Canadian Society of Cinematographers Magazine June 2015

CANADIAN SOCIETY OF CINEMATOGRAPHERS

$4 June 2015 www.csc.ca

How To Make It in the West:

Thom Best csc Shoots The

Pinkertons

Andrew Scholotiuk 40 Below and Falling John Tarver csc: Playing With Time

A publication of the Canadian Society of Cinematographers

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.

FEATURES – VOLUME 7, NO. 3 JUNE 2015

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Credit: Tom Gunia

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.

40 Below and Falling 3D By Norton Mah, Special to Canadian Cinematographer

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.

CORPORATE SPONSORS AC Lighting Inc. All Axis Remote Camera Systems Arri Canada Ltd. Canon Canada Inc. Clairmont Camera Codes Pro Media Dazmo Camera Deluxe Toronto FUJIFILM North America Corporation FUJIFILM, Optical Devices Division Fusion Cine HangLoose Media HD Source Inspired Image Picture Company Kino Flo Kodak Canada Inc. Lee Filters Miller Camera Support Equipment Mole-Richardson Nikon Canada Inc. PS Production Services Panasonic Canada Panavision Canada REDLABdigital Rosco Canada S1 Studios Toronto SIM Digital Sony of Canada Ltd. Technicolor The Source Shop Vistek Camera Ltd. Whites Digital Sales & Service William F. White International Inc. ZGC Inc. ZTV

How To Make It in the West: Thom Best csc Shoots The Pinkertons

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By Fanen Chiahemen

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Playing with Time: Executing Motion Control on a Commercial Shoot

By John Tarver csc

COLUMNS & DEPARTMENTS 2 4 5 20 24 26 27 28

From the President In the News Best & Worst Advice In Conversation with Nigel Walters bsc Tech Column CSC Member Spotlight - Daniel Grant csc Classifieds Productions Notes / Calendar

Cover: DP Thom Best csc Photo by Allen Fraser

Canadian Cinematographer June 2015 Vol. 7, No. 3 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 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

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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FROM THE PRESIDENT George A. Willis csc, sasc

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n a surprise move, the Nova Scotia government in its budget release last April, unilaterally decided to drastically cut its film crew tax credit by 75 per cent.

Shades of Saskatchewan two years ago when that provincial government did practically the same thing, effectively killing their thriving film and television industry. It would have been lights out for Nova Scotia’s too had it not been for the rapid and effective response from the province’s production community. From a demonstration at the Nova Scotia legislature to an online petition that garnered over 30,000 signatures demanding that their industry be saved, a somewhat shellshocked government reconsidered its position on subsidies and started talking with the community on how to do it. I tip my hat to Nova Scotia’s film and television community for their ardent action that saved their jobs and possibly their industry, at least for now. The refundable labour–based tax credit is now totally gone, replaced with a hastily devised broad-based incentive fund similar to what Ontario and Alberta have in place. The thinking is that this new fund will keep productions slated for the summer up and running, but who knows after that.

Critics of film and television subsidies, armed with studies to back their assertions, complain that subsidies don’t really work because they do not stimulate local economies enough or create permanent jobs to make them worthwhile. In the long run, subsidies simply end up costing taxpayers millions of dollars with little economic benefit in return, they say, even calling them a form of corporate welfare and saying that the real hero in attracting foreign productions to Canada and keeping domestic ones home is our low dollar.

However, not everyone thinks that subsidies for our industry are evil. Manitoba bucked the trend by recently renewing their film and video tax credit and happily extending it to 2019. Their tax credit costs the province $15 million for the year, and according to On Screen Manitoba, that’s money well spent, reaping $58 million in industry spending. On a grander scale, California’s incentive package has been so successful, that it’s been increased from $100 million annually to $330 million. California expects that the $6 billion already showered on the state in cumulative production spending since their stimulus program began in 2009, will more than triple because of their upped ante. California also hopes their new incentives will ebb the flow of so-called “runaway productions,” many of which galloped to Canada lured by our incentives.

I’m not sure who has the better accountants, but perhaps Nova Scotia, and even Ontario, which also made cuts to its film and television tax credits in its spring budget, should take a close look at what Manitoba and California are doing right.

If Canada wants to have a film and television industry, it needs to contend not only with the filmmaking giant to our south, but also everyone else in the world vying for movie and TV business. Of course a low dollar is important, but so are stable and competitive incentives because they can be just as dramatic in determining whether our industry flourishes or fails.

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IN THE NEWS

William F. White Purchases Parallel Rentals Inc.in Vancouver

William F. White International recently announced that it had completed its acquisition of Vancouver-based Parallel Rentals Inc. The latter was renamed Whites Parallel Location Equipment Supply Inc. and will remain at its existing location near William F. White Vancouver. The newly acquired company provides a full range of location support equipment and houses inventory from traffic control, tents, heaters, tables and make-up mirrors to location protection equipment and expendables.

Technicolor Enters an Exclusive Agreement To Acquire Production House Mikros Image

Koch and McKellar (right).

The Grand Seduction Wins TIFF Film Circuit Audience Award

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he feature comedy The Grand Seduction – shot by Douglas Koch csc and directed by Don McKellar – won the 11th annual TIFF Film Circuit People’s Choice Award for Best Canadian Film in April. The Film Circuit operates through domestic grassroots networks and strong community partnerships, bringing Canadian and international independent films and artists to communities across Canada.

The awards are decided by audiences across the country who vote for their favourite film shown at a Film Circuit screening. Last year saw record attendance, with 342,091 people attending 2,116 screenings. The Grand Seduction screened in 63 communities and to an audience totalling 10,700 people.

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Technicolor announced in April that it had entered into an exclusive agreement with Mediacontech to acquire Mikros Image, a French production and postproduction company implanted in Paris and Montreal. Mikros Image is a production services company that encompasses aspects of production and postproduction for feature animation, advertising, feature film and TV. Mikros Image would retain its own brand, management and culture of creativity and would be added to Technicolor’s brands portfolio, which already includes MPC, Mr. X, Ouido and Technicolor. The transaction is expected to be completed in the second

quarter of 2015 subject to the labour law requirements, and it is expected to be accretive on a full-year basis.

NAB Highlights: ARRI Launches New Series of LED Soft Lights; RED Unveils New WEAPON

At the National Association of Broadcasters in April, ARRI introduced SkyPanel, a new line of compact, ultrabright LED fixtures with a design focused on form, colour, beam field and output. SkyPanel will initially be available in two sizes: the S60 and S30. The S60 is a mid-range model, featuring a light aperture of 645 x 300 mm, while the S30 is a smaller, more portable version. The SkyPanel S60 will start shipping in September 2015, with the S30 becoming available shortly afterwards.

SkyPanel recently garnered recognition as an International Association of Broadcast Manufacturers Game Changer Awards Finalist 2015.

Also at NAB, RED unveiled the RED WEAPON, an addition to the RED DRAGON camera family, as the new “highest end” camera brain. The WEAPON will be available in a 6K magnesium body version, a 6K carbon fiber version and, eventually, an 8K carbon fiber version, which will arrive by the end of this year. The WEAPON will support simultaneous R3D and ProRes recording in-camera.

Courtesy of ARRI

BEST & WORST

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 nine in the series.

