CSC 50th Anniversary Book

50 The Canadian Society of Cinematographers 1957-2007

A 50 th anniversary is a significant achievement. For the CSC, it is a time to stand back and admire the work of great cinematographers who led the way, and to let their accomplishments inspire us to maintain a vigorous Society for the next half century.

An anniversary is a stepping stone to the future as well as an opportunity, a duty, to pay homage to the past.

Canadian Society of Cinematographers 1957-2007

This limited edition 50 th Anniversary Book is dedicated to the founders of the CSC. The 50 th Book Original concept and design: George A Willis csc - sasc Layout, assembly & photo retouch: Robert Jones Editor: George A Willis csc - sasc Writer: Don Angus Advisory: Susan Saranchuk, Nikos Evdemon csc, Jim Mercer csc The DVD Producer - Guido Kondruss Editing - Technicolor Original Music - Johnny Nocash Toronto Interviews Cinematographer: Nikos Evdemon csc Cinematographer: Jim Mercer csc Sound & Assist: John Hodgson

Montreal Interviews Cinematographer: Richard Burman Interviewer: Bert Tougas csc Special thanks for assistance: Christian Racine Montreal taping location: CinĂŠfilms & VidĂŠo Productions Inc.

Vancouver Interviews Cinematographer: Cliff Hokanson Camera Assistant: Joe Klymkiw Equipment courtesy of Sim Video

All videotape provided by FUJIFILM Canada

Ex Libris Printer: Spectratone Graphics Copyright of Canadian Society of Cinematographers MMVIII

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Contents Our Corporate Sponsors

4

President’s Message by Joan Hutton, csc

5

Congratulations

6

The New Logo

12

The CSC Clubhouse and Library

13

CSC Time Machine: Those Were the Days

14

A History: Fifty Years of Excellence

16

It’s All About the Camera

26

On Set and On Location: “I Love What I Do”

38

Celebrities: The Other Side of the Camera

53

50th Anniversary Sponsor Pages

60

Membership List

102

50th Anniversary Book Sponsors

104

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

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Our Corporate Sponsors All Axis Remote Camera Systems Applied Electronics Inc. Arri Canada Ltd. Canon Canada Inc. Cine-Byte Digital Inc. CinequipWhite Inc. Clairmont Camera Cooke Optics Ltd. Creative Post Inc. D.J. Woods Productions Inc. Deluxe FUJIFILM Canada Inc. Image Pacific Broadcast Rentals Image Central Broadcast Rentals Kingsway Motion Picture Ltd. Kino Flo Inc.

Kodak Canada Inc. Mole-Richardson Co. Osram Sylvania Ltd./Ltée PS Production Services Panasonic Canada Inc. Panavision Canada Precision Canada Inc. Rosco Canada Sim Video Productions Ltd. Sony of Canada Ltd. Lee Filters Canada/Technically Yours Inc. Technicolor Creative Services 3D Camera Company Vidcom Communications Ltd. Videoscope Ltd. William F. White International Inc. ZGC Inc.

Thank you … we couldn’t do it without you.

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

President’s Message

Joan Hutton csc, CSC President

This commemorative book displays photos of some of the early members of the Canadian Society of Cinematographers, who were, not coincidentally, the best cinematographers in the country. With this book – a first for us – and the accompanying DVD, we continue to celebrate the Society’s 50th anniversary with pride in the achievements of its members. The future, we expect, will be more of the same.

The dream which a handful of cameramen had in early 1957 and which they achieved later that year and the next, 1958, was a nonpolitical, non-partisan society of film professionals where shooters of the day could get to know each other, catch up on new technology, swap stories, techniques and ideas. The concept of the organization has stayed remarkably the same, with our aim continuing to be “to foster and promote the art of cinematography.”

However, much has changed in the last half-century. The core of the CSC 50 years ago was Toronto, Ottawa and Montreal, while today we are a national organization with members and corporate sponsors from coast to coast.

Corporate sponsorship has been an indispensable foundation of the society since the beginning.

Membership has grown to nearly 500 members, with 30-plus sponsors. The annual CSC Awards Gala attracts over 300 guests and our “newsletter,” the 10-times-yearly CSC News, reaches over 1,000 readers per issue. The tradition continues, with regular meetings, seminars, workshops and screenings. The CSC has helped to cultivate the growth of Canadian film and television.

The CSC is the one binding element among cinematographers in Canada. The CSC brings camera people together. Whenever you have a problem, you can always find someone who will give you some advice or answer a question. From second assistant to director of photography, members can meet as equals and chat about what they’ve worked on, what they’re doing and how they’re doing it.

A golden anniversary is a milestone to be proud of. We hope you enjoy this book as much as we did putting it together. For many of us, the photos bring renewed admiration for and/or memories of great cinematographers who led the way, and we hope their accomplishments will inspire us to maintain a vigorous Society for the next 50 years. An anniversary should be as much about preparing for tomorrow as it is about celebrating yesterday.

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

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Her Majesty, Queen Elizabeth, conveys her good wishes to the members of the Canadian Society of Cinematographers on the occasion of their 50th anniversary.

Canadian Society of Cinematographers 1957-2007

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

The Right Honourable Michaëlle Jean, Governor General of Canada, expresses her congratulations to the CSC and looks forward to “the future of cinematography in Canada with great enthusiasm.”

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

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The Right Honourable Stephen Harper, Prime Minister of Canada, extends his “warmest greetings to everyone celebrating the 50th anniversary of the Canadian Society of Cinematographers.�

Canadian Society of Cinematographers 1957-2007

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Roy Tash csc received this letter from Queen Elizabeth, the Queen Mother, on March 31, 1965, acknowledging Roy’s 50th year in the motion picture industry.

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

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The Honourable Earl Rowe, Lieutenant Governor of Ontario, sent this letter of congratulations to Roy Tash csc on April 23, 1965.

Canadian Society of Cinematographers 1957-2007

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Paul Martin, Secretary of State for External Affairs, personalized this March 25, 1965, letter of congratulations to Roy Tash csc. Mr. Martin was the father of the recent prime minister, Paul Martin Jr.

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

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The New Logo

Organizations, societies and institutions need to have an identity and the Canadian Society of Cinematographers is no exception. Over the years the CSC logo has undergone various changes, which have been detailed in an article written by Don Angus in the CSC News January, 2007, Volume 26, No. 5 (also www.csc.ca/news/default.asp?aID=1246).

The 50th Anniversary year seemed to be an appropriate time to examine the roots of the Canadian Society of Cinematographers and in essence, get back to the basics. Therefore, a new logo design was the obvious place to start. Designs were sketched on paper napkins, in notebooks, and on loose pieces of paper as thoughts, ideas and inspirations presented themselves. Finally, a handful of designs made it to the short list and after a final culling the logo that appears above was the one chosen to be the new visual corporate identity of the Canadian Society of Cinematographers.

Because of its simplicity in design, no explanation about the logo is really necessary; however, a certain comment about the logo was interesting enough to be noted. The comment concerned the “tape” linked to the “film” in the form of the two “C” shapes. It was suggested that the CSC is a society of cinematographers and that it should reflect the aspect of “film” more than that of “tape.”

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While it is true that the CSC was founded as a society for cinematographers, it cannot be denied that “tape” has not only become an integral part of filmmaking but that it is making enormous strides both technically as well as a formidable visual medium.

Many cinematographers use tape or video cameras as a means of capturing and recording their images, and to deny them access to a society of cinematographers would be discriminatory for various reasons. The first would be the fact that the images recorded on tape may be regarded as “digital cinema” and the second is that many videographers have chosen this form of image gathering and visual expression as their medium of choice, and present their images very well.

As a part of the 50th Anniversary and as a renewed commitment to our industry, it is the wish of the Canadian Society of Cinematographers that cinematographers and videographers alike, who are interested in pursuing excellence in image gathering, will understand that the CSC logo represents them all and welcomes them to the society.

— George A Willis csc-sasc, Vice-President

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

The CSC Clubhouse and Library

The Canadian Society of Cinematographers is pleased to announce the formal opening and introduction of the new CSC Clubhouse and Library situated at 1030 Islington Avenue, Toronto, within the premises of William F. White International Inc.

The 50th Anniversary has become a catalyst for various undertakings by the CSC as part of a renewed commitment to the film and video industry in its 50th Anniversary Year and into the future.

The idea for a place to call “home” to the CSC had often been considered but remained just a thought until discussions were held with Bill White in the spring of 2006. Now, almost two years later, we are the point of formally opening the doors to the membership. The CSC Clubhouse & Library is intended to be used for many purposes such as: to hold executive and other meetings pertaining to our industry; to offer a venue for the membership to view their work and create discussion panels or forums; access to the library which has a selection of technical reading materials that may be borrowed. There is also a

comprehensive collection of CSC News, American Cinematographer and other magazines pertaining to the film and television industry.

We are in the process of installing state-of-the-art media equipment and, once all of the components are in place, we trust that the membership will avail itself of the opportunity to make full use of the facility and all it has to offer.

A computer terminal is available for on-line access when in working or research mode while a comfortable seating area allows for a relaxed environment over a cup of coffee.

CSC members and Sponsors have been kindly donating/loaning historical cameras, accessories and memorabilia for display in the “museum” which is in the planning stages and we welcome the input and suggestions of the membership in this exciting undertaking.

Our acknowledgement and thanks go to one of our sponsors, William F. White International, for allowing us the use of this space and we look forward to many years of continued alliance.

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

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CSC TIME MACHINE: Those Were the Days Canadian shooters and their crews have travelled a long road to become among the best in the world.

Cinematography in Canada goes back to the early 20th century, and has grown steadily as the decades have rolled by. By the time the Canadian Society of Cinematographers was founded in 1957, the reputation of Canadian cameramen was well established, although the contingent was small in comparison to the United States or Britain. The American Society of Cinematographers was started in 1919, the British Society in 1949.

