Canadian Society of Cinematographers Magazine September 2014

Canadian Society of Cinematographers

$4 September 2014 www.csc.ca

Vic Sarin csc

The Boy from Geita V02 #03

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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 6, No. 4 September 2014

Vic Sarin csc Follows His Heart for The Boy from Geita

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By Katja de Bock, Special to Canadian Cinematographer

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IAGA 2014: A Greek Odyssey By Joan Hutton csc

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My East African Adventure By Peter Warren csc

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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.

Credit: Sepia 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.

Columns & Departments

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From the President In the News Revised CSC Logo In Memoriam – Gordon Willis asc CSC Member Spotlight – Brendan Uegama csc Paying Tribute to Roger Racine csc Tech Column CSC at TIFF Classifieds Productions Notes / Calendar

Cover: Vic Sarin csc Photo: Sepia Films.

Canadian Cinematographer September 2014 Vol. 6, No. 4 CSC Board Members President George Willis csc, sasc, gawillis@sympatico.ca Past President, Advisor Joan Hutton csc, joanhuttondesign@gmail.com Vice Presidents Ron Stannett csc, ronstannett@sympatico.ca Carlos Esteves csc, carlos@imagesound.ca Treasurer

From The PRESIDENT George A. Willis csc, sasc

Joseph Sunday phd JSunday1@CreativeAffinities.com Secretary

DPs are not special.

Antonin Lhotsky csc, alhotsky@gmail.com Membership Co-Chairs Phil Earnshaw csc, philyn@sympatico.ca Alwyn Kumst csc, alwynkumst@gmail.com Education Co-Chairs D. Gregor Hagey csc, gregor@dghagey.com Dylan Macleod csc, dmacleod@sympatico.ca Directors Ex-officio Jeremy Benning csc, jbenning@me.com Kim Derko csc, kimderko@sympatico.ca John Holosco csc, holoskofilms@gmail.com Bruno Philip csc, bphilipcsc@gmail.com Brendan Steacy, brendansteacy@gmail.com Carolyn Wong, CarolynWong50@gmail.com EDITOR-IN-CHIEF George Willis csc, sasc EDITOR EMERITUS Donald Angus EXECUTIVE OFFICER 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 OFFICE / MEMBERSHIP / Subscriptions 131–3007 Kingston Road Toronto, Canada M1M 1P1 Tel: 416-266-0591; Fax: 416-266-3996 Email: admin@csc.ca, 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 - September 2014

I should elaborate on the word “special.” DPs are certainly a special breed, considering the risks they sometimes take to get the shot. They also have special talents, no question.

Recently I came across some old call sheets, and as I scanned the list of crew members, the call times are what really caught my eye. We can all relate to the sometimes outrageously early calls that are part of our industry, but there was an underlying message in there as well: if my call time was 5:30 a.m. what was the call time for the PA performing craft service duties? It would be at least an hour earlier in order to have coffee and some breakfast available as I arrived on set.

Many thoughts came to mind as I read through the sheets, but this is the one that prompted me to write this column: when I joined a certain production company during my early years in Toronto, the executive producer arranged for an interview by an industry magazine. When the article was published, the same producer was displeased with my responses to the interviewer. It was felt that I had “undersold” myself – I had given too much credit and attention to “others” and should have promoted myself more forcefully and basked in the glory of some recent awards. The more I tried to explain that the “others” were an integral part of my role as the DP, the more resistant she became.

The example of the PA in craft service, as cited above, is just one of many that are overlooked and/or ignored. Consider the line producer, production manager, camera operator and camera assistants, continuity person, gaffer, electrics and grips, editors and colourists, production designers, props, special effects, wardrobe and make-up departments. And don’t forget the caterers. These are all linked to the DP’s role in one way or another, and so it is only fair that they be given credit and respect simply because we all have a single focus and what we do is a collaborative effort.

At the end of a shoot day, I always make it a priority to acknowledge and thank each person with whom I have worked because – and here’s the reality – I could not accomplish what I do without them. And as for the PAs who run around performing so many other tasks that makes the DP’s life easier, well, in my book, they are the unsung heroes of the industry.

So any time you’re on a shoot, and even though the day has been a long and difficult one, please take the time to say thank you because then you too will be appreciated and considered a “special DP.” Just saying.

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In The News

Technicolor To Acquire VFX Studio Mr. X Inc.

Michael Wale csc Wins Leo Award Michael Wale csc won the Canadian Leo Award for Best Cinematography: Dramatic Series for his work on the SyFy series Continuum. The Celebration Awards Ceremony took place in the spring at the Fairmont Hotel in Vancouver.

Wale won for his work on the Continuum episode “Second Guessed.”

In other member news, the feature film Louis Cyr, shot by Nicolas Bolduc csc, was presented with Telefilm Canada’s annual Guichet d’Or Award in June. The award is given to the Canadian French-language film with highest domestic earnings in the past year. Louis Cyr generated more than $4.2 million nationally at the box office in 2013.

Also, Michael Jari Davidson lensed the independent feature film Save Yourself over the summer, shooting in the anamorphic format.

Provided by Mr. X Inc.

Dennis Berardi, founder of Mr. X and now the company’s global managing director.

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Technicolor in June announced it had reached an agreement to acquire visual effects company Mr. X. The effects company joins Technicolor’s Production Services division, which includes Academy Award-winning MPC (The Moving Picture Company). MPC will continue to address leading projects for both its studio and advertising clients, while Mr. X will focus on high-concept television production, genre features and international film co-productions. Mr. X and its clients will also be able to access Technicolor’s postproduction portfolio, proven operational excellence and leading technology solutions. Mr. X will operate as Technicolor’s VFX brand for television and become a wholly-owned subsidiary of Technicolor. Mr. X’s co-founder and president, Dennis Berardi, will become global managing director of Mr. X reporting to Tim Sarnoff, president of Production Services for Technicolor. The acquisition remains subject to approval by the government of Canada’s Department of Canadian Heritage.

The SIM Group Merges with Hollywood’s Chainsaw The SIM Group this summer announced it had reached an agreement in principle to merge with Hollywood-based Chainsaw. The merger would see SIM expand its post offerings in the Los Angeles market through Chainsaw’s services.

Upon completion of the merger Chainsaw will continue to operate under its current name as a unit of The SIM Group Meanwhile, the SIM Group also announced the promotion of Ann DeGuire to the newly-created post of president, Camera Division. Previously general manager of SIM Digital, Atlanta, DeGuire will oversee camera operations and engineering for all SIM locations, which include offices in Los Angeles, Toronto, Vancouver, Atlanta, Halifax and Beijing.

In other news, Peter Pearson and Rob Sim were selected to receive two special awards from the Directors Guild of Canada to recognize their careers. Pearson will receive the Don Haldane Distinguished Service Award – which is presented to a DGC member to recognize outstanding service to the membership of the guild – while Sim will be this year’s recipient of the DGC Honourary Life Member Award, which is given in recognition of an individual’s outstanding contribution to the industry that has also had a positive impact on the DGC and its members. Sim co-founded Sim Digital (then known as Sim Video) in 1982, and also received the Bill Hilson Award from the Canadian Society of Cinematographers in 2011.The two special awards will be presented during the 2014 edition of the DGC Awards Gala on October 25 at The Carlu in Toronto.

