Canadian Society of Cinematographers Magazine October 2014

Canadian Society of Cinematographers

$4 October 2014 www.csc.ca

Preggoland

A Labour of Love for Steve Cosens csc V02 #05

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DP Takes a March to the Pole • Guy Godfree: The Warren 9

A publication of the Canadian Society of Cinematographers The Canadian Society of Cinematographers (CSC) was founded in 1957 by a group of Toronto, Montreal and Ottawa cameramen.

Since then over 800 cinematographers and persons in associated occupations have joined the organization.

FEATURES – volume 6, No. 5 october 2014

Preggoland: A Labour of Love for Steve Cosens csc By Fanen Chiahemen

CORPORATE SPONSORS

March to the Pole: DP Takes on Arctic Trek By Lori Longstaff

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Inside The Warren with Guy Godfree

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Guy Godfree

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 HD Source Image Media Farm Kino Flo Kodak Canada Inc. Lee Filters Miller Camera Support Equipment Mole-Richardson PS Production Services Panasonic Canada Panavision Canada REDLABdigital Rosco Canada 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

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Photo: Russell Gienapp

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.

Still from Preggoland

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.

By Fanen Chiahemen

Columns & Departments

From the President In the News Best & Worst Advice New Member CSC at TIFF & new CSC Public Relations Chair Tech Column How to Launch a Career as a DOP CSC Member Spotlight – Ron Stannett csc Classifieds Productions Notes / Calendar

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Cover: Steve Cosens csc Photo: Kevin Eastwood.

Canadian Cinematographer October 2014 Vol. 6, No. 5 CSC Board Members President George Willis csc, sasc, gawillis@sympatico.ca Past President, Advisor Joan Hutton csc, joanhuttondesign@gmail.com Vice Presidents

From The PRESIDENT

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 Co-Chairs Phil Earnshaw csc, philyn@sympatico.ca Alwyn Kumst csc, alwynkumst@gmail.com Education Co-Chairs D. Gregor Hagey csc, gregor@dghagey.com Dylan Macleod csc, dmacleod@sympatico.ca Public Relations Chair Bruce Marshall Directors Ex-officio Jeremy Benning csc, jbenning@me.com Kim Derko csc, kimderko@sympatico.ca John Holosco csc, holoskofilms@gmail.com Bruno Philip csc, bphilipcsc@gmail.com Brendan Steacy, brendansteacy@gmail.com Carolyn Wong, CarolynWong50@gmail.com EDITOR-IN-CHIEF George Willis csc, sasc EDITOR EMERITUS Donald Angus EXECUTIVE OFFICER Susan Saranchuk, admin@csc.ca EDITOR Fanen Chiahemen, editor@csc.ca COPY EDITOR Karen Longland ART DIRECTION Berkeley Stat House WEBSITE www.csc.ca ADVERTISING SALES Guido Kondruss, gkondruss@rogers.com OFFICE / MEMBERSHIP / Subscriptions 131–3007 Kingston Road Toronto, Canada M1M 1P1 Tel: 416-266-0591; Fax: 416-266-3996 Email: admin@csc.ca, subscription@csc.ca Canadian Cinematographer makes every effort to ensure the accuracy of the information it publishes; however, it cannot be held responsible for any consequences arising from errors or omissions. The contents of this publication may not be reproduced in whole or in part without the express written consent of the publisher. The opinions expressed within the magazine are those of the authors and not necessarily of the publisher. Upon publication, Canadian Cinematographer acquires Canadian Serial Rights; copyright reverts to the writer after publication.

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George A. Willis csc, sasc

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here are occasions when sharing the pleasure of someone’s company is very special and worthy of comment. Recently, a few members of the CSC Executive and I had the honour and privilege of hosting a dinner evening for Vilmos Zsigmond ASC, one of the foremost and most influential cinematographers in the world.

He is a very quietly spoken man, and I understood why he had requested a restaurant “where we can talk.” But what struck me most was the sincerity and lack of ego that Vilmos possesses; something that is often scarce today, especially when one encounters someone of his stature.

While knowing much of the famous and classic work that Vilmos has been responsible for, I really had no idea of the vast expanse of his work over almost 60 years, and with so many questions it was difficult to know where to begin. Naturally I wanted to know about the technical aspects of his cinematography but soon realized that while technology plays an enormous role in his work, the essence of his passion lies in the philosophies of his filmmaking.

As an example, when asked about his favourite location (for filming), Vilmos replied that he really didn’t care about the location; it was about the people. Clearly, this speaks volumes and indicates the depth of his thinking. Technologies will come and go, but the human condition is a most important part of filmmaking.

He also spoke about the “pre-visualization” techniques that might be required to expedite the process of production, and his observation was extremely valid. He asks how it would be possible to “light” for something when he has seen neither the set nor the actors. This underlines the fact that filmmaking is not a mechanical, formula-derived process.

One of his most important observations was the fact that we need to learn from the masters in the art world, specifically Caravaggio. Interestingly, here is something that I read recently: “Caravaggio is now being touted as the first master of photographic technique, two centuries before the formal invention of the camera.”

Because of my previous studies in art (before I became involved in film), this belief was a perfect validation of everything that I have considered to be synonymous with our image making endeavours. There are many other great masters in the art world from whom we can learn about light and composition - Rembrandt, Vermeer et al. But we have to be prepared to invest the time in order to learn.

The following day, Vilmos presented a Master Class Seminar at the TIFF Higher Learning event where once again he enthralled see page 6 President

In The News Barry Ackroyd bsc

British Society of Cinematographers Elects New President

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he Governors of the British Society of Cinematographers announced in August the election of Barry Ackroyd bsc as the new president of the society. Ackroyd has won multiple awards, including a BSC Best Cinematography Award and BAFTA in 2010 for his work in The Hurt Locker.

He was nominated for an Oscar for the same film. Ackroyd takes over from

Courtesy of Cooke Optics

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John de Borman BSC, who served as president of the society from 2010 to 2014. The position is normally held for a two-year term.

In related news, Roger Deakins bsc, asc was officially invested as Commander of the British Empire in May. The ceremony was conducted by the Princess Royal at Buckingham Palace.

Cooke Optics To Extend Anamorphic/i lens range Cooke Optics is to add more choices to its lens ranges. The Anamorphic/i range will benefit from 25 mm and 135 mm lenses which are expected to start shipping towards the end of 2014, followed by 180 mm and 300 mm lenses in 2015. In addition, Cooke will add a 21 mm lens to both the miniS4/i range and the 5/i series.

Also, from August 2014 Cooke Optics planned to include sensors for the forthcoming /i Squared Technology metadata system in all new Anamorphic/i, 5/i and S4/i lenses. The inertial system, developed by Cooke with support from The Pixel Farm and Codex, builds on the current /i Technology protocol supplying position and orientation data, in addition to lens data, to aid post-production work, particularly visual effects.

SIM Digital Promotes Eleanor O’Connor to President, PS Lighting & Grip Division The SIM Group announced in August the promotion of Eleanor O’Connor to the newly-created post of president, PS Lighting & Grip Division. She will manage all lighting and grip operations for all SIM locations, which include offices in Vancouver, Toronto, Halifax, Los Angeles, Atlanta and Beijing.

O’Connor will be based in Vancouver and will oversee worldwide PS Lighting and Grip operations.

CSC Members Share Their Best and Worst Advice 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?” In the coming months we’ll be publishing what some of them had to say.

Bruno Philip csc Known for his artistic finesse and creative versatility as a DP and director, Bruno Philip csc has brought his talents to bear on more than 40 features, documentaries, TV series, commercials and music videos to become one of Canada’s top cinematographers. He has been nominated for CSC awards and won for Best Dramatic Short Cinematography in 2003.

Philip is based out of Montreal.

Best Advice: Open your eyes and look around you; be curious and learn something new every day. Plus, when you make a (little) mistake, don’t correct it on the next shot.

Keep making it during the scene.

Worst Advice: Put everything you did on your CV and always say, “Yes I know, I can do it.”

A quote which became personal: “A cinematographer is firstly an artist, but becomes a technician when he tries to realize his vision.

For cinematographer contact information please go to the membership roster at the CSC website: www.csc.ca/members/directoryA

Daniel Abboud An accomplished camera operator, CSC associate member Daniel Abboud is also very much in demand as an expert Steadicam operator. Based in Toronto, Abboud’s skill and craft can be seen in dozens of projects from features to music videos and everything in between. Abboud is a firm believer in community, sharing his knowledge with students, while volunteering his time on projects in need of a Steadicam.