Led by the National Film Board since the Thirties, Canada was, and still is, one of the leading producers of acclaimed documentaries. Back then, too, there were some brilliant corporate productions, such as the enticing travel films of Canadian Pacific, as well as copious newsreels. The theatrical feature business was minuscule, and CBC national television was only five years old – younger than that in most provinces outside Ontario and Quebec. Most Canadians listened to radio and went to the cinema to see American and British movies.

When Canadian filmmakers made a feature film that people actually went to see, it was a big deal.

Actually, it still is, but less rare. The Mask, a 3D horror film produced

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Maurice Jackson-Samuels csc

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

and directed by Julian Roffman in 1961, was an early Canadian success.

Roffman was one of the founders of the CSC, and his camera team had fellow CSC builders Herb Alpert csc asc as director of photography and Sammy Jackson-Samuels csc as operator on the huge 3D camera. (photo pg. 17) The CSC connection to the industry had been welded.

In 1963, Reg Morris csc, an original Class of ’57 member, was DOP on Drylanders, the first full-length feature drama produced by the NFB. The story of pioneer settlers in the Canadian West was filmed in black and white because, Morris said in 1997, “the Film Board was reluctant to spend money on colour; we were still shooting black and white when the rest of the world was shooting colour.”

A big feather in Canadian cinema’s hat was the 1970 release of Don Shebib’s Goin’ Down the Road, shot mainly hand-held by Richard Leiterman csc, considered to have been one of this country’s finest cinematographers.

“It was a learning experience for both of us,” Leiterman once said of himself and Shebib. “We shot it with minimal lighting, we shot it in 16mm.

We would look around and see what

there was in the script and see what the weather was like. Sometimes there was just nothing to shoot, and we’d say to the two lead actors, ‘OK guys, go out and do something.’”

DOPs like Vic Sarin csc (Don Shebib’s Heartaches), Mark Irwin csc (David Cronenberg’s Scanners) and Doug Koch csc (Patricia Rozema’s I’ve Heard the Mermaids Singing) lensed hits in the 1980s, and Guy Dufaux csc started his remarkable collaboration with Denys Arcand as DOP on Le Déclin de l’empire américan (Decline of the American Empire).

In the 1990s, Paul Sarossy csc bsc, who has collected a trunk full of CSC and Genie cinematography awards, joined with Atom Egoyan to film The Adjuster, Exotica, The Sweet Hereafter and Felicia’s Journey, and continued the creative partnership in the 2000s with Ararat and Where the Truth Lies. Also in this decade, Dufaux has worked with Arcand on Genie best picture Jésus de Montreal and the two sequels to the “Decline” trilogy – Les Invasions barbares and the recent L’Âge des ténèbres.

The movie credits of CSC member cinema­tographers is long and impressive, including the 2007 award-winning feature Away from Her, photographed by Luc Montpellier csc. On TV, Rene Ohashi csc asc, following a tradition of great cinematography for the small screen (but getting bigger), has raised the level of excellence in both Canada and the United States. He has garnered numerous Gemini and CSC awards. His body of work includes The Arrow (1997), Shattered City: The Halifax Explosion, and the Jesse Stone series of U.S. television movies.

Check your local listings. There’s more to come.

Reginald Morris csc (L) with John Huston

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

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A HISTORY The Canadian Society of Cinematographers 50 Years of Excellence Significant events were occurring in Canada 50 years ago that presaged the future of Canadian cinematography.

In the mid-1950s, theatrical features were scarce. Canadian television was still a toddler, although starting to generate a fledgling commercials industry and some home-grown drama. Film cameramen – portable video cameras were not yet on the horizon – had limited places to sell their skills. The National Film Board was continuing to turn out world-class documentaries and the major newsreel companies were still around, although they were quickly becoming obsolete.

There was CBC-TV news, commercials, corporates and a couple of out-of-studio series.

Radisson, the first major dramatic television series produced on film in Canada, aired on both the French and English networks of the CBC. Then there was Cannonball, a weekly, half-hour CanadaU.S. production that was shot in Ontario and ran for 39 episodes through 1958 and 1959. Most CBC dramas and series, like La Famille Plouffe/The Plouffe Family and Front Page Challenge, were shot live in studio.

Television cinematography was also making an impact on Canadian politics. On June 10, 1957, the rejuvenated Progressive Conservative party under fiery Prairie lawyer John Diefenbaker ended the 22-year rule of the Liberals with a slim plurality at the polls and a consequent minority government in Ottawa. It was arguably the most pivotal election in Canadian history in terms of demonstrat-

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Robert Brooks csc (left) and Maurice Jackson-Samuels csc stand behind Grant McLean csc C.M., a fellow founder of the CSC and a creative force at the National Film Board for 26 years. The occasion was the 2002 CSC Awards dinner on the Society’s 45th anniversary.

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

ing the power of television to sway a pliant electorate.

It was television that did in the Grits, the late Fritz Spiess csc recalled for the CSC News 40 years later.

Spiess, who shot the Liberals’ campaign films, said, “They did not understand the power of the medium at the time.”

Diefenbaker understood that power and used it forcefully to defeat Louis St. Laurent, who declined makeup and read his remarks off paper, not from a TelePrompTer, while seated staidly at a desk. He looked old and tired, while Diefenbaker was sprightly, alert, with a sense of humour, a twinkle in his eye.

He loved the camera.

Amidst all this, the Canadian Society of Cinematographers was conceived in the lobby of a film studio at Woodbine and Danforth avenues in east-end Toronto.

The studio, a former movie theatre, was common ground for several cameramen who came to believe in the need for a distinctive organization dedicated to their special craft. Their paths crossed in that old theatre lobby, they exchanged ideas and sharpened their focus on the future.

On the CSC’s 50th anniversary, the Society looks back with nostalgia and pride to those early days in 1957 and 1958. Sadly, with notable exceptions, most of the men who founded

the organization have passed from the scene. However, like a classic movie, their images and words live on. Do you suppose they would do it all over again?

Herb Alpert csc asc, who started it all, thinks so. Now in his early 90s, Herb says, “The original concept and philosophy still obtains” – to promote and foster the art of cinematography in Canada.

George Morita csc has no doubts. He was a 20-year-old camera assistant

advisory members of the executive board virtually right up to their deaths.

Herb, who came to Toronto from New York in 1955, said it was “mostly out of pride” that he felt the need to establish a society similar to the American Society of Cinematographers, despite the small size of the film community in Toronto and in Canada in general.

“Britain had the BSC, the Americans, of course, were the prime movers in

when the CSC was formed in September/October, 1957, and he joined as an associate member. “Prior to the CSC, way back in the 1950s,” he recalls, “cameramen were distant; there wasn’t a sense of camaraderie, a sense of being part of a group. The CSC has fostered that and provided a venue for cinematographers to gather and discuss similar problems and share information.”

For other voices, let’s go back to 1997 and 2002.

Of course they would do it again, Maurice Jackson-Samuels csc, known to everybody as Sammy, said on the occasion of the 40th anniversary. “No question about it. The CSC gave cameramen a name, it gave us respect in the industry, and it told the industry what we did. It gave the cameraman a place in the industry.”

The idea for the Society originated with Alpert, the first pro-tem president, while Sammy, Fritz Spiess csc and Bob Brooks csc helped nurture the new association from day one. Bob was the first elected president, Fritz was the second, and Sammy also served an elected presidential term in a later year. Fritz, Bob and Sammy remained

Filmmaker Julian Roffman (left), who was among the founding members of the CSC, produced and directed the 3-D Canadian feature The Mask in 1961 for Warner Bros., with Herb Alpert csc-asc (pointing) as DOP and Sammy Jackson-Samuels csc as camera operator.

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

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that area with the ASC, and I think Italy was beginning to talk about having something similar. I thought it was time, in spite of the fact there were only about a dozen cameramen around whom I knew, that we, too, should have some standards and a fraternal association.”

“If the CSC had not been formed,” said Brooks, “I think the industry would have gone on, but I think it’s a better industry because of the Canadian Society of Cinematographers.”

The late Grant McLean csc C.M., one of the founding members, told the 2002 CSC Awards Gala on the occasion of the Society’s 45th anniversary that he was “astonished at the growth and strength” of the CSC. “It is a good thing that you know and honour your past,” he said, “because if you do not know where you have been, you will not really understand where you are going.”

Full membership in 1957 cost $10 a year, after a $15 initiation fee. The Society’s annual dinner, originally alternating among Toronto, Montreal and Ottawa, was established in 1959. One early dinner, recalled Spiess, “was attended by 32 cameramen and their spouses, which represented about 80 per cent of the membership.”

The first CSC Awards were presented in 1961, and the dinner that year, at the Queen Elizabeth Hotel in Montreal, was $6 a ticket.

When drafting and approving the By-Laws and Regulations in 1958, it was decided that operators, as well as directors of photography, should also be in the Society as associate members, and, although there were no women in the early Society, the By-Laws specified that in all wording “the masculine shall include the feminine” to embrace the possibility of women members in the future. There were a few camera assistants in the CSC from the start, like Morita, although they were not included in the ByLaws. In 1972, the By-Laws were amended to permit affiliate members and that led to the development of the CSC Camera Assistants Course.

The Society enlisted corporate sponsorship in 1976. There now are over 30 sponsors.

Since the Society’s inception, a membership newsletter has always been a vital communications tool, evolving from a simple pamphlet through a variety of metamorphoses.

In November, 1961, the first 16-page magazine was published as Ca-

A notebook (left and opposite right) found in the bottom of a box of memorabilia donated to the CSC for its archives contained two pages of handwritten minutes on the first organizational meeting of the new Canadian Society of Cinematographers on Oct. 2, 1957.

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

nadian Cinematography, edited by members Donald McMillan and Leonard MacDonald. While free to members, the magazine appeared every second month with a cover price of 35 cents an issue and a $2-a-year subscription rate.

After Len’s tragic death in a plane crash while shooting aerials in Alberta, Art Benson, a Toronto publisher and writer, became editor of Canadian Cinematography, which after a few years was renamed Cinema Canada.

