Canadian Society of Cinematographers
$4 Februar y 2014 www.csc.ca
david greene csc digs into
Empire of Dirt Carlos Esteves csc takes on reality
Challenge FEB 10 (V01 #09)
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The Adventures of a Serial Inventor CSC Wisdom Lecture Series
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. 9 February 2014
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Canada’s Handyman Challenge
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David Greene csc Digs into Empire of Dirt
By Fanen Chiahemen
Carlos Esteves csc Takes On Reality Challenge
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By Fanen Chiahemen
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Peter Warren 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.
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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.
The Adventures of a Serial Inventor By Peter Warren csc Columns & Departments 2 3 19 21 23 24
From the President In the News The Wisdom of Luc Montprllier csc Tech Column Camera Classified Productions Notes / Calendar Cover: Still from Empire of Dirt. Photo: Courtesy of Mongrel Media
Canadian Cinematographer February 2014 Vol. 5, No. 9 EDITOR-IN-CHIEF Joan Hutton csc EDITOR EMERITUS Donald Angus EXECUTIVE DIRECTOR Susan Saranchuk admin@csc.ca EDITOR Fanen Chiahemen editor@csc.ca COPY EDITOR Karen Longland ART DIRECTION Berkeley Stat House WEBSITE www.csc.ca ADVERTISING SALES Guido Kondruss gkondruss@rogers.com CSC OFFICE / MEMBERSHIP 131–3007 Kingston Road Toronto, Canada M1M 1P1 Tel: 416-266-0591; Fax: 416-266-3996 Email: admin@csc.ca CSC Subscription Dept. 131–3007 Kingston Road Toronto, Canada M1M 1P1 Tel: 416-266-0591; Fax: 416-266-3996 Email: subscription@csc.ca
Canadian Cinematographer makes every effort to ensure the accuracy of the information it publishes; however, it cannot be held responsible for any consequences arising from errors or omissions. The contents of this publication may not be reproduced in whole or in part without the express written consent of the publisher. The opinions expressed within the magazine are those of the authors and not necessarily of the publisher. Upon publication, Canadian Cinematographer acquires Canadian Serial Rights; copyright reverts to the writer after publication. Canadian Cinematographer is printed by Winnipeg Sun Commercial Print and is published 10 times a year. One-year subscriptions are available in Canada for $40.00 for individuals and $80.00 for institutions, including HST. In U.S. rates are $45.00 and $90.00 for institutions in U.S. funds. International subscriptions are $50.00 for individuals and $100.00 for institutions. Subscribe online at www.csc.ca.
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2 • Canadian Cinematographer - February 2014
From The PRESIDENT Joan Hutton csc
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s I’ve said in a previous column, “don’t blink or you’ll miss it,” to sum up the state of homegrown Canadian movies. It’s a tough slog trying to catch a Canadian movie, after a week at a Cineplex, or a couple of showings at a film festival, they’re usually gone. Television would be the obvious next stop for Canadian films, but broadcasters have all but abandoned Canadian films in favour of more easily programmable television series that attract ongoing viewers. In essence, Canadian films have become the problem child of our industry. There was recently a meeting of representatives from broadcasting, movie distribution and content producers in Toronto to tackle the dearth of Canadian films on Canadian television. From reports, there seemed to be a lot of ball passing, but no ball carrying in any direction. Content producers were calling for more regulations from the CRTC to mandate broadcasters into quota systems for showing Canadian films, while broadcasters plead that more Canadian movies in their schedules would be at the sacrifice of existing programming such as news and series that would in all likelihood cut into revenues and translate into job losses. Not a very promising meeting except for one suggestion that distributors look to over-the-top (OTT) services such as the U.S.-owned Netflix to extend the reach of Canadian films. This is a very plausible recommendation. Although there are no available figures, since Netflix does not release its subscriber numbers, it is estimated that nearly 2 million Canadian households have bought into the Internet service and growing. It’s rumoured that Rogers is ready to leap into the OTT market and go head to head with a video service called “Showmi.” Coupled with Statistics Canada’s latest indicator, that 83 per cent of Canadian households are now plugged into the Internet, a new venue potential for Canadian films seems to have emerged. There is much Internet chatter that OTTs are about to explode onto the Canadian market. How or if that will change the Canadian television viewer paradigm is a huge unknown. But with Rogers ready to set up shop in April, the OTTs are being watched very carefully to see where it all lands. Unlike broadcasters, OTTs are not regulated. The CRTC has unwisely taken a hands-off stance regarding the Internet. While it seems reasonable that OTTs would welcome Canadian films, and in the case of Rogers it would be a patriotic undertaking, OTTs are not obligated to do so. Perhaps the CRTC should grow some teeth to ensure that Canadian films have a place on the OTT table. The next couple of years should be very telling for the broadcast/Internet dynamic. Is this an opportunity for Canadian films? I would say so – let’s hope we seize it.
In The News
©Edward Burtynsky, courtesy Nicholas Metivier Gallery, Toronto / Howard Greenberg & Bryce Wolkowitz, New York.
Canadian Screen Awards CSC congratulates the members whose projects have been nominated in cinematography and photography categories for Canadian Screen Awards: Achievement in Cinematography: Nicolas Bolduc csc (Enemy); Pierre Gill csc (Upside Down) Best Photography in a Comedy Program or Series: Thom Best csc (Mr. D); David Makin csc (Seed) Best Photography in a Documentary Program or Series: Jeremy Benning csc (We Were Children); Stan Barua csc (The Mystery of Mazo de la Roche) Best Photography in a Dramatic Program or Series: John Bartley csc (Vikings); Eric Cayla csc (Bomb Girls); Paul Sarossy csc, bsc, asc (The Borgias) Best Photography in a Lifestyle or Reality Competition Program or Series: Allan Leader csc (Hail Mary) Winners will be announced at a gala on March 9.