Best Advice: This is the best piece of advice I was ever given and it came from [Steadicam operator and CSC associate member] Richard Wilmot. One day I was in Panavision getting used to my first ever Steadicam rig. I was noodling around, practicing the drills I was taught at the SOA (Steadicam Operators Association) course a few months

before when I noticed Richard watching me. As we chatted, two other Steadicam gentlemen approached, Angelo Colavecchia and the late Candide Franklyn. I was surrounded by more years of Steadicam experience than I’ll ever live in my lifetime! So I hung up the sled and just tried to absorb the conversation. After several minutes, just Richard and I were left chatting in the prep room when he delivered those sage words of advice: “Fly below the radar.” I took it to mean get noticed for your skill and fine work, not for questionable attitude and behaviour.

Worst Advice: I really can’t think of a worst piece of advice.

If I was ever given really bad advice, I probably forgot it as soon as I discovered it was bad advice.

Canadian Cinematographer - October 2014 •

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Best & Worst

The Good, the Bad and the Ugly

New csc member

Ed Middleton csc

Congratulations on receiving CSC accreditation.

Photo: Sanjay Mehta

Photo: Michael Kearns

Left: Mustang, Nepal. Right: Bamiyan, Afghanistan.

President from page 2 a most appreciative audience. I was fortunate to be able to attend that seminar and once again listen to the passionate advice and observations from this master of cinematography.

After beginning with a 15-minute reel of some of his selected work, he spent time answering questions from the audience.

He described his preference for movie making that involves long takes as opposed to the quick cuts and “explosions” that seem to dominate many of today’s movies. Clearly a storyteller and collaborator with the director, Vilmos prefers to let a scene play out and allow the audience to appreciate the character’s development. This is evident in his classic movie The Deer Hunter. As an example and to illustrate the point, he referred to this movie and discussed the length of the wedding scene. The next day, I watched the movie (yet again), and his comment was well noted; the characters are so well defined and developed. Until his rationalization, I never realized just how perfect the whole scene is, as well as the importance it lends to the story.

We would have loved to have had more time to listen to Vilmos as he unselfishly shared more of his creativity, but unfortunately, all good things had to come to an end. The audience said thank you and goodbye to Vilmos as only those who are able to appreciate his artistry can, with a standing ovation.

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Public Relations Chair Bruce Marshall

Photo :Christos Tsirbas

Media consultant, voice artist and narrator Bruce Marshall has taken on the duties as the new public relations chair for the Canadian Society of Cinematographers.

As president and chief creative officer of the MarshallCom Group, Marshall brings over 30 years of media experience to the CSC. His background includes being an on-air personality for Toronto radio stations 1050 CHUM, 104.5 CHUM FM, and the former 97.3 EZ Rock. Marshall will be concentrating on promoting CSC workshops, screenings, lectures and the Annual CSC Awards Gala, plus he will work towards strengthening the CSC’s relationship with its sponsors, film schools and sister organizations.

CSC at

2014

CSC congratulates the following members whose films were selected for the 2014 Toronto International Film Festival Gala Presentations • Yves Bélanger csc, Wild (dir. Jean-Marc Vallée)

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

Special Presentations • Jeremy Benning csc, October Gale (dir. Ruba Nadda) • Steve Cosens csc, Preggoland (dir. Jacob Tierney) • Pierre Gill csc, The Elephant Song (dir. Charles Binamé) • Ronald Plante csc, The Good Lie (dir. Philippe Falardeau)

TIFF Cinematheque

Discovery • Christian Bielz, Backcountry (dir. Adam MacDonald) • Guy Godfree, Wet Bum (dir. Lindsay Mackay) • Daniel Grant csc, Guidance (dir. Pat Mills) • Mike McLaughlin, The Valley Below (dir. Kyle Thomas) • Bobby Shore csc, Bang Bang Baby (dir. Jeffrey St. Jules) TIFF Docs • Van Royko, Monsoon (dir. Sturla Gunnarsson) • Daniel Villeneuve csc, The Wanted 18 (dirs. Amer Shomali & Paul Cowan)

• Paul Sarossy csc, bsc, asc, Speaking Parts (dir. Atom Egoyan) Short Cuts Canada • Kris Belchevski, Burnt Grass (dir. Ray Wong) • Greg Biskup, What Doesn’t Kill You (dir. Rob Grant) • Daniel Carruthers, Godhead (dir. Connor Gaston) • Guy Godfree, The Underground (dir. Michelle Latimer) • Daniel Grant csc, Hole (dir. Martin Edralin) • Daniel Grant csc, Entangled (dir. Tony Elliott) • Daniel Grant csc, Still (dir. Slater Jewell-Kemker) • Samy Inayeh csc, The Weatherman and the Shadowboxer (dir. Randall Okita) • Mike McLaughlin, Zero Recognition (dir. Ben Lewis) • Robert Walsh, Chamber Drama (dir. Jeffrey Zablotny) Short Cuts INTERNATIONAL • Guy Godfree, The Warren (dir. James Adolphus) Canadian Cinematographer - October 2014 •

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Public Relations

New CSC Board of Directors Appointment:

Photo: Kevin Eastwood

Cover Feature

DP Steve Cosens csc on the set of Preggoland.

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Preggoland

A Labour of Love for Steve Cosens csc

By Fanen Chiahemen

A

lthough Jacob Tierney’s last two features struck different tones – Good Neighbours features a serial killer terrorizing a Montreal neighbourhood; in The Trotsky a teenager sees himself as the reincarnation of the Marxist revolutionary – both could be described as highconcept films with unlikely scenarios. The same could perhaps be said of Tierney’s latest feature, Preggoland, which premiered at the 2014 Toronto International Film Festival.

Written by Sonja Bennett, who also acts in the lead role, Preggoland is a comedy about a woman named Ruth, whose lifestyle has evolved little since high school – she still lives in her father’s basement and has the same job as a cashier in a grocery store – while her friends are all starting families. But so pressured is Ruth to fit in with her peers that the 35-yearold fakes pregnancy, with unintended comedic and complicated results. In taking on this latest project, Tierney says he saw Preggoland as a smart comedy and discerned a truth in it that made him want to direct the feature. “Sonja’s world view and her perspective shined so clearly from that script that you could hear it. It had a voice,” the Montreal-based director says.

to you.” For Tierney that best person was director of photography Steve Cosens csc, whose work, including The Tracey Fragments and 2011 TIFF favourite Citizen Gangster, Tierney had always admired from afar.

According to Cosens, he and Tierney were in agreement from the beginning about how the film should look. “When we first started talking about the film, we knew we wanted to keep the frames wide, to let things play out in looser frames; that we didn’t want to get into things being cutty,” Cosens says, explaining that he and Tierney were inspired by Woody Allen’s style in his recent work. “I had just seen Blue Jasmine and I was thinking about how [Allen] stages his comedies, and what I noticed that he does so well is he lets things play out; he doesn’t get into cutting. You just get to see people, the gestures of their body, how people move in space. You don’t want to cut to the comedic action, you want to catch it.

And we had great comedic actors who had great timing; we wanted to see things play out.”

Preggoland may not be as “slapsticky” as The Trotsky, Tierney says, but both films take their cues from their protagonists, which is what the director says makes the comedy work.

“Taking your protagonist seriously; treating her problem as real,” he says, is the key to handling comedies with fanciful storylines. “We decided from the start to not make this woman a joke. Because I always think that it takes you somewhere ultimately funnier. You end up with a much more interesting movie that hopefully resonates because you’ve taken this person seriously and not reduced them to one dimension.”

In preproduction Cosens decided to shoot Preggoland with RED’s EPIC DRAGON, after doing some tests with the camera on the recommendation of Pieter Stathis csc, owner of Vancouver-based boutique camera rental house Rock Hammer. “Jacob and I had agreed that the palette would be softer and we also talked about using a lot of natural light and available light. The DRAGON has 17 stops of latitude so you can really play with natural light and available light. I was just blown away,” after doing the tests, Cosens says. “What I noticed is that particularly the skin tones with the DRAGON and the way that it handles highlights and its ability to reach into the shadows, the image is so rich and just has depth to it.”

While embracing the idea of making a smart comedy, when he surveyed the current comedy landscape, the director found that good comedy seems to preclude a beautiful looking film. “I feel that often there is a lack of emphasis in comedy on the look of the film and how it appears aesthetically.

And I don’t like that. With The Trotsky I tried to give it a very particular look. And I do the same thing here,” he says. “And that’s when it comes down to hiring the best person available

To find the right softness for the film, Cosens tested different filters and found that the ARRI ZEISS Master Primes combined with the Hollywood Black Magic filters and the sensor of the DRAGON gave him the rich image that he wanted. The cinematographer says he has been exploring the softer aesthetic for a while. “For so many years I was attracted to crunchier images and crunchier black. As part of my own growth as a cinematographer I’m just exploring Canadian Cinematographer - October 2014 •

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Photo: Kevin Eastwood

Cast and crew shoot Preggoland.

different looks. And I think because I used a lot of natural light and practicals it has a certain rawness to it but with a softer palette,” he says.