ROB MCLACHLAN csc, asc him at some point in his career that would have got him into Hollywood and on the road to getting into the ASC. For whatever reason, Richard turned down the opportunity, so he said to me, “If you get a chance to go and work down there, get your ass down there and do it.” I eventually took his advice to heart, although it did take me a while. The first thing I did in LA was a movie in 2000. I’ve always felt that things happen when they need to happen. But in hindsight, I wonder what would have been the outcome had I just gone down to LA then instead of only making the full-on commitment last year. see McLachlan page 28

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he winner of nine CSC Awards, as well as the 2006 recipient of the Kodak New Century Award “for outstanding contributions to the art of cinematography,” Rob McLachlan csc, ASC is one of Canada’s most prolific and admired directors of photography. McLachlan is often referred to as a “director’s dream” for his exceptional technical and creative talents, nurtured by his collaborative spirit.

McLachlan is based out of Los Angeles.

Best Advice: I received two good bits of advice from Richard Leiterman csc. He was sort of a bigger-than-life Canadian figure, and I’d operated for him quite a bit in the late ‘80s and early ‘90s.

I was at the CSC Awards around ‘96 and I hadn’t seen Richard for a while. He had a few drinks under his belt when he grabbed me. I was on a roll professionally then – I believe I’d just gotten my third CSC Award in a row and I had some ASC nominations. I think Richard that night gave me the best advice I ever got from anyone. He looked me in the eye and he said, “Don’t get too f***ing comfortable.”

Richard’s other advice came about because he’d always regretted missing a window of opportunity that opened for Canadian Cinematographer - June 2015 •

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40 Below and Falling 3D Andrew W. Scholotiuk Shares His View from the Producer’s Chair

By NORTON MAH, SPECIAL TO CANADIAN CINEMATOGRAPHER

Photos by TOM GUNIA

The crew worked in below -30 degree weather.

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t takes a village to make a movie – and, more importantly, each villager’s skill set, experience and passion to deliver the final product. What drives associate CSC Andrew Scholotiuk in any type of role is the word “exciting.”

As a curious person who loves to learn new things, Scholotiuk’s diverse body of work includes stage management, cinematography and editing. His passion is palpable when he describes learning NUKE software for the fun of it, learning and executing live concert lighting, and using 3D 4K technology to tell a story.

It is with this passion that Scholotiuk set out to bring into existence North America’s first 3D romantic comedy feature – shot in Edmonton, Alberta, and the rocky mountains – but this time solely in the producing role. With a script by Aaron James Sorenson (Campus Radio, Hank Williams First Nation), executive produced by Darren Arsenault, and directed by Dylan Pearce, 40 Below and Falling 3D focuses on Kate Carter (played by Firefly actress Jewel Staite), who is leaving her teaching job at an Aboriginal remote northern school so she can get married in the big city. Her plan goes awry when her flight is cancelled due to a blizzard and the authorities suspend road travel.

She has no other choice but to hop on a

snowmobile and rely on its surly driver, Redford (played by Resident Evil 4, 5 & 6 actor, Shawn Roberts), to get to her destination. From jumping off cliffs, to falling through thin ice and encountering a grizzly bear, the journey culminates with Kate learning that there is more to Redford than just his rough exterior and she’s no longer certain that she’s choosing the right man to marry.

Scholotiuk’s decade-long partnership with Windsor native Pearce dates back to when the two first met at Red Deer College’s Motion Picture Arts program, and they have since collaborated as DP and director on many feature films.

Their credits include Baby Blues, Whatever it Was, The Bike Heist, and I Think I Do. While on those projects, Scholotiuk served as DP and producer, for 40 Below, he chose to focus his energy on producing and allowed the experienced and talented Wes Miron to take over the director of photography role.

As a producer, Scholotiuk says he approached Miron during the process “the way I’d like to be dealt with if I was the DP – asking questions rather than giving hard direction, trying not to step on his toes or micromanage him. There was never a moment where I doubted the ability of Wes; I had complete faith in him the whole time.”

Scholotiuk says he firmly believes his

cinematography skills are transferable to a producing role because “managing the camera department and collaborating with the director on his or her vision, and basically executing that vision with that team of people in an efficient and on-budget way” are required skill sets for producer and cinematographer alike. A producer needs to communicate one’s passion and interest in the project to the entire cast and crew in order to get constant support, while a DP needs to communicate the director’s vision with his/her camera department.

Verbal communication skills are key to effectiveness in both roles.

Although there are similarities in skill sets, there is a difference in the way those skills are applied. A DP manages his or her team, while a producer “assists [them] in the solving of those problems,” Scholotiuk observes. Personally, as a producer, he provides every department with support by “saying no as little as possible and trying to facilitate their requests because I trust my team and know that everyone wants to see the film succeed,” he says.

In the case of producing 40 Below and Falling, Scholotiuk mentions that due to “the technical nature of 3D, the highresolution format we were shooting in, the reduced postproduction time we had [early February to early May 2015], all of the skills I have had as a cinematographer and working in independent cinema, where you usually do a lot of the processes yourself, gave me a lot of firsthand experience to foresee problems and deal with them early in the process.”

Also, Scholotiuk says he dealt with the film’s challenges successfully by “putting together a solid team,” trusting his team members to do their jobs, and communicating his passion for the project, which helped keep up the cast and crew’s morale while they worked in below 30-degree weather.

For example, he brought on camera operator and stereographer Dylan Reade, whose attention to and passion

for telling stories in large 3D formats helped the production deal with a 30day shoot, “21 different locations, a small budget, very short postproduction time,” which meant designing new postproduction workflows for 3D, and using a new camera system, the KineMINI made by Kinefinity, Scholotiuk says. “Looking at all these factors, there was no way we could do it without additional help.” The production decided to use the KineMINI because it was “the best camera to stay in sync” with 4K sensors shooting in CinemaDNG, according to Scholotiuk.

Top and bottom right: The 40 Below and Falling crew shoots on location in Edmonton, Alberta.

Bottom left: Andrew Scholotiuk.

Canadian Cinematographer - June 2015 •

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The CSC Extends a Hearty Welcome to its Newest Sponsors

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8 • Canadian Cinematographer - June 2015

Director Dylan Pearce

“The budget, crew size, and shooting in the mountains were all challenges for the 3D 4K format. We looked through all the available 3D support options and knew that we had to rethink the system,” Scholotiuk says. “First of all, one of the challenges of filming in 3D is the size of the rig.” The beam splitter rig is typically “quite heavy and cumbersome,” and therefore requires something lightweight to handle accessing remote locations, Scholotiuk notes. To solve this issue, the filmmakers partnered with Transform Cine Gear, a prototype lab and small production facility in Edmonton operated by Larry Kelly and Dale Gregg. “They designed and tested several versions over six months to find the right balance between function, speed, and durability,” Scholotiuk explains.

40 Below and Falling is uniquely a 3D film with 2D deliverables, and the filmmakers pre-sold the 2D film internationally to DARO Films and across Canada to Super Channel. To do this, they “ingested the footage into DaVinci Resolve to match both eyes, first pass colour grade, and stereo alignment, then rendered dailies and offline footage in side by side. After looking and testing all the major NLEs, they went with Adobe Premiere Pro CC to be able to edit in native 3D,” according to Scholotiuk.

Pearce and Scholotiuk knew going into the project that they were taking a big risk. “Nothing [was] guaranteed; the 3D market is taking a bit of a dip right now, but what was exciting was using this new tool, a whole new format where the rules haven’t been written yet; I just thought, ‘What an opportunity.’ It doesn’t happen too often when a completely new format becomes available and can you imagine the excitement of a filmmaker experimenting with sound and colour. It is that same exciting feeling with 3D,” Scholotiuk says.

