In the News

Credit John Narvali

Member News

David Greene csc is among the nominees for the American Society of Cinematographers’ 29 th Annual Outstanding Achievement Awards. Greene is nominated in the television movie, miniseries, or pilot category for his work in the Lifetime TV movie The Trip to Bountiful. The winners will be announced on February 15 at a gala in Los Angeles.

David Kessler Named Deluxe Entertainment CEO; Suzanne Lezotte Joins SIM Group

Postproduction company Deluxe Entertainment named David Kassler its new chief executive in mid-November. Kessler takes over from Cyril Drabinsky, who held the position since 2006. Drabinsky will serve as the company’s vice chair, according to The Los Angeles Times. Meanwhile, Suzanne Lezotte was recently appointed as director of marketing for The SIM Group. In this position, Lezotte will take the lead in creating a streamlined marketing solution for the company’s divisions, which include SIM Digital, PS Production Services, Bling Digital and Chainsaw.

New York’s Last Film Lab Closes

Film Lab New York, the last motion picture film processing laboratory in New York City, announced it would cease operations as of December 19, 2014. The company, launched in 2011 as a joint venture between TechnicolorPostWorks New York and Deluxe New York, provided laboratory services to motion picture, television and commercial productions operating on the East Coast and around the world. The near-universal adoption of digital cinematography has led to declining demand for film laboratory services. The closure relates only to film processing and printing. Technicolor—PostWorks New York and Deluxe NY continue to operate all other services independently and as usual. Film Lab New York provided services to many of the world’s top cinematographers and directors, including Martin Scorsese, Woody Allen and Spike Lee.

TVA Group Acquires Vision Globale

TVA Group, a subsidiary of Quebecor Media, announced in November that it had signed an agreement to acquire Vision Globale’s assets for approximately $118 million. This transaction was subject to approval by the Competition Bureau. Upon completion of the transaction, the acquired operations will become part of TVA Group within the Media Group segment of Quebecor Media. Vision Globale provides soundstage and equipment leasing and postproduction services. The assets to be acquired include Mel’s Cité du cinéma in Montréal and Studios Melrose in Saint-Hubert, which facilities are used for both local and foreign film and television production, including American blockbusters.

Panavision Rolls Out Primo 70 Lenses at Camerimage

Panavision in late November showcased its new line of Primo 70 lenses at the 22nd Camerimage International Film Festival. The lenses are designed to work with today’s larger sensor digital cameras. Panavision Primo 70 prime lenses are available in 11 focal lengths: 27 mm, 35 mm, 40 mm, 50 mm, 65 mm, 80 mm, 100 mm, 125 mm, 150 mm, 200 mm and 250 mm. Super 70 zoom lenses are also available in three sizes: 28-80 mm, 70-185 mm and 200-400 mm. The Primo 70 series are equivalent in size and weight to standard Primos. Primo 70 lenses are not compatible with film cameras. The internal mechanics retain a familiar Primo feel. Floating internal elements control breathing and allow the lens to perform from infinity to close focus. Currently, Panavision has made Primo 70 mounts for the Sony F55, RED DRAGON, ARRI ALEXA (standard and Open Gate), Phantom Flex4K and Phantom 65, with other cameras being assessed for compatibility. The Primo 70 series of lenses are available to rent from Panavision worldwide.

Courtesy of Canon

Write to Us www.csc.ca Connect on-line with the CSC

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. @csc_CDN

THE GOOD, THE BAD & THE DOWNRIGHT UGLY

Advice comes in many different shades. When it’s good, it can become a career-making credo, and when it’s bad, well, we can only scratch our heads in bewilderment. Canadian Cinematographer asked full and associate members of the CSC the following question: “What was the best and the worst advice you ever received during your career?” This is part four in the series.

ROBIN MILLER csc

Atop DP, Robin Miller csc is known for shooting stunning commercials for clients such as AT&T, Ford, Budweiser and Disney. His film and television credits include series Defiance, Murdoch Mysteries and the feature Blur, to be released this year. Miller is based out of Toronto.

Best Advice

Towards the end of my assisting career, I often worked with the late Derek Vanlint csc, BSC. He was comfortable and secure in his role as director and DP, and consequently Derek was generous with his knowledge and role as a teacher. We were shooting a commercial which consisted of several vignettes, and things had been going well. We were a few hours ahead of schedule. I had been riding him pretty hard over the past few jobs with questions about what he was doing and why, so I was surprised when he turned to me and said, “Why don’t you have a go at shooting the next one?”

I was nervous, but I knew I was being handed a great opportunity. With the support of the gaffer John Hertzog, and grip JC, I jumped in and I seemed to be doing all right. But at one point Derek came up to me and offered this advice: “Just make sure you like what you see.” I thought about this for a moment, stopped thinking about ratios, backlights, fill and all those other things we’re taught. I just leaned over and put my eye to the eyepiece and asked myself, “Do I like it?” That has been one of my guiding principles ever since. Thank you, Derek.

Worst Advice

“Just shoot it!” I was shooting my first movie. How I actually got the job I’ll never know. I was knocking myself out doing 14-hour days with no overtime or turnaround on a questionable, low-budget Meatballs rip-off, but I was loving it all the same. Somewhere into the third or fourth week, we were finishing up some coverage on a scene we had just shot. It was late. I was fussing with the lights, trying to get it just right, when the producer walked up to the camera, looked at me and said loud and clear, “What do you think you’re doing? If people get this far into the movie, we’ve already got their money, so what are we worried about? Just shoot it!” He was such a blatant picture of the low-budget producer cliché that I had to laugh. Over the course of a career, as a DP I heard “Just shoot it” many times, and some of the time it wasn’t bad advice. However, every time I did hear it, I’d think back to that day and chuckle.