With production budgets and schedules shrinking, the filmmakers acknowledge that there is a need for handheld camera work in movies, but they wanted to go against that, aspiring to a classical style of filmmaking that employed dolly shots, tripods and more elegant moves. “I feel like there was a time, particularly in ‘60s and ‘70s, in American cinema when comedies were beautiful; they weren’t these flat two shots that look like television, or the classic sitcom look,” Tierney says.

Even though most of the film was shot on a dolly, with a few Steadicam shots and the odd handheld shot, “we ended up saving time, really, because we didn’t get into a lot of coverage,” Cosens explains. “Jacob and I, in any given scene, we would just confer with each other and agree that, ‘Okay, we got this shot, we don’t need to do coverage.’ So even though we’d set up the dolly to push in on two people talking, we saved time because we weren’t over-covering, which I think happens so much.”

Furthermore, the latitude and sensitivity of the cameras currently on the market allowed Cosens to save costs by lighting most of his sets naturally. “There just is no reason to be lighting through windows when you have enough light coming in and you can use the beauty of natural light,” he

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says, estimating that 70 per cent of Preggoland was shot with natural light or manipulated practicals.

Whenever he needed to enhance natural light inside a house, for example, he would simply bounce two 18K HMIs off of Ultrabounce and then through a muslin frame. “I might come through a couple of layers of diffusion so that it’s really soft naturalistic by the time it gets inside the house. Or if I was using primarily natural light, I would use small Kino Flos to augment that light on the inside,” he adds.

In one of the main locations in the film, the mini-market where Ruth works, Cosens made sure the location already had lighting he could manipulate. “We found a place that had rows and rows of fluorescents. I did a really tight skin diffusion around these fluorescent lights so that when you looked at the light you didn’t see it,” the cinematographer explains.

“It really helped soften these fluorescent top lights in this store. I would try to just create contrast by turning on and off individual fluorescents that existed in that space. I would also play the natural daylight through the window, and I would kind of balance out how much of the fluorescents I played with in relation to the natural light coming in to get a nice contrast.”

Where there was no light, he could use the absence of it to serve the narrative, as he did in scenes set in Ruth’s basement

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younger DPs: really be involved as much as you can in the choices of the locations, because it doesn’t cost anything to spend time looking around to find the right location. I do that a lot so I can use natural light. I always find if I’m involved early enough – and usually the director does respect your opinion – I can be influential in what the location is,” he says.

Steve Cosens csc.

dwelling. For those scenes, the director wanted to capture a sense of darkness and oppression, with barely any light making its way into the space, Cosens says. “So in choosing that location I was looking for windows where I could play with that,” he explains. “I would often play her in silhouette and play the light in the background, and then if she moved into the foreground I would just let it go into darkness and then maybe come into another pool of light.”

As a rule of thumb, Cosens says he tries to avoid fighting the lighting that is present in any given environment. “Say we’re in a basement, and we’re there because we love the whole feel of it, then that, that goes for the lighting too.

If there’s a lamp in the hallway that has a particular kind of shade on it and I just love it, and it works with the environment, I try not to mess with it. I like to just let the environment dictate in a way what the lighting is going to be,” he says.

To that end, the DP gets involved in location scouting as early in a production as possible. “And that is something I’m always saying to

Still from Preggoland.

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Ultimately, the better prepared Cosens is the more spontaneous he can be on set when it comes to creating a more favourable environment for the actors. “I personally always have a plan going into any set. But once we get in there and start working with actors, I always let them find the space they need to make it work, and if it means that I have to change my lighting I will. And I’ve been doing it long enough now that I can adapt quickly like that. I actually like the challenge. If we get into a space and the actress says, ‘I think I’d rather go over here,’ I have to change my entire scene, and I will,” Cosens maintains. “I like thinking fast on my feet. And I think that’s where my documentary experience comes into play. Because you need to just rely on your intuition and instincts a little bit more and kind of roll with it. And I think good directors allow actors to do that too. Jacob was very generous with his actors, and I think a lot of life came into the film because of that.”

Cosens notes that Tierney’s trust in him gave him confidence to make decisions as a DP. “It was such a joy to work with Jacob because we were so on the same page, we were able to flow.” For his part, Tierney points out that “so much in the director-cinematographer relationship is about speaking the same language, getting along, developing a shorthand quickly. And if you’re already seeing the same thing and trying to execute the same stuff from the get-go, it’s just so much more helpful.”

Canadian Cinematographer - October 2014 •

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Photos: Russell Gienapp

Feature Retired leading seaman Bruno GuĂŠvremont rigged with a GoPro.

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March to the Pole

DP Takes on Arctic Trek

In April 2014, cinematographer Russell Gienapp took on one of the most physically demanding documentary shoots imaginable: he followed 12 Canadian veterans of the Afghanistan war on skis and snowshoes to the North Pole.

It was all part of an initiative by the True Patriot Love foundation that seeks to help wounded Canadian soldiers overcome their physical and emotional injuries with a trek to the Magnetic North Pole on cross-country skis over 140 km of harsh, unforgiving terrain. The journey was documented in Muse Entertainment’s March to the Pole, which will air on History Canada this fall.

There were 52 trekkers in total, including 22 business executives; nine guides; a documentary crew that included Gienapp and another cameraman, Richard Vandentillaart (Gienapp and Vandentillaart also co-directed the documentary); a Globe and Mail reporter; and a massive Czech German Shepherd on polar bear patrol, making up the largest Arctic expedition in history.

Every aspect of the equipment was under scrutiny. Weight, power consumption, dynamic range and even the size of the codec all had a cost attached to it in physical energy. “I decided to use the SonyF5 and shoot on the internal 1920x1080 10bit XAVC codec in Slog 2. I used Sony’s OLED viewfinder, which would survive the –30C temperatures,” Gienapp says.

SIM Digital not only supplied the gear, they provided support with technical staff Ken Rice and Keith Barrow. Before the expedition, Rice mentioned that Sony had a new firmware upgrade for the Sony F5/55. The firmware allowed a centre crop S16 mm on the 35 mm chip, which contrib-

By Lori Longstaff, associate csc

uted to Gienapp choosing the PL mount Canon 8-64 mm 16 mm lens. Vandentillaart used a Nikon DLSR with Nikon lenses. Gienapp could change the Sony F5 menu setting back to 35 mm and use the Nikon long lenses and a Nikkor 50 mm for interviews.

“One of my first considerations was getting a polar cover for the camera to try to retain any heat the camera made. I knew from the start that the camera was going to be custom and I needed something custom built to protect the camera and lens yet still be able to operate the menus,” Gienapp says.

Gienapp opted to use my custom designed polar bags, which are designed to enable the user to operate the camera and get to the buttons, knobs and screens. “I knew that your polar bag was the right start,” Gienapp says. “But I also knew it would not solve all my problems.”

The team trains for the trek in Resolute, Nunavut.

Canadian Cinematographer - October 2014 •

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Photo: Russell Gienapp Photo: Tobias Haynes

A panoramic selfie featuring, from left, Russell Gienapp, guide Ben Shillington, cameraman Richard Vandentillaart, sound man Tobias Haynes and producer Ben Webster. Below: Cinematogapher Russell Gienapp.

The cinematographer also sourced out a 42-watt roll-able solar panel as a back-up charging system in case the generator failed. He and Barrow realized they could use the solar panel to supply DC power to heating strips to warm the inside of the custom arctic camera cover.

Barrow sourced a charger that could convert the power that the panels produced to the changing cycle that the lithium iron phosphate batteries needed. The solar panels produced about 2.9 amps in the full Toronto sun. But Gienapp found the performance in the low Arctic sun to be considerably less impressive.

When Gienapp was not shooting, he was trekking on skis.

The camera would be turned off and stowed on the sled with the solar panel lashed on top. The heat strips were strategically placed inside the Arctic camera cover along with the battery, the camera body and the lens. After a few hours when he retrieved the camera to shoot, Gienapp was surprised the camera was toasty warm.

16 • Canadian Cinematographer - October 2014

In his research on battery performance in cold conditions, Gienapp stumbled upon a web page showing Sony’s new Sony BP-FL75 Olivine V mount lithium iron phosphate batteries. Most of the information was about the simultaneous, one-hour charging of the 2 x 75WH batteries and the increase in charging cycles and high temperature performance.

But there was one reference about performing better in the cold. He immediately called Sony and found that the published low temperature range was -20°C. “I knew this was the solution. The problem was that rental houses were not carrying these batteries yet,” Gienapp recalls.