Other Member News The documentary Watermark, shot by Nicholas de Pencier csc, won the Toronto Film Critics Association’s 2013 Rogers Best Canadian Film Award last month. The film was also among the feature selections for the 13th annual Canada’s Top Ten Film Festival. The 10-day festival ran January 3 to 12 at Toronto’s TIFF Bell Lightbox.
csc, and Louis Cyr, shot by Nicolas Bolduc csc. Another Bolduclensed feature, Aloft, is up for a Golden Bear Award at the Berlin Film Fest being held February 6 to 16. Meanwhile, State of Syn, shot by Brett Van Dyke csc for six episodes, won for Best Interactive/Social Media Experience at the 2014 International Academy of Web Television Awards in January.
Wanda Confirms Commitment For 80 Additional IMAX Theatres IMAX Corporation – which honorary CSC member Graeme Ferguson co-founded – and Wanda Cinema Line Corporation, Asia’s largest cinema owner, in December announced the confirmation of 80 additional IMAX theatres throughout China. Rollout of the additional theatres is expected to begin in 2016. In addition, the lease terms for all new and existing Wanda theatres have been extended to 12 years from theatre opening from 10. The latest commitment to the full 120 theatres brings the exhibitor’s total IMAX commitment in China to 210 theatres.
Also, Stories We Tell, shot by associate CSC member Iris Ng, was shortlisted for a U.S. Academy Award nomination in the Documentary Features category. In other news, Bruce MacDonald’s The Husband, which was shot by Daniel Grant csc and premiered at the 2013 Toronto International Film Festival, took the $15,000 Borsos competition prize VANCOUVER CALGARY at the Whistler Film Festival in December. Other films compet604-527-7262 403-246-7267 ing for the prize included Cas & Dylan, shot by Gerald Packer 604-527-7262 403-246-7267
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SIM Offers 3D Camera Services SIM Digital recently began offering 3D camera services through its recent partnership with Cinesail 3D Systems. Designed by 3D cinematographers, Cinesail rigs are engineered to deliver production solutions that are mobile, flexible and allow for quick set-up in demanding production environments. All 3D capture, monitoring and data stations are housed in self-contained travel cases which ship easily to any location and set up in minutes. Cinesail 3D systems have been employed on major studio features like Resident Evil: Retribution and Pompeii, both shot by Glen MacPherson csc, asc.
William F. White Buys Location Equipment Supply William F. White late last year completed a deal to buy Location Equipment Supply. The deal rebrands Paul Potvin’s LES as Whites Locations Equipment Supply but it will still be located near the William F. White Centre in west Toronto.
protection rating, dimming, dimensions, weight, power draw, lamp holder type, mounting, reflector type, lens type, and scrim size.
Tom Perlmutter Steps Down as NFB Chair Tom Perlmutter in December stepped down as National Film Board chair and government film commissioner in order to devote himself to thinking and writing about the long-term issues affecting the arts and public cultural organizations. Perlmutter will stay on at the NFB as a strategic advisor with a focus on the future of public space, the changing dynamics of creation and new financial opportunities anchored in the NFB’s mandate and its commitment to innovation. Perlmutter joined the National Film Board in December 2001 as director general, English Program, and became head of the organization in 2007. The NFB confirmed that Claude Joli-Cœur, the current assistant commissioner, has been named the interim commissioner. The process for appointing the next commissioner should be completed this year.
ARRI in December launched a Photometrics App for iPhone and iPad that gives quick access to the properties and luminous outputs for ARRI’s light fixtures. Created for lighting and cinematography professionals, the free application is available in the iTunes store. Upon downloading the tool, users can begin selecting from one of five product categories: Daylight, Daylight MAX, Fluorescent, LED and Tungsten. Among the information the app allows users to assess are: beam diameter; beam angle; flood, middle and spot photometrics; luminous distribution graph; camera exposure and aperture information; metric and imperial units; bulb selection; light properties including: colour temperature, cri,
New CSC Members top left:
Chris Mably csc top right:
Daniel Grant csc bottom left:
Chayse Irvin csc bottom right:
Vince Arvidson csc
4 • Canadian Cinematographer - February 2014
Tom Perlmutter
Courtesy of NFB
ARRI Offers Lighting Resource with New Photometrics App
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David Greene csc Digs into
Empire of Dirt By Fanen Chiahemen
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Jason Jenkins
David Greene csc with Empire of Dirt director Peter Stebbings (left).
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fter making his first feature-length film, the Woody Harrelson-driven superhero comedy-drama Defendor, actor-director Peter Stebbings was craving a complete departure for his second directorial venture. When producer Jennifer Podemski brought the script for Empire of Dirt – penned by Cree screenwriter Shannon Masters – to Stebbings, the director jumped at the chance. The drama centres around three generations of Aboriginal women, including single mother Lena Mahikan (Cara Gee), struggling to raise her 13-year-old daughter, Peeka (Shay Eyre), who overdoses in the streets of Toronto, forcing Lena to return home to her estranged mother and face her past. Empire of Dirt was part of the Contemporary World Cinema programme at the 2013 Toronto International Film Festival and is opening in theatres nationwide throughout the winter. “[The film] was coming from left field and it was an opportunity to try something completely different. It was also an opportunity to work on a low-budget film with non-star actors. Probably because of the movies I’m drawn to,” Stebbings offers, citing films by Britain’s Andrea Arnold and Mike Leigh. “Their movies really resonated with me, so I’ve wanted to make a movie in that vein. Movies that have the feeling of a cinema verité glimpse into other people’s lives.” To bring the visuals alive in Empire of Dirt, Stebbings summoned David Greene csc, with whom the director had forged a relationship on Defendor, and the two of them talked about film references like Arnolds’ Fish Tank and Jonathan Demme’s Rachel Getting Married as a starting point.
