Canadian Society of Cinematographers Magazine April 2017

CANADIAN SOCIETY OF CINEMATOGRAPHERS

$4 April 2017 www.csc.ca

C S C d y o l L w S e R h t t E G Ma N A R

R E POW

Stephen Reizes CSC: Mary Kills People

A publication of the Canadian Society of Cinematographers Celebrating 60 years of excellence

FEATURES – VOLUME 9, NO. 1 APRIL 2017

Fostering cinematography in Canada since 1957.

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

We facilitate the dissemination and exchange of technical information and endeavor to advance the knowledge and status of our members within the industry.

As an organization dedicated to furthering technical assistance, we maintain contact with non-partisan groups in our industry but have no political or union affiliation.

Credit: Kimberley French

The CSC provides tangible recognition of the common bonds that link film and digital professionals, from the aspiring student and camera assistant to the news veteran and senior director of photography.

Power Play: Matthew Lloyd CSC Takes on New Rangers

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By Trevor Hogg, Special to Canadian Cinematographer

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Executing Mary Kills People From Page to Screen

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By Stephen Reizes CSC

CSC Reports from the

Annual General Meeting 2017

Annual General Meeting 2017

COLUMNS & DEPARTMENTS 2 4 8 22 24 26 27 36 Cover

From the Editor-In-Chief In the News Spotlight: Ray Dumas CSC William F. White's February Freeze The Masters Tech Column 60th CSC Award Nominees Production Notes/Calendar Matthew Lloyd csc takes on New Rangers Elizabeth Banks stars as Rita Repulsa. Credit: Kimberley French

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Canadian Cinematographer April 2017 Vol. 9, No. 1 EDITORIAL BOARD EDITOR-IN-CHIEF Joan Hutton CSC EDITOR EMERITUS Donald Angus EXECUTIVE OFFICER Susan Saranchuk, admin@csc.ca EDITOR Fanen Chiahemen, editor@csc.ca COPY EDITOR Karen Longland ART DIRECTION Berkeley Stat House WEBSITE www.csc.ca ADVERTISING SALES Guido Kondruss, gkondruss@rogers.com EDITORIAL BOARD MEMBER Bruce Marshall, brucemarshall@sympatico.ca CSC BOARD OF DIRECTORS Carlos Esteves CSC Joan Hutton CSC Alwyn Kumst CSC Antonin Lhotsky CSC Bruno Philip CSC Joseph Sunday PhD George Willis CSC, SASC CSC EXECUTIVE PRESIDENT George Willis CSC, SASC PAST PRESIDENT, ADVISOR Joan Hutton CSC VICE PRESIDENTS Carlos Esteves CSC, Toronto Alwyn Kumst CSC, Vancouver Bruno Philip CSC, Montreal MEMBERSHIP CHAIRS Arthur Cooper CSC Phil Earnshaw CSC EDUCATION CHAIRS Carlos Esteves CSC George Willis CSC, SASC AWARDS CHAIR Alwyn Kumst CSC PUBLIC RELATIONS CHAIR Bruce Marshall OFFICE / MEMBERSHIP / SUBSCRIPTIONS 131–3007 Kingston Road Toronto, Canada M1M 1P1 Tel: 416-266-0591; Fax: 416-266-3996 Email: admin@csc.ca, subscription@csc.ca

Canadian Cinematographer makes every effort to ensure the accuracy of the information it publishes; however, it cannot be held responsible for any consequences arising from errors or omissions. The contents of this publication may not be reproduced in whole or in part without the express written consent of the publisher. The opinions expressed within the magazine are those of the authors and not necessarily of the publisher. Upon publication, Canadian Cinematographer acquires Canadian Serial Rights; copyright reverts to the writer after publication.Canadian Cinematographer is printed by Winnipeg Sun Commercial Print and is published 10 times a year.

One-year subscriptions are available in Canada for $40.00 for individuals and $80.00 for institutions, including HST. In U.S. rates are $45.00 and $90.00 for institutions in U.S. funds.

International subscriptions are $50.00 for individuals and $100.00 for institutions. Subscribe online at www.csc.ca.