Thanks to Brian Young, product manager video and production technology at Vistek, and Francois Gauthier, marketing manager of Sony Canada, Gienapp got four of the batteries and a charger on loan. “I think there were six batteries in Canada at the time,” the cinematographer says. “I don’t think I ever drained two batteries completely, and my only regret concerning these batteries is that I didn’t take a picture of two batteries covered in frost sitting on a charger blinking happily away in my tent. And they charged in under two hours, keeping our generator time down to a minimum.”

Gienapp found that the Olivine batteries outperformed other lithium ion batteries that he has used on past Arctic shoots. “I didn’t have time to test my li-ion backup batteries, but I am pretty sure they would have had difficulty charging,” he says. “We had a portable Google Tracker to record street views of our trip, but the li-ion batteries refused to take a charge in the cold.”

Making a documentary while trekking to the Magnetic North Pole – actually the historic position in 1996 as the pole is always moving – was inevitably challenging. “We didn’t have the luxury of warming up, showering and the amenities of a hotel,” Gienapp recounts. “Not only were we making a documentary, we had to be fully prepared to survive the daily journey and conditions.”

As the expedition progressed, the documentary crew had

Describing the team’s daily routine, Gienapp says, “We started the day with a breakfast of porridge and granola, and during the day we ate a combo of homemade chocolate truffles, double smoked deep fried bacon that was wrapped up for individual consumption, nuts and chocolate bars.” The evening meal was either military MREs or freeze-dried meals. Weber put together a high-fat menu, and Gienapp consumed 6,000 calories daily. The final ritual of the evening was a “Weber Cocktail” made up of whiskey, milk and maple syrup.

Photo: Russell Gienapp

to abandon its plan to trek alongside the soldiers, as the gap between the first participants and the last widened to 2 km.

“It really bothered me that we started to use the skidoo, as I wanted the veterans to see us as part of the team and not just observers,” Gienapp says. “The story just became too spread out. We had to decide if we were telling the story of, or participating in an expedition. We must have been a pretty comical sight at times as we tied our sleds in a chain behind the snowmobile to pull us to the front or up to some high ground for a shot.”

Making the right choices in clothing and gear was paramount to enduring the demanding physical hours of skiing and shooting in extreme weather conditions. Gienapp has many years of experience shooting in all weather conditions. Wearing very technical inner layers and a specialized Arctic expedition shell with bib pants and jacket with zippers placed all over the body to vent excess heat was essential.

Arctic explorer Richard Weber, who led the expedition, designed and provided the unique dry climate Arctic boots for the expedition. They are lightweight double insulated, and look like moon boots, with hard rubber on the sole and canvas on the top.

Key to surviving Arctic temperatures is to balance the warmth with the ability to stay cool and not generate any sweat. Sweat trapped in your clothing is dangerous when in Arctic conditions. There is no place to hide and warm up or dry out. The key is to regulate your body system. If you sweat out, you could become hypothermic very easily.

One participant became dangerously cold after breaking a sweat because his shell had a slight insulation layer. Cross country skiing and snowshoeing creates a lot of body heat, and you have to dress in fewer layers than one would think.

When the participant complained that he was cold – and confirmed that he was sweating – Gienapp got him to remove his shell (a request that was not received with a lot of enthusiasm) and wear his shell with the vents open. Gienapp told him, “You will be cold for a while, but you can’t stop, you have to keep going and your body heat will help dry you out.”

Sergeant Bjarne Nielsen, who was deployed to Afghanistan in 2010, was injured from an improvised explosive device, resulting in the amputation of his left leg and the removal of his left elbow.

When the trekking day was over, the team would reach the next campsite to slice up blocks of snow to melt for drinking water. They would then build their tents and settle in. After an exhausting day of shooting, Gienapp didn’t have much time to relax in the tent shared with four other crew members. He had to download the SxS 64GB cards onto portable drives for backup. “We installed SSD drives in the laptop and downloaded to Rugged portables,” the DP says. “I have to admit I was surprised that they survived.

“When I left for this trip, my biggest hope was that when I returned home I felt I was over-prepared. With the help of Sony Canada, SIM Digital and a custom polar bag, that was exactly what happened,” Gienapp concludes.

True Patriot Love is currently developing 3-D virtual reality software that will help soldiers deal with PTSD. Currently the organization has raised $1.9 million for funding.

Associate CSC member Lori Longstaff has been a camera assistant for more than 25 years. She also specializes in creative and innovative custom sewing for camera covers.

Russell Gienapp is a two-time Gemini nominated cinematographer based in Toronto. Some of his most recent DP credits include The Nature of Things, Cold Water Cowboys and a feature length documentary on the illegal ivory trade, Gambling on Extinction.

Canadian Cinematographer - September 2014 •

17

Feature

Inside

The Warren with Guy Godfree

By Fanen Chiahemen

I

n 2004, American filmmaker James Adolphus taught documentary filmmaking at An-Najah National University in the West Bank during the peak of the Second Intifada.

He then worked on a documentary about post-traumatic stress disorder at the United Nations, and subsequently interviewed a former Israel Defense Forces soldier in 2008.

Those combined experiences triggered an interest in how the Israeli-Palestinian conflict affected soldiers serving in the country’s armed forces. Stories Adolphus heard became fodder for his project The Warren, a documentary-style short that premiered at this year’s Toronto International Film Festival in the new Short Cuts International programme. Shot in the spring of 2014, The Warren hinges on one soldier’s inner evolution as he participates in a raid to capture a suspected militant in the Balata Refugee Camp during the Second Intifada. To render the story in the most visceral and realistic way, Adolphus, who is an American Film Institute alumnus, called up his former classmate, associate CSC member Guy Godfree, who tells Canadian Cinematographer about shooting in the West Bank city of Nablus.

Canadian Cinematographer: How would you describe the look of the film?

Guy Godfree: It’s very much about the reality of where we were. We shot in two Palestinian refugee camps, mostly at night. The director, who is very much from a documentary background, wanted it to feel very real, as if it’s actually happening.

When we approached this, there was discussion about how much lighting crew do we need? Where do we get our lights from? And I kept thinking, “Why go all the way to shoot this in a real place for authenticity and then start to augment the lighting and make it feel like movie?” I felt that could take away from the reality. So I showed up with a roll of black tape and black wrap and didn’t augment anything. I didn’t add any lights. I used what was existing. There are no movie lights anywhere. There were flashlights on the guns and that was it.

18 • Canadian Cinematographer - October 2014

The other thing is because the story is about two sides of a conflict, the movie isn’t designed to answer any questions. So if I show up and have the ability to light things, I also have an ability to start putting my bias into it. It would be silly for us to think we could make a completely unbiased film. Instead of making the “evil” guy look darker or whatever, we let it play out and shot it as it happened.

Also, the film is in Hebrew and Arabic, and there are no subtitles. James chose not to use the language to distract from the film’s visuals and intensity. More importantly he felt that if we were to subtitle the film we could introduce bias. There is no information in the dialogue that is necessary to understand the narrative.

CC: How did you select your camera and lens package?

GG: I went with the Sony F55 – it’s lighter, smaller, and a movie like this is very single user. A small F55 with a RAW recorder is very sensitive in low light, exposing at about 1250, 1600 ASA. I wanted faster, older lenses that were small, so I used the old Zeiss super speeds, which I like because the Sony has a very sharp picture, and I like to beat it up a little so it feels more soft and organic. Rarely did I have a matte box on the camera. It was just follow focus, a lens and a camera.

Because there wasn’t a lot of control. A lot of the cast were local non-actors. So there was not a lot of time to say, “Go here and do this,” because it’s a translation away, and they’re not performers. Also, I pulled all my own focus and shot the entire movie handheld.

CC: How did you shoot at night with no lighting?

GG: In the refugee camps there are all these old streetlights that are bastardized, if that’s the right term. Someone has taken them, stuck them on a wall and powered it somehow.

Some of them don’t have a front cover or are just covered

with the grill of a house fan to protect the bulb. So there are lights in those alleyways. So a lot of the movie I would shoot down one of these alleyways and the soldiers would just be in silhouette because the light would be at the other end of the alleyway. It was just about finding a way to define the picture.

Not necessarily sticking the actor under the light, but looking towards the light and seeing the image in front because you’re trying to establish shapes at that point. We don’t really want to identify these people until they break into this house, which is where the movie starts to take place.

Also, I’m not afraid for there to be a black screen because there’s so much more to the experience than pictures. There’s audio. And this is how it actually happens. Things happen in the dark. For instance, there are some shots where we’re running through alleyways at night in the refugee camp where there is just a sliver of light and the rest is all black. Black figures moving through black. So sometimes I would say to James, “If you’re going to have them run through this scene, stop them here because then we have light, or I can get some contrast, or there is some exposure here.”

CC: What about interiors?