Scholotiuk summarized that the more diverse knowledge you have as a person, the better a producer you are because it’s a role that allows you to apply your broad knowledge to any project.

He added that “hands-on experience is really beneficial to have in the producing role, whether in cinematography or in other departments, the more on-theground actual understanding of what it’s like, day in and day out, on set [for any of the cast or crew members].”

As to why he got into producing in the first place, Scholotiuk says he sees “a need for people who can put the pieces together, who can find the financing, who can support the artistic vision of the creatives involved, and I think I can help with that.”

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Canadian Cinematographer - June 2015 •

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DP Thom Best csc checks a frame.

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How To Make It in the West:

Thom Best csc Shoots The

Pinkertons

By FANEN CHIAHEMEN

T

Photos by ALLEN FRASER

he Pinkertons is an action-adventure series based on the crime-solving exploits of the Pinkerton National Detective Agency of the mid-1800s American Wild West. The first season of the procedural Western, set in Kansas City, Mo., and airing on CHCH in Canada, was filmed just outside Winnipeg and recreates actual cases taken on by the agency’s founder Allan Pinkerton, his son William, and Kate Warne, credited with being America’s first female detective.

Not only did series cinematographer and Manitoba-born Thom Best csc welcome the opportunity to work in his native province, he was also excited at the prospect of telling the story of such infamous historical figures. “When you think about the Pinkertons, they were the law in the West,” Best says. “They have a very controversial history.”

But Best soon realized he would have to adjust his imagining of the Pinkertons’ adventures in order to recreate their story for the television demographic for which the show was intended. “It’s a cleaner version of the West,” Best says of the TV series, adding that when he signed on to shoot The Pinkertons, he “thought we were doing a grittier, more realistic vision. Instead, it is a more family-friendly show.”

Nevertheless, the cinematographer was able to apply the gravitas the show needed through his approach to the lighting. “It’s still a drama, and my approach may be a little darker and a little grittier than the material,” he admits. “Lighting helped to create mystery within the sets, especially in the saloon, which is the centrepiece of the show.”

Drawing inspiration from works like McCabe and Mrs. Miller and The Assassination of Jesse James by the Coward Robert Ford, Best devised a naturalistic approach that also helped him and his crew cope with the pace of the show. “We were doing 10-plus pages, five-day episodes, which is kind of crazy for a dramatic series, but we did it,” he says.

Best’s philosophy was to not only respect the show’s restrictions but to work them into the style of the series. “I like to call it stylized naturalism. The limitations of our locations and budget dictated a certain look that was simplified in order to get through the volume of work,” he explains. “I would walk into a set and let it inform me. You identify where it’s going to look the best, what your lighting opportunities are, and then in any scene you just want to try and maintain that continuity once you’ve set up the wide shots.

“Given the limitations and the desire to give the show some personality, our initial approach was to use A cam to shoot the main coverage and B cam for more interesting compositions that would also inform the scene, not just capture another close-up,” Best continues. “But the scripts were so dense that if a shot didn’t have dialogue, it wouldn’t get used.

It would be the first thing to end up on the cutting room floor. It’s just one of the hard realities of television. You’re always in service to the plot or story. They generally don’t allow scenes to breathe, so atmospheric shots that give it scope are the first things to go. TV is about the close-up; the drama between people.”

Overall, for his lighting approach, Best favoured a strong key light, without the use of much backlighting or fill. Inevitably, he selected his gear judiciously and one tool in particular stands out as being indispensable on a TV production like The Pinkertons. “Something that’s really helped and become a real timesaver for me are the Kino Flo LED Celebs,” the cinematographer says. “I’ve become a huge fan of LED lighting because you can dim them without losing colour temperature and go from tungsten to daylight and every temperature in between. So you’re not wasting time switching tungsten fixtures for daylight fixtures and then having to gel them and net them down or scrim them down. It’s all there on the head and it’s beautiful.”

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Will and Kate on a case.

The Pinkertons’ sets – mostly built inside a locomotive train station in Grosse Isle, Manitoba – allowed Best to light with larger HMI sources outside, while lighting the actors with the 200, 400 and 400Q Celebs. “The only problem was we just didn’t have enough of them,” he says of the LEDs. “There just aren’t that many around. All the ones at [William F.] White are being used either in Toronto or Vancouver. In Winnipeg we were lucky to have the ones we had. So they’re in short supply and big demand these days.”

Best quickly points out that no matter what tool he was using, he always made sure to respect the light sources of the period “Everything’s a form of firelight. Knowing that going in makes everything a little bit on the warm side.

We were not shooting with any fluorescents. Also you’re not going to play with too much colour,” he says. Indeed, the colour palette of the show reflects that of the period – earthy and muted.

As a primary source of lighting, the production first employed a couple of modified lanterns by LitePanels that had been designed for Quentin Tarantino’s 2012 Western Django Unchained, but eventually Best and his crew simply used real lanterns. “They always looked better – the real thing sitting at a table,” he recalls. “All our table lanterns were lit with peanut bulbs, and thankfully you never see cables running to the tables.” Best had his crew place lanterns in almost all interior sets, as well as exterior night scenes, and to enhance the light from the lanterns, his team sometimes added battery-operated LiteRibbon LEDs from LiteGear. For night interiors Best complemented the lanterns with China balls. “I just love the quality of that light, so I would use them if we were at the bar, keep the ladies looking pretty,” he says.

The lanterns also helped to foster a period look by producing smoke, which could not be generated the authentic way – that is, with cigar smoke – due to The Pinkertons’ medium. “No-

body smokes on screen anymore, but kerosene lanterns actually provide a lot of atmosphere. It kind of generated enough to justify a smoky interior.

And it’s what an audience has come to accept, at least in terms of this period,” Best says.

In a further effort to give the show a stylized quality, Best also did a 25 per cent desaturation on the image, a look he came up with on set with his DIT Daniel Quesnel. “It just helped give the show a look,” the cinematographer explains. “It was one of the ways I had a little bit of control over the image.

Thankfully, post respected what we did.”

Underscoring one of the realities of shooting a TV show, Best says, “You don’t always get your choice of cameras or lenses. You’re sometimes handed them – these are the parameters, you either accept them or you don’t. If I had my druthers I’d be shooting with the ALEXA,” he says. Instead he was equipped with two RED EPIC MXs provided by Vancouver-based Raw Camera, along with full sets of Arri/ Zeiss Ultra primes, with 18-80 mm and 45-250 mm Arri/Fujinon zooms. Best chose to rate the camera at 640 ISO for most interiors and exteriors, pushing it to 1,280 for some night scenes. The REDs were also supplemented with Nikon D800 and D810 DLSRs for shooting in tight spaces.

Although not his first choice, Best says shooting with the EPICs “has been a very rewarding experience. They behaved, and I love the clean image that they produce. It ended up being a good option and I would do it again. Also, shooting 4K was a directive from the producers, so it future-proofs the show and met the delivery requirements.”

Ultimately, Best maintains that he enjoys shooting for television. “I love anything that invites the viewer in and challenges the viewer and creates a feeling and a mood,” he says. “That’s what good cinematography is all about. It’s what great lighting does or should do.

Canadian Cinematographer - June 2015 •

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I couldn’t bear the thought of just flat-lighting this; it would have just been so boring.”