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FROM THE EDITOR-IN-CHIEF Joan Hutton CSC

W

hile watching the Canadian Screen Awards several weeks ago, I was intrigued when actor Natasha Negovanlis took home the Fan Choice Award. The winner in this category is chosen by viewers who vote for their favourite actor online. What’s interesting with Negovanlis is that she’s relatively unknown on conventional TV and in theatres, but she’s a huge Internet star because of her hit online series Carmilla. The fans picked Negovanlis over a host of established stars from traditional broadcast series and features. Her win made me wonder where the eyeballs are headed.

It’s well known that the screen-based audience has been fragmented by the Internet, with online viewership growing significantly each year, mostly at the expense of cable television. In casual conversation, I’m hearing increasingly the refrain, “If it’s not on Netflix, then I don’t watch it.” I’m not endorsing Netflix, but merely illustrating that for a significant swath of people, it’s streaming or nothing. The same could be said for those who solely watch cable TV, which is still the more dominant of the two and where producers make their money. The dilemma is two distinctly separate systems, one new and one old, trying to impose their structures.

Simply, the Internet is global by design and knows no boundaries. That’s why Netflix, at first, was lax in policing subscribers with VPNs who could unblock and access its content from any country in the world. Good for consumers, not so good for content creators who mostly work within traditional TV with its program licencing system and manmade regional boundaries. It’s a system that’s worked well for producers, making them money for almost 70 years. Netflix had to eventually impose regionally restricted access to its global network in order to appease providers to buy content. Unfortunately, foisting artificial geo-boundaries upon the Internet is essentially a bad fit, tantamount to forcing a square peg into a round hole. Netflix and similar streaming sites have taken to producing their own content to satisfy their global reach with great success. However, if the trend continues with an increasing number of viewers drifting to the Internet from cable, this could further change the equation. Producers will need to consider the Internet as their first call with global licensing in hand, without regionalism in mind. If so, this will drastically change our industry once again and probably for the better. Time will tell.

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IN THE NEWS

Award presented to ARRI over the course of its 100-year history. The ALEXA was introduced to the market in 2010, and for the last five years, every film to win the Academy Award for Best Cinematography has been captured with the ALEXA. The Panavision's EVP of Global Sales & Marketing Bob Harvey Genesis digital motion picture during the Academy of Motion Picture Arts and Sciences' Scientific and Technical Achievement Awards on February 11. camera, co-developed by Sony and Panavision was also honoured with a Scientific and Engineering Award, as was Sony’s F65 CineAlta digital motion picture camera. The 20-megapixel, 8K single CMOS image sensor-equipped F65 is the flagship of Sony’s large sensor acquisition technology. The Genesis is equipped with super Pictured from left to right: ARRI’s Marc Shipman-Mueller, Stephan Schenk, Franz Kraus, Walter Trauninger and Achim 35 mm film-size single CCD of 12.4 megapixels arranged in a Oehler.

1950 by 1080 array, making it the first commercial available sensor with a direct attachment to a spherical 35 mm film lens.

The ceremony was held February 11 at the Beverly Wilshire hotel.

Sony Corporation's Business Executive Toshihiko Ohnishi, Panavision CEO Kim Snyder and Bob Harvey prior to the Awards.

ARRI, Sony and Panavision Recognized with Scientific and Technical Awards ARRI, Sony and Panavision were each recently honoured at the 89th annual Scientific and Technical Awards presentation of the U.S. Academy of Motion Picture Arts and Sciences in Los Angeles. ARRI was honoured with a Scientific and Engineering Award for the technology of its Super 35 format ALEXA digital camera system. This accolade is the 19th Scientific and Technical

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William F. White Enters Partnership Agreement with Drone Company Aerial MOB

Paul Bronfman, chairman/ CEO of Comweb Corp. and William F. White, recently announced that the company has entered into a first-in-Canada exclusive partnership/representation agreement with San Diego, California-based drone company, Aerial MOB. Established in 2013, Aerial MOB is the first drone company of its kind to obtain approval from the Federal Aviation Administration (FAA) in the U.S. for closed-set film production. The company also wrote and developed the initial regulations for use of drone technology in film production in partnership with the Motion Picture Association of America. In

2016, they were granted permission for commercial drone use by Transport Canada, becoming one of the only companies in the world with certifications for flight in both Canada and the United States. The drones, which will initially be offered through the Whites Specialty Equipment (WSE) department, will be available for rent this coming spring.