GG: We shot in a real person’s house; there are still bullet holes in doors and in the ceiling from real night raids. Most of the houses in the refugee camps are lit with a practical 4-foot single-tube cool white fluorescent light. That’s probably the most light I had. At 1250 I had almost a 2.8 in parts of the rooms, so it was more than enough light. I used the black tape for those 4-foot fluorescents. I would put a little cover on the top so the light was coming down rather than up onto the ceiling and flattening out all my contrast. So it was about just bringing the intensity down a little bit and just shaping it.

GG: (Laughs) Crowd control. The locals were very welcoming, generous, and also very interested in what we were doing because we’re a bunch of foreigners running around making a movie. Also with a bunch of fake Israeli soldiers.

Little kids by instinct would want to throw rocks at the fake Israeli soldiers because that’s what they do. But once they got used to it, it was okay. As far as problems, we’d be shooting in the alleyways and I would turn around and there would be 40 people there all wanting to watch. Once, one of the local guys was trying to crowd control; I had just climbed up onto a roof to try and get a shot of a truck coming down a hill.

So I’m on this roof and all of a sudden I hear this big noise.

And I look over the edge of the roof and there is a huge street fight happening between the locals. It’s 2 a.m., I’m stuck on

Director James Adolphus

Canadian Cinematographer - October 2014 •

19

Photo: Guy Godree

CC: What were the challenges of shooting in Nablus?

Photos by Guy Godfree and Ike Kraushaar.

a roof with the camera; the rest of the crew is down below.

Someone was just annoyed at how someone was trying to tell them to move. The security people took everyone from the film crew up the hill to safety. I just thought, “I’m going to wait this out because I can’t get down.” The next day all the locals got together with us and we broke bread and it was a big apology session and everything was okay. Because they’re actually very generous people, they just happen to live in this incredible tension and political conflict. So the ability for things to escalate on a moment’s notice is there.

CC: The cast consists of Israelis and Palestinians, many of whom were not professional actors. How did that affect your role and how you communicated with them?

20 • Canadian Cinematographer - October 2014

GG: It was really great. A lot of my concern was to make sure all the actors felt safe and secure and could have space. As a cameraman my number one priority is giving the actors space to work, as well as the director. If I start to get in the way with my lighting because I think it’s going to be better some other way, I feel like I’m hindering what I think is most important, which is the performance. So making sure that they have the space to work and are comfortable is paramount for me. And if I need to make something better I change, I don’t get them to change. Luckily I wasn’t doing any lighting, so it’s not like I could say, “You have to stand over here because the light is here. You can’t go there because you can’t look over there.” I could look 360 degrees at any one time. They could live in the moment rather than be aware it was a movie set. That was good for their performance and ultimately for the movie.

Photo courtesy of Cinema Control Labs

scene where they want, and as long as they stay in frame, the focus will automatically adjust. It’s “run and gun” with a guarantee the shot won’t get fuzzed.

F

ocus pulling, as any first AC will tell you, is a skill. Get it right and you keep your job. Get it wrong and, well, you know the rest. So along comes a Nova Scotia start-up company that is turning skill into science and about to launch a product that could change the way DPs think about focus.

It’s not going to put focus pullers out of work – certainly first ACs have lots of other responsibilities too – but it could open up a plethora of ways to tell stories.

Andra Motion Focus System is an auto focus system from Cinema Control Laboratories based in Halifax. It uses a magnetic field and sensors to focus lenses. The advantage is it doesn’t need line of sight, and once set up and calibrated can continuously track a range of focal points regardless of where in the zone they move and how the camera moves.

What it means is that it frees the talent – or an object – from having to consistently hit marks to stay in focus.

“When I think about some of the shots

possible, I think about shooting with a gimbal, where that technology has evolved too, and just moving around with the subjects in a shot,” Mike MacDonald one of the co-founders of Cinema Control Labs, says.

The company created a buzz at NAB last spring, demonstrating a beta version of its concept and was hoping to have a “robust operating version” rolled out by late this year – meaning right about now. “We aren’t going to rush it because it is a little like a space mission,” says MacDonald, a former NASA computer programmer who returned to the Nova Scotia College of Art and Design (NSCAD) to follow his heart and study film. “And so, like a space mission you don’t want to get it wrong when you launch. We don’t want to create vapourware.”

They’ve been working out of their office in Halifax which is set up like a studio and lit for cameras. The first thing the system unleashes, MacDonald says, is creativity because there are no rigid marks to hit. The talent can take the

The system consists of a servomotor that drives the focus ring which can be controlled automatically or manually from an iPad or handheld controller.

The key is all in how the sensors are set up. They’re concealed in either the object or the actor. Then the fun begins.

The idea is to create a zone in which the camera, the focus and the focal point are always in synch. This allows for several focal points to be created: “You could make one the eye, the tip of the ear, the shoulder…whatever points you wanted.” MacDonald’s computer code then relies on an algorithm to calculate the point-to-point distances from lens to focal point in relationship to the position of the sensor.

The idea started with Sam Fisher, a London Film School grad who worked 20 years in the industry before moving to Canada in the early 1990s. More recently he has become a professor in NSCAD’s film program, and after watching his students struggle with focus issues he began searching for a better solution in 2009. As fate would have it, MacDonald had just started at NSCAD to study film, and given his software engineering and rocket science background, it was a perfect fit.

With the help of GRAND NCE (Graphics, Animation and New Media / Graphisme, animation et nouveaux médias NCE Inc.), Canada’s digital media research agency, they acquired a Polhemus G4 electromagnetic motion tracking system, initially developed for the military and health care applications. From there they adapted it to create a film focus prototype which see bottom page 24 Tech Canadian Cinematographer - October 2014 •

21

Tech Column

Focus Pulling Magnetic Attraction Pushes to Different Level

Insight

How To Launch a Career As a DOP

Photo: Marc Bryan-Brown

I

Ian Kerr csc

an Kerr csc, Emmy-award winning Vancouver cinematographer and occasional cinematography instructor, recently faced a class of cinematography students wanting to know how to launch their careers.

So he reached out to three of his former students: Oliver Millar (UBC grad 2011), who shoots music videos, commercials and features (Rise of Laka); Chris Mennell (SFU grad 2007) whose credits include Real Housewives of Vancouver and Emergency Room: Life and Death at VGH; and Nelson Talbot (SFU Grad 2011), who shot the feature Lawrence and Holloman. Hoping to glean some wisdom from this trio’s fresh experience in the harsh, cold world of film production, he emailed a list of questions to them. Kerr has edited down their insights in the following Q & A.

What would you have done differently starting out?

OM: Immediately moved to LA. CM: I would have really committed to it earlier. I had a lot of doubts about whether it was a career for me, and then I realized I just had to go for it. I would have approached my work with a little more humility, and understood that my work wasn’t necessarily worth the amount I thought it was early on.

I got a little bitter and angry right out of school, I thought everyone was out to screw me, then I realized that it’s my job to communicate my limits and the things I wanted and needed.

They (PMs, producers) are just doing their jobs and they’re just after value like you are.

NT: I wish that I had taken more gigs. Most directors pick a DOP and stay with him for many of their shoots so if you miss that chance you may never work with them again.

How did you pay the bills in the first year after graduating?

NT: I didn’t really. I was poor and lived at home. Might as well accept the fact that if you want to DOP right after school the gigs are 99 per cent unpaid.

OM: I edited a lot and did still photography during school. By graduation my DPing was modestly paying bills.

CM: I was in a fortunate position that I had a family with a large orchard in

22 • Canadian Cinematographer - October 2014

the BC interior. I was able to fill any gaps in production work (and there were a lot of gaps) with very flexible employers (parents). It helped to be really flexible about the jobs I took.

I’ve seen some people be very rigid about what they wanted to do out of school, and I’m not sure if that’s the best route when you are starting out.

What rate would you expect a graduating student with some experience to charge for low end camerawork (eg. corporate DSLR videos)?

NT: I always went on a per project basis. My rate was always dependent on the budget of the show. Anywhere from gas money to a couple hundred bucks a day I would say is normal.

OM: $400/day? With a DSLR? Any less than that and it’s better business to work as an AC to gain experience.

CM: I think if depending on your experience level; you could charge $300 - $400/day as an operator, and $400-$500/day as a DP, hopefully with gear rental on top.

How did you approach jobs that didn’t offer pay?

NT: I own a RED so I would always make sure I negotiated a camera rate if there was no DP day rate. Also be sure that the free gigs have quality scripts that will get into festivals and be shown

publicly. The last thing you want is to not get paid and then end up with a pile of shit film. That is no good to you.

OM: Very selectively after I made a few mistakes. I learned that DPs are very valuable and shouldn’t give away work to a production that isn’t 100 per cent serious. Be careful of “spec” jobs, they can be damaging to your reputation I think, despite being good practice. At least that’s how I feel....