“In the beginning I was a little concerned because there was such a small amount of money to make this movie, and I thought it might expose everyone to some risk,” Greene, who was recently nominated for an American Society of Cinematographers award for his work in the TV series Beauty and the Beast, recalls. “But [Stebbings] convinced me the movie was important to do and we could just understand what our limitations were and embrace those limitations.” Unlike Defendor, where every shot was planned, Greene and Stebbings wanted a much more freeflowing approach, with Stebbings even borrowing a maxim from the Dogme 95 movement. “This was an exercise in not going into each scene with a designated shot list,” Stebbings says. “It was just seeing the scene in the moment and choosing your shots accordingly; a low-budget film lends itself to that.” The 15-day shoot in Toronto, Innisfil, Keswick and Sunderland, Ontario, was a much “pared down production,” Greene recalls. “We had every department’s equipment in one cube van, but it was really freeing. I really enjoyed how nimble we were as a group. A lot of productions leave this huge footprint. We were able to just steal some exterior locations, just show up and shoot. It was that size of production where we could actually do that.” Stebbings adds that the crew were even able to shoot in the streets of Kensington Market, “which you can’t do with a big unit; they just won’t let you in there. There’s no room for you. But you can do it with a small crew of six or seven.”
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Photo courtesy of Mongrel Media
Behind the scenes: Peter Stebbings (director) and Luke Kirby (Russell) joke around on the set of Empire of Dirt.
Greene, who also operated on Empire of Dirt, shot the entire film handheld with the Panavision Genesis, a camera for which he has had an affinity for years. “I’ve always been a big Panavision fan because of their Primo lenses, which I love,” Greene says. As an operator, shooting handheld allowed him to let the performances guide the film. “You’re as much in the moment as an actor is,” Greene says. “It’s when they’re thriving or are in the zone. You respond in the moment. The handheld camera allows you to do that. I was there listening to them and reacting to them.” It also helped achieve the natural, clean look he wanted as a DP. “It was kind of like a documentary. And that’s how we tackled it. We didn’t impose a lot on it,” he says. To that end, Greene employed a simple lighting technique, relying heavily on natural light and good timing. “Filmmaking is like a magic trick,” he says. “I would augment available light. So in interiors I would look at what was available, whether it was through windows or practical sources, and just augment in a minimal way.” In one scene, Lena and an old flame, played by Luke Kirby, take Peeka for a picnic by the lake, which, with the light of the setting sun shimmering off it, provides a romantic frame for the characters. “I didn’t light it at all,” Greene reports. “It was all backlit sun. When outside it’s extremely important to plan and know where the sun’s going to be. And generally you want backlight.
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Sidelight is the middle preference.” Even to light an exterior night scene in which the characters sit around a fire, “It was very simple,” according to Greene. “We had a real fire. And then we just added Kino Flos and put some warm gel on them. Everything was very simple from that point of view.” The pivotal scene in Empire of Dirt involves Lena coming face to face with a wolf on the side of the road at sunset, and Greene used a little bit of trickery to frame it with an attractive backlight. “That scene is shown in two directions, one towards her pickup truck and one looking away from her pickup truck. And if you look closely it’s shot in exactly the same direction, just with a slightly altered background because we wanted backlight on both sides,” Greene explains. “All we did was position the vehicle and the actress for looking toward her pickup truck at a certain part of the road, and then we moved everyone down the road about 100 feet and slightly changed the angle and shot the exact same way. If you didn’t know it you wouldn’t spot it, but it was basically what we call a cheated reverse, where you’re basically looking the same way, but you change it enough so it’s not recognizable to people. What we gained was beautiful light in both directions, and it kind of made that sequence. And it wasn’t anything other than sunlight. It was magic hour. You don’t have to do much when it’s magic hour.” Stebbings and Greene also employed some quirky visual techniques to add texture to the film, one being the manipulation of focus to enhance the
Photo courtesy of Mongrel Media
Lena (Cara Gee)
Yet another visual effect involved punctuating the film with “little sparkles in the foreground,” Greene explains. “And it was the cheapest effect. We got some tinsel and hung it from a grip stand and backlit it with the light and put it in front of the camera. That was our fancy trick.”
every successive project I keep learning more from an ally and a friend. It also helps that he has a beautiful cottage, and we go up there and wax philosophical about our future projects while he makes dinner and I draw terrible storyboard pictures.”
Photo courtesy of Mongrel Media
storytelling. In an early scene in which Lena visits Peeka in the hospital after her overdose, Stebbings wanted the focus – as well as the defocus – to be unexpected. “A lot of the action was focused on the back of Cara Gee’s head,” Stebbings recalls. “Really just to put us there with her, to almost see the world as she was seeing it at that time. As if we were over her shoulder. It was just a way of trying to get into Cara Gee’s point of view. So you would see it and feel it from her perspective.”
Lena (Cara Gee) and Peeka (Shay Eyre)
In Greene, Stebbings says he has found a real collaborator. “David is very good. I have learned a lot by working with him. There are lessons I’ve learned from David by doing this that I will take to the next project and the next one,” the director maintains. “We’ve done three projects now together as a DP-director relationship, and with
* Jason Jenkins
That simplicity of the effect serves as a metaphor for how the production used the budget limitations to its advantage. “Once we wrapped our heads around it and embraced the scale and the scope of the film, everything was quite simple and easy and straightforward. I found it quite liberating and freeing to be so nimble,” Greene says. “It was one of the most enjoyable experiences I’ve had. It was a real family we created, and everyone helped out.”
David Greene csc (left) with actress Cara Gee.
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Photo: Ema Peter
Capilano University Grooms Young Shooters In Their Elite Cinematography Program
by Danny Nowak csc
C
apilano University has been developing its film program over many years in North Vancouver and is now offering a four-year Bachelors of Applied Arts degree in motion picture arts. In addition, the school offers specialized courses that include Animation, Visual Effects, Costuming, Documentary, and, perhaps of most interest to readers of this magazine, the only full-time Cinematography course in Canada. All of these programs are located in the new BOSA Centre for Film and Animation, which opened in 2012, a state-of-the-art home for the extraordinary array of programs. Students have access to fully equipped classrooms and workshops, spacious editing labs, and a 200-seat cinema with a 3D digital projector. The ground floor features three sound stages that open up into an 8000 square foot studio with green screen and Translites.