At first it was still a CSC publication, with free subscriptions to all members, but eventually the CSC distanced itself from Cinema Canada and started its own newsletter again. In 1980, then-president Robert Rouveroy csc revitalized the magazine under its present title, the CSC News.

The same year, Rouveroy overhauled the CSC Directory, a detailed list of members and their credits that was first published in 1970 and every other year since. A complete directory is also available on the CSC web site (www.csc.ca) – an extensive information resource for Society members and the worldwide film and video community in general.

Joan Hutton csc, an award-winning director of photography, has guided the CSC as president for the last 15 years. She remembers how much the CSC meant to her as a young camera assistant just learning the business.

“When you’re first coming up, (the CSC) is fantastic,” she says, alluding to the opportunity for assistants and operators to mingle with directors of photography. “People can meet as equals and chat about what they’ve worked on, what they’re doing and how they’re doing it.”

Hutton, the first of five women to be made a full CSC member, says the founders of the CSC were trying to make cinematography “a profession rather than just a job, and I think they did very well.”

Above are the signatures of the four members who were nominated at the CSC’s first organizational meeting on Oct. 2, 1957, to form a new membership committee.

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

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An early, incomplete roster of some of the original CSC members was inscribed in this simple folio ‌ with names, addresses and phone numbers (opposite).

Canadian Society of Cinematographers 1957-2007

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

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This page of minutes from a 1974 CSC meeting starts with Lunch Break ‌ feed them and they will come.

Canadian Society of Cinematographers 1957-2007

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Former CSC president Rob Rouveroy csc, now retired, says that Roy Tash csc gave him a box full of papers which Roy had kept from the beginning of the CSC. From this box came the minutes of the CSC meeting of Feb. 3, 1958, signed by Secretary Dave Smith. Rob says it may have been the first recorded meeting of the fledgling Society, although we have seen the two pages of handwritten minutes from Oct. 2, 1957.

And, since the 1958 minutes were mailed to all 28 members, Rob feels it must be the CSC’s first newsletter. There may have been an earlier newsletter, however; George Morita csc kept for a souvenir a layout sheet of a newsletter dated October, 1957, which was being composed for circulation. Was it ever mailed? A copy of the actual newsletter has never turned up.

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

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From the Fritz Spiess csc memorabilia was this list of CSC executive members in 1957, followed by the winning entries (no cinematographers) of the 1957 Canadian Film Awards (now the Genies).

Canadian Society of Cinematographers 1957-2007

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

An article in the July, 1960, edition of Canadian Industrial Photography told the story of the young Canadian Society of Cinematographers.

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

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It’s All About The Camera “To see that small beginning grow into what you have accomplished today, I find satisfying and remarkable. You have done it by being inclusive, not exclusive.

It is a good thing that you know and honour your past, because if you do not know where you have been, you will not really understand where you are going.”

– The late Grant McLean csc, C.M. at the 2002 CSC Awards dinner.

(Left), From the beginning, the CSC created a bond among cinematographers, which embraced fellowship and a sharing of information and knowledge. This photo of the Nov.-Dec., 1964, issue of the Canadian Cinematographer magazine, now the CSC News, incorporates three of the essential elements of the Society – communication, camaraderie, and, of course, cameras. On this cover, a quintet of all-star cinematographers checks out the new Arriflex 16 BL noiseless newsreel camera.

They are (from left) Chris Slagter csc, Roy Tash csc, John Gunn csc, Reginald Morris csc, and Stanley Clinton csc. Later, the CSC created the Roy Tash Award (1970) for outstanding cinematography in television news and the Stan Clinton Award (1989) for best TV news essay.

(Above), Sammy Jackson-Samuels csc conducts a camera course for aspiring young cameramen, including Lance Carlson (right) and Peter Luxford on his right. The identities of others in the picture are unknown. Education has always been a major part of the CSC’s role. As well as seminars and demonstrations by corporate sponsors, the CSC has run the best camera assistants’ course in Canada since the 1970s.

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

(Right) In this undated pre-CSC photo, a young Maurice Jackson-Samuels csc lights a shot with the same professional intensity that marked his distinguished career. As one of the prime movers of the new CSC in 1957, Sammy – as everyone knew him – became an industrious recruiter, teacher, executive, adviser and advocate of and for the Society. Sammy, a great storyteller, was smiling and reminiscing right up to the final week before he died of cancer on April 1, 2007, at the age of 81. His death came one day before the CSC Awards 50th anniversary celebration. Over the years, he was a seemingly inexhaustible source of information on the history of the CSC and the fledgling Canadian film and television industry. He was the first recipient of the Fuji Award in 1992, recognizing his service to the Society, and was honoured with a special Kodak Lifetime Achievement Award in 2002. In one of his last interviews, Sammy said about cinematography: “It’s the best job in the world.”

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Over a 50-plus-year career, Bob Brooks csc was never far from a camera. When he wasn’t shooting award-winning drama and documentaries, he was volunteering his skills to charitable services such as the Variety Club. Bob was always involved in some key role for the Society, right from Day 1. He helped establish the CSC in 1957 and was its first elected president. He had given up his service as publicity chair and chair of the CSC Awards jury just weeks before his untimely passing in February, 2005. He attended just about every CSC meeting and industry event in the Greater Toronto Area, rain or shine, for 47 years. The CSC honoured him with all three of its special recognition awards: the Bill Hilson Award in 1976 for contributions to the development of the motion picture industry, the Kodak New Century Award in 1989 for outstanding contribution to the art of cinematography, and the Fuji Award in 2000 for service to the CSC.

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As did many CSC members of a certain age, Bob Brooks csc grew up with film, but he quickly adapted to the video world of television. Here he is shown with one of the early models of the famous Sony Betacam, which became the standard tool for TV news and documentary productions.

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Fritz Spiess csc was dubbed by his colleagues as “the dean of Canadian cinematography.” He was a genius with light, and his work on over 3,000 commercials during his brilliant career earned him many awards and accolades. The TV Bureau of Canada named one of its major awards after him, and the CSC’s Fritz Spiess Award for Commercial Cinematography was announced in May, 1999, a little over a year after his untimely death. He was also renowned for documentary work, such as the 360-degree film on Canada featured at Expo 67 in Montreal. A Society founder, he actively supported the CSC from 1957 right up until his terminal illness. He was the recipient of all three of the CSC’s special honours, the inaugural Bill Hilson Award in 1973 for contributions to the development of the motion picture industry, the inaugural Kodak New Century Award in 1987 for outstanding contribution to the art of cinematography, and the second-ever Fuji Award in 1993 for service to the CSC.

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

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Bob Crone csc was one of the first cinematographers to buy and operate a Steadicam, introduced by inventor Garrett Brown in the feature Rocky in 1976. He was for many years the preeminent operator in the field of stabilized camera movement in Canada.

Before that, he and his wife, Vi (shown at the camera while Bob checks his light meter), formed a unique Canadian camera team. Together, they travelled the world shooting portraits of luminary social, political and cultural figures. They created Canada’s first full service production facility, Film House, in Toronto, which eventually morphed into

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Deluxe. Active politically, they instigated social change as they documented the sweeping events of their time. Vi Crone was recognized by the CSC in 2007 with Full Life Membership. She is known as the first female cameraperson in Canada, and she was the first woman to be so paid, by the CBC. Bob and Vi were jointly awarded a Genie in 1981 for outstanding contributions to the Canadian film industry, and Bob received the CSC’s Bill Hilson Award in 1993 for contributions to the development of the motion picture industry.

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

George Morita csc was a 20-year-old camera assistant for master craftsman Fritz Spiess csc when he joined the brand new Canadian Society of Cinematographers as an associate in 1957. He recalls that he was “recruited” by Fritz to take on the job of secretary for a vital 1958 meeting to pass the much contested By-Laws and Regulations.

“There was a tense moment for me during one of the early meetings, which has a comic twist in retrospect,” George recalls. “Some of the group felt that only full cameramen could be members of the Society and that assistants should be excluded. As the debating continued – and I dutifully continued to record the proceedings as secretary – I thought I might have to leave the room if the voting went against including assistants and try to eavesdrop from the hallway to complete my minutes!”

The Yeas won. George went on to become a renowned Toronto-based director of photography and a legend in the world of commercials. In 1993, he received the Kodak New Century Award for outstanding contribution to the art of cinematography.

George Morita csc is in the centre of this photo taken on Aug. 24, 1994, during a St. Hubert Chicken commercial. “We are setting up a tricky shot of a low table covered with 96 steaming dishes on dinner plates to show thecombinations of food available at the (chain) restaurants. The camera seen behind and above the head of AD Marc De Lery (left) was mounted on a lightweight dolly which ran down a 45-degree track from the grid of the studio.” Key props Karl Walton (right) “had the difficult task of organizing the placement of the hot dishes for the take.”

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Harry Makin csc has been, over his long career, one of Canada’s finest and most prolific cinematographers. His body of work includes features, TV drama, series and mini-series, documentaries, docudrama, and hundreds of commercials. Among his many honours are the CSC’s 2005 Kodak New Century Award for outstanding contribution to the art of cinematography, the TV Drama Award for The National Dream, and two commercial cinematography wins.

If you were going to build a Canadian cinematography hall of fame, this group would be a good place to start. Surrounding President Joan Hutton csc at a CSC event a few years ago are (from left) Ron Stannett csc, Bob Saad csc, Richard Leiterman csc, and Henri Fiks csc.

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

It’s Aug. 22, 1972, and DOP Kelly Duncan is ready to shoot scene 94-X, take 1, day interior of In Pursuit Of ?. The Vancouver-based cinematographer, now retired, was also a director and a member of the Directors Guild of Canada. He took his camera on many global expeditions, from the Arctic cold to desert heat, and garnered numerous awards from the CFTA, now the Academy of Canadian Cinema and Television, and the TV advertising Bessies.

