Canadian Society of Cinematographers Magazine February 2016

CANADIAN SOCIETY OF CINEMATOGRAPHERS

$4 Februar y 2016 www.csc.ca

Yves Bélanger csc

Gets Classic in Brooklyn Maya Bankovic: The Rainbow Kid Daniel Villeneuve csc: Incendo TV Movies

A publication of the Canadian Society of Cinematographers

FEATURES – VOLUME 7, NO. 9 FEBRUARY 2016 Fostering cinematography in Canada since 1957.

The Canadian Society of Cinematographers was founded by a group of Toronto, Montreal and Ottawa cameramen. Since then over 800 cinematographers and persons in associated occupations have joined the organization.

The CSC provides 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. 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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Credit: Kerry Brown

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Yves Bélanger csc Gets Classic in Brooklyn

By Trevor Hogg, Special to Canadian Cinematographer

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Maya Bankovic Chases Gold in The Rainbow Kid By Fanen Chiahemen

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Daniel Villeneuve csc on a Decade of TV Thrills By Fanen Chiahemen

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Credit: Jean-François Sauvageau

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COLUMNS & DEPARTMENTS 2 4 6 20 22 24 27 28

From the President In the News CSC Member Spotlight - Bobby Shore csc Harry Lake csc Tech Column IMAGO 2015 Classifieds Productions Notes / Calendar

Cover: Caption: Saoirse Ronan as Eilis and Emory Cohen as Tony in Brooklyn.

Credit: Kerry Brown

Canadian Cinematographer February 2016 Vol. 7, No. 9 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 Antonin Lhotsky csc, alhotsky@gmail.com MEMBERSHIP CHAIR Phil Earnshaw csc, philyn@sympatico.ca EDUCATION CO-CHAIRS D. Gregor Hagey csc, gregor@dghagey.com Dylan Macleod csc, dmacleod@sympatico.ca PUBLIC RELATIONS CHAIR Bruce Marshall, brucemarshall@sympatico.ca DIRECTORS EX-OFFICIO Jeremy Benning csc, jbenning@me.com Bruno Philip csc, bphilipcsc@gmail.com Brendan Steacy csc, 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

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2 • Canadian Cinematographer - February 2016

R

ecently, the film industry lost one of its most beloved and respected directors, John Sebert, and while this society embodies the lives of the cinematographer, I feel that it might be appropriate to draw some inspiration from a recent post that I read in reference to this person.

“He was a gentleman and a gentle man, he filled a room without being full of himself.” A simple tribute, but these are very powerful words.

The hierarchy of the business of filmmaking places the director at the top.

He is the leader and the captain, however, the DP is almost on a par because of the collaborative efforts, as well as the association that he or she has with the director. Sometimes the DP’s role also encompasses that of a director, and so there is a similar power that is accorded the DP. As a DP, it is this power that defines not only what we do but who we are.

The only measure that can be applied to our work is how we allow it to be gauged by others, by the way in which we carry out our duty, not only to create imagery, but also the manner in which we go about doing so and how we interact with a cast and crew.

We have under our command many crew members, mostly on the camera side of the business – operators, assistants, gaffers and grips, as well as others who assist us in carrying out our task, and we must remember that without them, we cannot accomplish that which is required of us. Therefore, we must be cognizant of our power and how we apply it.

How many times, in conversations, have we been privy to such remarks as, “What a jerk,” “Idiot,” and of course a lot worse! These references have been made about the DP, and sadly, one wonders why. The basic tenets of mutual respect and courteousness are both parts of the equation that will go a long way in promoting an effective working environment along with a happy crew. And the extension of this positive observation by the cast has its own obvious rewards.

The path to becoming a DP is based primarily upon expertise and experience but all too often, the important components of the equation seem to be in short supply. Inspiration should be what we espouse along with fairness and realistic requests and, dare I say, demands. There is no excuse for bad behaviour on the part of the DP. For a number of years I was a camera operator for a wonderful director/ cinematographer who also became a great friend. I learned many valuable lessons during that time by observing his behaviour. In particular, at the see President page 23

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Philippe Falardeau’s My Internship In Canada, shot by Ronald Plante csc, and Andrew Cividino’s Sleeping Giant, shot by James Klopko csc, were recently nominated for the

Toronto Film Critics Association’s 2015 Rogers Best Canadian Film Award. The $100,000 award went to Guy Maddin and Evan Johnson’s The Forbidden Room at a gala dinner held

January 5, but as runners-up, Falardeau and Cividino each received $5,000 from Rogers Communications.

Industry Loses Two Cinematography Giants The industry lost two celebrated cinematographers within the space of a week with the deaths of Haskell Wexler asc and Vilmos Zsigmond, asc, hsc.

Wexler died Dec. 27 at the age of 93. He won Oscars in the Best Cinematography category for Who’s Afraid of Virginia Woolf? and Bound for Glory. His other film credits included Coming Home, In the Heat of the Night, One Flew Over the Cuckoo’s Nest, and Medium Cool, which he directed. He also shot the Oscar-winning documentary short Interviews with My Lai Veterans.

He was one of the few cinematographers to receive a star on Hollywood’s Walk of Fame. Wexler also became known for his activism and his work as a social documentarian. His 2006 documentary Who Needs Sleep? highlighted the long hours endured by film industry workers. Born in Chicago on Feb. 6, 1922, Wexler died peacefully in his sleep, his son Jeff announced on the cinematographer’s website. Wexler is also survived by his other son Mark, his daughter, Kathy his third wife, actress Rita Taggart, and by his sister, Joyce.

The Hungarian-born Zsigmond died on Jan. 1 at the age of 85 at his home in Big Sur, California. Zsigmond won an Oscar for his work on Close Encounters of the Third Kind and was nominated for The Deer Hunter, The River and The Black Dahlia. His other notable films include Deliverance, The Rose, Heaven’s Gate, The Long Goodbye, The Sugarland Express, Obsession, and McCabe & Mrs. Miller. He is credited with helping to define the American New Wave of the 1970s. Zsigmond was born in Szeged, Hungary, on June 16, 1930. He attended the Academy for Theater and Film Art in Budapest where he met fellow cinematographer László Kovács who became a lifelong friend. Zsigmond and Kovács made their way to the United States after the Hungarian Revolution, and Zsigmond worked as a lab technician and photographer in Los Angeles before transitioning to shooting commercials and low-budget features. His first mainstream film was Peter Fonda’s The Hired Hand in 1971. That same year he shot McCabe & Mrs. Miller for Robert Altman.

American Cinematographer will publish tributes to Wexler and Zsigmond in its April issue.

Haskell Wexler asc

Photos: Douglas Kirkland

IN THE NEWS

CSC Member Films Among Nominees for TFCA Awards

Vilmos Zsigmond asc, hsc

see more on News page 28

The CSC Awards Gala will be held at the Arcadian Court in Toronto on April 2, 2016. Award entry forms are available online at csc.ca. The entry deadline is January 31, 2016.

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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.

4 • Canadian Cinematographer - February 2016

@csc_CDN

Canadian Cinematographer - January 2016 •

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CSC MEMBER SPOTLIGHT Credit: Blain Thrush

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

I saw Lynne Ramsay’s Morvern Callar in 2002 at this small repertory cinema in Montreal. Although I already had decided that I wanted to be a cinematographer at this point, and was finishing my degree in Communications at Concordia University, I had never seen a contemporary film that was so distinctly formed and with such a concise yet ethereal visual aesthetic. It was definitely an introduction into a newly formed approach to the craft. Besides that one film, the paintings of Francis Bacon, photography of Bill Henson, and the music of HEALTH. How did you get started in the business?

I did my MFA at the AFI in Los Angeles.

While I was still working on my degree, and through some mutual friends, Mike Dowse (who directed Goon, Fubar, etc) reached out to me to shoot a pilot for a TV series he had been developing.

