was still an issue so he went to DJI’s principals to talk about how to eliminate the problem.

They applied the drone’s software system to a gimbal-platform, and today Guinn is CEO of DJI Innovation which claims a 70 per cent share of the $10,000 and down market with entry level to the S800 EVO Hexacopter.

Martin Laporte, director of R&D at KoptR Image in Montreal, builds, sells and services rotary drones and works with DiziFilms to provide helicam service and pilots for productions, in addition to their work in the industrial sector. They’ve worked on shows like the U.S. Travel Channel series Insane Rollercoaster Wars.

“In the last year things have changed a lot,” Laporte says. “The cameras are better, the gimbals are better – like the new Movi – the platforms too. But really, it all comes down to the operator.

I’d say out of the box, 60 per cent of the work is the machine itself but 40 per cent is the operator, the magician behind the curtain.

There’s a lot of calibration and skill needed to make it work in setting it up.”

He uses the F800 probably 70 per cent of the time, he says, but also has an octocopter for bigger payloads such as a RED or a Sony SS 700. “Most of the time, you want to match the camera to the system they’re using on the ground,” he says. “You want the same encryption and colour match.”

Photos courtesy of HeliVideo Pros.

Lenses also make a difference since they’re glass, therefore heavy and cut into the payload which shortens flight time. Obviously, given shake and control issues, long glass isn’t an option so wide is pretty much standard.

Rich Cochrane and Justin Hannewyk of HeliVideo Pros in Vancouver, which also services locations in Calgary, Toronto, Canadian Cinematographer - January 2014 •

17

Ottawa and the United States, says weight is becoming less of a factor but it still factors in. Their preferred lenses are the compact Zeiss Prime 2.1, not just because of their clarity but also their weight factor. As the technology improves, though, they say, the drone camera platform is breaking out.

They shoot a myriad of cameras, from the RED Epic and Scarlet, through Canon C300, C500, Sony FS100, FS700 to Canon 5D Mark II or Mark III, with up to a 15 pound payload. They’ve also racked up some impressive clients, including commercials for Nokia and Subaru and TV shows like Arrow.

“This is working at 400 or 500 feet maximum and operators are licenced by Transport Canada,” Cochrane, who has 25 years as a pilot in the full-sized world, says. “The key is safety. We have a redundant standard, so if we lose a blade we can still fly safely.

You can’t just start flying. It takes a lot of experience. We guarantee we’ll get the shot.”

Indeed, while the risk is not as great as a full size rotary wing aircraft, there are inherent dangers which must be contained – as in any shoot involving moving objects.

Looking ahead, batteries remain the biggest hurdle but that too is evolving, driven by the demand from the auto industry. Gimbals with brushless motors and software automated controls have made pan-tilt controls smooth as silk, while wireless technology

Photo courtesy of HeliVideo Pros.

put the DOP right inside the viewfinder in flight, though HD streaming can be problematic over distance.

“It’s not the go-to tool for the industry yet, but I think people are seeing the potential,” Hannewyk 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.

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18 • Canadian Cinematographer -

January 2014

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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 Cooke Speed Panchro 18mm 1.7/T2. “C” Mount, Nice condition From United Kingdom #572079, asking $1,800.00 Barry Casson csc Office: 250-721-2113 bcasson@speakfilm.com Canon Wide angle Lens J11A X 4.5 B4 IRSD and Canon Servo Zoom Control ZSD-300 Value 27 000$ Asking only 3 500$ Sony Camera Handycam HDR-HC7, 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$, Porta Brace Rain Slicker for Pro Camcorder RS-55 like New Asking only 150$, Script Boy Wireless T.C. System needs minor repair Asking only 200$, Shure Mixer FP33 & Porta Brace audio mixer case Asking only 450$, 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 800$, Porta Brace monitor Case for Panasonic BT-LH910 like new Asking only 100$ andrepaul@me.com or call 514 831-8437 Panasonic AJ-HDX900P 290 drum hours, $7500.00 Canon KJ16ex7.7B IRSE lens, $5000.00 CanonJ11ex4.5B4 WRSD lens, $4500.00 Call Ian 416-725-5349 or idscott@rogers.com Canon Wide angle Lens J11A X 4.5 B4 IRSD and Canon Servo Zoom Control ZSD-300 Value 27 000$ Asking only 3 500$ Sony Camera XDCAM EX1, 2 Sony Battery BP-U60, 1 Sony Battery BPU30, 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$, Sony Camera Handycam HDR-HC7, 2 Sony Batteries NP-FH100, Sony Wireless Mic ECM-HW1, Tiffen Filter 37mm UV, Century-Precision ,55 WA ADAPTER 55WA37, KATA Rain Cover KARC18 Value 2100$ Asking only 350$, Elmo SuvCam SD ELSC5C and accessories New Value 1 200$ 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