Ken Post csc was a beloved character. An active and dedicated CSC member and onetime Society president, Ken was a fixture at CSC Awards dinners with his booming interjections. His broad sense of humour has been missed since his passing. He was a serious and talented globe-trotting cinematographer, with a special passion for the Canadian North. He is seen here shooting a watch commercial – pretty tame for Ken’s fiery temperament. Ken was the recipient of the Kodak New Century Award in 1991 for outstanding contribution to the art of cinematography, and the Fuji Award in 1994 for service to the CSC.

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If you made a movie about the life of Miklos Lente csc, you would have to shoot it on film with a perfect balance of art and technology. For that was the way this extraordinary cinematographer lived his professional life. “We have to be good storytellers with pictures. Our talent has to be 50-per-cent technical and 50-per-cent artistic,” he once said.

Miklos — or Mike — died on Oct. 25, 2004, in his 75th year after a courageous battle with a malignant brain tumour. Born and trained in Hungary, Lente arrived in Toronto in 1957 as a 27-year-old director of photography, and restarted his film career from scratch. He compiled a long list of credits on features, television drama and series, documentaries and commercials in his long career, winning the Genie and CSC awards for In Praise of Older Women — his favourite feature — in 1978 and a bunch of Genie, Gemini and CSC nominations for theatrical and television projects. The CSC also honoured him with two of its most prestigious prizes — the Kodak New Century Award in 1996 for outstanding contribution to the art of cinematography, and the Bill Hilson Award in 1989 for outstanding service contributing to the development of the motion picture industry.

Norman C. Allin csc was a distinguished cinematographer and Canadian television builder. He was one of the original members of the CSC and president of the Society for several terms starting in 1970.

Among numerous honours he received during his career was the Bill Hilson Award in 1978 for outstanding service contributing to the development of the motion picture industry. Born in England, Norman began his motion picture career at the Film Producers Guild Ltd. in London in 1942 and became a full-fledged director of photography in 1950. Soon afterwards he emigrated to Canada to join the legendary Budge Crawley at Crawley Films Ltd. in Ottawa. He shot most of the company’s motion pictures over the next few years, including 38 episodes of the CBC/Crawley series RCMP. He joined CBC-TV Toronto in 1959 and directed the camera on CBC shows like Man Alive and The Nature of Things and on a countless variety of dramas, documentaries, specials and sports programs. Norman died on June 1, 1999, at the age of 73, after a courageous battle with cancer.

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

“Captivating camera work,” one movie critic called the cinematography of Reginald Morris csc on the 1986 telefilm Barnum with Burt Lancaster. If he had needed one, that could have been Reg’s slogan. Reg, a charter member of the CSC when it was founded in 1957, was born in England in 1918 and began his film career as a combat cameraman during World War II. He was attached to the British 8th Army cinematography unit in North Africa for the duration of the war and was also part of the peacekeeping force in Greece immediately after. He returned to England in 1946 to pursue a career in cinematography, working at Denham and Pinewood studios until immigrating to Canada with his young family in 1955. After a few years with the National Film Board in Montreal, Reg went freelance in 1963 and moved his family to Toronto where he built his successful career as a cinematographer in both television and film. He won numerous awards, including both the CSC feature (Black Christmas) and commercial cinematography honours in 1975, the CSC feature award (Second Wind) in 1976 and the CSC TV drama award (The Fortunate Pilgrim) in 1989. He passed away on Jan. 8, 2004. He was in his 86th year.

Richard Leiterman csc (above, left),was a gifted visual storyteller who left behind an indelible legacy, a prodigious body of credits in theatrical film and television dramas, documentaries and series. He was also revered as a mentor and teacher, on and off the set. When he was presented with the Kodak New Century Award at the 2000 CSC Awards for his “outstanding and enduring contributions to advancing the art form of cinematography,” Richard responded lightheartedly: “Lifetime achievement award or not, I still haven’t given up my day job.” Not long after, Richard took his light meter to Sheridan College’s School of Animation, Arts and Design in Oakville, Ont., where he imbued aspiring young filmmakers with his visual gifts, technical expertise and his love of cinematography. He retired in the spring of 2005, on which occasion he was presented by the CSC with a special Award of Excellence, citing his outstanding contribution to Canadian cinematography. Richard’s credits included more than 45 television movies and 20 features. In 1976, he won a Canadian Film Award (later called the Genie Award) for his work on the feature The Far Shore, and in 1982 he won another Genie for Silence of the North. In 1988, he received the CSC Feature Award for The Climb. Earlier, he had shot some memorable films like Goin’ Down the Road, A Married Couple, and Between Friends. Richard said he learned “a hell of a lot” about transition, priorities and collaboration on his first feature film, director Don Shebib’s low-budget, 1970 Canadian classic Goin’ Down the Road. Richard passed away in Vancouver on July 14, 2005, at age 70. In this photo, Richard buddies with Harry Makin csc at a CSC meeting.

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Robert Rouveroy csc joined the CSC in 1979 and became the public relations chair “because nobody else wanted it.”

The CSC was – for the better – never quite the same again.

His main concern, he says, was to get meeting information out to the fewer than 70 members at that time. “I found that the one-page flyer was inadequate, so I mucked about with typewritten columns, cut-and-pasted with drawings into sorry-looking newsletters. I started the CSC Directory in 1980 when I became president and that got us new members.” In 1984, he “fell in love with the first Apple Mac and strong-armed (treasurer) Roy Tash into releasing the money” to buy one. He followed up with ideas for more involvement by corporate sponsors, and “we soon grew to around 350 members.” As president, Rob says he trod on a few toes with “my benign authoritarian attitude.” So he exchanged the presidency for the membership chair and continued to edit the CSC News and Directory. He was born Emile Leonardus van Rouveroy van Nieuwaal in Bandung, Indonesia, in 1927. With real-life adventures worthy of an action-packed movie script, the young van Rouveroy survived turbulent times in the Dutch East Indies, eventually establishing a camera career in Canada and a Citizen Kane-like regime at the CSC. Rob retired and returned to Holland in 1989.

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Roy Tash csc, born in Brooklyn. N.Y., in 1898, was a tall, gangly gentleman who became as Canadian as maple syrup. He was a pioneer cameraman who began filming news footage in Chicago in 1915, using a hand-cranked camera like the one in this photo. He moved to Toronto to work with director Blaine Irish on the Camera Classics series of films. He also photographed Irish’s silent feature Satan’s Paradise, in which phony spiritualists attempt, through repeated spurious séances, to convince a mother they can help her contact her supposedly deceased soldier son. Then he was director, photographer and editor of Canadian Government Arctic Expedition of 1924, which spawned his lifelong love of the Canadian North. Roy joined Associated Screen News in 1925 and remained there throughout the rest of his career, shooting footage for all the major American newsreels, including the filming of the Dionne quintuplets in 1932. His camera recorded over 50 years of history in the making across Canada and around the world, capturing on film celebrities and newsmakers from royalty to bathing beauties. In 1970, the CSC created the Roy Tash Award for outstanding cinematography in television news by a Canadian cameraperson.

The award, which was presented by Roy until his death in 1988 at the age of 90, features one of Roy’s cameras, a 35mm Bell and Howell Eyemo which has been gold plated.

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ON SET AND ON LOCATION “I Love What I Do”

Cinematographers live an interesting life: seldom dull, always challenging and

While cinematographer in the teaching aids department of the Toronto board often daring. Their jobs take them from the cozy confines of a standing set to the of education in the late 1960s, Bob also freelanced for Keg Productions on the two streets of a big city, from the television series Audubon tops of mountains to the depths Wildlife Theatre and Wild of the sea, from the heat of Canada. From 1973-’76, he the desert to the cold of the worked full time for Keg Arctic, from a lurching ship to shooting natural history the whirling pitch of a helicoptelevision series and feature ter. Some spend their careers films, then returned to edutracking wildlife and recording cation as teaching master the wonders of nature. Some in the film production procapture the tragic, scary, sad, gram at Conestoga College pathetic and funny stories of in Kitchener, Ont. When the human condition, either as Conestoga’s film producdrama or documentary. Some tion program amalgamated have done them all. with the cinematography

Until his recent retireprogram at Humber College ment, Bob Bocking csc pursued in Toronto in 1981, Bocking his longtime love of nature cinserved as coordinator of the ematography. Education, both new Humber film and teleon the TV screen and in the vision production program classroom, was an integral part until 1995. His association of his film experience, and his with National Geographic work has been recognized with Educational Films Division many honours, including the resulted in the production 1979 Bill Hilson Award and of 10 award-winning educathe 1990 Kodak New Century tional films on natural history Award from the CSC. For the subjects, and he employed National Geographic Society Humber College students in Washington he and his wife, on many of these projects to Bob Bocking csc Erane, travelled from coast give them first-hand experito coast in 1997, shooting The ence.

Physical Geography of Canada. They travelled to Australia in 1998 and shot a whole

A CSC member since 1962, Bob helped launch, with George Morita csc, the nature program (Animals Down Under) on his Sony VX1000, winning two educational CSC camera assistants’ course, and served as president, vice-president and memberproduction awards. ship chair. He continues his support for the CSC as an adviser.

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Bob Brooks csc was the director of photography for the official film of the Winter Olympic Games at Lillehammer in 1994. He won an Emmy Award for his work.

Bob Brooks csc (Above right) shoots a documentary in a mine.

(Left) Bob Brooks csc decided that a goalie mask was a good idea when shooting a hockey game from ice level. Saves on dental bills.

Bob Brooks csc tends to his camera during a vintage car rally (Right).

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(Above) Bob Brooks csc precariously rides a tractor-pulled camera skid for a Cockshtt Farm Equipment commercial. That’s DOP Roy Tash csc striding across the field.

Chris Slagter csc (above, left), a charter CSC member, directs the camera on a commercial for Heinz ketchup. The announcer is Joel Aldred, a media personality who partnered with radio station owner Edward S. (Ted) Rogers to launch Toronto’s first private television station in 1960. Aldred sold his interest in CFTO-TV in 1961. The operator is Sammy Jackson-Samuels csc.

(Right) Most cinematographers have experienced at least one helicopter ride while hanging out the door with a heavy camera, hoping the safety belt is secure. George Morita csc looks pretty confident, or does he?