Being able to return to his roots was particularly rewarding, Best says, and working with local crews allowed him to fully appreciate just how much the Winnipeg industry has blossomed since he left some 30 years ago. “I knew when I lived there if I was ever going to work in the industry or shoot movies and television, I was going to have to move because it just wasn’t there,” he opines. “The scene in Winnipeg has improved exponentially,” a result of crews getting the opportunity to work on major productions that have shot there, he says. Also, many of the crewmembers are filmmakers in their own right, Best says. “It’s just part of that prairie mentality, part of being isolated, that makes them so inventive and creative. If you want to do it, and you really have a passion for it, you’re going to go out and do it.

At first surprised by the choice of Winnipeg as the location to shoot The Pinkertons, the cinematographer now reasons, “I don’t think we could have done this show anywhere else than Winnipeg, just given the parameters of the show. There’s such a great attitude and great work ethic. People have to do more with less. And that’s a point of pride about this show.

I’m proud of what we’ve done.”

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Clockwise from top left: The crew prepares to shoot stagecoach setup. The crew at work in the saloon. Stage coach setup. Camera crew and horse wrangler TJ Bews setting up for barrel rig shot. The crew shoots a scene in the saloon.

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Playing with Time Executing Motion Control on a Commercial Shoot

By JOHN TARVER csc

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Credit: Terry Cunningham

O

ne of the best things about working as a cinematog- choose a different frame rate for each pass, with the helicoprapher is when a director asks you to do something ter photographed at 60 fps and the paramedics at 48 fps. In you’ve never attempted before. I recently had such addition, the paramedics could be shot separately without an exciting challenge when I got a call from my good friend having to worry about safety concerns being too close to the and commercial director Christian Stoehr. Chris and I had landing helicopter. This required building a green screen that met years ago on a miniseries I shot in Peru. At the time, could cover the extent of the paramedics’ movements, which Chris was shooting a lot of our second unit work and was the ended up being over 60 feet wide, or basically every piece of only one on the crew brave enough (or foolish enough) to go green screen and pipe on the truck. up in the old Russian Sikorsky helicopters of the Peruvian The location, however, presented an interesting challenge.

To get the best angle to capture both the air force! helicopter landing pad, the hospital and Luckily, this call did not involve anythe paramedics meant putting the mothing quite so hair-raising, but started co rig on a hillside! Luckily we had on me on an adventure of a different sort. board Peter Chrimes (Fast & Furious, The project was a spot for a children’s Star Trek) as our key grip. Peter suggesthospital in Fresno, California. The idea ed building a platform of steel decking was to emphasize the focus and dedicato support the 1000 lb weight of the rig. tion of the doctors and healthcare proPlacement had to be exact, since moving fessionals. all the decking and rig once set up was Chris wanted to shoot the doctors in not an option. slow motion while the world rushed by Peter and his team had the decking up around them in fast motion. One way to and ready during the prep day, allowing have done this would have been to shoot us to pre-program the move the day bea locked-off shot of the foreground in fore. Finally, sun position had to be conslow motion against a green screen and sidered carefully. The shot looked best then a background plate under-cranked. in early morning light, and the concern However, we both agreed early on that was that if we waited too long the sun a moving camera was essential to really would come around and front-light the sell the reality of both elements existing green screen, seriously over-exposing it. in the same space and more fully engage For these reasons we made the decision the viewer. I had a vague notion that this to shoot the green screen elements first would probably mean motion control, thing in the morning. As it turned out, but realized that we needed the input of however, our shoot day was extremely a top visual effects supervisor. foggy. While this alleviated concerns I called up Tom Turnbull of Torontoabout the green screen, it did mean that based Rocket Science VFX. I had met our helicopter was grounded until the Tom a couple of years ago while shootfog cleared. For a while it looked like our ing second unit on the series Copper day was ruined, but finally the fog lifted (Pierre Gill csc was the director of phoJohn Tarver csc on set. long enough for us to get the helicopter tography). Tom’s work on the CG set extensions and visual effects on that series was amazing, so I shot late in the afternoon, ironically at sunset rather than sunknew he would have a solution to our challenge. He recom- rise. The great advantage of the mo-co rig was that we could mended we call Joe Lewis’s motion control company Gen- leave it set up and waiting until we had all the elements of no eral Lift out of Los Angeles. They are industry leaders in mo- fog, helicopter and perfect light. tion control with credits ranging from The Lord of the Rings to Our other time-bending shots were inside the hospital, including operating rooms and hallways. In the O.R.s we Iron Man and Wolverine.

Joe set us up with two of his best rig operators and their shot the surgeons in slow motion at 48 fps, and then sepaGenuflex Mk III system. The rig can repeat moves frame ac- rate background passes of the other attending physicians and curately up to 7 feet per second and can be configured in a nurses at 6 fps. Our mo-co operators scaled the movement of variety of arm lengths. Our first shot was perhaps the most the rig to compensate for the difference.

One issue that came up was when the background people complicated since it involved the hospital’s medevac helicopter coming in for a landing as paramedics rush up to greet passed behind our foreground doctor. Even with motion it. Shooting multiple motion control passes allowed us to control, this still meant that the foreground person would

Credit: John Tarver csc

Above: Using green screen for an exterior shot of the commercial shoot.

Below: Crew prepare the set of a spot for a children’s hospital in Fresno, California.

18 • Canadian Cinematographer - June 2015

have to be cut out. One way would have been to shoot them against green screen, but due to the very tight space of the O.R.s this was not practical. Tom Turnbull assured us that his team could rotoscope out the foreground doctors in post as the solution. Shooting slow frame rates, or “under-cranking,” can have the result of an unnatural and comical movement, what I call the “Keystone Cops” effect – quite in contrast to the message of our spot.

Fortunately Tom’s team at Rocket Science came up with an elegant “motion streak” effect which smoothed out the fast motion and accentuated the speed without it looking comical.

Our camera package consisted of two RED EPIC DRAGON cameras with Zeiss Master Primes and an Angénieux Optimo 24-270 mm zoom. We chose the DRAGON because of its high frame rate capabilities, and the new 6K resolution chip really helped in creating clean composites when shooting green screen. Since we were not shooting in low light situations, our DIT Bruce Schultz recommended the new DSMC Skin Tone-Highlight OLPF (optical low pass filter). This, combined with the improved colour science and latitude of the DRAGON sensor, has given the RED system a much needed improvement in colour rendition and really helped the look of our spot.

Motion control is a fantastic tool, but it is expensive and bulky. We budgeted only two mo-co shots per day in our schedule, given the long setup and programming time. To make this work within our budget, we had a second camera operated by Andy Parke that could shoot other non-motion control shots in between setups. While not appropriate for every job, the accuracy and repeatability of the system was a joy to use. At one point in the shoot, Chris mentioned that one of our regular shots did not have the precision of the motion control movement. I had to remind him that it was being operated by a human being after all!