He had just done a studio picture and hadn’t had the best experience with his DP, who was seasoned but worked a bit slowly for his taste. He basically said he wanted to work with someone who would be fast, make things look good, but not be precious about it all. Bottom line, when he wanted to shoot, we were gonna shoot, regardless of whether or not I was ready. He took a chance, and even though the learning curve was

6 • Canadian Cinematographer - February 2016

pretty steep, it went well enough that I had the good fortune to shoot Fubar 2 and Goon with him afterwards.

Who have been your mentors or teachers?

Kamel Khalifa, a professor at Concordia, was the first person to ever sit me down and pose the kinds of questions that would eventually lead to such an intense interest in cinematography. I owe him a great deal. While at AFI, Bill Dill ASC gave me the foundational knowledge for how to truly shoot for story, and interning with James Chressanthis ASC was critical in seeing the theoretical put into practice. But the person I owe the most to is my mom, who always supported my endeavour into the arts, and who gave me the tools and wherewithal to get to where I am today.

What cinematographers inspire you?

Robbie Ryan, for his consistently honest approach to visuals. The simplicity with which he can interpret emotion and character is next level. Alwin Küchler for opening my eyes with Ratcatcher and Morvern Callar. Robby Müller because of Paris, Texas, 24 Hour Party People, and Breaking the Waves.

And Harris Savides because… Well, he’s Harris Savides.

Name some of your professional highlights.

Getting a CSA nomination for my work on Goon. And picking up two CSC Awards for shooting what have been two of the most personally rewarding

short form projects in the past couple of years (Austra’s “Habitat” and Majical Cloudz’s “Childhood’s End”). Oh, and working with Carrie Brownstein on Man Seeking Woman because SleaterKinney rules.

What is one of your most memorable moments on set?

This past summer, shooting one of my best friends’ first feature films, called The Other Half. He had been trying to get it made for almost seven years, and I’ve been speaking with him about it for almost as long. I’ll never forget standing at the monitor with him on the first setup of the first day, turning to one another and saying, “We’re making a fucking movie.” The whole shoot, by far, was one of the best experiences I’ve ever had.

What do you like best about what you do?

The collaborative aspect of creating the right visual tone for the story will always be at the forefront of this craft to me. Whether that’s working with the various departments, or poring over the script with the director and breaking things down into the most honest emotional aspects of character and story, coming up with the visual plan and then having the ability to deviate from this plan because you just know it all so well because it’s become a part of your skin, will always be the most rewarding aspect.

What do you like least about what you do?

The bullshit politics. And how often the crew is the first to be thrown under the bus. You’re only ever as good as the crew that you work with, and more often than not, this aspect of making films is lost on too many of those above the line.

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

Panavision B series anamorphic lenses.

How can others follow your work? bobbyshore.com vimeo.com/user1865780/videos

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8 • Canadian Cinematographer - February 2016

Yves Bélanger csc Gets Classic in Brooklyn

By TREVOR HOGG, SPECIAL TO CANADIAN CINEMATOGRAPHER Photos by KERRY BROWN

T

wo previous collaborations with Jean-Marc Vallée (Wild, Dallas Buyers Club) led to Yves Bélanger csc landing the DP gig for the cinematic adaptation of Colm Tóibín’s novel Brooklyn, which revolves around Eilis Lacey (Saoirse Ronan), who immigrates to the United States from Ireland during the 1950s. “Wild producer Bruna Papandrea spoke about me to Brooklyn producer Finola Dwyer, who arranged a Skype interview with [director] John Crowley [Is Anybody There?]. We got along well and had the same movie in mind so he chose me,” Bélanger recalls.

“Jean-Marc comes from film school and has seen a lot of movies. He has developed a great taste,” the DP says. “JeanMarc is like a professional first spectator with his comments and directions; he would be precise and say things like, ‘Do it again but not like you’re sad. Be more like you’re in a hurry.’

Because John comes from the theatre and is used to the language of actors he would talk about text and subtext comprehension. This was interesting to watch.”

Crowley provided Bélanger with the opportunity to shoot a classical movie that incorporated the methodology he has developed with Vallée. “It was nice after two years with JeanMarc where we shot handheld and only available light to be able to use lights, dollies, and cranes again. John asked me to use both techniques in Brooklyn,” Bélanger says, adding that he conducted the principal photography over a period of 35 days.

“I would do lighting that was always coming from windows, practicals and ceilings,” he says. “I’d control the lighting but

it would always be natural. Instead of creating each frame, I would light a set so that the actors could go anywhere and the director was able to change his mind. Even with the night exteriors, I would have one strong light coming from each end of the street. I also had a Chinese lantern on a boom pole that the electrician could always move. I could use it if I felt that Saoirse Ronan needed more light for her eyes or during the walk and talk at night to provide lighting for their faces.”

Gordon Willis asc served as a great source of inspiration for the Brooklyn DP. “We had a lot of dinner scenes,” Bélanger says. “They’re at night and there was always a nice chandelier hanging above the tables. I put a soft box, which is wide and long, enough to catch the eyes of the actors. It was on a dimmer and I put black boards in the corners to cut the light from the set. You have plenty of light on the actors but there’s nothing falling off the set so you can control it. The set is only lit with practicals. For the dance scenes I used big helium balloons that didn’t exist when Gordon Willis was shooting.

They have lights inside and the gas makes them stay in the air without the need of big stands. The balloon stays up on the ceiling. You put black velvet around the balloon so that it is only lighting the floor and the actors, not the walls.

“A lot of times Saoirse would be lit by the available light on set,” Bélanger notes. “Other times I overlit what was in front of her so the light bounced onto her face so you could really see it in her eyes. Brooklyn is important to me because it is a cross between the two worlds of whether you light or don’t light. We used both. The big confrontation at the end of the Canadian Cinematographer - February 2016 •

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Previous page: DP Yves Bélanger csc gets a shot of Saoirse Ronan in Brooklyn.

This page, top: Steadicam operator Daniel Bishop (left), with actors Saoirse Ronan and Domhnall Gleeson on the set of Brooklyn.

Opposite page: Stills from Brooklyn.

movie took place on a beautiful set. I put two lights through the windows that were bouncing onto objects making great light on their faces.

“All of the dinner scenes with the girls were shot with two cameras handheld, but we didn’t want it to feel that way,” reveals Bélanger, who is a big fan of the ARRI ALEXA. “I operated one and chose an operator who was steady for the other camera. It was a question of being faster.”

The walk and talk sequences were complicated to orchestrate, with Montreal serving as the borough of Brooklyn, the DP says. “Sometimes you have time to put a light inside a house so when they walk by there is a little change of light in their faces. I worked with the lens almost wide open so when the actors are in close-up the rest of it is out of focus,” he says.

Also, the weather was not always cooperative. “When Emory Cohen [who plays Eilis’ love interest] comes to where Saoirse Ronan is studying, it was raining. The scene was physically tough to do for the Steadicam; the cranes were moving, the lights were shaking, and suddenly I wouldn’t see what was happening. I still had the boom pole with the Chinese lantern, but there were so many things around the actors that the electrician couldn’t reach them sometimes.

“The Irish cars of the 1950s had the same design as ones from America but were smaller,” the DP continues. “I had my four actors in the car and I had to put myself in there, shooting handheld. The light was changing so much on them with

10 • Canadian Cinematographer - February 2016

each take because they were driving for real. When you turn, the buildings would hide the sun and then it would come back. What I did was put myself in a corner with a blanket.

I operated without a tripod but tried to make sure that the camera didn’t shake. I had a Kino Flo Celeb, which is a soft 14” by 24” light, and put it outside the window of the moving car to keep a basic level of light so it’s never too dark. Because it is the same size of the window, the car doesn’t look lit at all.”

Brooklyn was divided into three different parts. “For the beginning in Ireland I wanted it to be clear, sharp, contrasting, green and realistic,” Bélanger explains. “I shot it with old Zeiss high-speed lenses without any diffusion. When Eilis comes to America because it is the American Dream we switched to Master Prime lenses which are more modern, and sharper and smoother at the same time. I also used a little bit of diffusion. When Eilis comes back to Ireland I utilized the new Leica Summilux-C lenses which are beautiful and used diffusion again because she has changed. The light from the various countries are part of it too. The light in Ireland is different from Montreal.