Fritz Spiess csc (left), sets up the camera for a Chrysler Corp. commercial.

Note the giant fins on the 1950-something Dodge, or Plymouth.

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

(Left) Fritz Spiess csc almost always wore a white shirt and tie on shoots, as he is here for Robert Lawrence Productions. The cardigan is positively casual attire for Fritz. Note the woman on the left wearing high heels.

(Above) George Morita csc is shown here controlling the movement of a 10mm Innovision lens on a 35mm Arriflex camera shooting straight down on to plates of food. The camera, equipped with a video tap, was mounted on a perfectly counterbalanced jib arm so it could “float” over the dishes of product, while George monitored the scene on a monitor.

(Left) On a sweltering Winnipeg day in 1959, Ken Gregg csc stayed cool on a project called Heat Story by shooting from his rubber “raft-cam.” He is kept from floating out in the lake by director Ron Bashford.

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Some like it hot, some like it cold. Vancouver-based DOP Kelly Duncan csc, now retired, experienced every extreme in his long career. He is shown bundled up against the Arctic cold (left), photographing in the heat of the Algerian desert (above left), and documenting the laying of the Trans-Alaska pipeline (above).

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

(Above) Ken Gregg csc, at the camera, and director Ron Bashford film a scalemodel helecopter for Diary of a Mountain Storm for the series 20/20 in the Banff area of Alberta in March, 1965.

Ken Gregg csc films a corneal transplant at a Winnipeg hospital in 1960. (Left)

(Left) Retired Toronto DOP Ken Gregg csc is shown here in 1970 with colleague Ed Long csc during an aerial shoot from a helicopter over Thunder Bay for The Magnificent Gift. Long, a CSC full member, died at 52 from meningitis.

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(Above) Ken Gregg took his CBC camera to Saskatchewan in 1965 to shoot an episode for CBC Country Calendar.

“I can’t imagine doing anything other than working behind a camera,” – Ken Post csc Ken Post csc, an RCAF photographer overseas during the Second World War, took his peacetime camera to the far corners of the globe. He was dubbed “the Great White Bear of the North” because of his numerous shooting adventures in the Arctic, which earned him the reputation as “Canada’s Arctic cameraman.” Ken travelled to many other far-flung places, totalling 50 countries in all. These photos show a young, cleanshaven Ken in the Northwest Territories (top right) and the Middle East (Bottom right).

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

MEN IN HATS: (clockwise from top left) Bob Brooks csc becomes part of a hard hat contingent at an industrial complex; Reg Morris csc just manages to squeeze his hat into a car for a cramped POV; and Reg (seated at the camera) covers his head with a Cockney hanky hat during a “snow” scene, while the unidentified focus puller resorts to a newspaper pirate’s chapeau. The man at right, possibly the director, covers his head with his suit jacket. Finally, Sammy Jackson-Samuels csc, in his pork pie hat, shoots a commercial for Supertest High Compression gasoline in 1956.

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(Above) Richard Stringer csc was a technical innovator as well as an award-winning cinematographer. He designed a three-camera mount (shown here) for the 35mm movie shown in the Canadian pavilion at Expo ‘88 in Brisbane, Australia. It was a 15-minute, five-screen show, which was adapted for Seville’s Expo ‘92.

Reg Morris csc was nominated for Genie awards in 1980, 1981 and 1984 for his work on Murder by Decree, Phobia and A Christmas Story re­spectively. Other film credits include Tribute, Middle Age Crazy, Loose Cannons and Porky’s I and II. One of his most historic credits was as DOP on Drylanders, the 1963 motion picture that was the National Film Board’s first feature-length presentation. (Left top) Reg is shown with operator Matt Tundo (right) and key grip Ron Gillam (back centre). (Left bottom) Reg sprawls by the camera for a moment of relaxation.

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

(Top right) Roger Moride csc (centre) films the temples at Angkor Wat in Cambodia in 1952. (Bottom right) Roger Moride csc (centre) at his favourite spot, behind the camera.

(Left) Richard Stringer csc loved the great outdoors. Here he is in parka and warm cap with ear flaps filming in a snowy wood.

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(Above) It’s a tough job, but somebody’s got to do it. Roy Tash csc films the Miss Toronto beauty pageant at the Toronto Police Games in 1966.

(Left, top and bottom) Roger Moride csc (striped shirt) on set.

Roger Moride csc, chief cameraman for Radio Canada during the 1976 Montreal Summer Olympics, works the floor of Olympic Stadium after the closing ceremonies.

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

(Top left) Roy Tash csc sits atop the Associated Screen News motion picture sound truck at the Canadian National Exhibition’s Automotive Building in 1930.

(Lleft) Roy Tash csc cranks a Universal camera mounted on a bi-plane circa 1924.

(Above) Stan Clinton csc uses one of his snowshoes as a tripod as he works on a winter shoot.

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Sammy Jackson-Samuels csc (nicknamed “Wheels” because of his prowess with geared heads) is behind the camera on a commercial shoot for Wrigley’s Doublemint gum. “Double your pleasure”, remember? This photo of Sammy and twin models appeared on the cover of the CSC News in 1992 to mark the 35th anniversary of the CSC.

A group photo of cast and crew of the 1958 western Flaming Frontier includes camera operator Sammy Jackson-Samuels csc, second from the left in the second row.

That’s Sammy, with the cap and the plaid shirt, and to his left is the DOP, Frederick Ford. The director, Sam Newfield, is front-row centre, between stars Jim Davis on his right and Bruce Bennett on his left. The woman in the long, period dress is Paisley Maxwell of Toronto, who plays the female lead. There were several Canadian actors in the cast of this Ontario-shot project, and most of the crew was Canadian.

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Norman Quick, a CSC Associate Life Member, is the last surviving cameraman from the Italian campaign of World War II, where he recorded the furious and violent action of invading Canadian forces advancing up the boot of Italy. Many of the stories that were recorded by the Canadian Army Film and Photo Unit have been preserved on motion picture film newsreels. The Unit produced 106 of these newsreels, copied and restored at the Library and Archives of Canada. The motion picture cameras that were issued at the start of the war were all Bell & Howell Eyemos equipped with a single lens. The Film Unit later used the B&H Spyder, or Q model, with its three-lens turret. The “Q” allowed the cameramen to switch lenses quickly by simply rotating the turret, without having to reach into the equipment bag for another lens, and potentially miss an opportunity for a great shot.

Norman joined the Canadian Army Film and Photo Unit in 1943 and won commendations for his camera work on European battlefields. After the war, he became an NFB cameraman from 1945 to 1951 then rejoined the army for another 18 years before retirement in 1969. His father, film pioneer Charles James Quick, was associated in the 1930s with the old Canadian Government Motion Picture Bureau, the progenitor of the National Film Board.

Some of Norman’s camera comrades, working on the battlefield, on the sea and in the air, died in the war. Of those who returned to Canada, many went on to film work and some, like Norman, joined the CSC. As of this writing, there were only five surviving members of the Canadian Army Film Unit. Norman lives in Ottawa.

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Roger Racine csc, one of the early members of the CSC, founded Cinéfilms & Vidéo Productions Inc. in Montreal in 1964, after 20 years working at the ONF (NFB) and Radio Canada. This celebrated producer, director and DOP, in the company of major Canadian and international filmmaking pioneers, has worked on hundreds of awardwinning movies and documentaries. Racine was cinematographer on La petite Aurore l’enfant martyre (1952), known as one of the most controversial and most representational of Quebec films. Roger also contributed to one of the more celebrated films produced by the NFB during the ’60s, Ladies and Gentlemen, Mr. Leonard Cohen. Now in his 80s, Racine applies his knowledge and experience to projects developed at Cinéfilms & Vidéo Productions. He often takes the role of producer, leaving his son Christian to manage the business.

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

CELEBRITIES The Other Side of the Camera

Working with movie stars and famous directors and meeting celebrities are among the many perquisites enjoyed by cinematographers. Early in the career of Bob Brooks csc, for example, he filmed comedians Jack Benny (top left) and Bob Hope (top right) during separate appearances in Toronto.

Some CSC members made their own celebrity. James Grattan csc of Montreal, a gourmet chef with his own restaurant, was an audacious cameraman who on at least one occasion thumbed his nose at the law. His journalistic intrepidity got him into hot water in 1965 while covering the arraignment of an escaped convict in a Montreal courtroom. James ignored a judge’s order to stop filming and was arrested for contempt. He is shown here in handcuffs being led to jail by a police officer. James died of heart disease in 2004 at the age of 67.

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Above, Ken Gregg csc films the great jazz pianist Oscar Peterson in 1978 for the Music of Man series.

Ken Gregg csc enjoys a moment with celebrated photographer Yousuf Karsh (left) during the 1985 shoot of the documentary Karsh – The Searching Eye. Much earlier, Roy Tash csc chatted with Karsh and compared notes (top left).

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Kelly Duncan csc (right) works with actor Leslie Neilsen (centre) in 1978 on a series of commercials for the Alberta government.

Actor Charlton Heston takes time for a photo op with Miklos Lente csc on the set of the 1990 TV movie The Little Kidnappers, shot on Cape Breton Island, Nova Scotia.

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Reg Morris’s genius behind the camera gave him comfortable status with the celebrities he worked with over the years, like Burt Lancaster, Sophia Loren, Michael Douglas, Henry Fonda, James Mason, Jack Lemmon, director John Huston and many more. Television credits include The Seaway, The Forest Rangers, Lady in a Corner and Christmas Eve, both with Loretta Young. His personal favourite was Murder by Decree, a Canada/UK co-production made in England in 1978.

The film starred Canadian actor Christopher Plummer as Sherlock Holmes and James Mason as Dr. Watson. Also featuring Sir John Gielgud and Canadians Donald Sutherland, Susan Clark and Genevieve Bujold, the movie still gets occasional TV replay. These two photos show Reg working with John Huston on the 1980 thriller Phobia.