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I joined the faculty two years ago, teaming up with IATSE member Ross Kelsay, who has been fostering young shooters at the Capilano campus for over a decade. Between us, we offer students in the Cinematography class over fifty years of film industry experience, and, as we all know, there’s a wealth of tricks, nuances and techniques that simply can’t be learned out of a textbook. The eight-month two-term intensive course covers all aspects of a cinematographer’s responsibilities and primes the student for their launch into indie features. Students have access to full lighting and grip packages, and, starting right in the first term, every student will act as the DoP on an assigned scene, with classmates serving as camera operators, focus pullers, dolly, grips and gaffer. Vancouver’s bustling film community allows for guest speakers from local and international professionals, as well as workshops, including the hands-
on Steadicam demonstration that is always a high point. We also bring in EPIC cameras and follow the digital workflow right through from first shot to the manipulation and colour correction of the final image. Also, field trips to camera suppliers and lighting rental houses get the students familiar with facilities and people in the industry. Of course, with the march of technology, our camera arsenal is always changing. We have use of Panasonic HPX170, Canon DSLRs and C300, Sony F3, RED One, and Alexas for 3D projects, as well as Fischer 10 and Elemack dollies. In fact, aficionados of analogue film may be interested to know that Capilano is one of the last film schools where a student can still shoot 35mm film. But any seasoned cinematographer will tell you that these are only tools, and that there’s a lot more to being in charge of a movie’s visual design. A Director of Photography must
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also be a storyteller, and there is considerable overlap with the role of the director in defining the look of a film and just how the story is going to unfold. In our course we put emphasis not only on the nuts and bolts of moviemaking, but also the progression of imagery and using visual subtext to help reveal character. A good cinematographer must be able to communicate with a director when it comes to referencing techniques used in past films. To this purpose, students will gain knowledge of important historical aspects of cinema, from German Expressionism and Film Noir to the Hollywood Studio System and the various ‘New Waves’. With so many monumental movies now available on DVD and Blu-Ray, we can screen clips of virtually any film in order to dissect it and develop a strong visual style. Applications are accepted between March and July, and prospective students are encouraged to bring their demo reel in for an interview.
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Y
ou have this amazing invention. Maybe it started as a random idea or something you created out of necessity. But after sleepless nights thinking about it, countless scraps of paper drawing it, endless prototypes trying to create it, you finally have it, and it works!! “Eureka!” you say. Well…now what? The long and sometimes arduous journey has just begun. Remember it took George de Mestral over 10 years to manufacture Velcro after that fateful day in 1941 when he was picking burrs off his backside after a hunting trip in the Swiss Alps. – By Peter Warren csc There are countless gadgets and gizmos out there in our industry that were created by people just like us: the Steadicam, Chimera, Cardellini, the warrendolly – sorry for the shameless plug – all born out of a vision for something to improve the way we do things. I have actually created three products for film and TV that have sold internationally — the warrendolly, shooter scooter and Lowel’s missing link. Unfortunately, I am not writing this from my yacht in Cannes. The reality is that we are a very small niche market. Every home does not need a warrendolly, so sales will never be through the roof. You have to consider this when you start obsessing with a new idea or invention. It can be a very expensive process to bring a new product to market, and you may get sucked into a money pit you won’t get out of. Okay, doom and gloom out the way, there is nothing more exhilarating than the process of creating something new. There is no greater satisfaction than the moment you are gazing at this thing you have spent so much time and energy on, and nothing more rewarding than knowing people are actually using it on the other side of the world. It’s really not about the money.
Lowel’s missing link My first invention was a clamp I designed to hold objects from a light stand. Now, you guys in film would simply use a C-stand to hold a flag or piece of foam core in place, but in news these
12 • Canadian Cinematographer - February 2014
were just too heavy to drag around, so if I wanted to do the same I would simply pony clamp it to my light stand, but I couldn’t position it exactly where I wanted it. So I went to my local Canadian Tire and bought a garage work light with a clamp. I went home, took the light off and put a Lowel stand adaptor on, and “eureka,” I had a clamp that sat on a light stand with an articulating joint. Now I could position something exactly where I wanted it. I made a few of these, and it would always get the same comment from the sound guys: “Hey, that’s pretty cool, you should patent that.” So I did some research, looked in every grip catalogue I could find, and, unbelievably, this particular clamp didn’t exist. I started looking at getting a patent. I spoke to a patent attorney and discovered that it would have cost about $8,000 to get the U.S. and Canadian patent. Whoa. How many of these clamps would I have to sell just to pay that off? I looked for another alternative. Sitting in front of me was the Lowel catalogue and right there on the back was their toll free number. With some trepidation I picked up the phone and started dialling. Are they going to think I’m crazy? Are they going to steal my idea? Are they going to laugh at me? “Hello, Lowel Lighting, how may I direct your call?” I started stumbling out that I am a cameraman up in Ottawa, that I have this clamp and nobody else seems to have it…and perhaps…well, would you be interested in looking at it? “One minute, I’ll put you through to the president.” What? Now I’ve gone from trepidation to cold sweat and dry mouth. The president, Marvin Selligman, answers
the phone with the heaviest Brooklyn accent I’ve ever heard: “This is Mahvin. You have a clamp.” Long story short, Marvin ended up loving the clamp idea, filing a U.S. patent in my name, and it still sits on page 19 of the Lowel catalogue. It’s called the “missing link.” Marvin and I worked out an equitable arrangement, but, more importantly, he became a friend and mentor.
The warrendolly Okay, who out there hasn’t created a new dolly, you ask? Well, I tried to make mine more portable and cheap! It was different to anything out there. I used ½” metal conduit instead of 1½” PVC and V-groove wheels instead of skateboard wheels. I didn’t need a wooden platform to stand on. I designed it so that you could just stand on the frame or use it alone like a micro dolly. I really designed it for shooters like me who generally work alone and want to add that dynamic dolly shot. For this one, I decided to venture out on my own. I was going to manufacture, package and sell it myself. After all, it was a pretty straightforward design, nothing complicated, should be no problem. Well…lots of problems. It took a few tries to find a metal fabricator that was even interested. And because I’m ordering just 10 units not 1,000 I’m very low priority. They told me it would be a couple of weeks; it ended up taking months. And then when I finally got my first working models the dolly was great but half the joints in the track were not acceptable and (after much convincing) had to be redone. Arrrgghh. The wheels went through many variations – too soft, too hard, not smooth enough – but I finally found a manufacturer in Toronto that made the perfect wheel. It was slowly coming together but extremely frustrating to say the least. There were many times I just wanted
Top: The warrendolly in action. Middle: The shooter scooter on ice. Photos: Peter Warren csc. Bottom: Lowel’s missing link. Photo: InMotion.