CANADIAN SOCIETY OF CINEMATOGRAPHERS

01

By Professionals, For Professionals

June 6 and 7, 2015 LIGHTING FOR TABLETOP

June 20, 2015 CAMERA MOVEMENT

July 11, 2015 ACTING WITH THE CAMERA

August 15, 2015 or November 7, 2015 ADVANCED POST WORKFLOW

September 19, 2015 CAMERA MODULE - HIGH SPEED for ACs

September 20, 2015 CAMERA MODULE - HIGH SPEED for DPs

October 15, 2015 LENS TESTING MODULE

October 17 and 18, 2015 CAMERA ASSISTANT WORKSHOP

November 28, 2015 CAMERA MODULE - SONY F55 and F5 for ACs

November 29, 2015 CAMERA MODULE - SONY F55 and F5 for DPs

Tabletop photography is remarkably complex. A CSC DP will guide participants through different approaches which will include relay lenses, specialty lighting gear and unique ways to move both cameras and subject.

With the vast number of options for camera movement, how do you know what the best tool for the job is? This workshop will explore the multitude of options such as remote heads, motion control, dollies, gimbal rigs, steadicam, geared heads, etc.

Aimed at working actors interested in sharpening their on-camera skills. You will work with a CSC DP and various cameras to understand how different lenses work to capture your performance. You will also be coached on working with lighting, dollies and other general “on set” tips from the best in the industry.

“Look management” is critical for today’s cinematographer. This workshop will cover aspects of managing looks on set and will include an introduction to colour grading. Setting looks for dailies and understanding calibration for different environments will be covered.

This module will cover various high speed systems like the Phantom and Weisscam.

Participants are invited to attend the following day’s DP workshop for more “hands-on” time.

This module will cover various high speed systems like the Phantom and Weisscam.

Participants will be guided by a CSC DP on the pros and cons of different systems.

A “hands-on” approach is encouraged.

A one day immersion into the world of lens testing. Covering everything from anamorphic to spherical lenses, this module is essential to complete the CSC AC certificate. It can also be taken on its own to improve your lens expertise.

This two day intensive, “hands-on” workshop will prepare you to be a 1st or 2nd assistant and is part of the recognized prerequisite for the IATSE 667 camera trainee program.

This is a comprehensive workshop on how to use these systems as a 1st or 2nd AC. Participants are invited to attend the following day’s DP workshop for more “hands-on” time.

This is a comprehensive workshop on how to use these systems as a DP. A CSC DP will be on-hand to show participants the ins and outs. Lots of “hands-on” time, including time spent with a DIT to colour correct and inspect the footage.

For applications please visit the CSC website: www.csc.ca telephone 416.266.0591 Since 1957 To foster and promote the art of cinematography

CSC reserves the right to postpone workshop date(s)

In Conversation with

Credit: John Narvali

Nigel Walters

Nigel Waters bsc (left) with Joan Hutton csc at the 2015 CSC Awards in Toronto.

F

or the past six years, Nigel Walters BSC has been the president of IMAGO, an international umbrella organization for cinematography societies around the world. Originally, IMAGO was a European federation that allowed non-European societies to belong as non-voting associate members. Last year, after changing its statutes, non-European societies could now become full members of IMAGO with all rights and privileges. One of the first to be admitted was Canada, making the CSC the first society to join from North America. Walters, who is also vice-president of the British Society of Cinematographers, was in Toronto for the 58th Annual CSC Awards Gala, where he presented the society’s past President Joan Hutton csc with an IMAGO Tribute award for her years supporting IMAGO’s aspirations of becoming a global organization and bringing the CSC into its fold. Canadian Cinematographer spoke with Walters about IMAGO and its two major initiatives, authorship rights and working conditions for cinematographers.

Canadian Cinematographer: Can you tell us a little bit about the history of IMAGO? Nigel Walters BSC: IMAGO came about through the inspiration of Italian cinematographer Luciano Tovoli. With the fall of communism and the opening of the Eastern Bloc, Europe was being inundated with new cinematographers, and it was felt that standards needed to be developed for cinematography and to keep those standards as high as possible for everyone’s benefit. There was also a need for establishing authors’ rights. So Luciano pushed for societies of Europe to band together to establish some sort of order. That was in 1992,

20 • Canadian Cinematographer - June 2015

bsc

By GUIDO KONDRUSS

when four societies – the Italians, the Germans, the British and the French – came together, forming a nucleus and called it IMAGO. Today there are 47 societies worldwide, and when it gets to 50 societies, I’m calling it a day and going home.

CC: How did the name IMAGO come about?

NW: Nobody seems to know. However, in Latin imago means “image” or “reflection,” and since we’re all cinematographers, it’s a good bet that the name probably originated there.

CC: You mentioned earlier authorship rights for cinematographers. Can you elaborate on that?

NW: Authors’ rights is one of the fundamental reasons for the existence of IMAGO. Right now, through the European Union we’re working towards changing regulations in Europe regarding residual payments to cinematographers for their work as image creators. There are many European countries that are paying cinematographer residuals on one level or another. But it’s uneven.

CC: Is there any hope at all that author rights will become standardized throughout all countries?

NW: Well, this is exactly what IMAGO is about. We’re trying to standardize it, and we are succeeding. But it’s a slow business and it doesn’t happen overnight. The situation regarding authors’ rights across the board (all areas of copyright) is at this moment under very serious review (by the EU) for urgent attention. Author rights are going to change in Europe, and we cinematographers want to have a part in that change.

CC: How sympathetic is the EU towards cinematographer authorship rights in specific?

NW: Are they sympathetic? They want to do what is right, but we have to persuade them, and I think they are listening.

We’ve got very positive responses to our approaches. We’ll know hopefully this summer whether or not this new legislation comes in and encompasses the word “cinematographer” as a recognized co-author of the image. We have a lawyer, a German lady, she works out of Barcelona, her name is Cristina Busch, and she represents us voluntarily, putting forth our case at EU meetings in Brussels. We’re hopeful. We already made a big breakthrough in the last two years with the EU recognizing IMAGO for the first time as a representative cinematographers’ organization, a federation. So they are listening to us.

CC: Where are you finding the most resistance to authorship rights?

NW: There’s resistance obviously from the people who will be affected. At the moment, directors are getting 100 per cent

By Professionals, For Professionals

LIGHTING FOR TABLE TOP June 6 & 7, 2015 Participant fee: $395 CSC Members $550 non-members • Lunch provided

In spite of the term “table top” this type of cinematography can be employed for areas that require a much larger work area than a table. However, the term is universally accepted and during this workshop we will confine our exercises to an area that will be both practical as well as manageable … a “tabletop”.

In this workshop the participants will be instructed in the following: w The psychological approach to advertising of products either stationary or while being used. w Understanding the approach to specifics products and how best to photograph them. w Learn about the various lighting instruments required for this kind of application. w How to evaluate the special requirements, both aesthetically as well as technically to achieve the intended results. w How to apply special techniques and the methods for lighting a variety of products, surfaces and textures.

Day One (morning)

As this is not classified as a “basic workshop” an important perquisite for this course is that the participants have a good understanding as well as working knowledge of the following:

Will consist of exploring and the evaluation of product photography using a psychological approach. Different techniques for lighting products will also be introduced and accompanied by samples of real advertising scenarios.

w Working knowledge of lighting instruments such as: fresnel’s, open face, kinos, HMI’s etc.

Day One (afternoon)

w Working knowledge of grip equipment such as: grip stands, grip arms, sky highs, frames, etc. w Understand the basics of modifying light sources using flags, nets, fingers, styrofoam, foam core, show card, etc. w Knowledge and understanding of the differences between hard and soft light as well as the basic terminologies regarding it.