American Society of Cinematographers Votes in New Officers; Richard Crudo Re-elected President The Board of Governors of the American Society of Cinematographers held its annual election to appoint its new slate of officers. Richard Crudo csc, ASC will serve as president, along with Vice Presidents Owen Roizman, Kees Van Oostrum and Lowell Peterson; Treasurer Matthew Leonetti; Secretary Fred Goodich; and Sergeant-at-Arms Isidore Mankofsky. This is Crudo’s fifth term as president. In addition to last year, he served from 2003 through 2005.

Douglas Kirkland

The members of the Board, elected in May by the organization’s active membership, include: John Bailey, Bill Bennett, Curtis Clark, Dean Cundey, George Spiro Dibie, Richard Edlund, Michael Goi, Matthew Leonetti, Stephen Lighthill, Daryn Okada, Michael O’ Shea, Lowell Peterson, Rodney Taylor, Kees van Oostrum, and Haskell Wexler. Alternate Board members consist of Isidore Mankofsky, Karl Walter Lindenlaub, Robert Primes, Steven Fierberg and Kenneth Zunder.

Local industry professionals will also have access to Whites’ educational seminars and workshops.

Meanwhile, Calgary Economic Development announced it has secured land to begin construction on the Calgary Film Centre, which will be built on 8.35 acres of land located at 5750 76 Avenue S.E. The Centre is expected to open in the fall of 2015, and the total projected cost is approximately $22.8 million. The Centre will feature 50,000 square feet of purpose-built sound stages, and William F. White will be the anchor tenant.

Sony Pictures Imageworks Relocates Head Office to Vancouver Visual effects and digital character animation company Sony Pictures Imageworks announced this summer it is relocating its headquarters to Vancouver. The company is moving into a new, state-of-the-art facility, capable of accommodating up to 700 employees, which will be the largest footprint for a visual effects company in the city. The Vancouver team will lead Sony Pictures Imageworks’ current and future projects, including Guardians of the Galaxy (Disney/Marvel), Pixels (Columbia Pictures), Angry Birds movie (Rovio), Hotel Transylvania 2 (Sony Pictures Animation) and the untitled

The ASC also appointed Stephen Pizzello to serve as editor-in-chief and publisher of its flagship magazine American CineRichard Crudo csc, asc matographer. Other editorial appointments include the promotions of Jon Witmer to managing editor, and Rachael Bosley to managing director of the ASC’s website (theasc.com) and social media channels.

Andrew Fish has been brought on to serve as associate editor, and Kelly Brinker is the magazine’s new photo editor. The ASC Board promoted Pizzello from his previous position as executive editor, a title he held for 19 years.

William F. White Opens Sudbury Office; Calgary To Construct Film Studio William F. White this spring announced the opening of a Sudbury office as part of a new partnership for Northern Ontario. The new Whites’ office will be housed within the Northern Ontario Film Studios facility, a former ice rink.

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Smurfs movie (Sony Pictures Animation). Sony Pictures Imageworks’ new 74,000-square-foot production headquarters will be located at the Pacific Centre in downtown Vancouver.

Australian Cinematographers Society Introduces Technical Achievement Award in Honour of Miller Tripods Founder Miller Camera Support Equipment announced this summer that the Australian Cinematographers Society (ACS) recently partnered with the company to create a new industry award for the ACS National Awards for Cinematography.

The Bob Miller – ACS Technical & Innovation Achievement

Award, developed in honour and memory of fluid head inventor Bob Miller, will come with $1,000 cash, a $2,000 Miller product prize and a framed certificate. The winner will also have his or her name engraved onto one of Miller’s LP ’54 Classic tripods, which will reside permanently on display at the ACS National Headquarters in Sydney, Australia. In honor of its 60th anniversary, Miller has only produced 40 of these LP ’54 Classic tripods for worldwide distribution through donation. The LP ‘54s were built by hand, as they were when first introduced, from remaining components left after the last production run of the Light Professional (LP).

The Bob Miller – ACS Technical & Innovation Achievement Award will be presented to an industry pioneer for the first time at the 2015 ACS National Awards for Cinematography in Hobart, Australia.

Meanwhile, Miller also announced that it was introducing its Air Tripod System range, which includes the Air Alloy System (3001) and Air Carbon Fibre System (3005), to the U.S. market. Each system consists of an Air Fluid Head, offering authentic Miller fluid head pan and tilt technology, and a variant of the Solo 75 2-Stage Tripod. The Air Fluid Head, composed of magnesium alloy housing and precision components, comes with two positions of selectable counterbalance and a dual pan handle option. Both systems have the ability to support payloads ranging from 5.5 pounds to 11 pounds.

Renowned Filmmaker and Cinematographer Wolf Koenig Dies

Archival photograph featuring fluid head inventor Bob Miller and Movietone News crew, 1946.

This photograph supplied from the Ron Windon ACS collection on behalf of the Australian Cinematographers Society.

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Renowned German-born Canadian filmmaker and cinematographer Wolf Koenig died on June 26 at the age of 86. Koenig spent 47 years at the National Film Board and worked on documentaries, animation and narrative work. His notable credits as co-director include the documentaries City of Gold (1957), The Days Before Christmas (1958), Stravinsky (1965), Glenn Gould – Off the Record (1959), and Lonely Boy (1962). He lensed Norman McLaren’s Oscar-winning 1952 short, Neighbours, which employed innovative stop-motion photography. Koenig also designed the animation for Colin Low’s The Romance of Transportation in Canada (1953), which won an award in Cannes, and he was also the cinematographer for Corral (1954), Low’s first documentary, according to the NFB. Koenig was one of the main contributors to the Board’s Candid Eye series, along with Terence Macartney-Filgate, Roman Kroitor and Tom Daly. Koenig retired from the NFB in 1995. He was born in Dresden, Germany, on Oct. 17, 1927, and his family settled in Galt (later Cambridge), Ont., in 1937. He is survived by his sister Rachel Byck, his brother Joe Koenig, and his nieces Judy, Sarah, Susan, Anne, Nina and Debbie.

Introducing the Revised CSC Logo

By George Willis csc, sasc

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n 2007 I designed the “new” CSC logo to be an integral part of the CSC’s 50th anniversary celebrations.

Here is some information that pertains not only to the design of the logo but also regarding the importance of how and why the logo is represented.

Of primary importance is the fact that the CSC is a society that needs to be defined for what it is, what it stands for and who it represents, therefore a number of considerations were addressed when designing the logo. The most important part of a logo design is immediate recognition and having all the qualities that make it memorable.

As the name implies, the Canadian Society of Cinematographers is directly related to the film industry, and so it seemed logical that an iconic symbol would be appropriate – film. However, while film has been the mainstay of the industry since its inception, certain developments and advancements in other media used in the recording of images have dictated their inclusion in the logo. Closely related to film, and until fairly recently, the other medium has been video, or “tape” as it was designated. While not replacing film as the primary recording medium, it has certainly been an alternate option for image capture. Therefore, the next obvious consideration had to include this most important media partner.

Until now, the CSC logo design reflected these two essential media components and was therefore indicative of the film and television industry.

However, recent developments have dictated somewhat of a re-think on my

part. The re-visiting of the logo’s design has been as a result of many who have asked, “Why is the digital media not represented in the CSC’s logo?”

My answer has always taken the form of explaining that one cannot simply change an established logo because of circumstance or simply to “change for change’s sake.” To qualify this response, there are many famous logotypes that were designed decades ago yet remain exactly the same as the day their design was established. There are many fine examples of logos that have continued to be accepted throughout generations.

And while generations have changed, many of those great logo designs have remained unchanged. However, and notwithstanding these observations, I decided that I would try to accommodate the latest technology – the digital media.