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(Above) Richard Stringer csc (left) interviewed author and TV personality Pierre Berton in February of 2004 for his unfinished documentary The Bishop Who Ate His Boots. It is the story of Stringer’s grandfather, an Anglican bishop named Isaac Stringer who worked in the western Arctic in the early years of the 20th century. Bishop Stringer kept an extensive diary and made 16mm films of the North, documenting a now-vanished way of life. Berton was born and raised in the Yukon and said he looked forward to the occasions when Bishop Stringer showed his films at the local church. Berton died in November, 2005, and Richard passed away in Victoria, B.C., on July 27, 2007, at age 62.

(Left, top and bottom) Roy Tash csc (left) looks on as Gov.-Gen. Roland Michener presents the Roy Tash Award for spot news cinematography. This may possibly be the inaugural presentation, to Teri Culbert of CFPL-TV London, Ont., in 1970, but it could not be confirmed. Roy Tash csc photographs RCAF Air Marshal Billy Bishop, Canada’s World War I air ace, in 1941. This photo bears what appears to be Bishop’s autograph.

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Queen Mother Elizabeth congratulates Roy Tash csc on his 50th year of filmmaking.

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(Top left) Gov.-Gen. Vincent Massey (centre) fishes for Arctic char near the North Pole as Roy Tash csc gets it on film.

(Bottom left) Roy Tash csc films the Dionne quintuplets on their first Christmas in 1934.

(Right) DOP Sammy Jackson-Samuels csc takes a light reading on the set of Pinocchio’s Birthday Party (1974).

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OUR 50th ANNIVERSARY BOOK SPONSORS present: On the following pages we present more wonderful memories and moments of fifty years of cinematography in Canada.

A crew shot on the set of the 1958 western Flaming Frontier.

That’s Sammy Jackson-Samuels csc behind the camera and director Frederick Ford on the right.

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Sammy Jackson-Samuels csc rides the roof of a 1950s station wagon to get his shot.

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Roger Moride csc (centre) at his favourite spot, behind the camera, in 1978.

Roger is one of the most accomplished and most prolific cinematographers in Canada. He came to Montreal in 1952, after studying cinematography at the university level in Paris. He signed on as a technician at the National Film Board for two years, planning to go back to Paris, but he met and married a Canadian girl … and stayed. He turned to freelance work because he wanted to light feature films and there was no opportunity at the NFB at that time. He drifted back and forth between drama and documentary over a 45-year career, compiling a list of 15 feature credits, 75 documentaries, 15 TV series and more than 120 commercials. Roger’s remarkable career was recognized by the CSC in 1994 when he was presented with the Kodak New Century Award.

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Ken Gregg csc (left) with soundman on location.

(Right) Nikos Evdemon csc sits atop a crane while shooting in front of the Peace Tower in Ottawa. The project was Private Capital, a CBC movie set in turn-of-the-century Ottawa during the Boer War. Evdemon, who came to Canada in 1968 from Greece, won the 2003 CSC Award for best cinematography in a TV Series, specifically the “Nothing to Fear” episode of Mutant X. The honour joins a list that includes the 1998 CSC Best TV Drama Award for Peacekeepers, four Gemini Awards (1986, 1987, 1989 and 1996) and four Gemini nominations — three of them in 1998 and for Torso: The Evelyn Dick Story in 2002.

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Stereographic cinematographer Noel Archambault, seen here wrestling with an IMAX 3D camera rig the size of a satellite, was tragically killed with the pilot in a 1998 ultralight plane crash in the Galapagos Islands. He was filming scenes for the IMAX 3D movie Galapagos - The Enchanted Voyage.

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Way up North in dogsled country, Bob Brooks csc and an unidentified colleague admire this team of huskies.

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Reg Morris csc sets up his camera on board an RCAF aircraft, while a young Flying Officer looks on.

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(Left) Roy Tash csc, who had his picture taken with many celebrities, enjoys trading places with Lord Thomson of Fleet.

(Bottom Left) When you take a camera down a mine shaft, you’re going to get a few smudges, Ken Gregg csc learned.

(Right) Sammy Jackson-Samuels csc sets up outside Buckingham Palace during a documentary shoot for the World Wildlife Fund. Sammy loved to tell the story of his unexpected encounter with Queen Elizabeth II. Seeking an additional electrical outlet for his lights, Sammy opened a door to find Her Majesty sitting at table eating Corn Flakes. He beat a hasty retreat.

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(Right) Richard Stringer csc with Hollywood actress Shelley Duvall.

(Left) Roger Moride csc (right) sets up a shot for the feature Le Silence des fusils with gaffer Marcel Breton in 1995.

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(Left) Sammy Jackson-Samuels csc is behind the camera. He seems to be more warmly clad than his director (identity unknown) (Right) Bob Brooks csc is gowned for a shoot in surgery.

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A young and serious-looking Sammy Jackson-Samuels csc lines up his camera with assistance from an unidentified focus puller.

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Richard Stringer csc as a budding young cameraman.

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Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Page 71

Ken Gregg csc (centre) poses with two other CBC News Winnipeg cameramen Steve Solico (left) and Myron Kupchuk. The occasion seems to be a major fire, and Ken and friends appear pretty happy with their coverage.

Canadian Society of Cinematographers 1957-2007

Page 72

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

This is how Richard Stringer csc got his start, running and bicycling around hometown Winnipeg shooting film on his Super 8 camera.

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Page 73

Roy Tash csc with Sir William Mulock, retired postmaster-general, on the occasion of Mulock’s 100th birthday.

Canadian Society of Cinematographers 1957-2007

Page 74

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

(Left top and bottom) Cinematographers took their film cameras everywhere – from sporting events to hospitals – to keep Canadians informed and entertained.

(Right) Roy Tash csc and his ubiquitous camera.

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Page 75

We don’t know who this cameraman is, but the setting is idyllic and the sun just right.

RETOUCH IMAGE

Canadian Society of Cinematographers 1957-2007

Page 76

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Sammy Jackson-Samuels csc is the cameraman on this breakfast cereal commercial.

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Page 77

(Left) Naturalist cinematographer Bob Bocking csc is shown using his custom helicopter mount and Arri ST during a shoot on the Nahanni River, NWT, in 1977 for Keg Productions, with “the best helicopter pilot I ever had the pleasure of flying with, Wayne Myers.”

Myers was killed in a crash caused by a logging company’s cable strung across a valley on Vancouver Island in 1978.

The mount was made up of film cans filled with lead, surgical hose and a Cclamp. “I also sat on a foam cushion to keep the vibration away from my body.

It worked very well.”

Norman C. Allin csc (Top right), looking like he just parachuted in, is greeted by camera assistant Peter Muller (glasses).

(Bottom right) Robert Rouveroy csc with former CSC administrator and magazine editor, Jennifer Hietala.

Canadian Society of Cinematographers 1957-2007

Page 78

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

(Left): Stan Clinton csc was the first contract cameraperson at the CBC. He devoted his life not only to filming superb pictures, but also to teaching new cameramen. The Stan Clinton Award is presented annually at the CSC Awards for the best television news essay where cinematographic distinction is the prime consideration.

(Right): Reg Morris csc

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Page 79

Ever the gentleman, Bob Brooks csc (far right) graciously lets a figure-skating beauty take over his camera during an ice show shoot.

Canadian Society of Cinematographers 1957-2007

Page 80

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

HAT IN THE RING: Joan Hutton csc was a young 2nd assistant when this photo was taken during the shooting of a 1979 boxing feature called Title Shot. The DOP was Henri Fiks csc. That’s 1st AC Paul Gravel on the right. Joan says the bowler hat was given to her by a member of the camera crew, and it became her signature headgear on set.

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Page 81

Bob Brooks csc steadies himself and his tripod during a shoot in the land of Robin Hood – possibly a parade at the Calgary Stampede

Canadian Society of Cinematographers 1957-2007

Page 82

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

The city and the country: uptown Toronto’s famous castle, Casa Loma, is the venue for this 1950s shoot.

Meanwhile, somewhere on an Ontario farm, Bob Brooks csc balances precariously on the back of a tractor while shooting a Cockshutt Plough commercial. DOP Roy Tash is perched on the side, just inches from those big tires. What a great job!

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Page 83

(Right) Reg Morris csc wears a pensive expression as he deliberates the look of the next scene.

(Top left) Stan Clinton csc was the first contract cameraperson at the CBC. He devoted his life not only to filming superb pictures, but also to teaching new cameramen. The Stan Clinton Award is presented annually at the CSC Awards for the best television news essay where cinematographic distinction is the prime consideration.

(Bottom left) Roy Tash csc seems to have said something profound to Gen. Charles de Gaulle ‌ maybe something about noses ‌ at the French Embassy in Ottawa.

Canadian Society of Cinematographers 1957-2007

Page 84

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Fritz Spiess csc, a CSC founder and industry leader, was well known for his meticulous methods of organization. He never threw anything out, often stashing photos in glassine envelopes and marking items with Post-It notes. His personal archives are stored at the University of Toronto.

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Page 85

This shoot is for the Ontario Workmen’s Compensation Board, and that’s Sammy Jackson-Samuels csc behind the camera.

Canadian Society of Cinematographers 1957-2007

Page 86

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Cast and crew of the 1959 Canadian series Hudson’s Bay includes camera operator Sammy Jackson-Samuels csc, fourth from the left in the third row (standing). He’s wearing a suit jacket.

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Page 87

Roy Tash csc is presented with a plaque by entertainer Sammy Davis Jr. for volunteer service to the Variety Club of Ontario, while Chief Barker Jack Bernstein looks on.

Canadian Society of Cinematographers 1957-2007

Page 88

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

(Left) Is it Nikos Evdemon csc or James Bond? It’s actually Nikos in Cambodia in 1974. He was filming a CBC Newsmagazine story about the war that led to the fall of Cambodia.

He was lightly wounded while shooting from a gunship helicopter during a battle against the Khmer Rouge.

(Right) Bob Bocking csc, early in his career in Thunder Bay, donned wet suit and scuba gear and grabbed his camera, in its waterproof housing, for some underwa­ter footage.