Group selection will take place and participant numbers will dictate the number of tabletop set-ups to be used. Each set-up will be in a specified area and each working group will have the attention of a dedicated instructor for the duration of that exercise. Each set-up will have also have a camera and monitor to record the images, which will be played back at the end of the workshop for evaluation. After the completion of each exercise, the set-up will be dismantled and the groups will rotate so that each team has an opportunity to experience different scenarios.

Day two Will consist of the same procedure and it is expected that as many set-ups as possible will be undertaken so that the learning curve may be as expanded.

For an application please visit the CSC website: www.csc.ca

telephone 416-266-0591

*CSC reserves the right to postpone workshop date(s)

Workshop located at: William F.White. 800 Islington Aveune,Toronto.

Nigel Walters bsc

of the cake in some countries. In other countries they get a percentage depending on the type of film that’s being produced. There’s a big push underway, reaching out to FERA (Federation of European Film Directors). We’re trying to work closely with them, because if cinematographers are ever going to get authors’ rights, it has to be in agreement with people who are already getting these rights.

CC: Are the directors open to this? Are they agreeable to it in any form?

NW: Factions of them are. It’s a question of persuasion.

Views change all the time, but authors’ rights is quite an important decision for everyone involved. We’re working on it all the time.

CC: Outside of Europe, authorship is a very foreign notion and virtually non-existent, unless a cinematographer is also the producer. How do you see author rights gaining ground with your non-European members such as Canada?

NW: At the moment, we’re having enough trouble trying to get our own people in Europe sorted out. I mean, you’ve got to understand, we can’t go along that path at the moment.

Until last year, IMAGO was just a European federation with little influence outside of its sphere. But little by little, by becoming a strong global federation, we can hopefully influence things worldwide. The Japanese and Australians, for example, are very interested in what’s happening in Europe with authors’ rights. They know that this is the key for the rest of

22 • Canadian Cinematographer - June 2015

the world. Once progress is made in the EU, other societies in the world can use that as leverage for their countries. The eventual goal would be for the Canadians to say, “This is what we need and we need to push for it!” The advantage then is belonging to a global federation like IMAGO that will stand behind you.

CC: All this still sounds very theoretical and a work in progress.

NW: Yes, it’s very much a work in progress at this time.

CC: So IMAGO is a political organization willing to exert pressure?

NW: No. Direct politics does not enter into our thinking at all, but when we’re asked, we do lend our voice. For instance, some of our European societies had problems with their governments, who were trying to take away established cinematographer rights in their countries. The Bulgarians asked us to help when they were facing potential changes in legislation from their parliament, much to the detriment of cinematographers. We wrote a strongly worded note, which was read out in the Bulgarian Parliament, and I would like to think that as a result of that the proposed legislation change was withdrawn. This also happened in two other countries since I’ve been president. One of them was Estonia last year, and four years ago in Latvia, who were facing exactly the same problem. So we can help persuade.

CC: IMAGO also extensively champions the improvement of working conditions for cinematographers, do you not?

NW: Yes, we do. We have in Europe probably one or two countries who have what I would call “model working conditions.” One of those is Denmark.

CC: What is a model working condition?

NW: A model working condition is a reasonable working week for cinematographers with very little overtime, and when it is needed, proper notice is given with no duress for refusal. Also, that productions allot a reasonable amount of preparation time to cinematographers. Simply put, we want cinematographers treated like human beings. This actually works in Denmark because it is properly planned. I know that the Danish situation cannot be everywhere, but we can strive to make it better. The big problem in Europe is the selfemployed worker chasing too few jobs, and working conditions break down without a system.

CC: How is that?

NW: In Portugal, for example, the self-employed individual has no legal standing whatsoever. They cannot belong to a union because there are simply no unions for having, and that is a pretty vulnerable position for people to be in and is open to abuse.

CC: So how is IMAGO working to make things better?

NW: We in IMAGO believe in working in communication with everybody – from directors, producers and unions – to

promote a better understanding of working conditions so we can effect change. But here again, we’re not a political force and all we can do for the moment is exert influence through a country’s respective organizations.

CC: What do you think IMAGO can do for the CSC? NW: I think IMAGO can do a tremendous amount for the CSC. But you must remember it’s not a one-way business.

IMAGO is whatever a society puts into it and makes it. You know, IMAGO really doesn’t exist. The societies exist and they are a loose federation which calls itself IMAGO. We are the sum of their ideas, their needs and their drive all rolled into what we hope will be one strong global voice for cinematography and cinematographers. I think bringing Canadians like any other cinematographer group into IMAGO is bringing them into the larger discussion, whether it be author rights, technology or working conditions, you will have a say and input. We offer friendship and the opportunity of being part of a much larger community with similar goals. I’m sure Canada has much to contribute to IMAGO. I’m waiting to hear.

CC: So what is it you would like to hear from the CSC? What are your expectations?

NW: Every society in IMAGO finds its own way to contribute. In the Bible it says, “In my Father’s house, there are many mansions,” and in IMAGO there are many rooms. For instance, the Israeli room, it’s about working conditions. They

are very efficient in this regard with good standards. They are teaching us a lot and leading the way for us to better organize working conditions in Europe. The Australians, besides having great enthusiasm for anything IMAGO does, have become involved with helping organize our master classes.

We don’t know enough about Canada yet. You’re still all too new as a full member of IMAGO. But if Joan Hutton is any indication, the CSC will be a staunch member. Her presence at our meetings (Annual General Assembly) before the CSC became a full member showed that Canada was behind us in our efforts to become a global organization. She was of great moral support to me and what I was trying to accomplish.

CC: One last question. Where do you see IMAGO going in the future?

NW: Well, I think it’s going to continue to evolve. I see the Americans coming in and the organization becoming then much stronger and much better organized. I want the next president to be a woman. I’ve got somebody in mind, not going to tell you who, but I want that to happen. IMAGO will continue to advocate for author rights and better working conditions, hopefully making the world a fairer place for cinematographers. I don’t know, maybe I’m living in cloud cuckoo land, but I truly believe that by becoming a global organization, IMAGO can make it better for everyone.

For more on IMAGO: www.imago.org

Canadian Cinematographer - June 2015 •

23

TECH COLUMN

Sliders Getting Their Credit

from Cinematographers

I

had a chat with Brian Young at Vistek the other day about sliders.

No, not those mini patties on mini buns so often served at those chi-chi parties I never seem to get invited to, but those essential cinematographic tools.

Like most things cinematographic, they’ve gotten smaller, lighter and, thankfully, more affordable, he said, pointing to the Kessler line-up as probably the most popular among clients for both rental and purchase.

“It’s a well-known North American premier brand which we carry exclusively,” he said, noting the Duzi from Cinevate, a Thunder Bay company, is their bestselling, ultra lightweight slider. “The Duzi is light and made of carbon fibre and has a heavy payload with an ultra smooth action, like glass; it’s a rare combination.”

Sliders are popular because they give cinematographers the creative flexibility of a dolly without the work or expense, though they are clearly much more limited in how far they will extend. “Performance and weight are the issues with sliders,” Young said. “You want them to be reliable, and what’s important is that they break out of the case and get to work and that they’re easy to transport.”

Cost is also a factor, and sliders start well below $1,000 and top out around $2,000 until you get into the servopowered options, which run several thousand dollars. The average length of a slider is around two to three feet, he said, with some shorter or longer on either side of that range.

They’re quick to set up, take an almost infinite variety of camera rigs, and just

24 • Canadian Cinematographer - June 2015

as quick to take down and set up for the next shot.