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to throw in the towel, but at this point I’m several thousand dollars in and I really do want to see it through. Then one day, it all finally comes together. This thing I dreamed up in my head, scribbled down on paper, stayed up nights frustrating over, is sitting in front of me, all shiny and new. It rolls down the track like a hot knife through butter. I am elated. It has all been worthwhile. Now what? Do I patent it? I knew the cost, but maybe this one is worth it. I call my new friend and mentor Marvin Selligman. I ask him what he thinks. “Well, Peedah,” he says. “Do you have a couple hundred thousand in your bank account?” “Huh? Well, no,” I reply. “Well, that’s what it would cost you to defend a patent if you decide to go after someone who copies it.” Okay, so not only do you have to spend a fortune to patent it, but then you have to have an even larger fortune to defend it. He advised that if you are first to market with a product, there will be a a huge advantage, but if it’s successful it will likely be copied. It’s a big world, and there’s not much you can do about it. Okay, I decide to throw caution to the wind and not patent it. Creating your invention and selling it are two distinctly different challenges. The latter will be much more challenging for most of us. I picked up the phone and started calling film and TV suppliers in Toronto and got it into a couple of shops. Of course I thought they were going to sell themselves and I’d just wait for more orders. This was not to be. What did generate sales was the NAB tradeshow in Las Vegas. VF Gadgets was selling the warrendolly at the time; they got a booth in Vegas and invited me down. Wow, the big time! I had never been to NAB and was like a kid in a candy store. I could not believe how huge it was, and here I am showing off my little dolly in a corner of the VF booth. There are hundreds of potential buyers that stroll by your booth. I lost my voice on the first day. There is also the introduction to the international market. But real estate at NAB is expensive, so again you have to weigh up the cost of being there to what actual sales are generated. The one thing I learned from the warrendolly was that your time has value, and if I were to calculate the amount of time it took to create, research, design, shop around, manufacture, assemble, and sell, sell, sell, I think the guy working at the fast food joint would have made more per hour. But there are spin-offs you don’t expect, the connections you make, the people you meet, and it is cool to know that someone on the other side of the world is using your little dolly.
The shooter scooter The shooter scooter was something I had in my head from my early days at CITY TV. I shot a scene for Crime Stoppers, chasing a robber down a grocery aisle. To get a tracking shot, I hopped in a grocery cart and had someone race me down the aisle. Maybe not the safest way to do it; I figured there had to be a better way. Fast forward 20 years, and I finally decided to do something about it. I created a cart out of PVC. It had a low platform to
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stand on, handles to grab onto and push from, and it all ran on 10” pneumatic wheels; everything came from the hardware store. Now I had something I could stand in and have an assistant push or pull me along to do a tracking shot. On a smooth surface it was as smooth as a Steadicam. Plus, I could use it to haul my gear from the van to the location. It actually worked so well that I thought maybe others would be interested. But this time I would manufacture it entirely myself. So I set up shop in my basement and created the first four units. Meanwhile, fall had turned to winter, and one ridiculously cold day I was hauling my gear across the street and onto the sidewalk when the entire thing cracked and split in half. Oops. Turns out PVC does not hold up well in the freezing weather. Fortunately, I had not sold any of those early units. I went back to the drawing board, realizing it would have to be manufactured. I started by looking for better wheels. I found a local wheelchair store and I explained what I was building. They were immediately interested and suggested that not only could they supply the wheels but they could build the entire shooter scooter for me. In my head I’m thinking, “Uh-oh, here we go again.” But I listen, and they suggest a meeting at their head office in Toronto. I have a voice in one ear saying, “Don’t do it! Stop now, you have a mortgage to pay,” and another voice saying, “Cool!” So, of course I listen to the latter and hop in my van. I meet with the president and a couple of others, and we discuss the whole project. They talk about machining, auto cads and materials. All the while I’m thinking, “What is it going to cost me per unit, and can I even afford this?” And then, out of nowhere they tell me that they will design, manufacture and assemble the units at their expense. And what would I consider my royalty to be per unit? Okay, did I fall asleep in the meeting and this is just a dream? This is the best possible outcome. The arrangement was that VF Gadgets would sell it, I would pitch it at NAB and the wheelchair company would do the rest. I went to several NABs with VF Gadgets, and the shooter scooter did fairly well, especially internationally. But over the years sales slipped, and this past spring the wheelchair company informed me that they were going to drop it. Oh, well, it was a good run. If I had to do it all over again, would I? Absolutely! I think the thrill of creating and the satisfaction of problem-solving is in all of us; it’s what we do every day on set. If you have an idea for something, first of all make sure it’s not already out there. Build a proof of concept. It can be put together with gaffer tape and piano wire, you just want to see if it works. Write everything down in a journal (with pages that can’t be added or taken out), take pictures, don’t show it to anybody unless they are giving you professional advice, and possibly have them sign a nondisclosure agreement. If you think it will be as popular as a C-stand or sandbag then you might want to look into a patent. But you have to file a patent in every country that you want to protect your idea from, and that’s very expensive. You can file a patent in Canada, and if your patent is accepted, it will protect your idea worldwide for one year, meaning no one else can file the same patent. But you only have one year to file patents in other countries. If you get the patent, you can licence your product and let someone else
Photo: InMotion
“I think the thrill of creating and the satisfaction of problem-solving is in all of us; it’s what we do every day on set,” says multi-inventor Peter Warren csc.
do all the work in return for a royalty. Or sell the whole thing entirely. Or manufacture it, create a website and sell it on your own. But remember all of these things can be done without a
patent as well. But always weigh up realistically what it’s going to cost you against what the likely return is. Good luck on your journey. Canadian Cinematographer - February 2014 •
15
Carlos Esteves csc Takes On Reality
Challenge By Fanen Chiahemen
Photos courtesy of Carlos Esteves csc
Carlos Esteves csc
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ngenuity and skill are tested in the popular reality show Canada’s Handyman Challenge in which amateurs across the country compete for a cash prize by taking part in various contests from hanging wallpaper to building expansion bridges out of thin material. As the challenges get harder, those who don’t cut it are eliminated. From the Toronto set, in an old soap factory, director of photography Carlos Esteves csc takes Canadian Cinematographer through the ins and outs of shooting 10 onehour episodes for Season 3 of the series.