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Page 89

Ron Wegoda csc of Montreal was Camera 2 operator for the 1956-57 series Radisson, the first major dramatic television series produced in Canada. It aired on both the French and English networks of the CBC. Ready for action, (from left) RenĂŠ Caron as Groseilliers and Jacques Godin as Radisson talk with director Pierre Gauvreau while DOP Denis Mason frames the shot.

Canadian Society of Cinematographers 1957-2007

Page 90

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

(Left) Nikos Evdemon csc and focus puller Alar Kivilo, now csc asc.

(Right) Roy Tash csc and actor Glen Ford

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Page 91

Bob Brooks csc, for Chetwynd Films, records pre-race preparations at Mosport near Toronto.

Canadian Society of Cinematographers 1957-2007

Page 92

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

(Left) Gerd Kurz arrived in Toronto from Germany in the late 1960s, and founded Precision Camera Inc. about 10 years later. From the start of PCI, Gerd became an affiliate member, corporate sponsor and a staunch supporter of the CSC. On Feb. 6, 2003, he died suddenly at home of a heart attack, age 61. In 1990, the CSC presented him with the Bill Hilson Award for outstanding service to the motion picture industry in Canada, and the Fujifilm Award, posthumously, in 2003 for service to the CSC. He was a brilliant lens technician, marketer, and a fixer and inventor extraordinaire of camera gear and accessories.

(Right) Full Life Member Ron Wegoda csc of Montreal was Camera 2 operator for the historic 1956-57 series Radisson. See page 90.

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Page 93

Roy Tash csc and friends, Bruce West of the Toronto Globe and Mail and TV host Ed Sullivan.

Canadian Society of Cinematographers 1957-2007

Page 94

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

This 1950s commercial shoot for a gasoline company was missing something … cars! Nobody seems to mind that the only vehicles pulled up to the pumps are … bicycles. Must be for the free air. Gas was only about 25 cents a gallon, by the way. That’s Sammy Jackson-Samuels csc behind the camera.

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Page 95

DOP Roger Moride csc (centre, standing) checks the light for a location shot on the 1995 feature Le Silence des fusils. From left, genny op Francis Choquette; Alain Desmarchois, accessories; Yvan Brunet, 1st AC; Moride; Corinne Jodiou, 2nd AC; gaffer Marcel Breton (looking up); and dolly grip Denis Zawadzki.

Canadian Society of Cinematographers 1957-2007

Page 96

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Trusting the drivers but tempting fate, Bob Brooks csc moves out onto the Mosport course for a better angle of speeding cars. Cinematographers seem to thrive on risk.

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Page 97

Places, please! Sammy Jackson-Samuels csc is at the camera for this unidentified shoot, and we recognize a couple of other faces, too. That’s a young Bert Dunk csc just below Sammy, and dolly grip Ron Gillam (centre) to Bert’s left.

Gill Taylor is at the far left.

Canadian Society of Cinematographers 1957-2007

Page 98

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Bob Brooks csc (top) and Roy Tash csc.

Canadian Society of Cinematographers 1957-2007

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Page 99

The End

While every effort has been made to correctly identify the people, places and events shown in this 50 th Anniversary Commemorative Book, the CSC apologizes for any errors which might have escaped our notice, including the misspelling of names.

Page 100

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Membership List

Pg 102

CSC 50th Anniversary Sponsors

Pg 104

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Page 101

CSC FULL MEMBERS Jim Aquila csc Eduardo Arregui csc John Badcock csc Michael Balfry csc Christopher Ball csc John Banovich csc John Stanley Bartley csc, asc Stan Barua csc Yves Bélanger csc Peter Benison csc John Berrie csc Thom Best csc Michel Bisson csc Michael Boland csc Raymond A. Brounstein csc Thomas Burstyn csc Barry Casson csc Eric Cayla csc Henry Chan csc Marc Charlebois csc Rodney Charters csc, asc Damir I. Chytil csc Arthur E. Cooper csc Walter Corbett csc Steve Cosens csc Bernard Couture csc Richard P. Crudo csc, asc Dean Cundey csc, asc François Dagenais csc Steve Danyluk csc David A. De Volpi csc Kamal Derkaoui csc Kim Derko csc Serge Desrosiers csc Jean-Yves Dion csc Zoe Dirse csc Mark Dobrescu csc Wes Doyle csc Guy Dufaux csc Ray Dumas csc Albert Dunk csc, asc Philip Earnshaw csc Michael Ellis csc Carlos A. Esteves csc

Page 102

Nikos Evdemon csc David Frazee csc Marc Gadoury csc Antonio Galloro csc James Gardner csc, sasc David A Geddes csc Ivan Gekoff csc Laszlo George csc, hsc Leonard Gilday csc Pierre Gill csc John Goldi csc Russ Goozee csc Steve Gordon csc Barry R. Gravelle csc David Greene csc John B. Griffin csc Michael Grippo csc Manfred Guthe csc Thomas M. Harting csc Peter Hartmann csc Pauline R. Heaton csc Brian Hebb csc David Herrington csc Karl Herrmann csc Kenneth A. Hewlett Robert Holmes csc John Holosko csc George Hosek csc Colin Hoult csc Donald Hunter csc Joan Hutton csc Mark Irwin csc, asc James Jeffrey csc Pierre Jodoin csc Martin Julian csc Norayr Kasper csc Glen Keenan csc Ian Kerr csc Jan E. Kiesser csc, asc Alar Kivilo csc, asc Douglas Koch csc Charles D. Konowal csc Rudolf Kovanic csc Ken Krawczyk csc Les Krizsan csc

Canadian Society of Cinematographers 1957-2007

Membership List Alwyn J. Kumst csc Jean-Claude Labrecque csc Serge Ladouceur csc George Lajtai csc Marc Laliberté Else csc Barry Lank csc Henry Lebo csc John Lesavage csc Henry Less csc Pierre Letarte csc Philip Linzey csc J.P. Locherer csc Peter C. Luxford csc Larry Lynn csc Dylan Macleod csc Bernie MacNeil csc Glen MacPherson csc, asc Garnet Shawn Maher csc David A. Makin csc Harry Makin csc Adam Marsden csc Donald M. McCuaig csc, asc Robert B. McLachlan csc, asc Ryan McMaster csc Michael McMurray csc Stephen F. McNutt csc Simon Mestel csc Alastair Meux csc Gregory D. Middleton csc C. Kim Miles csc Gordon Miller csc Robin S. Miller csc Paul Mitchnick csc Luc Montpellier csc

George Morita csc Rhett Morita csc David Moxness csc Douglas Munro csc Stefan Nitoslawski csc Danny Nowak csc Rene Ohashi csc, asc Harald K. Ortenburger csc Gerald Packer csc Rod Parkhurst csc Barry Parrell csc Brian Pearson csc David Perrault csc Bruno Philip csc Matthew R. Phillips csc André Pienaar csc, sasc Zbigniew (Ed) Pietrzkiewicz csc Randal G. Platt csc Milan Podsedly csc Hang Sang Poon csc Andreas Poulsson csc Don Purser csc Ousama Rawi csc, bsc William Walker Reeve csc Stephen Reizes csc Derek Rogers csc Brad Rushing csc Branimir Ruzic csc Robert G. Saad csc Victor Sarin csc Paul Sarossy csc, bsc Michael Patrick Savoie csc Gavin Smith csc Christopher Soos csc Michael Spicer csc John Spooner csc Ronald Edward Stannett csc Barry Ewart Stone csc Michael Storey csc Michael Sweeney csc Adam Swica csc Attila Szalay csc, hsc Christopher D. Tammaro csc Jason Tan csc John P. Tarver csc

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Paul Tolton csc Bert Tougas csc Chris Triffo csc Sean Valentini csc Derek VanLint csc Gordon Verheul csc Roger Vernon csc Daniel Villeneuve csc Daniel Vincelette csc Michael Wale csc John Walker csc James Wallace csc Tony Wannamaker csc Peter Warren csc Andrew Watt csc Jim Westenbrink csc Tony Westman csc Kit Whitmore csc, soc Brian Whittred csc Ron Williams csc George A. Willis csc, sasc Glen Winter csc Peter Woeste csc Bill C.P. Wong csc Bruce Worrall csc Craig Wrobleski csc Yuri Yakubiw csc Ellie Yonova csc CSC ASSOCIATE MEMBERS Don Armstrong John W. Bailey Douglas Baird Kenneth Walter Balys David Battistella Gregory Bennett Jeremy Benning Jonathan Bensimon André Bériault Roy Biafore Christian Bielz Francois M. Bisson Christophe Bonniere Scott Brown Richard Burman

Lance Carlson Jon Castell Mark Caswell Maurice Chabot Stephen Chung David Collard René Jean Collins Jarrett B. Craig Rod Crombie Micha Dahan Nicholas de Pencier Gareth Dillistone Randy Dreager John E. Durst Jay Ferguson Andrew Forbes Richard Fox Tom Gatenby Brian Gedge Vladimir Gosaric D. Gregor Hagey John Hodgson Cliff Hokanson Suave Hupa George Hupka David Johns Jorma Kantola Ernie Kestler Shannon Kohli Charles Lavack Jim Laverdiere Robin Lawless soc Byung-Ho Lee Philip Letourneau Antonin Lhotsky John V. Lindsay Dave Luxton Robert Macdonald Mario Anthony Madau Jeff Maher Roy Marques Kelly Mason Andris D. Matiss Paul McCool Patrick McLaughlin

Tony Meerakker Gerry Mendoza Tony Merzetti Bill Metcalfe Bentley Miller Paul Mockler Helmfried Muller Brian Charles Murphy Keith Murphy Kent Nason Christopher M. Oben Eric Oh Ted Parkes Deborah Parks Pavel (Pasha) Patriki Rick Perotto Allan Piil Scott Plante Dave Rendall Cathy Robertson Peter Rosenfeld Don Roussel Ian Scott Neil Scott Neil Seale Wayne Sheldon Barry E. Springgay Paul Steinberg Marc Stone Michael Strange Joseph G. Sunday phd André Paul Therrien George (Sandy) Thomson Kirk Tougas John Minh Tran Y. Robert Tymstra John Walsh Lloyd Walton Glenn C. Warner Douglas H. Watson Roger Williams Richard Wilmot Peter Wayne Wiltshire Dave Woodside Peter Wunstorf