The AFC’s Prime Time Challenge Raises $103,500 to Assist Entertainment Professionals in Crisis The AFC in February announced that its 2017 Prime Time Challenge raised $103,500 in just 24 hours — $3,500 more than last year’s challenge. The Prime Time Challenge is an annual campaign to raise awareness and financial support for The AFC during the Prime Time in Ottawa conference, a national networking event for Canada’s most prominent business leaders, decision-makers and policy experts in the television, film and digital media production industry. The Canadian Media Producers Association (CMPA) President and CEO Reynolds Mastin kicked off the challenge at Prime Time on February 2 by announcing a donation of $5,000 from CMPA National and a matching contribution of $5,000 from CMPA BC. The AFC also announced the launch of its Financial Wellness Program, an initiative aimed at helping entertainment professionals recover when illness, injury or other severe hardship threatens their health, housing or ability to work. The Financial Wellness Program is made possible through the support of Richard Rooney and Laura Dinner.

Through this new program, those who have received emergency financial aid from The AFC will also have access to accredited financial counsellors with industry knowledge who can provide customized, relevant information that will assist in their long-term recovery.

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Loose Change Inc. and a subscription to the online learning database Lynda. com. These services will be made available to clients at no cost.

CSC Members among Canadian Screen Awards Winners CSC congratulates the following

members for their 2017 Canadian Screen Awards wins: Best Short Documentary: DP Iris Ng (This River) Best Photography in a Comedy Program or Series: Douglas Koch csc (Sensitive Skin) Best Photography in a Documentary Program or Factual Series: Mark Caswell (Real Vikings: Age of Invasion)

Photo credit: Dave Pavlina

ON SET

Richard Ciupka CSC DP on set photo of Love Locks, the TV movie for Hallmark Films/Crown Media shot in Paris, France, December 2016.

Photo by Josh Henderson. Courtesy of Gusto Worldwide Media.

Pasha Patriki CSC filming and directing Jean-Claude Van Damme on set of Black Water.

DP Matthew A. MacDonald (centre), camera operator Ben Hoskyn (left), and sound recordist Adam Bowick (right) spend some time at celebrity chef Michael Bonacini’s farm for an upcoming special for Gusto.

ACCEPTANCES / AWARDS / NOMINATIONS /

Ali Reggab CSC in Morocco during the shooting of the feature film Les Larmes de Satan, directed by Hicham El-Jebbari and produced by OUNSSA Média Film

Christopher Ball CSC (DP) Ingrid & the Black Hole (short), won Best Editing, Best Technical, Best Writing and Best film at the Vancouver Island Short Film Festival, February 14, 2017, Vancouver

Gasparilla International Film Festival, March 4, Tampa, Florida; Green Bay Film Festival, March 5, De Pere, Wisconsin; Sonoma International Film Festival, California, March 30, 2017: Heir (short), nominated for Best Short Horror Film of the year 2016, The Fright Meter Awards, Houston, TX, announced February, 2017

Michael Jari Davidson, ASSOCIATE MEMBER (DP) First Round Down (feature), screening at the

Karl Janisse, ASSOCIATE MEMBER (Cinematographer) Companionship (short), screening at Canadian

6 • Canadian Cinematographer - April 2017

Film Fest, March 21-25, Toronto; Scotiabank Theatre, March 22, 2017, Toronto Ryan Knight, ASSOCIATE MEMBER (DP) Thresher (short), Audience Choice for Best Short Film, Tally Shorts Film Festival, January 21, 2017, Tallahassee, Florida; screening at Cleveland International Film Festival, March 29-April 9, Ohio; Newport Beach Film Festival, April 20-27, 2017, California

Credit : Brent J Craig

Ray Dumas CSC

CSC MEMBER SPOTLIGHT

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

Apart from some obvious films from my generation such as Apocalypse Now and Blade Runner, there is one strange little psychedelic film from the ‘60s that really had the biggest impact in terms of my chosen career path. When I was a kid, I saw the camp classic Barbarella. It made my jaw drop. Until then, I had thought that the purpose of cinematography was to make things look as real as possible. Everything about this movie from a visual standpoint was pure artifice, and watching it was like being in a dream state. It was like Kool-Aid for my eyes.

was gaffing at the time. He quickly blossomed into an amazing shooter, and I’m glad to call him a mentor. Finally, Jeremy Benning csc, whom I once mentored as a Steadicam op many years ago, is now teaching me a lot about modern cinematography.