The idea began with a sketch, if only to satisfy myself that the notion was somewhat viable, and also to arrive at a conclusion without over-thinking the issue.

It had to be clear not only in my mind, but also immediately clear to those who might see the modified logo. In other words, I did not want to re-invent the

logo; I simply wanted to modify it so that all media was included. Therefore, the net resolution of the modified logo is as follows: the “film” portion of the logo is unchanged and is self-explanatory. The inner layer (underside) of the right hand portion of the logo still reflects the “tape” as media.

What has changed is that zeroes and ones (binary code) have been added on top of the “tape” image. This modification addresses the digital media, reflecting the changes in the film and television industry and also encompasses any and all media that can be referred to in the digital realm.

I believe that this revision to the logo addresses the concern regarding the digital era that is now upon us, but most importantly, it still allows the logo to retain its integrity and original concept and design without compromise.

Hopefully this revision will be seen as an enhancement to a logo that has been very well received and one that speaks for all cinematographers, no matter which realm they choose as a vehicle to display their visual talent and expertise.

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In Memoriam

influence,” Crudo continued. “Along with Conrad Hall, asc, and Owen Roizman, asc, Gordon Willis helped obliterate all that was traditional about the way films were staged and lit — ‘mounted,’ in Gordon’s words — and he then ushered in a new freedom that subsequently enabled most every look and texture that we now take for granted in cinematography. This is a momentous loss. If it’s safe to say there will never be another Rembrandt, I have an even safer bet for you: there will never be another Gordon Willis.”

Douglas Kirkland

Willis received the ASC Lifetime Achievement Award in 1995. He earned two Academy Award nominations, for Zelig and The Godfather Part III, and the Academy honored him with an honorary Oscar at its inaugural Governors Awards ceremony in 2009.

Gordon Willis, asc, 1931-2014

G

ordon Willis, asc, a cinematographer who had a seismic influence on his chosen art form, died May 18 at age 82 in North Falmouth, Mass. The cause was complications from cancer, according to his son Gordon Jr. Best known for the dark chiaroscuro he brought to Francis Ford Coppola’s Godfather trilogy, Willis also enjoyed numerous collaborations with Woody Allen, including Annie Hall, Manhattan, Zelig and The Purple Rose of Cairo; and Alan J. Pakula, including Klute, The Parallax View, All the President’s Men and Comes a Horseman.

In a profile of Willis that was published in The New Yorker in 1978, Pakula said,

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“Working with him is collaboration at its best. It’s a joy, it’s fun, it’s camaraderie — like being kids and playing after school. They say about certain film editors that they have ‘gifted fingers.’ Gordon has that kind of eye.”

“In an industry that more often than not celebrates mediocrity over true genius, Gordon Willis occupies a category separate from and above all others,” ASC President Richard P. Crudo said.

“He stands beside Griffith, Welles, Ford and maybe a few others as one of the industry’s great originators. Just as those men did, Gordon not only changed the way movies look, he changed the way we look at movies.

“It’s impossible to overstate his

In accepting his honorary Oscar, Willis called his career “a series of great encounters, and they have been an embarrassment of riches. I’ve always had an opportunity to do what I want, the way I want, and I’ve always worked with people [who] have given me that opportunity. In retrospect, I think probably every good thing that’s ever happened to me has happened because of another person. Fifty-four years ago, I met this darling girl and married her. We’ve had three kids and now five grandchildren. And along the way, I met this remarkable group of directors, producers, very fine actors and very fine technicians who extended themselves for me. I couldn’t ever really give them back what they gave to me. I had the best of it.”

Willis is survived by his wife, Helen; two sons, Gordon Jr. and Tim; a daughter, Susan, and five grandchildren.

Reprinted with permission from the American Society of Cinematographers.

American Cinematographer will publish a tribute to Willis in its October issue.

Brendan Uegama csc What films or other works of art have made the biggest impression on you?

Apocalypse Now for its mastery on so many levels. Baraka for its power and beauty. And Return of the Jedi for being the first film that made me look at films as a filmmaking process made by people.

How did you get started in the business?

I’ve always had a passion and interest in image making.

I started making extreme sports films and was lucky to shoot with some of the world’s top freestyle motocross riders, skateboarders and snowboarders. I then got into lighting and went to study cinematography further at Capilano. It quickly became my life passion.

Who have been your mentors or teachers?

I have had many mentors in different ways, however, most prominently Jack Green asc. He took me under his guidance for a summer in ’06 and we’ve stayed in contact to this day. Another mentor has always been Ross Kelsay my teacher at Capilano who believed in me and pushed me from the start.

What cinematographers inspire you?

Vittorio Storaro, Roger Deakins, Christopher Doyle and Conrad Hall to name a few.

Name some of your professional highlights.

The most important project is always the current project, and each film or commercial I do is a highlight.

Credit: Kyle Cassie

CSC Member Spotlight

What is one of your most memorable moments on set?

The first time I shot a project on film and watched the dailies.

What do you like best about what you do?

I love the limitless possibilities of cinematography.

Creativity is endless if you and the team you’re on set with believe in the film and the power it can have.

What do you like least about what you do?

When others around you do not care for the shoot and are only there for the pay cheque.

What do you think has been the greatest invention (related to your craft)?

It may not be my favorite, however I feel the greatest invention in cinematography is the high quality digital cameras we are mostly working with today, as it has transformed the industry worldwide in just a few short years.

How can others follow your work?

Visit www.brendanuegama.com and follow my Instagram at instagram.com/bmkuegama Selected credits: Exit Humanity, Blackburn

Canadian Cinematographer - September 2014 •

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Vic Sarin csc

Follows His Heart for

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The Boy from Geita

By Katja De Bock, Special to Canadian Cinematographer Photos by Sepia Films

W

hen director-cinematographer Vic Sarin csc was researching his 2013 documentary Hue: A Matter of Color about the issue of colourism (discrimination within an ethnic group towards people with darker complexions), he conducted interviews with people all over the world who had been bullied because of their skin tones. In the process, Sarin – who was born and raised in Kashmir, India – came across the story of a recent development in Tanzania, a country with the highest rate of albinism relative to the entire Sarin worked to gain the trust of the local children while filming population. Albinism is a non- The Boy from Geita. contagious, genetically inherited condition resulting in a lack of pigmentation in the hair, skin graphic footage of children with chopped off limbs and deand eyes, causing vulnerability to sun exposure and bright cided to follow his heart and make a feature length documenlight. Albinism is rare in North America and Europe, but in tary about the subject.

Tanzania, and throughout East Africa, it is much more prevalent, with estimates of 1 in 1,400 people being affected, ac- To his astonishment, he found an activist practically on cording to Dr. Murray Brilliant, an American geneticist who his doorstep in his hometown of Vancouver. Peter Ash – a Canadian born with albinism – was raising money through did a DNA sampling in Tanzania. his charity, Under the Same Sun, to help 12-year-old TanWitch doctors in the region, trying to make a buck in a cli- zanian Adam Roberts, who lost several fingers and the use mate of economic growth, proposed that a drug made of al- of both arms due to an attack provoked by his own father. bino bones could lead to prosperity, and so set in motion an Ash convinced Vancouver General Hospital staff to donate unprecedented murder spree. Sarin found locally produced their time to try and save Adam by means of a challenging Canadian Cinematographer - September 2014 •

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Albinism is rare in North America and Europe, but in Tanzania, and throughout East Africa, it is much more prevalent.

operation, which would have a toe removed to replace his missing thumb. Adam became the main subject of Sarin’s documentary The Boy from Geita.