Canadian Society of Cinematographers 1957-2007

Membership List CSC AFFILIATE MEMBERS Christopher Alexander Dwayne Alexander Donald G. Angus Derek Archibald Garth Archibald Robin Bain Iain Alexander Baird P. J. Barnes P.Eng. Peter Battistone Jacques F. Bernier Mark A. Biggin Caroline Brandes Adam Braverman Gordon A. Burkell Stephen Campanelli Tim A. Campbell Arnold Caylakyan Jason Charbonneau Bernard Chartouni Maggie Craig Brad Creasser Michael Jari Davidson Colin Davis Nicholas Deligeorgy Dominika Dittwald Micah L. Edelstein Tony Edgar Andreas Evdemon Randy French Richard Gira Aizick Grimman James D. Hardie Bruce William Harper

John Richard Hergel BA CD Jeffrey Hicks Vincent Hilsenteger Kristy Hodgson Perry Hoffmann Brad Hruboska Marcel D. Janisse Christine Jeoffroy Rick Kearney Boris Kurtzman Nathalie Lasselin Tony Lippa John Lipsz Matthew J. Lloyd Christopher G. Logan Lori P. Longstaff Robert H. Lynn Jill MacLauchlan Parks Yoann Malnati Sean Marjoram Julie McDowell Justin McIntosh Andrew Medicky Kar Wai Ng Brent O’Hagan Ted Overton Andrew Oxley Gino Papineau Graeme Parcher Kalpesh Patel Borislav Penchev Greg Petrigo Gottfried C. Pflugbeil Douglas B. Pruss Manuel Alejandro Rios Ceron Lem Ristsoo Susan Saranchuk Chirayouth Jim Saysana Andrew W. Scholotiuk James Scott George Simeonidis Brad Smith Gillian Stokvis-Hauer Francois Tremblay Steven Tsushima

Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Paula Tymchuk Anton van Rooyen Trevor J. Wiens Ryan Woon CSC FULL LIFE MEMBERS Herbert Alpert csc, asc Robert Bocking csc David Carr csc Marc Champion csc Christopher Chapman csc, cfe Robert C. Crone csc, cfc, dg Kenneth R. Davey csc Kelly Duncan csc, dgc John C. Foster csc Kenneth W. Gregg csc Edward Higginson csc Brian Holmes csc Douglas Kiefer csc Naohiko Kurita csc Harry Lake csc Douglas E. Lehman csc Duncan MacFarlane csc Douglas A. McKay csc Donald James McMillan csc Jim Mercer csc Roger Moride csc Ron Orieux csc Dean Peterson csc Roger Racine csc Robert Rouveroy csc Ivan Sarossy csc Josef Sekeresh csc John Stoneman csc Walter Wasik csc Ron Wegoda csc CSC HONOURARY MEMBERS Roberta Bondar Vi Crone Graeme Ferguson Wilson Markle

Page 103

Academy of Canadian Cinema and Television 172 King Street East Toronto ON M5A 1J3 416-366-2227 Fax 416-366-8454 www.academy.ca All Axis Remote Camera Systems P.O. Box 34205 Stn. D Vancouver BC V6J 4N1 1-888-734-2947 Fax 1-866-734.2946 www.allaxissystems.com Alter Ego 488 Wellington Street West, Ste 400 Toronto, ON M5V 1E3 416-467-4600 Fax 416-467-5620 www.alteregopost.com American Society of Cinematographers 1782 North Orange Drive Hollywood, CA 90028 (800) 448-0145 within U.S.A. (323) 969-4333 outside U.S.A. www.theasc.com Arri Canada Ltd. 415 Horner Avenue, Unit 11 Toronto, ON M8W 4W3 416-255-3335; 1-800-379-ARRI Fax 416-255-3399 www.arri.com Australian Cinematographers Society Postal Address: PO Box 207 Cammeray, NSW 2062 www.cinematographer.org.au

Canadian Society of Cinematographers 1957-2007

CSC 50th Anniversary Sponsors Canon Canada Inc. Broadcast & Communications Division 6390 Dixie Road Mississauga, ON L5T 1P7 905-795-2164 www.canon.ca Clairmont Camera 16 Overlea Blvd.

Toronto, ON M4H 1A4 416- 467-1700 Fax 416- 467-8006 www.clairmont.com Cooke Optics Ltd. Cooke Close Thurmaston, Leicester LE4 8PT United Kingdom +44 (0)116 264 0700 +44 (0) 116 264 0707 www.cookeoptics.com Creative Post Inc. 510c Front Street West Toronto, ON M5V 1B8 416-979-7678 www.creativepostinc.com

British Society of Cinematographers D.J. Woods Productions Inc. PO BOX 2587, Gerrards Cross, 934 Eastern Avenue SL9 7WZ, UK Toronto, ON M4L 1A4 Tel: +44 (0)1753 888052 416-778-8661 Fax 416-778-8662 Fax: +44 (0)1753 891486 www.djwoods.ca www.bscine.com Page 104 Canadian Society of Cinematographers 50th Anniversary - 1957-2007

Deluxe | Postproduction Toronto 416-364-4321 Deluxe | The Lab Toronto 416-461-8090 Deluxe | Vancouver 604-874-8700 www.bydeluxe.com Fujifilm Canada Inc. 600 Suffolk Court Mississauga, ON L5R 4G4 1-800-263-5018 Montreal 1-800-361-1077 Vancouver 1-800-663-0690 www.fujifilm.ca Fujinon 10 High Point Drive Wayne, NJ 07470-7434 973-633-5600 Fax 973-663-5216 www.fujinon.com

George Film Company 53 Wilson Park Road Toronto ON M6K 3B6 416-533-2162 Fax 416-533-2186 www.georgefilm.com

Image Pacific Broadcast Rentals Vancouver, BC 1-800-567-0037 ext. 2 www.imagepacific.com Image Central Broadcast Rentals Toronto, ON 1-800-567-0037 ext. 1 www.imagecentral.ca

IATSE 667 9 Goucester St. Toronto, ON M4Y 1L8 416-368-0072 Fax 416-368-6932 Toll Free: 1-877-368-1677 (w/i eastern Canada only) 705 Bourget, Bureau 201 Montreal, QC H4C 2M6 519-937-3667 Fax 519-937-3592 Toll Free: 1-877-368-1677 IATSE 669 3823 Henning Drive, Unit 217 Burnaby, BC V5C 6P3 778-330-1669 Fax 778-330-1670 Kino Flo Inc. 2840 North Hollywood Way Burbank, CA 91505-1023 818-767-6528 Fax 818-767-7517 www.kinoflo.com Kodak Canada Inc. 6 Monogram Place, Suite 200 Toronto, ON M9R 0A1 416-761-4646 / 1-800-621-3456 Montreal 1-800-621-3456 Vancouver 1-800-621-3456 www.kodak.ca Lee Filters Canada/Technically Yours Inc. Toronto, ON M5A 1Z1 416-361-9390 Fax 416-361-9745 www.tyi.ca

Notch 82 Peter Street, 5th floor, Toronto, ON M5V 2G5 416-847-0550 Fax 416-847-0551 info@notch.ca

Soho 26 Soho Street Toronto, ON M5T 1Z7 416-591-1400 Fax 416-591-6854 www.26soho.com

Panasonic Canada Inc. Professional Imaging and Display Solutions 5770 Ambler Drive Mississauga, ON L4W 2T3 905-238-2240 Fax 905-238-2362 www.panasonic.ca

Sony of Canada Ltd. Head Office 115 Gordon Baker Road Toronto, ON M2H 3R6 416-499-1414 Fax 416-499-8290 www.sonybiz.ca

Panavision Canada 900A Don Mills Road Toronto, ON M3C 1V6 416-444-7000 Fax 416-444-0192 Vancouver 604-291-7262 Fax 604-291-0422 Calgary 403-246-7267 Fax 403-246-7282 Halifax 902-404-3630 Fax 902-404-3632 www.panavision.com

Technicolor Creative Services 49 Ontario Street Toronto, ON M5A 2V1 416-585-9995 fax 416-585-0650 www.technicolor.com

PS Production Services 80 Commissioners Street Toronto, ON M5A 1A8 416- 466-0037 Fax 416-466-9612 Vancouver 604-434-4008 Winnipeg 204-632-6813 Halifax 902-468-4747 www.psps.com Rosco Canada 1241 Denison Street #44 Markham, ON L3R 4B4 905-475-1400 1-888- ROSCO TO 767-2686 Fax 905-475-3351 www.rosco.com/canada

3D Camera Company 1 Westside Drive, Unit 12 Toronto ON M9C 1B2 416-622-9925 fax 416-767-5736 Bill White whitetor@aol.com cell 416-460-2834 William Reeve william.reeve@t-online.de cell 416-831-0123 www.3dcameracompany.com Videoscope 31 Prince Andrew Place Toronto, ON M3C 2H2 416-449-3030 Fax 416-449-5230 London, ON 519-668-0660 www.videoscope.com

William F. White International Inc. Vancouver-Calgary-Regina-Winnipeg Mole-Richardson Co. Sim Video Productions Ltd. Toronto-Ottawa-Montreal-Halifax-Budapest 937 N. Sycamore Ave. 1 Atlantic Avenue, Suite 110 Head Office Hollywood CA 90038-2384 Toronto, ON M6K 3E7 1030 Islington Avenue 323-851-0111 Fax 323-851-5593 416-979-9958 Fax: 416-979-7770 Toronto, ON M8Z 6A4 www.mole.com www.simvideo.com 416-239-5050 Fax 416-207-2777 www.whites.com Page 105 Canadian Society of Cinematographers 50th Anniversary - 1957-2007