“The interiors of the boat were shot on a set that was placed on a rocking device so it could move during the tempest scene,” Bélanger says. “All of the interior boat scenes were lit with practicals. I treated it as a location.” Green screen assisted with the exterior boat shots. “We had a conversation between Eilis and her roommate on the deck. We shot in

Montreal, but it was too windy so we did it again in a studio.

I had the railing, floor and the two women with the rest being green screen so I had to do it realistically.” The weather across the Atlantic Ocean was more agreeable, he notes. “On the beach in Ireland I got lucky with the light which would go in and out between the takes. The sun was filtered by these moving clouds so I had a natural soft light that enabled me to have these incredible romantic shots. I didn’t expect to get it so easily!”

Many scenes in Brooklyn were shot using ARRIRAW, the DP says. “There were some solid colours with the costumes I had to check to make sure that they would still come out the same,” he says “We were happy. I don’t do DI on set usually. I do the lighting by eye. The sad thing about the digital world is that you don’t have surprises anymore because the monitors are incredible. You see exactly what you have.”

A major source of pride for Bélanger is the way he shot the close-ups of Ronan. “When she is phoning her mom in Ireland after her sister died we played with the time zones. I lit her mom as if it was the magic hour when the sun is setting.

The practicals are on in the room but there is a blue light coming from the window and there is a slash of orange sun in the background. The light is very contrasting on her. For Eilis I just lit it through this one window with a nice fabric which gets almost a pattern on her face. It was like fake tears.

Eilis looks like she is in a confessional. When it cuts from one

to the other, the mood is so different but the emotion is the same. I love my dancing scenes where John was always able to do 360 and the actors still look great. I was happy with the way I lit the faces.”

Brooklyn was a co-production between Canada, Ireland and the United Kingdom, and Bélanger had initially anticipated the challenge of dealing with different crews in the three countries, but, he says, “It was easier than I thought. My focus puller Nicolas Marion followed me everywhere, so he was in Ireland, New York and Montreal. In Montreal, I had a great gaffer named Eames Gagnon and my key grip was Alain Desmarchais, who has been in the business for over 20 years.

In New York and Ireland I had to choose people from there, and they were incredible.”

The DP says that shooting Brooklyn taught him a great deal from a different medium. “I started in music videos, which helped me because I had to do a lot of beautiful shots in one or two takes. A lot of music videos were homages to different types of movies. We would shoot with Bolexes. We would try everything. Commercials just give you the chance to play with the big toys.”

Reflecting on Brooklyn, Bélanger notes, “John and I come from different backgrounds, and I have a lot of respect for him. I learned a lot from John, like I do with Jean-Marc, and that’s part of my job to learn and try new things to tell stories.”

Canadian Cinematographer - February 2016 •

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Maya Bankovic Chases Gold in

Bankovic with writerdirector Kire Paputts

By FANEN CHIAHEMEN Photos by JORDAN MASCIANGELO

I

n The Rainbow Kid, Eugene, a Toronto teenager with Down syndrome, struggles with everyday life – bullying at school, unrequited love, and his inept, shut-in mother are just some of his problems. It seems his only comfort is his obsession with rainbows. He reads his favourite picture book, “Meatball Loves Raindrop,” over and over again, he has dozens of crayon drawings of rainbows adorning his bedroom walls, and he pontificates over the symbolism and superstition of the optical phenomena to anyone who will listen. When things at home get too much to bear, Eugene sets off on a journey across rural Ontario, ostensibly to find his own pot of gold that he hopes will be the solution to his problems, but instead he encounters a string of colourful characters that teach him that the world can be as beautiful as it is cruel.

12 • Canadian Cinematographer - February 2016

A rainbow motif runs throughout the film, and colour was the obvious jumping-off point for the visual approach to The Rainbow Kid, which premiered at the 2015 Toronto International Film Festival. Cinematographer Maya Bankovic and writer-director Kire Paputts were inspired aesthetically by works like the 1987 comedy horror Street Trash, a cult classic with bold visuals (“It has a muted colour palette and then pops of really bold vibrant colours like oozing neon green,” Bankovic observes), as well as Wim Wenders’ Paris, Texas for its vivid use of colours and landscapes.

The decision to assign each character in The Rainbow Kind with their own colour scheme was a device that would inform much of Bankovic’s choices.

The budget was tight, so Bankovic turned to PS Toronto’s Terence Nagra who helped customize a lighting package, operating out of a small truck. “He helped us come up with lighting plans for some of the night exteriors that would have otherwise been really hard to do on this budget,”

Shooting a scene in the school stairwell with Dylan Harman and Patrick Tang.

Below: Cinematographer Maya Bankovic

Bankovic says. “He gave me good suggestions for HMI units from ARRI such as the M series and things like that, which he knew would give me more punch for the dollar.”

Bankovic’s lighting package consisted primarily of a few 1.2K HMI Pars, the ARRI M8, some small 1x1 Litepanels, and a 20” Chimera lantern, with practical lights often acting as key lights in interiors.

Bankovic shot the entire film in 4K on a RED EPIC Mysterium-X (acquired from SIM) because it could handle some of the simpler

lighting, as well as natural or available light. She could also rate the camera between its native 800 and 1600 ISO. Her two lens kits included Zeiss Super Speeds from SIM and a set of the RED PRO PRIMES from Vinit Borrison, a fellow cinematographer and a founding partner at REDLAB Digital, where post on the film was also performed by colourist Walt Biljan.

Bankovic selected the latter lenses after discovering that they produce a flare that played directly into the film’s central theme. “The flares on these lenses actually read as tiny rainbows. They sort of just catch the light on the edge of a frame on a pan or a tilt, and the rainbow will just sort of discreetly sneak into the corner of the shot. And that seemed serendipitous to me,” Bankovic says.

“So Kire and I had this idea that we would really subtly use them on scenes where things were working in Eugene’s favour, like where he’s found another version of his proverbial pot of gold but he maybe doesn’t know it yet.”

To contrast Eugene’s desolate home life with the complicated outside world he eventually gets to know, Bankovic gave both worlds different visual treatments. “His mother is a shut-in, so the curtains are always drawn in their home,” the cinematographer points out. “It had to look very dingy, very much as though the environment was lit by one or two practicals in the house.”

Shooting in the cramped apartment above a store in Toronto’s East end that was serving as Canadian Cinematographer - February 2016 •

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Eugene’s home “was challenging of course, but I think the texture of the space really adds to that atmosphere,” Bankovic notes. “We gave the mother’s room some red accents with tungsten lights – 650s, 300 Fresnels, gelled red. We tried to bounce practicals off of red items like table cloths just to motivate the colour of our light. Also I was bouncing tungsten lights a lot for close-ups off of soft foam core and things like that just to give a warmer wrapping key light to the close-ups. We had the Fresnels on dimmers and then we would bring in the bounce as close or as far away as we needed for some eye light and things like that.”

In Eugene’s home, Bankovic says she chose to shoot through doorways “to help emphasize the claustrophobic nature of the apartment. So we would just throw a little bit of our own light into the interior of the room in which the camera was so that you could see some of the clutter and the mess that we were shooting through in order to bring the scene in the next room.”

When the film becomes a road movie, Bankovic borrowed from cinematographer Robby Müller’s technique in Paris, Texas of using very wide lenses on close-ups. “There is a really interesting use of close-ups in that film where the emphasis is still on the skies and the environment,” Bankovic notes. In the case of The Rainbow Kid, wide lenses would help depict Eugene’s isolation and loneliness while out on the road on his own by emphasizing the space and emptiness around him.

“There is an element of magical realism in this film that I think needed to be visually acknowledged in order to really elevate that surreal quality of this journey,” Bankovic says. “So we had to really ramp up the visuals from the moment he leaves home onwards because it felt like we would be doing that quest a disservice to shoot it in a really normal, broad way. But it also had to be subtle; we didn’t want it to be too fantastical either.”

One of the characters Eugene encounters on his journey is Bill, a dowser who spends his days looking for buried objects with a divining rod.