CM: This is a hard question. I started out working a lot for free. It’s easy to find work that way, but it can ruin your soul. I know some people who won’t work for free, and they had very few gigs. I did come to a point where I didn’t do it anymore, on a professional level anyway. My rule now is if it’s very short term and for friends, I will work for free. Volunteer shows are very, very hard to maintain, from a mental perspective. So don’t let yourself get bitter and jaded.

How have you approached purchasing gear both from a financial and career-building point of view?

NT: As an owner of a RED Epic package worth 125k, I can say this without a doubt. As a young DOP, if you buy a camera you will not make any money off it. Everyone nowadays has a camera; you will never get your rate. If you see top page 24 How To

Canadian Society of Cinematographers

By Professionals, For Professionals

Acting with Cameras at William F.  White, Toronto Saturday November 1, 2014

Lens Testing Module at Panavision Canada, Toronto Thursday November 6, 2014 or February 25 2015

Camera Assistant Workshop Toronto Saturday & Sunday November 15+16, 2014 or March 7+8, 2015

Lighting Workshop at William F.  White, Toronto Saturday & Sunday April 25+26, 2015

For flyers and applications please visit the CSC website: www.csc.ca

telephone 416-266-0591 *CSC reserves the right to postpone workshop date(s)

What’s the first thing a cinematography-minded film grad should do after graduation?

NT: Shoot. And never get an ego; work on other DOPs’ sets as gaffer, lamp op, camera, grip, etc.

OM: Move to LA :) After graduation you need to decide where you want to get established. Find the circle of directors and producers you want to work with and go there. You need to put in a lot of time building relationships with rental houses and crews, so make sure those first few years of legwork are a worthwhile investment.

CM: I would just get out there and try to work at whatever you can in the camera department. Always keep in mind that any experience on a production can help you. My brief time as a boom operator gave me an appreciation for the sound department. I understand their concerns. The more people you know will result in more work opportunities. Beyond that you can form some genuine friendships. That was an important realization for me; “networking” (a term I hate) is as simple as going for beers with your camera buddies, or meeting up with mentors and catching up. Operating has also been an essential step for me. I’m not sure in the doc/ reality world if you could even get to DP without a good chunk of time spent operating. All these steps are very important, don’t rush it.

Tech from page 21

attracted interest from Julian Taylor and Jeff Levy, owners of Sunsel Systems, an electronics manufacturer in Dartmouth who invested their own time and money in the startup.

It wasn’t all smooth sailing. There were several challenges,

Q&A originally published in the May/ June 2014 issue of Reel West.

Photo: Robert Verigin

buy a camera consider it an investment in building your career, your work will look better because you always shoot with a high-end camera.

OM: I only bought gear that I want to personally use. The rental business isn’t for me. I took out a line of credit to get an Epic-M and it didn’t help me get jobs as much as it helped me make a better income (if only to pay off said credit).

CM: Buying gear is a strange thing. I think when you are working in the reality/doc world, it’s about timing. If a show is willing to rent your gear and if you are in a position high enough up the food chain to make those requests.

If you aren’t in that position it’s a lot harder to justify buying anything substantial. The advice I always received was that tripods, lenses, filters and lights can be good purchases, as this technology doesn’t really change that quickly.

Chris Mennell

Oliver Millar

Q&A originally published in the May/June 2014 issue of Reel West.

not least was the depth of focus required and the time it took for that focus to lock in. As MacDonald notes, the preference to shoot wide open means there’s barely 5 mm of tolerance in that precious depth of field and therefore no wiggle room on the focus. Initial prototypes took 75 milliseconds to lock in, which was deemed too slow. An assist from McGill University computer science professor Dr. Paul Kry a couple of years ago knocked it down to 50 milliseconds.

With the launch sequence ticking, MacDonald and Fisher are already looking ahead to other applications, perhaps giving better lens options when shooting from drones or converting 2D film into 3D or even putting a sensor on an animal, for example. “There’s a great local film community here showing interest and we’re getting lots of feedback,” MacDonald says. “A lot of people want to get a system in their hands and try it.”

VANCOUVER

CALGARY

604-527-7262 403-246-7267 VANCOUVER CALGARY

604-527-7262

403-246-7267

Ian Harvey is a Toronto-based journalist who writes for a variety of publications and covers the technology sector. He welcomes feedback 416-444-7000 902-404-3630 and eagerly solicits ideas at ian@pitbullmedia.ca.

416-444-7000 902-404-3630

TORONTO

TORONTO

24 • Canadian Cinematographer - October 2014

HALIFAX

HALIFAX

Photo: Dir4 Films

How To from page 22

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CSC Member Spotlight

The Sweetest Gift; Flicka 2; Footsteps; Floating Away; My Boyfriends Dogs; Vow of Violence; The Marine 3: Homefront; Polka Dot and Leuy; winning two Gemini awards (for Lonesome Dove: The Series and Rita MacNeil’s Flying on Her Own); and winning two CSC Awards (for Creative Spirit and the Kodak New Century Award).

What is one of your most memorable moments on set?

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

T

here are a couple of films that stand out in my early life in Australia, such as Summer of the Seventeenth Doll.

The other movie was Jedda. There have been a lot of movies that have impacted me, one of which was Road to Perdition, photographed by Conrad L. Hall.

How did you get started in the business?

I started as a driver with a television station, TNQ7, in North Queensland in 1962. On weekends I used to go out in my own time and help the head of the TNQ7 film department, Trevor Hayward, film live horse racing. One day while waiting to be picked up to go to the station, a report came over the radio that a parachutist had plunged to his death. Immediately, and with a heavy heart, I knew who it was – Trevor Hayward. He loved parachuting and had told me he was off to make a jump on that very day. As I was the only one who knew how to operate and expose 16 mm film and process it, I was given the job of cameraman.

26 • Canadian Cinematographer - October 2014

Who have been your mentors or teachers?

First of all it was Trevor Hayward. Then I went to Sydney when I was 20 to start at a new TV station, Channel 10, to be a “C” grade live TV studio camera operator. These cameras on their pedestals were bigger than me! I knew nothing about them, and I thank William “Bill” Childs and the rest of the studio cameramen for taking me under their wing.

Then an opportunity came up to work in the Channel 10 news department.

There I met John Gillis, who was the chief cameraman, and I learned the professionalism of shooting film from him.

What cinematographers inspire you?

One of the most memorable moments was when I was working on Lonesome Dove, the TV series. The late Dan Heather, one of the first assistant cameramen on the show, came up to me and presented me with a set of handmade leather and rawhide meter cases and a silver Lonesome Dove belt buckle that he had made.

What do you like best about what you do?

The challenge! Getting a movie done, against all odds, that I can be proud of. The marriage of cast and crew.

What do you like least about what you do?

Trying to please everybody and the politics. I’m afraid I’m not too good with that.

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

Russell Boyd, Peter James, Donald McAlpine, Conrad Hall, Vilmos Zsigmond and Vittorio Storaro.

HMI Lighting, Kino Lighting, LED lighting, Steadicam, lenses (I believe lenses are the most important element of good photography).

Name some of your professional highlights.

How can others follow your work?

Buckingham fire; first U.S. presidential visits to Australia; filming Queen Sirikit of Thailand; March of Newry; IRA; Dr. Dolittle: Tail to the Chief; Lonesome Dove: The Series; The X Files;

www.ronstannett.com

Selected Credits: Wedding Wars,

Marley & Me: The Puppy Years, Flicka 2, Lonesome Dove: The Series, A Girls Best Friend.

Edmonton Film Cooperative wants your unused Arri 35 mm camera. Do you have film cameras languishing on a shelf? Give it a new life, give it to a film coop and we will give you a healthy tax credit. Have a 35BL, a 235, a 435 gathering dust because everyone is Red cam nuts? Have other great camera accessories? Let us know, let’s make a deal. Contact Andy @ rentals@fava.ca and work a great deal.

Short-Term Accommodation for Rent Visiting Vancouver for a shoot? One-bedroom condo in Kitsilano on English Bay with secure underground parking, $350 per week.

Contact: Peter Benison at 604-229-0861, 604-229-0861or peter@ peterbenison.com.