From all the cases he could have followed, Sarin chose the story about Adam, not only because of the Canadian angle, but also for his point of view as a storyteller: “In all my films, I do take an issue, but I also like to give someone hope at the end. Without hope, what’s the point,” says Sarin, who wanted to show both sides of the issue. While making The Boy from Geita, Sarin found that there was a perception by the locals that people with albinism are ghosts rather than real people.

Echoing a local teacher in his film, Sarin says, “The biggest problem in Africa is ignorance.”

Sarin made a series of visits to Tanzania with two camera operators. They travelled light, taking minimal gear, including two SONY EX3 cameras, which Sarin owns. Though the model is now discontinued, Sarin says he is still happy with his SONY. The portability of the small camera is a great advantage, especially when filming an issue like the murder of children. Sarin and his team intended to move about like tourists and avoided raising unnecessary attention. They only used a tripod for sit-down interviews and did not bring additional lights. Sarin operated the camera himself for most of the cutaways, second unit footage and the operation sequence at VGH. Noting that the look of a documentary is often driven by the subject of the film, Sarin knew that being such a sensitive

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subject, it was important to not impose any photographic design when shooting The Boy from Geita but rather to let the subject of the film take him wherever it was necessary. Still, he felt that the story needed naturalness and honesty in the camera. “Going in, I knew the camera had to be invisible,” he says. “Fortunately, with digital technology it is easy to do so. I felt the camera should be used handheld without much fanfare as far as the lenses, filters and lights go, except for the interviews.”

The choice to just rely on the standard SONY EX3 zoom was a conscious one. “For the effectiveness of the story it was important that the final image is consistent and perhaps even not that high quality or resolution, therefore maintaining the honesty and real quality of the story,” the cinematographer says.

As people with albinism are very sensitive to direct light, Sarin tried to avoid shooting them in bright sunlight as much as possible and did not use additional lighting. “This ‘handicap’ of people with albinism I had to respect,” Sarin says. “Fortunately, them being so light, this self-imposed restriction wasn’t that difficult. Having no lights also helped to keep the natural look for the story.”

Since the contrast was so great between the people with albinism and the other African subjects in the story, Sarin avoided as much as he could having both of them in the frame. On these occasions, as well as when shooting in darker locations, he sometimes used a white towel as a small bounce board,

just to give some detail in the blacks. “After a while people in the villages got to know me a little, so consequently I was able to make some slits or widen natural light sources, [such as] through a window or door in their huts,” the cinematographer says.

Aside from the logistics of filming, Sarin had the task of gaining the trust of the local people, made more complicated by the fact that he did not have the blessing of the local government and was posing as a tourist. “I just followed some of the characters for a short time without shooting anything, just to get them used to seeing me around with a camera hung to my shoulder,” he explains. “I had to follow the schedule of the characters and not mine. It was important so that they were not conscious of my presence and the camera.”

Getting his main subject to open up was perhaps one of Sarin’s biggest obstacles. “Going in, I knew it was going to be difficult to gain the trust of the children, but I was so sure that with time I would have it. Well, that didn’t quite happen, partly because of the language, but also, it is a horrible nightmare – who wants to talk about [that]?” Sarin says. “I had many sessions with Adam to tell me his side of the story, but each time I tried to talk to him on camera he just wouldn’t say anything or have any focus. Since I don’t use any narration in my documentaries it was important that he tell me what happened. Without his telling me I had no film. I understood his pain, so I tried various paths to get to him. I was almost going to walk away defeated, except for one final try. I got a little angry and I mentioned to Adam perhaps he is hiding something. Well, with this accusation he opened up.” Among the things Adam revealed is that his own father gave a neighbor permission to attack him with a machete, resulting in the loss of some fingers and a thumb on one hand and large pieces of muscle on the other arm, making it virtually impossible for the boy, who loved drawing, to use his hands and arms.

As Adam finally told his story through a translator, Sarin kept the camera as far back as he could, “so that the little boy was only conscious of me talking rather than the camera,” he explains. “He tells his own story, so simple, without pathos.

The simplicity of that is to me the beauty of this film.”

Sarin is also confident with the quality of the exhibition copy. He won the 2013 CSC Robert Brooks Award for Documentary Cinematography for the camel-racing themed Desert Riders using the same SONY EX3 and he loved the visual quality of Hue on Vancouver International Film Festival’s large screen.

Since completing The Boy from Geita, Sarin has not stood still. Feeling perfectly at ease wearing two departmental hats,

Vic Sarin csc and Adam Roberts

he has meanwhile shot and directed the Lifetime/Movie Central/The Movie Network TV Movie A Daughter’s Nightmare in Kelowna, B.C., using drones to film breathtaking establishing shots of the Okanagan Valley.

For his latest project, The Keepers of the Magic, Sarin is travelling around the globe to interview the world’s most famous cinematographers such as Vittorio Storaro (Apocalypse Now, The Last Emperor) and Gordon Willis ASC, who shot The Godfather trilogy, many of Woody Allen’s films and recently passed away. In this magazine a few years back, Sarin said if he could, he would shoot everything on film. “I still do,” he says today. “In film I had a very strong discipline. You had to be sure what you wanted to do. The flip side of that was the discovery. There was always surprises, and I loved the surprise element. I think that is no longer available in digital photography as the image is right there.”

The Boy from Geita premiered this year at Hot Docs in Toronto, was licensed by Super Channel and will be shown on the pay TV channel this autumn, and subsequently on CBC. Peter Ash’s charity Under The Same Sun intends to use the documentary in an ongoing awareness and media campaign on the ground in East Africa.

Canadian Cinematographer - September 2014 •

13

A master class at the IAGA.

IAGA 2014: A Greek Odyssey

By Joan Hutton csc Photos by Louis-Philippe Capelle sbc

D

elphi, Greece, steeped in its antiquity and its folklore, was the perfect setting for the 2014 IMAGO Annual General Assembly (IAGA), and as the CSC representative I was very happy to be there and watch a bit of history in the making. IMAGO is an umbrella organization for 47 cinematography societies from around the world.

Its goal is to promote professional cinematography, to vigilantly lobby for cinematic authorship rights and improve the general working conditions for cinematographers. IMAGO is comprised mostly of cinematographer societies from Europe with full member status, since its origins are footed in the European Confederation of Cinematographers. Non-European societies were all associate members until this year’s IAGA, and this is where the historic aspect kicks in. To loud applause, and I do believe a few whoops, IMAGO ratified changes in its statutes, allowing for the first time non-European societies to become full members with voting rights.

The first to step up and receive full membership, ushering in a new era for IMAGO, were the Australian Cinematographers Society (ACS) and the New Zealand Cinematographers Society (NZCS), while the Japanese Society of Cinematographers ( JSC) and the Israel Association of Cinema and Television Professionals (ACT) are in the wings completing their

14 • Canadian Cinematographer - September 2014

applications. As for the CSC, it is still the status quo as an associate member of IMAGO, although a motion was passed at the CSC 2012 Annual General Meeting for the upgrade to full membership once the mechanism to do so was in place with IMAGO. The motion sits now before the CSC Executive for deliberation.

When I started in the film business back in the early 1970s, women cinematographers were virtually non-existent, but through the years our numbers have grown to the point where it’s not all that uncommon anymore to see a woman behind the camera. At previous IAGAs, I could usually count myself and two or three other female delegates in attendance.