A loner, Bill lives in a Winnebago, and the crew shot in a real trailer overlooking the Scarborough Bluffs, and Bankovic says production designer Chris Crane was “amazingly talented at filling a frame and making it look really lived in.

“The idea was that the character would have a sort of amber accent light, so in the Winnebago we were able to install an LED above his stove and gel it with amber so that when they were

14 • Canadian Cinematographer - February 2016

seated at a side table he would always have this little amber accent, sort of a hair light,” Bankovic explains. “And then there is this practical light beside him throwing another warm light on both of them, and that was the key. We didn’t want the space to feel too comforting or welcoming or anything like that because Bill’s a bit of a dubious character. It’s Eugene’s first encounter out on the road and he’s still very trusting and pretty naive, and I think it’s important for the audience to know that things aren’t always what they seem to be. It’s almost like an amber alert, or a warning sign, not quite a red flag just yet, but it’s something to be suspicious of.”

By contrast, Eugene later stumbles upon a house in the woods owned by a woman who becomes a maternal figure to him, providing for a brief moment the warmth and guidance he’s been lacking at home. That character’s colour scheme was emerald green, and to represent the purity of the relationship between the two, Bankovic decided that the light in the house should be clean daylight. She kept any light coming through windows soft and balanced to the camera, with the floral patterns in the furniture and décor providing the green accents.

“That one is very subtle because we didn’t make the choice to push the green in the lighting,” Bankovic says. “I think the choice to make that one a clean white light was the better choice because it’s an environment where Eugene’s the most himself. There’s no insidious nature to it at all; it’s where he’s feeling most naturally at ease and with the person he’s been waiting for all his life to guide him. So it needed to have a pure, innocent feel to it.”

Shooting a scene in the classroom

In all cases, it was important for Bankovic that the colour be motivated by a real source visible within any given frame, rather than applying a colour cast in post, and that’s where she relied most on Crane. For example, in the bedroom of a character whose colour scheme is magenta, Crane furnished the room with a pink canopy over the bed and pink details on the wall. “Those things are good, they are in the frame and they’re the right colour but they’re not going to inform the colour of the light, so Chris and I came up with the idea to put a sheer magenta shawl over her desk lamp so that would provide that kind of warmer pink glow,” Bankovic says. “It had to come from the source, otherwise it would be completely unmotivated and feel kind of campy.

So you see that there is a shawl on a lamp. And so even though we were supplementing that with our own light, in this case a bounced Fresnel with minus green on it and a 20” chimera lantern lined with the same, we’ve seen the colour magenta within the shot, and so that motivates the palette.”

Bankovic says Crane also found “an amazing quilt that had all these different rainbow colours in each of the squares. It’s a subtle cue but it’s kind of like another way to work a rainbow in without relying too heavily on the rainbows in the sky that were CG, or otherwise explicitly referenced in the dialogue.”

The Rouge Valley, where most of the exterior scenes were shot, afforded the crew an ideal canvas to shoot against. “There is such a variety of landscapes in that part of the [Greater Toronto Area], everything from rushing rivers, cliffs, forests and fields. There was a goldmine of locations there once we got the permits,” Bankovic says, adding that they shot exteriors with available light, using a meticulously planned schedule.

Working with a small lighting and grip package on wide exteriors is always a challenge, Bankovic says, especially given the production’s tight schedule, but she says they persevered because of the stamina of the crew and cast, including those with special needs.

“I think for a lot of us it was the first time we’ve worked with a lead actor with special needs,” Bankovic says, referring to actor Dylan Harman, who plays Eugene. “But Dylan is quite a seasoned actor and incredibly professional and generous, and his range is absolutely amazing. He’s just an incredible actor and he has so much energy.”

Stills from The Rainbow Kid Canadian Cinematographer - February 2016 •

15

Daniel Villeneuve csc A Decade of TV Thrills

By FANEN CHIAHEMEN

F

or the past 10 years, cinematographer Daniel Villeneuve csc has been shooting television movies for Incendo Media, one of the largest TV distribution companies in Canada. The Montreal-based company has made a name for itself churning out slick, female-driven thrillers that are broadcast all over the world.

Having made more than 40 Incendo movies since 2005, Villeneuve has witnessed and been an important part of the streamlining of the production process, with the movies now shot in 16 days – down from 18 – and on a budget of around $2 million. And they are still going strong.

“It works because the scripts are not overly ambitious. They fit with the budget and the schedule, and also the crew is so used to doing them. I’ve been shooting with the same crew for the last 40 movies, so there is not much questioning happening on set as far as the technical aspects are concerned.

We just show up and shoot,” Villeneuve says. “Everything is done well in advance. When we do location scouting we pretty much decide then and there what we’re going to do and how it’s going to work out. We try to avoid surprises and we keep things very simple technically.”

Most of the movies are shot on location, Villeneuve says, because of the challenges and cost of trying to dress a set realistically, as well as the cost of studio rental.

“The locations vary a lot, but there is always the dilemma of finding a house convenient to shoot in but that fits the income of character. So we usually end up in smaller or more modest places,” he says. “So it’s often houses or office space.

And I take those constraints and turn them into an asset.”

Villeneuve estimates that roughly three-quarters of Incendo movies are shot in interiors, which goes a long way towards helping the production stay efficient and avoid the unpredictability of weather conditions.

“I try as much as possible to help myself with the locations, and I go for locations that make sense lighting-wise. We don’t want to go for dark, difficult locations. The location manager knows this and tries to help with finding locations that work, that look good to start with and are easy to light,” he says.

“In many locations, during the day I will not use any movie lights. If I get enough window light, I will just use actual light from windows. I will not light for the sake of lighting or make

16 • Canadian Cinematographer - February 2016

a point of using movie lights. We don’t have to these days. If you can save lighting it looks more natural and is easier to shoot. And we stay efficient by pre-lighting as much as we can when it’s required.

“My motto is, and I tell my grips and electrics this, if you can do with no light, that’s good, and if we have to light we try to use just one in the right place. Once we start adding more than two or three lights for a scene, that means we’ve done something wrong. Cinematographers should not be trying to show off like, ‘Look how much I can light this.’ I’m trying to have the lighting serve the movie, not to stand out from the movie.”

As an example, Villeneuve points to one of the most recent Incendo movies he shot, which took place in a house and involved the lead character dealing with depression and post-traumatic stress disorder. “In the house I blocked a few windows that were large, and the art department had put seethrough curtains on those windows, and often I would use those and underexpose a lot, and ultimately it looked great because you could tell the light was coming from the window. And I kept it really dark inside and really moody and it’s a little blue in colour timing. I like the way it looks because it’s simple,” he says.

To shoot a scene in the same location at night he simply placed a small light outside through the same sheen and found he could achieve the same results.

He relies mostly on one Kino Flo or a small PAR HMI through a large 8x8 or 6x6 diffusion. “That’s my basic starting point depending on how much light I need. I try to always use the largest diffusion I can use so I can create contrast.

That’s the other thing we try to do a lot is create contrast. We try to not let the image go flat even though we’re using very few lights in locations that are sometimes already bright in the first place,” he says. “I’ll use negative bounce a lot to create contrast. Now with the ALEXA being so sensitive, I find it’s easy to put light somewhere but it’s not so easy to make something dark. The dark becomes more difficult to achieve than the actual light.”

Villeneuve says that while producer Ian Whitehead and the directors work with mood boards and other films to create different visual aesthetics for each Incendo movie, “when

Credit: Philippe Bossé

Daniel Villeneuve csc

Canadian Cinematographer - February 2016 •

17

push comes to shove we have to make things work in the locations and in the time we have. And what helps a lot now is all the powerful tools we have in colour grading.”

He explains, “Often we’ll be on location and I’ll know something is not perfect. For example, that wall in the back is too bright but I know I can easily make it better in colour timing in five minutes. You can spend a lot of time on set controlling things, but we don’t try to fix things on set that I know I can fix easily in post. It’s become a very important tool for low-budget productions; colour grading and timing can be invaluable.”