What cinematographers inspire you?

Vittorio Storaro asc, aic for his artistry, Benoît Debie for his inventiveness, Emmanuel Lubezki asc, amc for his bravery, Jordan Cronenweth for his vision, Yves Bélanger csc for his realism, Bill Pope asc for his mastery.

Name some of your professional highlights.

How did you get started in the business?

I grew up in Sudbury and learned about filming when I discovered my grandfathers double 8 Yashica turret camera in a closet and learned to use it by trial and error. It was a long process as I had to bring the developed reels to Woolworths and wait a week for it to come back from Palo Alto, California, to learn from my mistakes. I fell in love with it and used it to make a demo for York University, where after four years I earned a 12-month film apprenticeship award from the Academy of Canadian Cinema. That helped me get onto several big-budget feature movie sets right away as a trainee in the camera dept.

Who have been your mentors or teachers?

Antonin Lhotsky csc taught me cinematography at York and made a huge impression on me. He was the best teacher I ever had. When I got into the real world, I worked at Black Walk productions as a focus puller with Chris Soos csc, who

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When I was an assistant, I got to travel to Arizona and Texas with The Tragically Hip for their video “Gift Shop,” directed

by Eric Yealland and shot by Sean Valentini csc. A few years later, I was fortunate enough to be director of photography on “It Can’t be Nashville Every Night,” shot in their personal studio space. It felt like a reunion and was a very special experience. More recently, I’m very proud to have been part of the filming of the 360-degree HORIZON project for Canada’s 150th birthday (Editor’s note: see February 2017 issue).

What is one of your most memorable moments on set?

I was hired to film a spot for a mutual fund company in Kenya that consisted of a two-week safari filming lions hunting wildebeest. From the moment I was dropped off by Cessna on a dirt airstrip in the middle of the Masai Mara to the moment I was paid with a wad of cash in my tent and used it to continue my adventure in Zanzibar, it was the most memorable experi-

ence of my life. It felt like I had lived inside a Rudyard Kipling novel and getting back on the plane to go home, I was never more sure that I had chosen the right career path.

What do you like best about what you do?

Travel, and the fact that no matter where in the world you go, you will automatically have a good blueprint of what each person in the crew is going to be like depending on what position they occupy. It’s remarkable.

You Focus On The Shot

What do you like least about what you do?

The long hours and the inherent danger involved when it comes to driving. The toll it can have on relationships.

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

The whole digital revolution has re-written the rules of how we shoot. The single biggest advancement to me as a cinematographer currently is the development of ultra light sensitive sensors. If cinematographers are truly masters of light, we are now about to enter new and uncharted territories as ASA ratings begin to hit five and six digits. So incredible.

How can others follow your work?

raydumas.com and sesler.com

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d y o l L w e h t t a M B

ecial to Canad y Trevor Hogg, Sp

ian Cinematogra

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pher

CSC

os to lensing a e id v rd a o b te a orld of sk was not a rs e w o rp e oing from the w p su g t teens acquirin u o b a r has honed e st o u h b w k , c c s c blo d y lo for Matthew L p a le e v shows and ti a n re io c is e v g le hu te , ls ia g on commerc in rk o w ally when y n b o ft si a ra c c c o t his o sh e to projects I’v k c a b o g I “ s. ie v gs that we were mo in th f o e p ty e show them th to p u it to ruminate, it s g e n m ri ti b h y g d u o o b n e e m s so techniques, rculture stuff ha e te n th u f o o c e e m m o ti S . y n m doing. A the mainstrea to in e d si r e th king parallels o ri e st th f f o o t t lo u o a s e e v a m h o c e wide action, m e tr x e unique to each le g g n in -a th w e lo m s a so h g c n su e past. phy. I tr y to bri th ra g in to n e o h se p e v rt a o h p t -s to action aches we migh ro p p a l a u is v t n e,” the DP says. e v v ri in d re h d it n w a t it c h je c a pro g , and I appro in k a rt e d n u g in it It’s an exc Canadian Cinematographer - April 2017 •

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Credit: Tim Palen

G

Photo Credit: Kimberley French Photo Credit: Kimberley French

Director Dean Israelite with DP Matthew J Lloyd CSC (right).