Veravon from Korea is another entrant in the affordable category, Young said, with an option for an arch slider, which is useful for shooting jewelry or other objects where the shot calls for an almost 360-degree view without using a turntable to add more visual interest. “For a small figure or something like that you can have a fairly large arc which is very smooth,” he said.

Moving up the range, the Redrock Micro One Man Crew Director is turning a lot of heads because it’s a powered slider, and though expensive at US$2,450, it really does add a lot of options, especially those making documentaries with second-camera interview setups.

Redrock Micro describes it as a “motorized parabolic slider which transforms your static shots with beautiful cinematic motion and includes unique features for dramatically improving interviews and ‘talking head’ videos, all without a dedicated operator.”

The One Man Crew Director is just as it sounds – a second camera that can be automatically programmed to slide in or out from a two-shot to a cutaway without the need for a second operator. In keeping with servo-motor advances, it’s quiet and unobtrusive and sits on a pair of machined and curved aluminum rails with a smooth action geared to camera rigs up to 22 pounds. It is remote controlled so once set up it can be directed without the operator having to move from the main camera setup position and gives total control over the timing of the slide, meaning it can be directed to move in during a poignant stage of the interview as pacing requires.

The manufacturer claims it will replace “static shots with smooth professional camera moves” while “delivering smooth camera movements outside of interviews, for b-roll, insert shots, product beauty shots, anywhere you use a tripod.” Young notes it sets up in a minute or so and has a laser-assisted system that sets point of focus and memorizes it. “It’s very popular for those doing a lot of interviews or if, for example, you’re doing the sports intro with star players, it gives the shot a lot of movement,” Young said. “You can even do an outer arc and set it up to make a running pan of the city as a backdrop if you want.”

Finally, he said, Varavon also makes a totally cool “slider-type” product which is a wire cam system with an incorporated stabilizer. “The Wirecam has the camera hang below a rope which you can run several hundred feet,” Young said. “It can travel back and forth on this rope which is pretty much the same kind of rope you’d use for mountain climbing.”

It tilts and pans 360 degrees, he said, and can be easily and safely set up for concerts, for example, to get that swooping bird’s-eye shot from the sound board to the stage across the top of the audience. He said it’s similar to Defy’s Dactylcam, which carries a 50-pound payload at speeds up to 40 mph over a 1200ft span (with the upgrades). While those rigs are in the US$5,000 to US$10,000 range to buy, prices have come down considerably as the technology evolves.

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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CSC MEMBER SPOTLIGHT Credit: Irem Harnak

it didn’t matter so much what format you shot in, it was lighting and composition that mattered. Coming up in the indie film world, we were often figuring out creative solutions for working with limited resources, and I think I’ve learned the most from the technicians and directors I’ve had the pleasure of collaborating with over the years.

One bit of good advice I had early on was to work with people who are smarter than you whenever possible, and that’s served me well. csc What cinematographers inspire you?

What films or other works of art have Storaro’s work on Apocalypse Now and made the biggest impression on you? The Last Emperor is something I revisit My first real inspiration came from the often for inspiration, and a more recent images of Vittorio Storaro asc, aic cinematographer whose work I admire even before I was really aware of what is Bradford Young. cinematography was. That was when Name some of your professional I started to see lighting in cinema as a highlights. form of artistic expression. More re- Getting to shoot features with Bruce cently, the Alex Colville exhibit at the MacDonald and Patricia Rozema, who AGO [Art Gallery of Ontario] was in- were both filmmakers I had studied in spiring. I find Colville’s work to be in- film school. Both are directors that love credibly evocative, and it often creates to embrace the unexpected, and collabthe feeling that something unsettling orating with them on those projects was is hidden in plain view, causing you to a major step in helping me find my crelook more closely at images of the ev- ative voice. And receiving nominations eryday, which can also be a powerful from the Canadian Society of Cinematographers has always been a big highidea in film language. light for me. Winning the CSC student How did you get started in the award after I graduated Ryerson, and business?

My interest started with still photogra- being congratulated by all these estabphy, and in high school I built a dark- lished DPs (many of whom had won the room in my basement, which is where I same award when they graduated from really got excited about making images. film school) made me feel like I could I loved film, and at some point I realized someday join those ranks, so becoming there was actually a job that combined a full CSC member was a milestone for those two passions. After film school I me that was very meaningful. started shooting short films and docu- What is one of your most memorable mentaries, while working as an electric moments on set? to try to learn what I could from expe- A lot of my favourite images that I’ve rienced cinematographers (which usu- made started out as mistakes. I rememally made me a very distracted electric). ber a big setup I did in a bar, which I had spent a while lighting. Right before Who have been your mentors or we rolled, a circuit was tripped and all teachers?

Torben Johnke asc was my cinematog- the lights went off but one. While the raphy professor at Ryerson University, gaffer scrambled to figure out what and the first thing he taught us was that went wrong, I was looking in the eye-

Daniel Grant

26 • Canadian Cinematographer - June 2015

piece and realized it looked much more interesting with most of those lights off, and so I learned an important lesson in lighting that day, which is that simple is often better.

What do you like best about what you do?

Often the most exciting moment for me on set is just operating the camera on a close-up during a moving performance. Patricia Rozema once told me the human face is the most cinematic thing you can put on the screen, and if I feel like I’ve somehow helped create the conditions to make it possible for the actors and director to do their work, and then capture it in a cinematic way, that’s a pretty exciting moment.

What do you like least about what you do?

There’s not much; as far as I can tell it’s one of the most fun jobs you can possibly have. But if there is one thing that I (and probably every other cinematographer) agonize over, it’s the lack of control over the conditions in which a finished film is viewed. You do your best, and beyond that you try not to think about whether every projector the film is seen on will be properly calibrated, or it will drive you crazy.

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

Whatever format you’re shooting on, for me cinematography begins and ends with lighting. I’m excited by all the new technology that is being developed with LED lighting, which is allowing us to put light in places we never could before, but I think there will always be a place for the tungsten Fresnel for many years to come.

How can others follow your work?

My most recent feature, Into The Forest, has just been completed and will be in festivals this fall. And some of my work can be seen online at vimeo.com/ user1951641.

Selected credits: Into The Forest, The Husband, What We Have, The Messenger, Guidance, Hotel Congress, Following Stars

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 FOR SALE: Canon 7D body, Canon 60D body, Canon 14mm f/2.8L, Canon 70-200mm f/2.8L, Canon 17-55mm f/2.8, Canon 100mm Macro f/2.8L, 16GB CF card, 32GB CF card, Zacuto Z Finder Pro, iKan V8000 Monitor kit, Nikkor 20mm f/2.8 AI-S, Nikkor 28mm f/2 AI-S, Nikkor 35mm f/1.4 AI-S, Nikkor 50mm f/1.2 AI-S, Nikkor 85mm f/1.4 AI-S, Nikkor 105mm f/1.8 AI-S, Nikkor 200mm f/4 AI-S, Leica R 135mm f/2.8, (all Nikkor’s come with 77mm step-up rings, zip gear and Redrock Canon EF adapters - excellent quality). Please email gregor@dghagey.com for pictures and prices.