Liberty Village Office Space Approximately 1,250 sq ft of fully furnished, turn-key office space in prime Liberty Village location available to established television or new media production company in shared office setting. Features include glassed boardroom, 2 closed door offices, internet access, alarm system and shared kitchen. Please reply by email to john@hlp.tv or call John at 647.891.4027 Equipment for Sale Cooke Speed Panchro 18mm 1.7/T2. “C” Mount, Nice condition From United Kingdom #572079, asking $1,800.00 Barry Casson csc Office: 250-721-2113 bcasson@speakfilm.com Canon Wide angle Lens J11A X 4.5 B4 IRSD and Canon Servo Zoom Control ZSD-300 Value 27 000$ Asking only 3 500$ Sony Camera Handycam HDR-HC7, 2 Sony Batteries NP-FH100, Sony Wireless Mic ECM-HW1, Tiffen Filter 37mm UV, Century-Precision ,55 WA ADAPTER 55WA37, KATA Rain Cover KARC18 Value 2100$ Asking only 350$, Elmo Suv-Cam SD ELSC5C and accessories New Value 1 200$ Asking only 200$, Anton Bauer UltraLight & Ul Soft Box Asking only 150$, Frezzi HMI Sun Gun & Frezzi Soft Box Value 1 700$ Asking only 400$, Porta Brace Rain Slicker for Pro Camcorder RS-55 like New Asking only 150$, Script Boy Wireless T.C. System needs minor repair Asking only 200$, Shure Mixer FP33 & Porta Brace audio mixer case Asking only 450$, Minolta Lightmetre + Adap.5° 4F Asking only 250$ , Beachteck passive dual XLR adaptor DXA-5Da like new Value 369$ Asking only 150$, Sony Monitor SD PVM-14N1U new Asking only 75$, 2 Camera Canon Dig Rebel 10Mp XTi, Sigma 70-300 F4-5.6 Super C-AF, 4 Canon Batteries and accessories Asking only 800$, Porta Brace monitor Case for Panasonic BT-LH910 like new Asking only 100$ andrepaul@me.com or call 514 831-8437 Panasonic AJ-HDX900P 290 drum hours, $7500.00 Canon KJ16ex7.7B IRSE lens, $5000.00 CanonJ11ex4.5B4 WRSD lens, $4500.00 Call Ian 416-725-5349 or idscott@rogers.com FOR SALE 4X4 Petroff Mattebox, barely used. Can be used with 15mm rod support or clip-on. INCLUDES: Single stage (option to add two more stages); 1X 4X4 tray + 1X 4X5.65 tray; Petroff Eyebrow; Zacuto lens donut; 15 mm rod support bracket; 85 mm ring adapter.

Bought originally for $650 CDN asking $450 (firm). GREG BISKUP p.

647 405-8644. Email: greg@biskupcine.com 2 Arrilite 2k’s like new very little use with 4 way barn doors, 5 scrims, 4 2k bulbs, 3 1k bulbs and Arri case in very good condition $1100 Call 416 712-1125 or mfp123@rogers.com Duncan MacFarlane 2- Transvideo Titan HD Transmitter and Receiver kits. $3000ea. 2 for $5500. Similar in style and operation to the Boxx Meridian. 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 1- Tamron 300mm F2.8 Arri bayonet mount with PL adapter, std film gear on focus (32 pitch-mod 0.8), 42mm filters: clear, 2 x 85, shipping case included $900 1- O’Conner 50 fluid head with Mitchell, Mini-Mitchell, 150mm ball bases and tie-downs, 2 quick release plates extra hardware (pan module needs fluid) $400 Contact: stephen.reizes@gmail.com

Canon Wide angle Lens J11A X 4.5 B4 IRSD and Canon Servo Zoom Control ZSD-300 Value 27 000$ Asking only 3 500$ Sony Camera XDCAM EX1, 2 Sony Battery BP-U60, 1 Sony Battery BPU30, 1 Sony Wide Conversion Lens X 0,8 VCL-EX0877, Sony AC Adaptor / Charger BC-U1, 2 Sony SxS 8Gb, 4 E-Film MxR, Porta Brace Camera Case PB2700IC All in very good condition Value 10 700$ Asking only 3 200$ Porta Brace Rain Slicker RSEX1, Like new: 125$, Porta Brace Lens Cover LC-M, Chroziel Matt Boxe S1001, Chroziel Sunshade S1001FF, Chroziel Adaptator S1001158SR, Chroziel Step-down Ring 80mm S100180, Tiffen Filtre 3X3, FX#1, FX#2, Polariser, Grad ND9 Value 1 545$ Asking only 400$, Sony Camera Handycam HDR-HC7, 2 Sony Batteries NP-FH100, Sony Wireless Mic ECM-HW1, Tiffen Filter 37mm UV, Century-Precision ,55 WA ADAPTER 55WA37, KATA Rain Cover KARC18 Value 2100$ Asking only 350$, Elmo SuvCam SD ELSC5C and accessories New Value 1 200$ Asking only 200$, Anton Bauer UltraLight & Ul Soft Box Asking only 150$, Frezzi HMI Sun Gun & Frezzi Soft Box Value 1 700$ Asking only 400$, Gitzo Tripod carbon finer legs GI 1380/38/7kit Value 1 200$ Asking only 500$, Porta Brace Rain Slicker for Pro Camcorder RS-55 like New Asking only 150$, Script Boy Wireless T.C. System needs minor repair Asking only 200$, 3 x ETC Par Source Four Light with GP TVMP Light Stand Adaptor Asking only 175$, Eartec TD-904 Pro intercom EATD904 Value 1 050$ Asking only 300$, Shure Mixer FP33 & Porta Brace audio mixer case Asking only 450$, Minolta Lightmetre + Adap.5° 4F Asking only 250$ , Beachteck passive dual XLR adaptor DXA-5Da like new Value 369$ Asking only 150$, Sony Monitor SD PVM-14N1U new Asking only 75$, 2 Camera Canon Dig Rebel 10Mp XTi, Sigma 70-300 F4-5.6 Super C-AF, 4 Canon Batteries and accessories Asking only 850$, Porta Brace monitor Case for Panasonic BT-LH910 like new Asking only 100$ andrepaul@me.com or call 514 831-8347

BL IV Camera Kit $8,950 Or Best Offer Arriflex Bl4 Body With Pl Mount, 4 Perf Movement, Variable Shutter, Full 35Mm Gate, Arriglow Module And Arriglow Groundglass In Red, Cei Color 4 Video Tap Camera And Elbow, Cei Electronic Reticle Generator, Bl4 Viewfinder Extension, Wideangle Eypiece With Heated Eyecup, Powercable For Heated Eyepiece, Arriflex 4 X 5 Swingaway Mattebox, Arri Ff2 Follow Focus With Extension, Whip And 2 Gears, 15Mm Arri Sliding Baseplate Set With 2 X 18” And 2 X 12” Stainless Steel 15Mm Rods, 5 X Arri 1000’ Bl Magazines, 2 X Arri 400’ Bl Magazines, 3 X Double Power 12 Volt Batteries, 2 X 12 Volt Charges, Power Cable, Cases For Camera, Mags, Mattebox, Etc.,Film Test Has Been Shot. gandalf-merlyn@shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile)

1) Panasonic 3D Professional Full HD Video Camera (AG3DA1) The AG-3DA1 is the world’s first professional, fully-integrated Full HD 3D camcorder that records to SD card media. The AG-3DA1 will democratize 3D production by giving professional videographers a more affordable, flexible, reliable and easier-touse tool for capturing immersive content as well as providing a training tool for educators. At less than 6.6 pounds, the AG-3DA1 is equipped with dual lenses and two full 1920 x 1080 2.07 megapixel 3-MOS imagers to record 1080/60i, 50i, 30p, 25p and 24p (native) and 720/60p and 50p in AVCHD. Camera is very new. Includes Kata Carrying case, 4 batteries. To view photos/questions email frank@tgtvinc.com or call 416-916-9010. Asking price: $17,500 (includes tax). Will ship out of province.

2) Proline 17 inch Teleprompter Included is both PC AND Mac versions for our industry leading Flip-Q teleprompter software. FlipQ automatically “Flips” the secondary output on your laptop so both the operator and talent will see perfect reading left-right text. The ProLine 17 standard LCD panels are the lightest weight, lowest profile designs in their class. In addition, they offer both VGA and composite video inputs adaptable with any computer output or application. They also offer flexible power options including 100-240V AC or external 12v DC input. Price includes Tripod attachments and Pelican carrying case. Complete tool-less set-up. To view photos/ questions email frank@tgtvinc.com or call 416-916-9010.

Asking Price: $2,000 (includes tax).

VIDEO & AUDIO GEAR FOR SALE: (2) HVX-200 Panasonic P2 Camcorders $1,500 each; (1) DSR-1500 Sony DVCAM recorder, $1,500; (1) Sony DSR-1 DVCAM dockable recorder $1,000; (3) Sony PVV-3 Betacam recorders $500 each; (3) Mitsubishi XL25U video projectors $500 each; (1) Mackie 1604VLZ audio mixer $500; (1) Glidecam PRO2000 camera stabilizer $200; (1) Glidecam DVPRO RIG camera stabilizer $300; (1) Yamaha P2075 amplifier 75W stereo/150W mono $500; (3) HVR-Z1U Sony HDV camcorders $1,000 each; (1) Sony DSR-300 DVCAM camcorder $1,500; (1) For-A VPS-400D 8 input SDI switcher $2,700; (2) Sony WRT822/ WRR861 wireless transmitter/receiver – no mic - $750 each; (2) Sony BRC-300 remote control P/T/Z cameras $1,990 each. Call Ted Mitchener at ZTV Broadcast Services 905-290-4430 or email ted@ ztvbroadcast.com.