However, 2014 proved to be a banner year with nine female cinematographers as delegates at this year’s IAGA. It is heartwarming to see women cinematographers making an inroad at the international level, and I do hope the number continues to spiral upwards.

Moving away from the official discussions, the background buzz at the IAGA, which was when two or more cinematographers spoke casually with each other, seemed to always gravitate towards the role of the cinematographer in the digital age.

The ones in which I participated were anxious conversations, questioning the diminishing stature of the cinematographer in today’s production hierarchy and the future relevancy of cinematography in a world of constantly changing technology. Uneasy questions with no easy answers. In the new digital reality, most agreed that cinematographers need to be on a continuous learning curve, reinventing themselves, but it is the person, not the tools, that shape the shot and create the look of a film. While the future of cinematography is not etched in stone, DPs like Academy Award-winner Emmanuel Lubezki asc have shown us where it can go with his groundbreaking work on the space disaster film Gravity. Pushing existing technology beyond its cutting edge and even inventing new technology for the film, Lubezki pondered whether or not anyone thought what he did was cinematography, algorithmography or whatever, but opined that it still required a cinematographer, a person overseeing the images. It doesn’t happen by itself. I think it is fair to say that Gravity would not be the cinematic marvel it is without Lubezki’s creativity.

An interesting topic on the IAGA agenda tackled the supposedly unassuming subject of film archiving and restoration, which proved to be anything but that and inadvertently questioned the relevancy of cinematographers. IMAGO is

very active in promoting cinematographer authorship rights, a concept that views cinematographers as the co-authors of the images they create. This puts them on equal footing as producers, directors and writers, legally and morally, and opens the doors for residual compensation. The concept has taken hold in several European countries, most notably Poland, where cinematographers have legal standing, but it is an uphill struggle.

As far as North America and the rest of the world is concerned, cinematographer authorship rights Christian Berger aac at the IAGA. are non-existent and only talked about in hushed conversations as a non-starter. For Canada, I’ve been told that there could be legal grounds for cinematographer authorship, but I’ve never seen it enacted.

The only cinematographers I’ve ever known to receive residuals are the ones who are also producers of their own films.

So what has this got to do with film restoration and ar-

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Group photo at IAGA 2014

chiving? Much of the world’s celluloid film has yet to be digitized and archived. In Europe, around 98 per cent of the film legacy is languishing in film cans, in vaults or in worse conditions. Last year, IMAGO endorsed a film restoration and digitization process devised by the Association of Czech Cinematographers (AKC) called Digital Restoration Authorizate (DRA). The DRA method requires that a film’s original cinematographer, if they are capable and still alive, be a part of the restoration and digitization process. If not the original cinematographer, then at least one or preferably two other cinematographers become part of a process. The premise being that who else but cinematographers, the co-authors and creators of the image, would be able to best replicate the true look and feel of a fellow cinematographer’s film.

When the DRA method was presented to international and European archival organizations, it fell flat. The archivists said it was unnecessary, too cumbersome, too regulation heavy and too costly. But most interesting of all, it was felt that the job of a cinematographer was to shoot films and nothing more. No latitude is given to cinematographer co-authorship of films in the preservation process even on a logical and moral level.

IMAGO responded by distancing itself from the DRA initiative, and at the IAGA a vote was held to dissolve the existing Author’s Rights committee in favour of forming a hybrid Film Heritage and Author’s Rights committee, which as the name suggests, will deal specifically with restoration, archiving and author’s rights. This new committee will approach the archivists to find a common ground to move forward on restoration and archiving of films that includes cinematographers in the process. I’m keeping my fingers crossed that IMAGO and its new committee is successful on this issue that strikes to the very core of being a cinematographer.

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At this writing, the location for the 2015 IAGA has not been established, but the frontrunners for hosting countries seem to be Russia and Israel.

Haris Zambarloukos bsc at the IAGA. Right: Phedon Papamichael asc gac at the IAGA. Bottom: Delegates at IAGA 2014, including Joan Hutton csc (centre).

Left:

Canadian Cinematographer - September 2014 •

15

Warren shot stills and video with the Canon 5D Mark III.

T

here is a big map of the world in my office, and on it are dozens of push pins that indicate where my journeys have taken me in my 30-year career. There has always been one big continent right in the middle that has nary a pin prick: Africa. I don’t know why, but it was never at the top of my bucket list. I may have thought it a little intimidating. But then an opportunity came up to travel to Tanzania. My old friend from CTV, Scott Hannant, was producing a series of

My East African Adventure Words and photos by Peter Warren csc

videos for the Aga Khan Foundation that would focus on its work with education in that region. This was just too good to pass up.

The first thing I do is contact my buddy Mike Grippo csc, who has done a lot of work in Africa. “Mike, I’m going to East Africa, what do I need to know?” I ask. “Bring a flashlight,” he says. “And make sure it’s the headlight kind ‘cause you’re going to need it when you go to the washroom at night.” This,

18 • Canadian Cinematographer - September 2014

amongst all the other valuable advice he gave me, was the most salient. Number one, electrical power is not a given in Tanzania. And number two… Well, you will be doing lots of number twos.

I decided to shoot these videos with the Canon 5D Mark III. The great thing about the 5D is that it doesn’t look like a video camera, which makes customs so much easier. With the 5D and a tacky floral shirt, you are just another tourist. It also means that you can travel lighter. My tripod for the 5D weighs about 10 lbs, and I created a lightweight dolly for this shoot that came in at about the same. But the main reason I went with the 5D was that the client also wanted me to take stills.

I assembled a complete battery-operated LED lighting kit for the trip, consisting of a 900, a 600 and a 250. With the difference in power cycles in the PAL regions, I did not want to go with practical lights. The LEDs covered virtually every situation. When I shot interiors I turned off all the practicals and used my lights to complement the daylight; night scenes were well covered with these three lights as well. In fact, in the daytime I could place the two larger lights outside windows in small huts and classrooms to give direct light. The 900 and 600 are amazingly powerful outside. On overcast days they worked as a key, and on sunny days they performed well as fill, but they have to be in pretty close. A side note: the 250 is amazing when shooting interior car scenes during the day. I suction cupped it just below the mirror, and it provides a constant exposure on the face. And with the 5D being so small I can put my back against the dashboard and get an almost full frontal of the driver with my 16-35 mm lens. Just don’t tell Health and Safety. The lights all fit in one lighting kit with five stands, a reflector, various CTO/CTB gels and 216, and amazingly it all came in at under 50 lbs.

So my luggage amounted to one lighting kit, one tripod case and my personal suitcase, which was packed with two-thirds gear, one-third jammies and underwear. The camera and lens were my carry-on. I should mention the crew for this shoot amounted to me, myself and I.

A couple of innovations worth sharing:

On the Ground Tanzania: what an awesome, inspirational, humbling and challenging place. There are a billion award-winning photos just waiting to be taken. But taking them can be quite a challenge. In the major centres, which are crazy with activity and colour, I was yelled at within seconds of pulling out the camera. They assume you are there to exploit them, take pictures, and sell them for profit, while they get nothing. Apparently, there have been cases where unscrupulous people have set up fake charitable foundations using video and stills, only to

pocket all the donations themselves. How can I explain to them that we are legitimate? You can’t. You ignore the jeers, hope nobody approaches with a machete, roll for 30 seconds, get back in your vehicle and drive off. In the villages, people are not as aggressive, but they do expect to get some stipend for taking their photo – what amounts to a dollar. You can call it unethical, but it is the reality, and honestly, I did not mind paying.