BL IV Camera Kit $8,950 Or Best Offer Arriflex Bl4 Body With Pl Mount, 4 Perf Movement, Variable Shutter, Full 35Mm Gate, Arriglow Module And Arriglow Groundglass In Red, Cei Color 4 Video Tap Camera And Elbow, Cei Electronic Reticle Generator, Bl4 Viewfinder Extension, Wideangle Eypiece With Heated Eyecup, Powercable For Heated Eyepiece, Arriflex 4 X 5 Swingaway Mattebox, Arri Ff2 Follow Focus With Extension, Whip And 2 Gears, 15Mm Arri Sliding Baseplate Set With 2 X 18” And 2 X 12” Stainless Steel 15Mm Rods, 5 X Arri 1000’ Bl Magazines, 2 X Arri 400’ Bl Magazines, 3 X Double Power 12 Volt Batteries, 2 X 12 Volt Charges, Power Cable, Cases For Camera, Mags, Mattebox, Etc.,Film Test Has Been Shot. gandalf-merlyn@shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile)

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

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 (AG3DA1) 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. FlipQ 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 firmware. Excellent condition low hours. Kaiser top handle. Screen Protector. 32GB SxS “A series” high speed card $7900.00 Photos available Gemini 4:4:4 solid state recorder (uncompressed) with eSata and ThunderBolt, accessories, cables, drive readers and case.

Includes 512GB and 3x 256GB solid state drives. Excellent condition $ Photos available $4400.00. 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.

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.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 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 1-888580-3274 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 - January 2014 •

19

Camera Classifieds

Equipment Wanted

CSC Member Production Notes 30 Vies IV (series); DOP Marc Gadoury csc; to April 4, Montreal 100 (series); DOP Philip Linzey csc; to January 24, Langley Arrow II (series); DOP Glen Winter csc & Gordon Verheul csc (alternating episodes); to April 17, Vancouver Beauty and the Beast II (series); DOP Bruce Chun csc & David Makin csc (alternating episodes); to April 22, Toronto Continuum III (series); DOP Blk 2 Gregory Middleton csc; Operator/Steadicam Greg Fox; B Cam Operator Brenton Spencer csc; to April 11, North Vancouver The Divide (series); Data Management Technician Marc Forand; to April 10, Toronto Fargo (series); Matthew Lloyd csc; to April 4, Calgary Hannibal II (series); Camera Operator Peter Sweeney; to March 20, Mississauga Hemlock Grove II (series) B Operator/Steadicam Keith Murphy; to February 25, Mississauga Motive II (series); DOP Ryan McMaster csc (alternating episodes); to January 24, Burnaby Once Upon a Time in Wonderland (series); DOP Attila Szalay csc, hsc; to February 21, Burnaby Reign (series); DOP Paul Sarossy csc, bsc, asc; B Operator/Steadicam Andris Matiss; to April 10, Toronto Remedy (series); DOP Stephen Reizes csc; to January 23, Toronto The Strain (series); B Camera Operator J.P. Locherer; to April 30, Toronto The Tomorrow People (series); DOP David Moxness csc (alternating episodes); to April 7, North Vancouver Supernatural IX (series); DOP Serge Ladouceur csc; Camera Operator Brad Creasser; to April 20, Burnaby Wayward Pines (series); DOP Gregory Middleton csc; to February 14, Burnaby Working the Engels (series); DOP Thom Best csc; Camera Operator Peter Battistone; to January 9, Toronto You and Me (series); DOP/Operator Christopher Ball csc; First Assistant Eddy McInnis; to March 21, Halifax

CANADIAN SOCIETY OF CINEMATOGRAPHERS

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Calendar of Events JAN

FEB

20-30, International Film Festival on Art, Montreal, artfifa.com

16-25, Sundance Film Festival, Park City, Utah, sundance.org 24, CSC Awards entry deadline, csc.ca 7-16, Victoria Film Festival, Victoria BC, victoriafilmfestival.com

MAR

28-6, Cinéfranco, Toronto, cinefranco.com

20-1, Rendez-vous du cinéma québécois, Montreal, rvcq.com 27-March 2, Kingston Canadian Film Festival, Kingston, ON, kingcanfilmfest.com

20 • Canadian Cinematographer -

January 2014

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

APR

24-May 4, Hot Docs, Toronto, hotdocs.ca

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