Canadian Cinematographer: What are the challenges of shooting a show like this? Carlos Esteves csc: It’s a big show; it has such a large physical footprint. You could have 16 contestants chopping plywood 8 or 10 feet long, so you need a primary working area of 12 by 12. The camera shoots almost 360 degrees at a time, so it’s always a compromise when it comes to lighting. We always have to pick locations with suitable backgrounds. And then for every outdoor location, we also need an indoor location where we could light if it
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was raining or at night. A show like Canadian Idol has a dedicated finale area that they light and make look really nice and employ lots of material and production value to. But in regional areas they don’t have to deploy as much production value. We’re full board in every city. So we have to do the same thing in different cities.
CC: How does shooting 360 degrees compromise the way you light? CE: At any given point you’re affecting every angle. And then to light it you don’t get the degrees of shadows and highlights, light and dark areas. Lighting in reality shows has a tendency to be flat with not much edge to it. On Canada’s Handyman Challenge multiple cameras, along with a camera crane, are rolling, and most of the time they’re diametrically opposite to each other, and this type of blocking challenges the quality of the lighting. On this show I’ve been able to create as much as possible in terms of my base light and then try to create edging to add more depth in the frame. Production has helped me achieve that. To a certain extent, I have the manpower and the instruments to do it.
CC: So what kind of lighting system are you using both outdoors and indoors? CE: When we’re outdoors we basically just use HMI lighting and bounce boards. Indoors I created an effective soft box system as opposed to going with space lights because of the costs. On this season because of the location’s footprint I have two 1,200 gennies running diesel. So I have to keep the costs down. I have to be very careful in terms of the amps that I’m pulling. For our indoor base light, I sat down with my key grip Maciej Kulpa in the earlier season of the show and devised a system using 4x4 frames, a blonde, which is 2,000 watts, and black foam core. With the foam core we created a skirt around the frame, and I have the fixture above, suspending it from the ceiling. To push the visuals when indoors, we rim bounce lighting from the corners bouncing 6K HMIs off 4x8 foam cores off lifts and paint background details with mixed sources, then the art department blends out the bottom of the lifts. When the judges are in the middle of the arena they get edges. This show always uses a camera crane so I have to be careful with shadows, so most of my edge lighting tends to be bounced. My base sources are diffused with 250 Rosco. For the individual testimonial interviews, the contestants are lit very simply. I don’t use a fill light. I use a soft key, a bit of underfill, and only control a very slight backlight to make it as powerful and cinematic as possible.
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When the judges look over contestants’ work my gaffer Loris Santarosa and I – whether it’s a reflector, Kino or an HMI – pick off the judges for eye lights. So we do as much as we can to push production levels so the show looks as best as possible, despite being a fast-paced reality show.
CC: How do you create a distinctive look for a reality show? CE: The reality show genre has been given a bad rap because budgets are low and they tend to rush through it. They’re limited. When I shoot certain scenes I light the walls, I do rimming and eye lights. Just because we’re doing a reality show, doesn’t mean we cannot lift it. Luckily, we have the support from the broadcaster (HGTV) because they budget it in. We have support from the production company (Firvalley Productions) because they fight for it, and so does everybody else who works on the show, from the grip department to the electrical department to the camera operators. So everybody’s pushing to make the show look as good as possible. 1. Carlos Esteves csc (front) during camera blocking for the show’s promo, with Mike Holmes, Scott McGillivray and Paul Lafrance in the background. 2. Unit shooting a cut ceremony at sunset. 3. Gaffer Loris Santarosa in Halifax using a Kino for an eye light. 4. Base light (4x4 soft boxes) in the main covered area of Season 3.
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CC: What kind of camera system are you using? CE: We use the Panasonic HDX 900. We started out with it because when we went from SD to HD that was the go-to camera at that moment. We still shoot on it due to price points and because it does what we want it to do. They sweeten the image in post, and when I shoot I make sure that I build the image within the lighting ratios that holds the highest possible contrast. We shoot at REC 709, which is like shooting reversal film; there is no room for error. If you overexpose you can’t bring those details back; you’re not shooting RAW. But people on this show are used to that. Many come from a broadcast background. We shoot with five cameras in total: four handhelds, and one always on the crane. The handheld that comes in halfway through the day gets carried on to do the interviews.
CC: What demands does this show and the way it’s shot place on your camera crew? CE: It’s a very demanding show, so the camera operators have to be excellent. Joseph Blasioli, the executive producer who originated the show, sits in on the edits. He demands a lot from the camera operators, who were Danny Cook, Stefan Randstrom, Dave
Woodside -- who’s an associate member -- and Elad Winkler.. It’s a blessing to work with someone who wants to do that rather than compromising and saying, “That’s good enough.” So the operators are asked for dynamic shots and shallow depth of field. He doesn’t want things from tripods. There is a lot of handheld shooting, which can sometimes be a challenge because sometimes it could be three hours, saddled or on the shoulders. A lot of people can’t manage it. It’s very demanding for the camera people because we ask them to be storytellers. For example, if a contestant is competing in a challenge, as the person shooting I have to follow a story. When I have a camera meeting with new operators I tell them it’s like shooting a documentary. If you have a contestant and you can see right away that he or she is not really sure of themselves, that they’re nervous, I want to tell that story visually. And then you have to get dynamic shots. I only need X amount of shots of cutting and nailing wood. Give me different shots so the editor has five different shots rather than five takes of the same angle. Be creative in all aspects – depth of field, ambient lights, framing, contrast ratios. If the person’s nervous I want to see the nervousness. If things are not going according to plan, if there is drama, if a contestant knows they’ll be cut tonight, we want all that. So there’s a certain amount of self-directing we ask from the camera operators. I’ve seen people come in and be let go five or six hours later. Not because they’re not good, it’s just they don’t have the set of experiences that this show calls for. So it’s a hard show, very demanding.