Villeneuve says Incendo has been shooting with the ARRI ALEXA for the past two or three years, which is also invaluable in helping the production move quickly by being so versatile and lightweight. “It’s been leaps and bounds of improvements compared to the [Sony] F900,” he remarks. “Shooting with that was like trying to run with weights attached to your feet, but the ALEXA has been a game changer for us. What I like about it is I can just shoot and I don’t have to look at the monitor. People say that with the ALEXA you have to have a video village and all this technical stuff, but for me it’s quite the contrary. Our video village is very small. If I look at the monitor three or four times during the entire movie that’s a lot. And often the director will just have a small handheld wireless 5- or 6-inch monitor. And that helps us to go fast. It’s simplified to death. Most of the time, I shoot strictly by light meter

1 1. Shooting a night scene on The Art of More.

2. Daniel Villeneuve csc employs the “rickshaw” dolly while shooting Amber Alert. 3. Daniel Villeneuve csc 4 & 5. Still from the movie Kept Woman.

6. A woman in crisis in Amber Alert.

7. Daniel Villeneuve csc on set.

Credits: 1, 2 & 6. Philippe Bossé. 3 & 5. Jean-François Sauvageau 4 & 7. Bertrand Calmeau.

18 • Canadian Cinematographer - February 2016

and with my eye. I treat it as if I’m shooting with film.

And after at least 20 movies, the ALEXA has never let me down.”

Villeneuve says he also uses the Canon 5D mark III in conjunction with the Magic Lantern firmware as a “C” or insert camera. The Magic Lantern firmware upgrade allows the 5D to shoot video in uncompressed RAW. “The material looks astonishing and can easily intercut with the ALEXA material,” the cinematographer says. “Most of the time it is used with a Canon 100 mm macro lens, which makes it easy and simple to pick up cell phone and computer inserts as well as simple establishing shots using a few other Canon photography lenses. Being much lighter, and worth substantially less than the ALEXAs, it is also often set up in interesting or dangerous positions for various car travelling shots or other action shots.”

He outfits his ALEXA primarily with Cooke lenses and rates the camera’s ISO at 800, or 1600 at night. He tries to stick to around 2.8 or 4 as an aperture because he favours the softness in the look and also wants some depth of field.

“Cookes are so fluid; their sharpness is in a nice gradual way, not razor sharp. I can tell right away when a shot has been done with zooms and Cookes. I’ve been using Cookes for so long they feel familiar and I’m at home with them. They’re my friends,” he says.

He also tries to use no more than five or six lenses – often using as few as three – because “if you don’t have a lot of lenses

to choose from that goes faster, and it keeps some continuity in the look of the film,” he says.

“When our shooting schedule went from 18 to 16 days and our budget from $3.5 million to $2 million, many things had to give in order to be realistic, but we didn’t cut on the crew,” Villeneuve points out. What they did cut was their reliance on the dolly, he says. “We cut the conventional Fisher or Chapman dolly because that’s pretty much the most expensive rental after the camera.”

Rather than using conventional dollies, the production uses the simple skateboard dolly, which Villeneuve describes as “a small platform with a bazooka on it on aluminum pipes as tracks. And to tell you the truth, it does the job 80 per cent of the time,” although it does have its limitations. “Sometimes we wish we could go up and down with the camera. But you just have to pick a height and stick with it,” he says. “But most of the time it works and it’s so lightweight to set up. It can be carried by one person.”

He employs handheld shooting only “when a scene calls for it, not for saving time,” he says. “I don’t think it does save time. With handheld my pet peeve is doing a scene and ending up being a human tripod. I don’t like that. It’s hard to be standing and not moving; it’s very tiring. To that end, when directors really want a handheld look, but we know we won’t be moving that much, we now use what we call a bungee cam.

It uses a big rubber band which is in fact surgical tubing and it’s actually held from above. We can have the camera sus-

pended instead of handheld. So it gives that handheld movement but I’m not actually holding it all day long.

“We also have something we call the dollywood,” he adds.

“It’s so simple; it’s a plywood platform and we can put tracking wheels underneath. We use as a good old dolly and track as much as we want, and it’s fairly solid. Again we just can’t change the height of the camera. It’s basically a very cheap way of moving the camera.”

Another tool the Incendo production uses to stay efficient is what Villeneuve refers to as a “rickshaw,” made by his grips.

“It’s basically a super-evolved wheelchair made out of aluminum tube and mountain bike wheels that can be transfigured in a bunch of different ways. I can be sitting on it, I can be low on it, the camera can be attached to it or not attached to it.

So we use it a lot for running and following things and going fast,” he says.

“In one movie that involved hostage-taking and SWAT teams storming buildings, we had two guys pulling it and we could really run fast. We could not do that with handheld.

Even a Steadicam couldn’t do it.”

Villeneuve says the production rarely goes over the daily 12hour schedule and often finishes under schedule. “The crew likes it because they can be home and have a life outside the movie set. I like it, and I think I’ve developed a lot of tricks over the years to make it efficient and fast. With budgets being cut all the time, everybody has to find tricks to be efficient and fast, and that’s the sad reality,” he says.

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Canadian Cinematographer - February 2016 •

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19

Harry Lake csc

1933-2015 In Memoriam

By GUIDO KONDRUSS

F

Harry Lake csc on the cover of the CSC News, October 1992.

Shooting one of the first 35mm colour commercials in Canada for Esso at Robert Lawrence Productions (1966). On the crane in the studio Fritz Spiess csc (DOP) and Harry Lake (assistant).

20 • Canadian Cinematographer - February 2016

riends and colleagues alike often lauded Harry Lake csc for an even temperament and never letting an angry word stray past his lips, no matter how vexing a situation or problem. Born in 1933 in Toronto, Harry never planned on being a cinematographer, let alone becoming one of Canada’s most respected directors of photography. As a young man, Harry was working as a gas jockey, checking oil and washing windshields when he struck up a conversation with a customer who happened to manage a local film studio.

A few conversations later and Harry became the new studio driver, delivering prints and picking up packages, heralding the beginning of a film career that spanned five decades.

In those early years, Harry worked on anything and everything, on any film job that came his way, but mostly he was a gaffer. He was part of the technical crew on a number of quintessential 1950s television series such as Cannonball and Tugboat Annie. He also worked on The Mask in 1961, the very first 3D feature shot in Canada. Harry’s love affair with cinematography began in earnest when he became a camera assistant to notable DPs of the day such as Fritz Spiess csc and Herb Alpert csc, ASC. This was Harry’s training ground that catapulted him into becoming a DP in 1967 and eventually one of Canada’s top commercial cinematographers/directors. Harry was also very active in the then nascent music video arena, shooting many formidable artists such as Queen and Christine McVie of Fleetwood Mac fame. He served as second unit DP on numerous high-profile feature films in the late 1990s and early 2000s, such as Pushing Tin, Detroit Rock City and Cold Creek Manor. He was the DP on The Magic Show for the CBC, coordinating seven cameras to record the famous illusionist Doug Henning, mesmerizing a live audience. Harry was also the cinematographer on the short film Edsville, which became a cult classic.

Harry always considered himself an artist first and foremost, who used lighting as his paint brush. He believed that cinematography’s visual narrative was a vital component of filmmaking that gave every film its unique look and feel. Staying true to a film’s overall vision was important to Harry, a quality he strived to achieve each and every time he stepped onto a set.

Harry collected many accolades and awards during his career, including a Cannes Festival Award and a CLIO for best cinematography, where he competed in a field with more

than 2,000 U.S. entries. Harry is still the only Canadian to win this prestigious advertising award. As the cinematographer and director of the “Tuff Enuff ” video by the Fabulous Thunders he earned a U.S. gold record for his contribution to the success of the album. He repeated the feat by winning a Canadian double platinum record for his work on “Wave Babies” by Honeymoon Suite.

A lifetime full member in the Canadian Society of Cinematographers, Harry had a great affinity for his professional community and a deep desire to give back to his craft. Always very generous with his time and knowledge, Harry served as the CSC’s Education Chair for five straight years.

Harry travelled the four corners of the world plying his craft and art, even basing himself out of Los Angeles for eight years before returning to Toronto. Harry could do it all, shooting underwater, out of airplanes, in the woods or a concert hall, but always with his distinctive flare. His was a life well lived.