Having said all this, the people of Tanzania are so

I

made a dolly for this shoot that is essentially a high hat with wheels.

I actually bought a second tripod and sawed the legs off. Believe it or not, this was cheaper than buying a proper 70 mm high hat bowl!

The 5D is so light that you can buy a good fluid head tripod for under $150. The dolly track runs between two light stands. I used 2x2 wood that sat on top of the light stands to support the track. I just drilled a 5/8th hole in the middle of each piece and inserted a thumbscrew, then notched the surface to hold the metal rails. The track is 3/4” steel rod.

I had four, 4-foot sections that screwed together so that I could dolly 8 feet; the four sections fit in my tripod case. Between the two light stands, I could go from 3 feet to 6 feet in height, but I also found it most useful on the ground to get low-angle dolly shots.

Canadian Cinematographer - September 2014 •

19

goats, we finally hit the unpaved, beautiful red dirt road that would lead to our first village.

Peter Warren csc travelled to Tanzania to shoot videos portraying the Aga Khan Foundation’s work in education.

unbelievably friendly and warm. The rural areas are stunning, a photographer’s dream, with small mud huts and grass roofs, patchwork fields set against a huge blue sky and lush green mountains in the distance like a watercolour painting. But the façade belies the reality. These people are desperately poor. Children go to school hungry; sometimes the only nourishment for dinner is a cup of tea. And yet I was told there is a saying here that you never let your neighbour go to sleep hungry. This is truly a community. They look out for each other and yet they are only a drought away from starvation.

After flying from Dar es Salaam – Tanzania’s largest city – to the southeastern municipality of Mtwara, we meet our driver and load up to travel the four hours to the small village of Nachingwe. About an hour into our drive, at speeds of up to 130 km on roads that back home would not merit an 80 posting, I start contemplating that maybe kidnapping, gun toting thieves and terrorists should not have been at the top of my greatest fears list. A simple, horrific, fiery car crash may be the way I leave this planet. How ignominious! After surviving hours of dodging pedestrians, motorcycles, bicycles and

20 • Canadian Cinematographer - September 2014

In Nachingwe, the poverty is so apparent but so too are the smiles of the children and adults alike and the genuine warmth and friendliness of all. As we slowly drive through the village (only because the condition of the road precludes our driver from hitting Mach 2), a simple wave and smile is returned in kind with enthusiasm and more than a little curiosity. After meeting all the officials, we finally get to start what we have travelled over 10,000 km to do – tell the story of the children and their struggle to get a decent education.

In the Classroom

When we are introduced in the classroom of five-to-nineyear-olds, they are quick to jump to attention and welcome us with a well-rehearsed greeting in perfect broken English.

Their surroundings are barren; the mud walls are worn and weathered. The small windows let in daylight and whatever breeze happens to blow by. Today is moderate, maybe 25 degrees, but I can only imagine what it’s like during the hot season or the rainy season. There is no electricity, no running water. Toilets, if they have them, consist of a small room with a hole in the ground, no toilet paper.

As the class begins, the enthusiasm of the teachers is infectious, the children are laughing, eagerly raising hands, singing rhythmic responses that acknowledge correct answers.

My work is easy, I have set up lights outside to boost the level of daylight, kept both lights to one side so there is lots of contrast and then I just roll. I start with some dolly shots, back of the room, then from the side. Using the 24-105 mm I’m able to get wide establishing shots and tight shots without a lot of fuss. Then I ditch the dolly and just get in there and shoot, down on my knees, tight smiling faces layered three deep, pop on the 200 mm to get pencils hitting the paper, tilt up to capture the concentration in their eyes. The last thing

Warren fashions portable water sandbags. Opposite page: Warren’s custom-made dolly.

I do is throw on the 16-35 mm just to try and capture the essence of this space, the dirt floor, the little windows, the tin ceiling and all the children crammed into a space designed for half their numbers.

Outside in the playground things are a bit more challenging.

As I set up to take a shot of kids kicking around what looks like a ball – it might be rags tightly bound – one child notices the camera, then two, and before long I have a virtual wall of smiling young faces staring right down the lens blocking any possibility of a shot I might have had. They are immensely curious and love having their picture taken. So I throw on the 200 mm lens, shoot from as far back as possible and keep moving from one side of the building to another which gives me about a minute or two to get a shot before the wall of smiling faces reappears. I have shot all these same shots hundreds of times back home, but there is just something magical about these. Maybe it’s my own inexperience with these types of surroundings, maybe it’s the beautiful earthy tones of the dark skin set against worn sandy walls and vibrant red dirt. Children playing on the green grass made lusher by the rainy season. I can’t help but overshoot all of it.

This is just the beginning. Over the next 16 days, we shoot life around the village: young children managing herds of cows and goats; women carrying babies on their backs and water, grass, dried fish, and even bundles of wood on their The other thing I came up with that worked extremely well is portable water sandbags. Go to the camping section at Canadian Tire and buy 8-litre dry sacs; they are yellow and cost about $10. Then buy large, double-zip Ziploc bags; each dry sac will take three. When you arrive at your location you

heads. Every time I turn around there’s something to shoot.

What is most inspiring is going home with a couple of the children and getting a glimpse of how they really live. We go home with nine-year-old Acidiri, who wants to be a pilot when he grows up. Mom and Grandmother happily invite us in. I suddenly feel an overwhelming feeling of guilt when I realize their home is no bigger than the smallest bedroom of our comfortable suburban house. As meagre as it might appear, they clearly have a great sense of pride – the dirt floor all around the hut has been swept clean, the small subsistence garden is well tended, and there are little flower gardens that frame the front entrance. But what’s missing is so apparent: there is no running water, no electricity, no table to eat meals.

This is life in the rural villages. But there is also no shame, no attempt to make us feel sorry for them. They eagerly prepare a meal, and I start shooting.

Scott and I made it back, although my tripod case got crushed by KLM. But I am so glad that I had this opportunity. It is the most amazing thing about our job – that we get to become so immersed in people’s lives. I will forever be humbled by this experience and will never complain about a missed meal again!

A video essay of Warren’s experience can be found at www.peterwarrendop.ca and subsequently on the Aga Khan Foundation website akdn.org. can fill the Ziploc bags with water – don’t try to overfill them – and then just seal them up and place them in the dry bag.

Close the dry bag, squeezing the air out, and presto, you have a 15 lb sandbag. Even if the Ziploc accidentally opens, no water will escape the bag. You can also fill them with dirt, sand or rocks depending on your location. The neat thing about the dry sac is that you can clip it around your light stand. Works like a charm and takes no room in your case! (For more of Peter Warren csc’s innovations, see “The Adventures of a Serial Inventor,” Canadian Cinematographer, February 2014).

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21

Paying Tribute to

Roger Racine csc

Photos by Anne Kmetyko

Roger Racine csc.

R

oger Racine csc may be one of the oldest members of the Canadian Society of Cinematographers – and the former chair of its Montreal chapter – but few may be aware of his work as a director. In fact, Racine’s first feature, The Butler’s Night Off, put actor William Shatner in his first film role but was never released. Recently, Bruno Philip csc discovered another of Racine’s forgotten feature films and teamed up with the Cinémathèque québécoise in Montreal this summer to screen the film for the first time in North America, as well as to pay tribute to Racine, who is now in his 90s.