Lighting plot for Season 3.
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The Wisdom of
Luc Montpellier csc By Guido Kondruss | Photos by Christos Tsirbas
Luc Montpellier csc with moderator Sarah Thomas Moffat.
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or the 60 people who attended the most recent instalment of the CSC Wisdom Lecture Series, it was an evening of shining brilliance. The event was held in the screening theatre at Deluxe Canada’s complex in downtown Toronto, and the star of the evening was one of Canada’s top cinematographers, Luc Montpellier csc. Lauded by film reviewers for his distinctive and seamless cinematic style in giving a film its visual voice and for his use of light to provoke emotion, Montpellier has garnered much deserved attention and respect for his work both domestically and internationally. With more than 54 film and television screen credits as a DP, Montpellier’s long list of collaborations include auteur directors such as Sarah Polley (Away From Her, Take This Waltz), Ruba Nadda (Cairo Time, Inescapable), Clement Virgo (Poor Boy’s Game), and avant-garde filmmakers Guy Maddin (Saddest Music in the World) and Michael Snow (Preludes). Polley, whose film, Away from Her, was nominated for an Academy Award, has said she “would stop making films” if Montpellier ever stopped shooting, and she credits him for teaching and guiding her through the visual language of film. Ruba Nadda is equally effusive in her praise of Montpellier, saying that his “eye is spectacular” and that he is an inspiration, always improving her ideas. Montpellier is one of the few Canadian DPs that still shoots film on many of his projects, but he is equally versed with digital workflows. During his 20-year career Montpellier has been honoured with a trove of nominations and awards, including Canadian Society of Cinematography and Genie Awards, as well as the Haskell Wexler Award.
The following are edited excerpts from the audience Q&A with Montpellier following the presentation of his favourite film clips. On his favourite lenses LM: I love the Panavision Primos. I like the legacy behind the glass. Every lens has its own characteristic. I really like the palette they offer me as I have the tendency to match specific lenses with specific films. I can get the lenses that Dirty Harry was shot on if I want! On filmmaking, scripts and directors LM: For me, it all starts with a good collaborative attitude and a director willing to focus on visual storytelling. You can understand the technical makings of a film, that’s a known thing. Storytelling is the hard part. I approach every project like a student trying to learn what the story needs. A lot of the clips I chose here [tonight] I liked because it’s storytelling without words. I truly believe all good films are created with this guiding principle. I’m here to help execute the director’s vision and hopefully jam along the way to come up with new possibilities. On shooting the glider sequence for The Right Kind of Wrong LM: We had four camera crews working to capture this sequence, sometimes independently as we had huge ground to cover. The sequence only lasts three minutes in the final film, and the ever changing weather patterns throughout the three-day shoot made Canadian Cinematographer - February 2014 •
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From left: D. Gregor Hagey csc, Luc Montpellier csc, Sarah Thomas Moffat and Carolyn Wong.
it a challenge to match everything up. The digital intermediate process was a great tool to help smooth out any varying light conditions.
ALEXA in 16:9 mode as the 4/3 ALEXAs weren’t readily available. All in all, it was a huge technical feat to try and put it all in the soup to make it all match.
We also had a visual effect unit shooting concurrently with our main unit. All the glider elements were shot on massive sound stages outfitted with 100’x100’ green screens. We used a 50’ Super-Technocrane to create the movement as our glider and actor hung from the grid. It was a poor man’s motion-control rig!
Inescapable was shot in anamorphic as well, but I opted to use the original 16:9 ALEXA model instead. We chose this format because we wanted the film to have a slightly 16 mm feel to it based on a man going back into his past. To achieve this desired look, I chose to shoot the film using 2x anamorphic lenses on a 16:9 (sensor) ALEXA in the ProRes format. The result is a slightly softer image due to the reduced sensor area being recorded and subsequently de-squeezed. This process gave me the desired image softness akin to 16 mm film.
Our main unit also captured images of Leo, our lead character, taking off from a real cliff on location. Our practical effects crew rigged this elaborate computerized pulley system of wires between two construction cranes that extended 300 yards. It was all digitally repeatable so that the glider could go up and down, back and forth, and be instantly reset when it reached the end. With the hit of a button, the rig could literally be brought to first position so we could repeat the exact same action. It was a system that saved a lot of time, as shooting this sequence was very expensive. There was much to coordinate technically, and I’m very happy with the results. On shooting anamorphic I’m addicted! This (The Right Kind of Wrong) was my very first ARRIRAW anamorphic film. We shot with Panavision anamorphic lenses and I believe it was the very first 4/3 sensor show in Canada. I think we were the ones who took it out of the box! We had two DITs in the truck because it generates so much data. We also had slow motion requirements on the show. The 4/3 ALEXA wasn’t able to shoot at the higher frame rates we needed at the time, so we looked to the Phantom camera for most of our slow motion needs. Some of our second unit was also shot with the
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On shooting with DSLRs The new formats coming out today are producing amazing images. I use “prosumer” cameras mixed in with professional camera systems on almost every film I shoot these days. I test all the new formats when they come out, as they offer great options. They’re never quite as crisp as the professional cameras, but the various formats offer a unique look, unachievable until today. The low light sensitivity of these cameras has created a poetic realism very much present in today’s visual media. Numerous sequences in Take This Waltz were shot using the Canon 5D Mark II. These cameras enabled us to capture the intimacy between our actors walking through the streets in available light and set the perfect stage for them to forget we were shooting a film. Luc Montpellier csc is currently working with writer/director Emmanuel Shirinian in developing Shirinian’s second feature, My Foolish Heart, a comedy about a grandfather and a grandson who chase after the same woman.