Harry passed away on December 13, 2015, in Toronto.

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1957: A trusted assistant, Harry Lake taking a light reading

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for Fritz Spiess csc (DOP) on a Plymouth commercial at Caldwell’s Queensway Studio.

Canadian Cinematographer - February 2016 •

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T

rust Blackmagic Design to do what it does best – disrupt.

Most people know Blackmagic as the folks who brought a pro-level, ridiculously cheap camera body to the marketplace, shaking things up in a similar fashion to the RED ONE’s arrival in 2007. While there were a few doubters, affordable cameras like the RED, Blackmagic and GoPro have proliferated on sets if only as crash cams.

And the big guns like Sony, ARRI and Panasonic have taken note and responded with new products and more importantly, pricing. So when Blackmagic announced their Video Assist recorder-monitor last spring priced at US$500, a lot of people turned their heads.

Simply described, it’s a 5-inch 1920 by 1080 HD monitor with SDI and HDMI input/outputs with built-in SD card recording capability and on-board

Credit: Courtesy of Convergent Design

22 • Canadian Cinematographer - February 2016

Credit: Courtesy of Blackmagic Design

TECH COLUMN

Monitors Evolving as Prices Fall

touch screen controls. It all works with industry standard software like Final Cut Pro, Avid Media Composer, Adobe Premier Pro and their own DaVinci Resolve. The recorder will capture proxy for resolutions up to 4K. In the bigger picture, it’s actually the continuation of the modularization of camera equipment.

Lens, body, monitor, recorder have all evolved into separate entities so end users can mix and match to their own specifications.

Of course, the Video Assist is not the only monitor or monitor recorder on the market.

Marshall Electronics, for example, makes a range of camera monitors, from 4 inches up to 9 inches with a variety of input/output configurations.

Last fall, Convergent Design launched the Apollo, a 7-inch touch screen, multi-camera recorder/switcher that can simultaneously record up to four video signals. There’s also a fifth channel for a live-switched output of the four signals. It’s designed for TV reality shows where multiple cameras and shooting on the fly are the norm.

More intriguingly, the Apollos can also be ganged, allowing up to 12 HD streams or six 4Ks. The unit has preset or custom monitoring LUTs, false colour, focus assist, histogram, pixel zoom, and spot meter which should make synching a lot easier, though it is pricey at about US$4,000, but those with multi-cam live productions may find it indispensible.

Then there’s the Small HD 501 and 502. It’s a 5-inch 1920 by 1080 LCD monitor with HDMI in/out plus audio, while the 502 has SDI in/out as well and sells for around US$899 to $1,299 for the 502.

Meanwhile, Atomos at IBC last September dropped the prices on their

HD monitor recorders like the Ninja Assassin which is modelled on its big brother, the Shogun. The unit is pretty impressive, with 325ppi monitoring functionality, with a 7-inch 1920 by 1200 screen, 10-bit 4:2:2 professional recording for Apple, AVID and Adobe workflows. It will handle 4K through HDMI up to 30 fps and 1080 at 120 fps, storing to an HDD or SSD. It does not, however, have SDI or handle RAW but is designed for DSLR, mirrorless and video cinema cameras and priced at US$1,295.

Which brings us back to the Blackmagic, which is surprisingly easy to use, according to Brian Hallett, who is a producer at the NBC affiliate in Nashville, Tennessee, as well as an editor and cameraman. Hallett has shot pretty much the gamut of commercials, documentaries, news and music videos over the last 16 years.

“I think they got a lot of things right,” he says. “They got a couple of things wrong, but they got the price, the choice of HDMI and SDI in and out right. In a lot of cases you’d have to choose one over the other. Or find one with both at a lot more money. I know people who have more expensive monitors, and I know they’re going to sell theirs on eBay and buy this instead.”

He also likes the ability to shoot 4K and record in 1080 by proxy and have the time code match up. It’s also compatible with pretty well any camera and with ProRes, which makes life a lot

easier for those who don’t normally use ProRes, for example, but may have to because the client specifies it.

Still, he says, there are a few tweaks he’d like to see. “It doesn’t have false colour, for example, and I think they need more exposure tools, false colour being the biggest,” he says. “I think a lot of people hope they’ll have a 4K recording soon too.”

The monitor-recorder is really a backto-the-future product, says Dan May, president of the Australian company’s U.S. operation, noting it was already essentially there in the parts bin. “We had a monitor which we developed when we were working on the camera, but then we put it aside and focused on the camera development,” he says. “We had one five years ago or so that worked with DSLRs, and we had recorders too, like the HyperDeck Shuttle.”

With the trend towards monitor-less cameras, like the micros and minis, he says, it was apparent there was a market for monitors and recorders and it made sense to combine them into a single product. “We don’t build something and then say, ‘Oh, we can sell it at cost times five, cost times 10,” he says. “We sell it at the best price we can for the consumer. In the end, we had to make it because you can’t have a micro studio camera and not make a monitor for it.”

Ian Harvey is a Toronto-based journalist who writes for a variety of publications and covers the technology sector. He welcomes feedback and eagerly solicits ideas at ian@pitbullmedia.ca

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President from page 2 end of a shooting day, immediately after wrap was called, he would proceed to personally thank each and every crewmember, from the PA all the way up to the producer. By his action, everyone was felt to be an important part of the process, valued for his or her contribution to the collaborative effort.

My comments are neither intended to offend nor be disrespectful towards

any DP. On the contrary, for we are all different in our approaches to our work.

However, I don’t believe that any of us is beyond a gentle reminder for the way in which we interact with those around us.

If we remain alert to our own behaviour and conduct ourselves in a manner that befits our station, we will receive the same respect that we offer to others and this is really how the power of the DP will be perceived, acknowledged and accepted. Carpe diem!

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| MISSISSAUGA | OTTAWA TORONTO Canadian Cinematographer - January 2016 • CALGARY | EDMONTON

25

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ho would have thought they would be such a hit? It was an impulse, really, grabbing a large handful before catching my flight. It seems that everyone wanted a CSC pin for their lapel or collection. I could have brought three handfuls and still needed more. As the newly elected president of the Canadian Society of Cinematographers, I was the CSC delegate at the historic 2015 IMAGO Annual General Assembly held in Jerusalem last October. It was an historic meeting because this was the first time that IMAGO has conducted its yearly meeting outside of Europe, also symbolizing its evolution into a global institution.

IMAGO is an umbrella organization for cinematography associations around the world. Recently, the CSC and a vanguard of societies – including Israel, Australia, New Zealand and Japan – were admitted into IMAGO as its first non-European full members with voting rights. In all, cinematography societies representing 49 countries have membership in IMAGO. Amazingly, 40 of them sent delegations to Jerusalem, while the remaining nine were represented by proxy.

The Jerusalem assembly was also quite significant because of the changes in its leadership. Long-time IMAGO President Nigel Walters BSC was stepping down. Much gratitude is owed Walters for his tireless leadership and passion in guiding IMAGO for the past eight years. He is largely responsible for the

24 • Canadian Cinematographer - February 2016

development and growth of IMAGO into an international organization. In recognition of his devotion and service to IMAGO, Walter’s was presented with a Spectra Light Meter at the IAGA dinner at a Moroccan restaurant in the Old City of Jerusalem. The award is similar to the one that Walters presented to past CSC President Joan Hutton at last year’s 58th CSC Awards Gala in Toronto for her support of IMAGO. You can read about Walters at the CSC Awards in the May 2015 issue of Canadian Cinematographer. An in-depth Q&A with Walters is also available in the June issue 2015 of the magazine.

Both issues can be found on the CSC website: csc.ca.

Filling the shoes of the president is Paul René Roestad FNF, from the Norwegian Society of Cinematographers (FNF). He was unanimously acclaimed as IMAGO’s new president for a threeyear term. Roestad has been involved with IMAGO for many years, and I wish him all the best in his new role.

