In the News

Koch and McKellar (right).

The Grand Seduction Wins TIFF Film Circuit Audience Award

The feature comedy The Grand Seduction – shot by Douglas Koch csc and directed by Don McKellar – won the 11 th 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. 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

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.

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, a sc

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. I received two good bits of advice from Richard Leiterman 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 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

see McLachlan page 28

The winner of nine CSC Awards, as well as the 2006

Best Advice:

csc. He was sort of a bigger-than-life Canadian figure, and last year.

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. I 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 Evil4, 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 30- day 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.

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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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DP Thom Best csc checks a frame.

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

By FANEN CHIAHEMEN Photos by ALLEN FRASER

The 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.”

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. “Nobody 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.

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.”

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.

Playing with Time

Executing Motion Control on a Commercial Shoot

By JOHN TARVER csc

One of the best things about working as a cinematogchoose 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. air force! To get the best angle to capture both the Luckily, this call did not involve anyhelicopter landing pad, the hospital and thing quite so hair-raising, but started the paramedics meant putting the mome on an adventure of a different sort. co rig on a hillside! Luckily we had on The project was a spot for a children’s board Peter Chrimes (Fast & Furious, hospital in Fresno, California. The idea Star Trek) as our key grip. Peter suggestwas to emphasize the focus and dedicaed building a platform of steel decking tion of the doctors and healthcare proto support the 1000 lb weight of the rig. fessionals. Placement had to be exact, since moving Chris wanted to shoot the doctors in all the decking and rig once set up was slow motion while the world rushed by not an option. around them in fast motion. One way to Peter and his team had the decking up have done this would have been to shoot and ready during the prep day, allowing a locked-off shot of the foreground in us to pre-program the move the day beslow motion against a green screen and fore. Finally, sun position had to be conthen a background plate under-cranked. sidered carefully. The shot looked best However, we both agreed early on that in early morning light, and the concern a moving camera was essential to really was that if we waited too long the sun sell the reality of both elements existing would come around and front-light the in the same space and more fully engage green screen, seriously over-exposing it. the viewer. I had a vague notion that this For these reasons we made the decision would probably mean motion control, to shoot the green screen elements first but realized that we needed the input of thing in the morning. As it turned out, a top visual effects supervisor. however, our shoot day was extremely I called up Tom Turnbull of Torontofoggy. While this alleviated concerns based Rocket Science VFX. I had met about the green screen, it did mean that Tom a couple of years ago while shootour helicopter was grounded until the ing second unit on the series Copper fog cleared. For a while it looked like our (Pierre Gill csc was the director of phoJohn Tarver csc on set. day was ruined, but finally the fog lifted tography). Tom’s work on the CG set long enough for us to get the helicopter 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 recomrise. The great advantage of the mo-co rig was that we could mended we call Joe Lewis’s motion control company Genleave it set up and waiting until we had all the elements of no eral Lift out of Los Angeles. They are industry leaders in mofog, 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, Iron Man and Wolverine. including operating rooms and hallways. In the O.R.s we 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 acrate 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. complicated since it involved the hospital’s medevac helicopOne issue that came up was when the background people ter 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: Terry Cunningham

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. 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!

5CANADIAN SOCIETY OF CINEMATOGRAPHERS By Professionals, For Professionals June 6 and 7, 2015 LIGHTING FOR TABLETOP 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.

June 20, 2015 CAMERA MOVEMENT With the vast number of options for camera movement, how do you know what the best tool

0 1 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. September 19, 2015 CAMERA MODULE - HIGH SPEED for ACs 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. July 11, 2015 ACTING WITH THE CAMERA “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. August 15, 2015 or November 7, 2015 ADVANCED POST WORKFLOW September 20, 2015 CAMERA MODULE - HIGH SPEED for DPs 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. October 15, 2015 LENS TESTING MODULE 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. October 17 and 18, 2015 CAMERA ASSISTANT WORKSHOP 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. November 28, 2015 CAMERA MODULE - SONY F55 and F5 for ACs 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. November 29, 2015 CAMERA MODULE - SONY F55 and F5 for DPs 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.

2For 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)