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 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 3 000$ 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 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 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 - June 2015 •

27

CLASSIFIEDS

EQUIPMENT WANTED

PRODUCTION NOTES

Anne of Green Gables (TV movie); DP Ousama Rawi csc, bsc; First Assistant Jim Chirayouth Saysana; to June 17, Toronto The Art of More (series); DP Pierre Jodoin csc; Camera Operator Alfonso Maiorana; B Operator/Steadicam Yoann Malnati to August 17, Montreal Blackstone V (series); DP Jonathan Benny; to June 5, Edmonton Beauty and the Beast IV (series); DP Bruce Chun csc & David Makin csc (alternating episodes); Camera Operator Peter Battistone; to November 17, Toronto Cedar Cove III (series); DP Kamal Derkaoui csc; to July 20, Burnaby Damien (series); DP Luc Montpellier csc; to June 23, Toronto Defiance III (series); DP Thomas Burstyn csc, frsa, nzcs; to June 11, Toronto Devil’s Gate (feature); DP Perry Hoffman; to June 5, Winnipeg Hello, It’s Me (TV movie); DP Boris Mojsovski csc; to June 1, Toronto Heroes Reborn (series); DP Glen Keenan csc (alternating episodes); to September 18, Toronto Lavender (feature); DP Brendan Steacy csc; to June 29, Toronto The Layover (feature); DP Mark Irwin csc, ASC; to June 7, Burnaby Letterkenny (series); DP Jim Westenbrink csc; Camera Operator Tony Lippa; to June 22, Sudbury King Dave (feature); DP Jérôme Sabourin csc; to July 6, Montreal Les Pays d’en haut (series); DP Jérôme Sabourin csc; to July 10, Montreal Manny’s Best Friend (MOW); DP Thomas Harting csc; to June 12, North Vancouver Max and Shred II (series); DP Bentley Miller; Pedestal Operator Matt Phillips csc (alternating); to June 26, Toronto Murdoch Mysteries IX (series); DP James E. Jeffrey csc & Yuri Yakubiw csc (alternating episodes); Camera Operator Brian Gedge; First Assistant Kevin Michael Leblanc; to November 20, Toronto Music Room (series); DP Kim Derko csc; Camera Operator Brad Hruboska; to July 9, Toronto My Big Fat Greek Wedding 2 (feature); EPK Ted Parkes; B Camara Operator J.P. Locherer csc; to June 26, Toronto Nouvelle adresse III (series); Richard Ciupka csc; to June 26, Montreal Rogue III (series); DP Steve Cosens csc; to September 11, Toronto Rupture (feature); Karim Hussain csc; to July 8, Toronto Schitt’s Creek II (series); DP Gerald Packer csc; to July 2, Toronto Sensitive Skin II (series); DP Douglas Koch; to June 30, Toronto Shadowhunters (series); DP Eric Cayla csc; to October 9, Mississauga Stakes (feature); Camera Operator Ian Seabrook csc; to June 10 Suits V (series); DP Alwyn Kumst csc; Camera Operator/Steadicam Michael Soos; B Camera Operator Peter Sweeney; to November 6, Toronto Sunnyside Season 1 Part 2 (MOW); DP D. Gregor Hagey csc; to June 23, Winnipeg Terrific Trucks (series); DP Ben Lichty; to October 1, Toronto

CALENDAR OF EVENTS JUNE 6-7, CSC Lighting for Tabletop Workshop, Toronto, csc.ca 7-10, Banff Media World Festival, banffmediafestival.com 20, CSC Camera Movement Workshop, Toronto, csc.ca JULY 11, CSC Acting With the Camera Workshop, Toronto, csc.ca AUGUST 15, CSC Advanced Post Workflow Workshop, Toronto, csc.ca 27-September 5, Montreal World Film Festival, ffm-montreal.org

McLachlan from page 5 Worst Advice: I can’t think of any for the most part. Maybe I just got good at ignoring bad advice. There was, though, the time I was told – when I was getting into the union as an operator on the remake of Sea Hunt – that I should go back and be a second AC “to really learn the business.” Well, at that point of my career, I’d shot a small feature, several short dramas, dozens of documentaries, and shot and directed about 250 TV commercials, in addition to founding Omni Film Productions. I thought, “F**k that.”

Obviously, I didn’t take the advice. Richard Leiterman was

28 • Canadian Cinematographer - June 2015

SEPTEMBER 10-20, Toronto International Film Festival, tiff.net 19, CSC Camera Module – High Speed for ACs, Toronto, csc.ca 20, CSC Camera Module – High Speed for DPs, Toronto, csc.ca OCTOBER 15, CSC Lens Testing Module, Toronto, csc.ca 17-18, CSC Camera Assistant Workshop, Toronto, csc.ca NOVEMBER 7, CSC Advanced Post Workflow Workshop, Toronto, csc.ca 28, Camera Module (Sony F55 & 5) for ACs, Toronto, csc.ca 29, Camera Module (Sony F55 & 5) for DPs, Toronto, csc.ca

the DP on Sea Hunt, and when he directed the last couple of episodes he had me shoot them. So four months after getting in IATSE, I was a DP, two years later I was a second unit DP, and then eventually main unit DP on MacGyver, the biggest show on TV at the time. I’ve been super busy as a DP ever since. Yes, a lot of it was TV, but I had a family and I couldn’t afford to wait for features, and I sure as hell couldn’t afford to be a second AC, financially or psychologically. The reason I moved up so fast is because I never blew an opportunity when it arose and I was ready to shoot everything that came along. I’m not saying that is the way to go for everybody, but that’s what worked for me.

SOFT LIGHTING | REDEFINED The new ARRI SkyPanel line of LED soft lights is launching with the S60 and the smaller S30, in both fully tuneable and remote phosphor versions. Featuring versatile user controls and rugged build quality, SkyPanel delivers exceptional light output with a soft, uniform beam field and high color rendering.

www.arri.com/skypanel

TOO GOOD TO BE TRUE? The URSA MINI by Blackmagic Design is, very possibly, the most exciting camera you’ve ever seen.

For starters, it’s the world’s lightest handheld Super 35 digital film camera with 4.6K sensor and global shutter, meaning you can capture resolution beyond DCI specifications with no rolling shutter. The URSA Mini also provides 15 stops of dynamic range, well beyond traditional motion picture film, and almost more than the human eye can see.

And because the URSA Mini is perfectly balanced for handheld use and comfortable enough to use all day, this powerful and surprisingly affordable camera is cut out for virtually every project.

Indies, documentaries, television shows, commercials, music videos, even feature films – the URSA Mini positively nails it!

So yes, the URSA Mini is the real deal, too good to pass up. Preorder yours today at Vistek

Heck, even the optional OLED HD viewfinder with precision glass diopter will enthrall you beyond belief.

Available in 4.6K or 4K sensor in EF or PL mount | Built in dual CFast 2.0 card recorders | Open file formats compatible with | Support for CinemaDNG 4.6K RAW files and ProRes 4444 XQ, ProRes popular software, such as CinemaDNG 12 bit RAW | Dual XLR mic/ 4444, ProRes 422 HQ, ProRes 422, ProRes 422 LT, ProRes 422 Proxy recording at Ultra HD and HD resolutions line audio inputs with phantom power | Built in high quality stereo microphones | 5 inch foldout 1080 HD touchscreen | Up to 60 fps 4.6K resolution / 120fps in HD | Built in GPS and gyro for Metadata | Ships with full copy of DaVinci Resolve 12 software

COMMERCIAL PRO VIDEO Direct: 416-644-8010 • Fax: 416-644-8031 • Toll-Free Direct: 1-866-661-5257 • CommercialVideo@vistek.ca

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