Lightens Up Feature film DPs are often renowned for their attention to detail: if they didn’t place something in the frame, it doesn’t belong. In television news, on the other hand, virtually nothing is under that level of control, from the shot, to what the subject might say, to the light and even the camera itself, let alone location.
They call it ENG, Electronic News Gathering – though the electronic part is an entrenched given these days – and it continues to evolve with technology advances. Back in the 1980s those early Betacams cost a whopping $120,000, and though the price of a newscam these days is in the $20,000 to $30,000 range, it’s still expensive compared to the way technology prices generally have dropped, according to Carl Swanston, director of CBC News Production Services, who oversees the technology for about 60 shooters in both French and English across the network. “And they haven’t gotten much smaller really,” he sighs. Part of the cost is the durability. Newscams get dropped and banged into and the glass, that big zoom, is still a weighty component. Adam Dabrowski, a Global TV camera operator nominated for two CSC spot news awards last year, agrees, noting the technology continues to drive the prime goal of news crews which is to “collect, collate and present news content to viewers. “Cameras haven’t changed physically that much, though the Sony PMW350 is a bit lighter than the older cameras,” Dabrowski says, but there are other plusses. For example, the digital extender feature allows the operator to zoom all the way into the pixels to get really tight, which in ENG is critical, even with some
loss of quality. “Instead of x32, we’re going x40 to x55 which is much more of an option,” he says. The shift to a 24-hour news cycle locally has only served to increase demand for news to the point where technology is no longer the barrier but access is the issue, either in terms of risk or from authorities like the police preventing video journalists from doing their jobs. Lights too have evolved. Gone are the scorching lamps that ate batteries in minutes, replaced by cooler LEDs that run for hours, relieving the camera operator from humping that heavy bandolier or belt of batteries. What has really changed, says Swanston, is the way those images are transmitted after or even during capture. Back in the day it was a race back to the lab, later the satellite truck, those huge tandem-axle behemoths with a C-dish mounted on top and full tape editing suites inside. You could tell how big the story was by counting the network trucks. These days LTE and 4G cards and Wi-Fi can accommodate most everyday news uploading needs, he says, though satellite is still useful because it’s bulletproof. “We use a Dejero system (from a company based in Kitchener, Ontario), which allows us to dial into the newsroom and Canadian Cinematographer - February 2014 •
21
Tech Column
TV News Capture
Back in the 1980s those early Betacams cost a whopping $120,000 stream,” Swanston says. The file either spools onto the server or can go directly on air. “We can literally be on air as soon as they’re ready for it.” In the field, almost every shooter has a MacBook or Laptop PC with editing software along with the Dejero package, making quick field edits easy and providing a stable console for upload. While humping the classic “clamshell” tape editor suitcase isn’t necessary anymore, there’s still a benefit to a live truck with its editing space and transmission capabilities because cellular can be problematic given traffic and location. It also provides power, which is a real plus, Dabrowksi says. In addition to Dejero, Dabrowski says, many U.S. stations are also using Live U, a backpack mounted, video-over-cellular technology; and Streambox, a mobile, multi-point video sharing technology. “At the Boston Marathon bombing some stations hired young women to put on the Live U backpacks with a camera and just go from point A to point B to point C to get footage,” he says. It also helps that HDTV is merely 720p, meaning the compressed files are more manageable. Quality isn’t always everything in news; sometimes just getting the picture is more important. “I think the audience realizes that we’re sometimes going
to have footage from smart phones and they’ll accept that,” Swanston says. Indeed, CBC-TV crews have iPhones for when all else fails or when they’re getting that “hidden camera shot,” and they’ll also use GoPro HERO3s, even DSLRs such as the Canon 5D Mark II and III, or the Nikon D800, and even some Canon C300s, he says. “The DSLRs are great because they have interchangeable lenses and you can either use them for cutaways in interviews and replace the two-camera shoot set up or you can look like a tourist and not attract any attention,” he says, adding that the Sony PMW-200 is another mini-cam that is less obtrusive, fairly affordable and “disposable” in high risk zones where crews may have to just drop their burden and run for their lives. Can’t imagine too many feature film DPs having to worry about that, unless of course they’re over budget and the executive producer is looking for them to explain that last invoice. 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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22 • Canadian Cinematographer - February 2014
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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)
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 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.
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.
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 - February 2014 •
23
Camera Classifieds
Equipment Wanted
CSC Member Production Notes 30 Vies IV (series); DOP Marc Gadoury csc; to April 4, Montreal Arrow II (series); DOP Glen Winter csc & Gordon Verheul csc (alternating episodes); to April 17, Vancouver Beauty and the Beast II (series); DOP 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 Hannibal II (series); Camera Operator Peter Sweeney; to April 4, Mississauga Hemlock Grove II (series) B Operator/Steadicam Keith Murphy; to February 25, Mississauga The Intruders (feature); DOP Brendan Steacy csc; to February 7, Sudbury 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 Rookie Blue V (series); DOP David Perrault csc; to June 11, Toronto The Strain (series); B Camera Operator J.P. Locherer csc; 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 March 25, Burnaby When Calls the Heart (series); DOP Michael Balfry csc; to February 23, Burnaby You and Me (series); DOP/Operator Christopher Ball csc; First Assistant Eddy McInnis; to March 21, Dartmouth
Calendar of Events 20-30, International Film Festival on Art, Montreal, artfifa.com
3, CSC Annual General Meeting, Toronto, 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 FEB
22-23, Professional Lighting for Faces Workshop, Toronto, csc.ca 25-March 3, CSC Digital Camera Assistants Course, Toronto, csc.ca 27-March 2, Kingston Canadian Film Festival, Kingston, ON, kingcanfilmfest.com
22, CSC Awards, Westin Harbour Castle Conference Centre, Toronto, csc.ca
5-6, Professional Lighting Workshop, Toronto, csc.ca APR 24-May 4, Hot Docs, Toronto, hotdocs.ca 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 24 • Canadian Cinematographer - February 2014
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