Ribo ou “Le Soleil sauvage,” a love story set in a polygamous village in the heart of Cameroon, was shot on location in 1975 on 35 mm film. “I discovered the film through talking with [Racine’s son] Christian,” who run’s Racine’s production company Cinéfilms & Vidéo, Philip explains. “I said we should pay homage, because there was not a real homage being paid to Roger in Quebec.” According to Philippe Lavallette csc, who attended the June 5 event, Racine is “exactly in the middle of the history of film in this country.

He’s historically very important. I find that he has never had true recognition, and I think this is very nice tonight.” Besides Philip and Lavallette, Pierre Letarte csc, Roger Moride csc and associate member Yorgos Giannelis were just a few of the CSC members in

22 • Canadian Cinematographer - September 2014

attendance, along with other industry representatives, media and camera people, many eager to pay tribute to Racine in person.

“We’re celebrating a treasure here tonight,” Iolande Cadrin-Rossignol, director general of the Cinémathèque québécoise, told the crowd. “It is our mandate to show these films. We collect things, but you have to show them too. It’s not enough just to put them in vaults.”

For Philip it was important to screen the film because “this is the last film he made as a director and DP,” he said. “For us DPs it’s important because it was shot on Techniscope (2perf) and it was pre-flashed at the lab and then processed.

And it was done in 1975. We need to remember those guys who were working with nuts-and-bolts equipment and making great pictures. This is why I want to pay homage to them.”

Pierre Letarte csc with Roger Moride csc

Despite his advanced age, Racine made time to talk to everyone who wanted to pay a personal tribute and was gracious and humble in the face of the accolades. “The only thing I have to say is thanks for coming,” the cinematographer said in a short speech before the film was screened. “Our profession is a means of communication, and when it’s non-communicable it is no longer cinema.”

The event was made possible with the assistance of Denis Paquette, president of Cinepool; Christian Racine, president of Cinéfilms & Vidéo; and Fabrice Montal, director of conservation and distribution at the Cinémathèque québécoise.

From left:

Iolande Cadrin-Rossignol, director general of the Cinémathèque québécoise.

Bruno Philip csc, Christian Racine of Cinéfilms & Vidéo, Roger Racine csc and Denis Paquette of Cinépool.

Canadian Cinematographer - September 2014 •

23

Tech Column

FreeD Is Ready For Its Shot at the Big Stage Image courtesy of Replay Technologies, Inc.

M

ove over 3D, meet FreeD, aka Free Dimensional Video. Technology, as we’ve discovered, never stands still, and so it is that FreeD from Replay Technologies is carving out a new niche in live sports broadcasting, catering to the fans in the stadium and at home simultaneously. It’s a start-up backed by a $9 million investment from Guggenheim Partners this year and just picked up Samsung as a partner last June.

For show directors it means if you didn’t like the angle on the play or it was obscured, just pull up FreeD and circle around until you get the angle you want and hit play. Think of the stop motion, 360-degree camera scenes in the movie Matrix but in real time at live sports events.

FreeD is a computer-driven technology that fabricates a 360-degree “interlaced” extension of a shot by recreating pixels drawn from a myriad of cameras. Just as 1080i is an artificial resolution made up of interlaced, duplicated pixels from a 720-pixel image, FreeD’s algorithm takes the existing images in their entirety and duplicates them, slightly changing the angle of view infinitely multiple times to create a 360-degree view.

This is not tomorrow’s technology; it debuted at the 2012 London Olympics and is installed at venues like Yankee Stadium, where it won a New York Emmy Award in “Technical Achievement” on the YES Network; at the LA Dodger’s stadium; the Dallas Cowboys’ AT&T Stadium, and soon will expand to other venues in sports like tennis and soccer.

the money shot. It’s not like a feature film set or even a TV show where almost every detail in the frame is controlled, and even then, there is always the possibility of a retake.

The technical details and data management process is astounding. Depending on the sport, there are up to 30 or 32 JAI SP-20000-PMCL, 20-megapixel CMOS cameras each giving a 5K image (5120 x 3840) at 30 to 50 fps capture set up around the field of play.

Each of those cameras is fitted with an F-mount prime lens.

The focal length of each lens varies depending on the position of the camera, with the preferred installation pointing slightly down. None of the data is manipulated in-camera, instead it’s all channeled via fibre optic cable, each source feeding its own server with a back-up server with a crew from Replay at the event and watching and assisting from Tel Aviv, Israel, in real time. Because of the size and complexity, it’s not a mobile system, and a permanent installation is required, making it viable only for Tier One sports events.

“At Dodger stadium we ran something like 4 km of fibre for the installation,” said Eric Finney, executive vice president, business development, sales and communication at Replay Technologies based in the Washington, D.C., area.

For the viewer, the value add is the ability to map a play from almost any angle, following the arc of the ball, the pass or the shot as if they were a drone. It’s a step beyond a FlyCam and the current apex of immersive technology.

The tsunami of data is so overpowering that the system can only capture about 30 seconds of action at a time, constantly dumping out older data to be overwritten with fresh data. If there’s a pivotal play, a “pilot” flags the TV broadcast crew to discern interest then the “navigator” moves the data to a separate server while the game continues. That separated data is then processed to deliver the remarkable FreeD replay cropped down to a broadcast friendly size of 1920 by 1080 from the original 5K.

As every DP knows, the camera sees only what it sees, and in live action sports there’s a myriad of things that could block

“The guys who invented all this and wrote the algorithm are actually based in Tel Aviv, which is the company

24 • Canadian Cinematographer - September 2014

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headquarters,” Finney said. “They are all ex-military so they use terms like pilot and navigator, and they really are rocket scientists. They wanted to do something with their skills and expertise that involved entertaining people, not killing them, so this is what they came up with.”

The technology is fast gaining interest across all major North American sports, with the Montreal Canadiens in talks to install a system at the Bell Centre in Montreal. “Our preference is green sports (meaning those with clear area, green playing fields),” Finney said, because some sports, like basketball, create huge technical challenges. “In basketball the crowd is right up to the courtside, and you’ve got a shiny floor and a clear backboard. This creates all kinds of problems for the cameras and the system to pick it up and recreate frames.

CSC at

“Eventually we’d like to capture a game and then allow a consumer to download it and watch it on their tablet device on a plane, for example, and play director by picking what angle they want to watch it from and change in real time and even create their own replays,” he continued. Also on the horizon are feature films and TV applications. “We’ve had some talks in Los Angeles and there is some interest, but the challenge is that we’d have to be cheaper and more efficient than doing it in postproduction (with CGI), as they can do now,” he said.

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.