With 29 items on the agenda and ensuing discussions, the three-day IAGA was a jam-packed event. Topics ranged from how to boost finances, a perennial quest with all not-for-profit organizations that rely on volunteers, to the novel idea of an IMAGO Awards competition. It’s just a notion being studied at this point, but basically each member society of IMAGO would submit candidates from their respective countries.

Winners from the CSC Awards would

By GEORGE WILLIS csc, sasc

make ideal submissions for IMAGO awards. It would be tremendously interesting to see how we would size up on a world stage.

Education has always been my passion within the industry, so when Tony Costa AIP from the Portuguese Society of Cinematographers and chairman of the IMAGO Education Committee threw down the gauntlet, asking me to join, I jumped at the challenge. IMAGO educational initiatives with their workshops and master classes have hit a brick wall because of a lack of funding, overages and operational difficulties. They were simply becoming too expensive to run. A recent Master Class for Europe, because of flights, hotels and various operating expenses, cost an eye-popping $185,000 to mount. Revenues, however, were not enough to make master classes of this magnitude viable on a continuing basis.

To alleviate chronic underfunding, the IMAGO Education Committee is proposing changes to their education program, and interestingly, they are similar to what the CSC has done with its educational initiatives. IMAGO is suggesting repurposing their program by downscaling workshops and classes; requiring more administrators; increasing the number of participants; regionalizing classes to reduce travel time for participants; and to obtain strict commitments from those who agree to teach.

Comparably, the CSC has adopted an ambitious system of modules for its

Credit: Louis-Philippe Capelle sbc

IMAGO 2015

Canadian Cinematographer - February 2016 •

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workshops and courses where none is longer than two days, offered at regular intervals and with greater variety.

For instance, the CSC Camera Assistants Course, which was once a 10day stretch, can now be accomplished through a combination of modules offered over time. We’ve garnered success with this flexible education model, which is generally very well received by participants.

What particularly resonated with me during the IMAGO Education Committee discussions is that, interestingly, most film schools still teach with film.

So it was put forth that we as educators need to promote the disciplines as they apply to the basics of film photography and cinematography. I’ve been championing this direction for instructing film in Canada for a while now. I offered my insights to the committee regarding a new approach to teaching I’ve been developing that tackles the “anticipation versus immediacy” of image gathering.

I wrote about this in my president’s column in the November 2015 issue of Canadian Cinematographer. Shooting photographic film with 24 or 36 exposures, or 400 feet of motion picture film, and waiting for it to be processed presents a finite situation. One has a limited amount of film to capture a sought after image. This exacts a discipline from the shooter to develop and rely on their skills, as opposed to the immediacy of digital capture which can theoretically be infinite and, I’m sad to say, rather mindless at times. Using film teaches the student to concentrate and understand the aesthetic why and how of their craft. In the long run it only makes them better cinematographers able to capitalize on the wonders offered by digital technology.

Yoshiko Osawa JSC, from the Japanese Society of Cinematographers, in an excellent presentation pointed out that film schools in Japan espouse the concept that by using film it is easier to understand “the magic of light.”

I wholeheartedly agree. Osawa also

26 • Canadian Cinematographer - February 2016

pointed out that tuition at film school in Japan cost approximately $3,200 per year. This is a far cry from the situation in North America where tuitions are usually in the tens of thousands of dollars. Also, upon completing film school, a Japanese government-sponsored internship program is open to graduates.

One of the underpinning aims of IMAGO is authorship rights for cinematographers. The premise, much like still photography, is that cinematographers are the creators of the image they shoot and should be accorded ownership. This concept has grabbed hold in varying degrees in several European countries. To push authorship rights, IMAGO relocated its symbolic headquarters to Brussels several years ago to better lobby the European Union for some sort of uniformity on the issue.

It’s been a tough sell, and even though IMAGO has been around for over 20 years, it still lacks stature with some government and international circles.

To give IMAGO more credence, it was proposed at the IAGA that it’s now time to set up a brick and mortar office with staff in Brussels from which to operate.

The Association of Czech Cinematographers (ACK) believes it has a possible backdoor solution for IMAGO and its quest for authorship rights through their unique film restoration and archiving process. Digitally Restored Authorizate, or DRA, basically strives not to enhance the look and sound of older films, but return them, even severely damaged ones, as close as possible to their original look and sound the night they first premiered. And who better to oversee the restoration than those who intimately understand visual concepts than cinematographers, the authors of the image. The DRA method is supported by the Czech government and various Czech organizations and has successfully been used to restore the 1996 comedy Stone Bridge, directed by Tomáš Vorel.

Authorship rights for cinematographers is an alien concept in most of the

world because it plays directly into residuals for cinematographers. In North America, unless a cinematographer has a special deal of sorts with producers or is the producer on the project being shot, authorship of visual content is non-existent. It’s a lofty goal by IMAGO, and any cinematographer would readily agree that visual authorship rights are long overdue. Should the E.U. recognize some sort of legal authorship for cinematographers that is binding on its member states, the rest of the world will certainly perk up and take notice.

It seems that the most active IMAGO group in the past year is its newly renamed Committee of Creative Technologies in Cinematography. They’ve been concentrating on communicating with camera manufacturers about making the inner workings of the menu more accessible to cinematographers.

In particular, the technology committee would like cinematographers to have the ability to directly manipulate the three-camera parameters of sharpness, detail and acutance. Since no cameras allow this at the moment, the other option to gaining access to these three values is through debayering of raw data during postproduction. There are debayering kits on the market, but mistakes have been found in their software.

The technical committee feels that cinematographers need to be consulted in developing debayering software so that all are on the same page and that it is easier to use. According to the IMAGO technical committee, manipulation of the image in the workflow process is a significant part of modern cinematography in which cinematographers must be engaged, because it will become more important with time.

The 2016 IMAGO Annual General Assembly is to take place in Bitola, Macedonia, in conjunction with the Manaki Brothers film festival, the world’s oldest film festival dedicated to the art of cinematography.

I must remember to take more CSC pins!

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, 604-229-0861 or peter@peterbenison.com.

EQUIPMENT FOR SALE CANON 7D package with zoom Canon 18-135mm T3.5, CANON ZOOM 75-300mm T4, CANON Battery Grip BG-E7, SMALL HD DP-4 DSLR Monitor, SHAPE Kirk Nef DSLR cage, SHAPE Hot Shoe SONY EVF Mount “L” Bracket, THINK Tank Camera Bag, VELLO intervalometer, HAMA card reader, SanDisk 16g card, 2x Canon E6 batteries + charger, Assorted cables. Hardly used.

Asking $1950 OBO. Contact: jacbernier@sympatico.ca Spectra Digital Professional IV 150.00 Spectra Digital Professiomal IV “A” 200.00 Pentax Digital Spotmeter 100.00 Spectra Professional Cine 100.00 Mark IV 10/1 Directors Viewfinder 75.00 Cavision VMF Directors Viewfinder 100.00 Kino Flo Diva Lite 400 Model DIV-400 with stand and 10 tungsten spare bulbs and 4 daylight spare bulbs 350.00 12’x12’ white cotton bounce cloth 50.00 Whole package $1,000.00 Andreas Poulsson CSC apoulsson@hotmail.com 604 868 6292 Full Set of MINT Classic Soft Filters.

4x5.6 glass camera filters in all the densities- 1/8, 1/4, 1/2, 1, 2. Perfect condition and all in pouches. Normally sells for $360+CDN each. All five for $ 1400 no tax/includes shipping within Canada. danny@spitfirefilms.net 604.505.1615 FOR SALE : Preston FI+Z (RF) remote follow focus package.

Includes: MDR1, 2X DM1 motors(Jerry Hill style), Microforce zoom control, Iris controller, hand unit, speed booster (12v-24v)+ fast charger.

Panavison, RED, Arri power cables/run cables. + brackets/ various lens gears/marking discs.