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

Gemini 4:4:4 Solid State recorder now PRORes capable, with eSata and Thunderbolt readers, lots of accessories, case, 512GB and 3x 256GB solid state drives/cards. Excellent condition. $3700.00 IBE-Optics HDx35 PL to B4 adapter comes with power cable and soft case. Used on F3 and Alexa for superb results. $3500.00 Photos available for everything. Contact John Banovich 604726-5646 or JohnBanovich@gmail.com Nikkor AF-S VR 500mm F 4 IS ED Lens. Super rare and very hard to find!!! Serial # 204153 Perfect condition. Not a scratch on it!!!

Only one year old. Included Hard Shell Case, Lens Hood, Lens Strap, Case strap. Come with Manfrotto Carbon Fiber tripod, Jobu head and Jobu Mounting Bracket. Asking price $9000.00 gandalf-merlyn@shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile) BL III Camera Kit $3750 Or Best Offer gandalf-merlyn@shaw. ca, 604.566.2235 (Residence), 604.889.9515 (Mobile) ARRIFLEX BL3 BODY WITH PL MOUNT, 4 PERF MOVEMENT, VARIABLE SHUTTER, FULL 35MM GATE, VIDEO TAP ELBOW, 2 X ARRI 400’ BL MAGAZINES, 2 X POWER CABLE, CASES FOR CAMERA, MAGS.

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

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

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

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

Panasonic BT-S950P 16:9 / 4:3 SD Field Monitor for Sale (Excellent Condition) - $100. Portabrace included Please contact Christian at (416) 459-4895 or email cbielz@gmail.com

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

1981 Bus complete with control room and audio.

HDSDI fiber boxes for long runs. Great for keeping warm on those multi camera shoots. www.hillsvideo.com Rob Hill – 905.335.1146 Flicker-Free HMI & Hi-Speed Cameras available with operator/gaffer (Toronto) Includes a new ARRI M18 1800W lensless HMI with Arri 1000Hz Flicker-Free Ballast, stand, and lots of head cable. It’s as bright (or brighter) than a T5 but runs on household AC 120V and draws less than 20Amps. We also have the Sony FS700 Super-35 CMOS sensor high-speed camcorders with PL, Nikon, Canon, or Pentax mounts. Great for overcranked product shots on a budget. 60fps, 120fps or 240fps @ 1080p and 480fps @ 720p. Other camera/grip/ electric & 3D support gear available as well. Contact Tim at 1-888580-3274 ext.700 or tim@dashwood3d.com Need your reel updated? Looking for an editor? I am a CSC associate member who is also an editor with my own FCP suite.

I am willing to trade my edit suite time in exchange for rental of your gear, or shooting advice, or both. Please send email to miurabucho@gmail.com.

Do you travel between Toronto and Hamilton for production every day? Need a place to: screen dailies, host your production office that’s close to both? Hill’s Production Services www.hillsvideo.com.

We are a full Service Production Company with cameras and edit bays for making EPKs. Some grip gear, if you find yourself in the field, short of one or two items. Hill’s also has office space and a mobile screening room. Located just off the QEW in Burlington, check us out 905-335-1146 Ask for Rob Hill.

Camera Classified is a free service provided for CSC members. For all others, there is a one-time $25 (plus GST) insertion fee. Your ad will appear here and on the CSC’s website, www.csc.ca. If you have items you would like to buy, sell or rent, please email your information to editor@csc.ca.

Canadian Cinematographer - October 2014 •

27

Classifieds

Equipment Wanted

CSC Member Production Notes 12 Monkeys (series); DP David Greene csc; to December 5, Toronto 30 vies V (series); DP Marc Gadoury csc; to March 27, 2015, Montreal À tout hasard (Documentary); DP Philippe Lavalette csc; November 15, Montreal Arrow III (series); DP Gordon Verheul csc (odd); to April 20, 2015, Vancouver Ascension (series); DP Pierre Gill csc; to November 7, Montreal Backstrom (series); DP Stephen McNutt csc, asc; to November 13, North Vancouver Beauty and the Beast III (series); DP David Makin csc and Michael Story csc (alternating episodes); Data Management Technician Mike Forand; to March 30, 2015, Toronto Bitten II (series); DP Boris Mojsovski csc; to November 18, Toronto Degrassi: The Next Generation XIV (series); DP Mitchell Ness csc; to October 17, Toronto Flash (series); DP C. Kim Miles csc; to December 3, Vancouver Guibord s’en va-t-en guerre (feature); DP Ronald Plante csc; to November 11, Montreal Haven V (series); DP Eric Cayla csc; Camera Operator Christopher Ball csc; to December 19, Chester Heartland VIII (series); DP Craig Wrobleski csc; B Camera Operator Jarrett Craig; to December 8, Calgary Helix II (series); DP Pierre Jodoin csc; Camera Operator Alfonso Maiorana; to December 19, Oka iZombie (series); DP Michael Wale csc; Camera Operator Greg Fox; to January 27, 2015, North Vancouver Lise watier, une vie à entreprendre (documentary); DP Serge Desrosiers csc; to December 01, Montreal Max and Shred (series); DP Bentley Miller; Pedestal Operator Matt Phillips csc; to October 15, Toronto Mensonges II (series); DP Jérôme Sabourin csc; to November 22, Montreal Murdoch Mysteries VIII (series); DP James E. Jeffrey csc; Camera Operator/Steadicam Brian Gedge; First Assistant Kevin Michael Leblanc; to November 28, Scarborough Olympus (series); Second Unit DP Brian Whittred csc; to November 3, North Vancouver Open Heart (series); DP Mitchell Ness csc; October 22, Toronto Reign II (series); DP Paul Sarossy csc, bsc, asc; B Operator/Steadicam Andris Matiss; to April 13, 2015, Toronto Remedy (series); DP Stephen Reizes csc; to January 21, 2015, Etobicoke Republic of Doyle VI (series); DP David Herrington csc; to October 3, St. John’s Rookie Blue V (series); DP Alwyn Kumst csc; to October 1, Toronto Saving Hope III (series); DP David Perrault csc; to December 15, Mississauga Standoff (feature); B Camera First Assistant Jim Chirayouth Saysana; B Operator/Steadicam Yoann Malnati Stanley Dynamic, The (series); Matt Phillips csc; to December 5, Toronto Strange Empire (series); DP Bruce Worrall csc; to October 20; Aldergrove Suits IV (series); Camera Operator/Steadicam Michael Soos; B Camera Operator Peter Sweeney; to November 7, Toronto Supernatural X (series); DP Serge Ladouceur csc; Camera Operator Brad Creasser; to April 21, 2015, Burnaby Ville-Marie (feature); DP Serge Desrosiers csc; to October 24, Montreal Yamasaka VI (series); DP Daniel Vincelette csc; to December 12, Montreal

Calendar of Events 8-19, Festival du nouveau cinéma, Montreal, nouveaucinema.ca 14-18, St. John’s International Women’s Film Festival, St. John’s, NL, womensfilmfestival.com

OCT

16-24, Toronto After Dark Film Festival, torontoafterdark.com 17-1, Antimatter: Underground Film Festival, Victoria, B.C., antimatter.ws 22-26, imagineNATIVE Film Festival, Toronto, imaginenative.org 6, CSC Lens Testing Module, Toronto, csc.ca/education

NOV

6-9, Planet in Focus: Environmental Film Festival, Toronto, planetinfocus.org 15-16, CSC Camera Assistant Workshop, Toronto, csc.ca/education

28 • Canadian Cinematographer - October 2014

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

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ProFusion 2014 Highlights: • Close to 100 exhibitors • NEW products shown for the first time • All the major camera and audio manufacturers • High-end lighting manufacturers • The latest in 4K, quadcopters, wireless, LED lighting, camera rigs & stabilizers • Informative Seminars, including Carlos Esteves CSC. Sign up for his 2-part lighting seminar • One-of-a-kind product demonstrations • Outstanding Show Specials

ProFusion offers you a unique opportunity to network with leading professionals about imaging solutions. if you missed IBC in Amsterdam, don’t miss ProFusion 2014. There’s nothing else like it west of Europe and north of the border.

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The Changing Face of Digital Cinematography

Insights on Filmmaking

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