2014

Gala Presentations • Yves Bélanger csc, Wild (dir. Jean-Marc Vallée)

Wavelengths • Iris Ng, The Innocents (dir. Jean-Paul Kelly)

Special Presentations • Jeremy Benning csc, October Gale (dir. Ruba Nadda) • Steve Cosens csc, Preggoland (dir. Jacob Tierney) • Pierre Gill csc, The Elephant Song (dir. Charles Binamé) • Ronald Plante csc, The Good Lie (dir. Philippe Falardeau) Discovery • Christian Bielz, Backcountry (dir. Adam MacDonald) • Guy Godfree, Wet Bum (dir. Lindsay Mackay) • Daniel Grant csc, Guidance (dir. Pat Mills) • Mike McLaughlin, The Valley Below (dir. Kyle Thomas) • Bobby Shore csc, Bang Bang Baby (dir. Jeffrey St. Jules)

Short Cuts Canada • Kris Belchevski, Burnt Grass (dir. Ray Wong) • Greg Biskup, What Doesn’t Kill You (dir. Rob Grant) • Daniel Carruthers, Godhead (dir. Connor Gaston) • Guy Godfree, The Underground (dir. Michelle Latimer) • Daniel Grant csc, Hole (dir. Martin Edralin) • Daniel Grant csc, Entangled (dir. Tony Elliott) • Daniel Grant csc, Still (dir. Slater Jewell-Kemker) • Samy Inayeh csc, The Weatherman and the Shadowboxer (dir. Randall Okita) • Mike McLaughlin, Zero Recognition (dir. Ben Lewis) • Robert Walsh, Chamber Drama (dir. Jeffrey Zablotny)

TIFF Docs • Van Royko, Monsoon (dir. Sturla Gunnarsson) • Daniel Villeneuve csc, The Wanted 18 (dirs. Amer Shomali & Paul Cowan)

A complete list will be published in the October issue of Canadian Cinematographer after all the films have been announced.

26 • Canadian Cinematographer - September 2014

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 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. 1Angenieux 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) $400 Contact: stephen.reizes@gmail.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

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)

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-touse 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).

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.

Sony PMW-F3 with S-log firmware. Low hours, Excellent condition. Kaiser top handle, 32GB high rate card. $6500.00.

Gemini 4:4:4 Solid State recorder now PRORes capable, with eSata and Thunderbolt readers, lots of accessories, case, 512GB and 3x 256GB solid state drives/cards. Excellent condition. $3700.00 IBE-Optics HDx35 PL to B4 adapter comes with power cable and soft case. Used on F3 and Alexa for superb results. $3500.00 Photos available for everything. Contact John Banovich 604726-5646 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.

JVC GY-DV300 Broadcast Quality camcorder. 4x3 or 9x16 switchable 750 horizontal lines with several extra batteries and carrying case. Plus and external Shure VP88 stereo microphone with Rycote bracket and wind screen with high wind cover and extra mic cables. Asking $ 1200.00. Contact Robert Bocking csc 416 636-9587 or rvbocking@rogers.com for more information.

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

Panasonic AJHDX900P High Definition Camera, Panasonic Stereo Microphone, Canon Zoom Lens 8x160 (J20a x 8B4 IRS), Dionic 90 Anton Bauer Batteries & charger, Anton Bauer mini fill light 12 V, Marshall 7” HD-SDI LCD Monitor & accessories, 2 x Porta Brace camera bags, Sony Digital Betacam (DVW700) and accessories, Sachtler fluid head VIDEO 20 III & Sachtler tripod legs fibre & fibre case.

Call 613-255-3200, Total $ 25,000.

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

Services HILL’S VIDEO PRODUCTIONS – BURLINGTON Looking for a unique shooting control room? Rent our 32 ft.

1981 Bus complete with control room and audio.

HDSDI fiber boxes for long runs. Great for keeping warm on those multi camera shoots. www.hillsvideo.com Rob Hill – 905.335.1146 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 - September 2014 •

27

Camera Classifieds

Equipment Wanted

CSC Member Production Notes 12 Monkeys (series); DP David Greene csc; to December 5, Toronto Arrow III (series); DP Gordon Verheul csc (odd); to April 20, 2015, Vancouver Au secours de Béatrice (series); DP Richard Ciupka csc; to September 26, Montreal Backstrom (series); DP Stephen McNutt csc, asc; to November 13, North Vancouver Bitten II (series); DP Boris Mojsovski csc; to November 18, Toronto Covert Affairs V (series); DP Mike McMurray csc & Colin Hoult csc (alternating episodes); First Assistant Mark Giles; to September 18, Toronto Degrassi: The Next Generation XIV (series); DP Mitchell Ness csc; to October 17, Toronto Flash (series); DP C. Kim Miles csc; to December 3, Vancouver Haven V (series); DP Eric Cayla csc; Camera Operator Christopher Ball csc; to December 19, Chester Helix II (series); DP Pierre Jodoin csc; Camera Operator Alfonso Maiorana; to December 19, Montreal Heartland VIII (series); DP Craig Wrobleski csc; B Camera Operator Jarrett Craig; to December 8, Calgary iZombie (series); DP Michael Wale csc; Camera Operator Greg Fox; to January 27, 2015, North Vancouver Max and Shred (series); DP Bentley Miller; Pedestal Operator Matt Phillips csc; to October 15, Toronto Mr. D IV (series); Camera Operator Peter Battistone; B Camera Operator Gordon Miller csc; to September 5, Halifax Murdoch Mysteries VIII (series); DP James E. Jeffrey csc; Camera Operator/Steadicam Brian Gedge; First Assistant Kevin Michael Leblanc; to November 28, Scarborough The Next Step III (series); DP Kim Derko csc; Camera Operator Brad Hruboska; to September 12, Scarborough Olympus (series); Second Unit DP Brian Whittred csc; to November 3, North Vancouver Open Heart (series); DP Mitchell Ness csc; October 22, Toronto Reign II (series); DP Paul Sarossy csc, bsc, asc; B Operator/Steadicam Andris Matiss; to April 13, 2015, Toronto Remedy (series); DP Stephen Reizes csc; to January 21, 2015, Etobicoke Republic of Doyle VI (series); DP David Herrington csc; to October 3, St. John’s Returned (series); DP John Bartley csc, asc; to September 26, Vancouver Rookie Blue V (series); DP Alwyn Kumst csc; to October 1, Toronto Saving Hope III (series); DP David Perrault csc; to December 15, Mississauga Strange Empire (series); DP Bruce Worrall csc; to October 20; Aldergrove Suits IV (series); Camera Operator/Steadicam Michael Soos; B Camera Operator Peter Sweeney; to November 7, Toronto Supernatural X (series); DP Serge Ladouceur csc; Camera Operator Brad Creasser; to April 21, 2015, Burnaby Toute la vérité V (series); DP Marc Charlebois csc; to September 15, Montreal Yamasaka VI (series); DP Daniel Vincelette csc; to December 12, Montreal

Calendar of Events Aug. 28-7, Vancouver Latin American Film Festival, vlaff.org

8-19, Festival du nouveau cinéma, Montreal, nouveaucinema.ca

4-14, Toronto International Film Festival, tiff.net

14-18, St. John’s International Women’s Film Festival,

11-18, Atlantic Film Festival, Halifax, atlanticfilm.com 13-21, Cinéfest International Film Festival, Sudbury, ON, cinefest.com

SEPT

17-21, Ottawa International Animation Festival, animationfestival.ca 18-28, Calgary International Film Festival, calgaryfilm.com 20, AC Camera Module, Toronto, csc.ca 21, DP Camera Module, Toronto, csc.ca 25-Oct. 4, Edmonton International Film Festival, edmontonfilmfest.com 25-Oct. 10, Vancouver International Film Festival, viff.org 27-28, Professional Lighting Workshop, Toronto, csc.ca

28 • Canadian Cinematographer - September 2014

St. John’s, NL, womensfilmfestival.com

OCT

16-24, Toronto After Dark Film Festival, torontoafterdark.com 17-1, Antimatter: Underground Film Festival, Victoria, B.C., antimatter.ws 22-26, imagineNATIVE Film Festival, Toronto, imaginenative.org

Write to Us Canadian Cinematographer welcomes feedback, comments and questions about the magazine and its contents. Please send your letters to editor@csc.ca.

Letters may be edited for clarity and space.

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

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