ASKING $9,000 for more info and a detailed spec list please contact: Greg Biskup (647) 405-8644, greg@ biskupcine.com Canon Wide angle Lens J11A X 4.5 B4 IRSD and Canon Servo Zoom Control ZSD-300 Value 27 000$ Asking only 3 000$ Elmo Suv-Cam SD ELSC5C and accessories New Value 1 200$ Asking only 100$, Anton Bauer UltraLight & Ul Soft Box Asking only 150$, 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 100$, Shure Mixer FP33 & Porta Brace audio mixer case Asking only 450$, Sony Monitor SD PVM-14N1U new Asking only 50$, 2 Camera Canon Dig Rebel 10Mp XTi, Sigma 70-300 F4-5.6 Super C-AF, 4 Canon Batteries and accessories Asking only 550$, Porta Brace monitor Case for Panasonic BT-LH910 like new Asking only 100$ andrepaul@me.com or call 514 831-8347 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

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 SpotmeterF(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 AmphibicoEVO-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 Transvideo Titan HD Transmitter and Re¬ceiver 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 1Tamron 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 Contact: stephen.reizes@gmail.com Panasonic 3D Professional Full HD Video Camera (AG-3DA1) The AG-3DA1 is the world’s first professional, fullyintegrated 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.

Asking price: $17,500 (includes tax).

Will ship out of province.

To view photos/questions email frank@tgtvinc.com or call 416-916-9010.

Proline 17 inch Teleprompter Included is both PC AND Mac versions for our industry leading Flip-Q teleprompter software. Flip-Q automatically “Flips” the secondary output on your laptop so both the operator and talent will see perfect reading left-right text. The ProLine 17 standard LCD panels are the lightest weight, lowest profile designs in their class. In addition, they offer both VGA and composite video inputs adaptable with any computer output or application. They also offer flexible power options including 100-240V AC or external 12v DC input.

Price includes Tripod attachments and Pelican carrying case.

Complete tool-less set-up.

Asking Price: $2,000 (includes tax) To view photos/questions email frank@tgtvinc.com or call 416-916-9010.

Sony PMW-F3 with S-log firmware. Low hours, Excellent condition. Kaiser top handle, 32GB high rate card. $3500.00. 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. $3000.00 IBE-Optics HDx35 PL to B4 adapter comes with power cable and soft case. Used on F3 and Alexa for superb results. $3000.00. Willing to sell everything as a complete package for $8500.00 Available for everything. 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) 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 20% Off to all CSC members! Looking for a Green Screen Studio? Greensuite209 is owned and operated by a CSC member, and is now offering 20% off our regular studio and equipment rental rates for all CSC members! We are a 1750 sq. ft. green screen studio in South Etobicoke just south of William F Whites. We have a 11’ X 29’ X 14’ Digicomp sloping green screen.

Check us out online at www.gs209.com and contact us for any further information! email: Booking@ GS209.com.

HD Source is well-known and respected for their excellent SERVICE department and truly skilled technicians. As an Authorized Sony Service Depot, HD Source professionally maintains, repairs, and performs crucial upgrades to a wide range of equipment, including HD and 4K. HD Source also proudly services Canon Cinema EOS products and Canon Broadcast lenses, and boasts an on-staff Canon-trained and experienced Lens Technician. HD Source understands how important each piece of equipment is, and will get it operating and back to you as quickly and as cost-effectively as possible.

Call Alnoor at 905-890-6905, email him at alnoor. remtulla@hdsource.ca, or drop by HD Source anytime at 1670 Enterprise Rd. (Dixie & 401).

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 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 - February 2016 •

27

CLASSIFIEDS

EQUIPMENT WANTED

News from page 4

KODAK Introduces Innovative Film Cleaning System

PRODUCTION NOTES

Kodak recently announced the release of a new P-200 Film Cleaning System that transforms the traditional film cleaning process. The design, which uses KODAK HFE 7200 Film Cleaner Solution, allows the cleaning solvent to be dispersed on the film surface in a unique way. Proper film cleaning is vital to both archiving and restoration. In most cases, film needs

to be cleaned before being stored in a library and prior to being digitized.

The KODAK P-200 system consists of a compact machine that measures only 31w x 21d x 51h inches with touchscreen controls for navigating the operating modes. It uses KODAK HFE 7200 Film Cleaner Solution, an environmentally-safe solvent with a zero ozone depleting classification, and

a very low toxicity rating (near zero).

Kodak is offering the solvent in low quantities for the first time, eliminating the need to invest in large orders of film cleaning supplies. The system also offers Variable Speed Precision Tension Control, a laser-guided feature that can operate with speeds of 50–200 fpm while maintaining consistent and even tension throughout the wind of the roll, which is especially beneficial for longterm archiving.

ARROW IV (series); DP Gordon Verheul csc; to April 27, Vancouver BACKSTABBING FOR BEGINNERS (feature); DP Brendan Steacy csc; 1st Assistant Brent J. Craig; to March 11, Toronto BATES MOTEL IV (series); DP John Bartley csc, asc; to April 4, Vancouver BETWEEN II (series); DP Boris Mojsovski csc; to March 11, Toronto THE CODE (series); DP Eric Cayla csc; DP Pierre Jodoin csc; to February 5, Toronto DARK MATTER II (series); B Camera 1st Assistant Marcel Janisse; to May 9, Toronto THE FLASH II (series); DP Kim C. Miles csc; to April 18, Vancouver FRONTIER (series); David Herrington csc; to March 7, St. Johns IZOMBIE II (series); DP Michael Wale csc; Operator/Steadicam Greg Fox; to March 11, North Vancouver JOHN CARDINAL (series); Steve Cosens csc; to April 21, Sudbury LEGENDS OF TOMORROW (series); DP David Geddes csc, asc; to April 6, Burnaby LET IT RIDE (series); DP Mitchell Ness csc; to March 25, Etobicoke QUANTICO (series); 2nd Unit DP Robert Mattigetz csc; to April 21, Montreal REIGN III (series); DP Paul Sarossy csc, asc, bsc; DP Michael Storey csc; B Camera/Steadicam Andris Mattis; to February 16, Toronto THE STANLEY DYNAMIC II (series); DP Matt Phillips csc; to April 8, Toronto THE STRAIN III (series); DP Colin Hoult csc (alternating episodes); B Camera Operator J.P. Locherer csc; to April 13, Toronto SUPERNATURAL XI (series); DP Serge Ladouceur csc; Camera Operator Brad Creasser; to April 20, Burnaby WYNONNA EARP (series); DP Gavin Smith csc; to February 10, Calgary

AWARDS / FESTIVALS / NOMINATIONS Reuben Denty, Associate csc (DP) Undercover High (series), International Emmy Award nomination, April 2016 Kamal Derkaoui csc, Tribute Award at the Marrakech International Film Festival, December 2015 Pierre Gill csc (DP) Casanova (pilot), nominated for ASC Award, Los Angeles, February 14, 2016 David Greene csc (DP) 12 Monkeys “Mentally Divergent” (series), nominated for ASC Award, Los Angeles, February 14, 2016 D. Gregor Hagey csc (DP) How to Plan an Orgy in a Small Town (feature), Santa Barbara Film Festival, February 2016 Cabot McNenly, Associate csc (DP) O Negative (short), at venues across the country through to May as part of the Top 10 festival as one of the Top Ten short films in Canada for 2015.

CALENDAR OF EVENTS FEBRUARY 1, CSC Annual General Meeting, Technicolor Toronto 9, February Freeze, William F. White, Toronto, februaryfreeze.com 5-14, Victoria Film Festival, Victoria BC, victoriafilmfestival.com 18-27, Rendez-vous du cinéma québécois, Montreal, rvcq.com 25-28, Kingston Canadian Film Festival, Kingston, ON, kingcanfilmfest.com 26, CSC Lens Testing Workshop, Toronto, csc.ca 27-28, CSC Camera Assistant Workshop, Toronto, csc.ca

28 • Canadian Cinematographer - February 2016

MARCH 10-20, International Film Festival on Art, Montreal, artfifa.com 12, CSC Acting for the Camera Workshop, Toronto, csc.ca APRIL 2, CSC Awards, The Arcadian Court, Toronto 16-17, CSC Lighting Faces Workshop, Toronto, csc.ca MAY 7, CSC DSLR Workshop, Toronto, csc.ca

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