Image courtesy of Lionsgate.

Becky G. stars as Trini.

From left to right: Zack the Black Ranger (Ludi Lin), Trini the Yellow Ranger (Becky G), Jason the Red Ranger (Dacre Montgomery), Kimberly the Pink Ranger (Naomi Scott) and Billy the Blue Ranger (RJ Cyler).

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Saban’s Power Rangers, the reboot of the franchise that started with the Mighty Morphin Power Rangers television series, reunites Lloyd with filmmaker Dean Israelite; the cinematic duo previously collaborated on a science fiction time travel thriller with found footage elements. The mandate on that film, Project Almanac, “was to do as much in-camera as humanly possible,” Lloyd says. “Whereas on Saban’s Power Rangers there are enormous visual effects sequences that required a completely different approach,” according to Lloyd.

“You don’t quite need the same philosophical approach that you do on any of those movies that use the found footage technique effectively.” The film follows five ordinary teenagers chosen by destiny to save their small town – and the world at large – from an alien threat.

The DP says he was not particularly familiar with the Power Rangers series, but learned about it as he worked on the film, which was released in U.S. theatres last month. “There is a lot to draw on. Dean, Saban Brands and Lionsgate were smart about the things that they adhered to in terms of the legacy, and let other things go in lieu of better filmmaking choices,” Lloyd says. Still, certain elements needed to be honoured.

“The work that the stunt team was doing in Power Rangers was of a high calibre so there was a desire to pay homage to that work,” he explains. “Casting Bryan Cranston, who had a whole legacy with the original Power Rangers show, was obviously a callback. Then a lot of it is right out of the book, such as the Zordon character and the wall, and the robot that is there with them. The biggest change was to Elizabeth Banks’ character, Rita Repulsa, who is the villain; she doesn’t resemble so much what was going on in the show, but is equally terrifying in a different aesthetic direction.”

Lloyd and Israelite approached the film by looking at a wall of printed stills put together to define the look. “I will go through years of photo archives that I have, all scanned digitally, and post images that make sense,” Lloyd explains.

“I labelled things like pre-Power Rangers, once they get their powers, and Rita World. I take almost three weeks to do that process. Then Dean and I look at a million different interesting and unusual visual references. Dean will pull stuff off and we’ll edit down to create the intended look of the film. From there we literally go into his office, close the door, read the script start to finish and talk through a plan.”

In the film there is a John Hughes vibe to the storyline where the five teenagers meet during high school detention, Lloyd says. “We watched The Breakfast Club a couple of times. That was a new idea. They’re not All-American teens but outcasts. It has a modern tone. Screenwriter John Gatins and Dean worked hard to find a way to make the film unique,” he remarks, adding that other films were also influential. “For the high school scenes, we looked at Brick by Rian Johnson and Elephant by Gus Van Sant. They have a more brooding feel. I also went back to a ton of commercials such as David Fincher’s Nike ads.”

Photo Credit: Kimberley French

Actor Ludi Lin performs a stunt while cast and crew look on.

Image courtesy of Lionsgate.

Pre-production on Power Rangers ran from mid-October to early December in 2015, and then again from January through the end of February the following year, Lloyd says.

“Dean fought to have me there for a lot of it because he knows that I can take a lot off of his shoulders, like meeting with the visual effects supervisor to talk about the technique we were going to employ to do certain things. We started shooting on February 27 and wrapped on May 16. The second unit finished on the same day. Then we shot the opening battle sequence with Bryan Cranston in July. We went back in October and did another week of additional material that would tie certain scenes together.

“British Columbia at that time of year is difficult, as it’s raining every single day and can be cold and hard on the crew,” Lloyd continues. “The high school scenes were straightforward. The main unit focused on the stage work at Bridge Studios in Vancouver. We used their enormous effects stage for a lot of our big set pieces, like the water tank and a bunch of other large set pieces. Then we used CMPP [Canadian Motion Picture Park] for the spaceship and the cavern set.

“We had a terrific production designer named Andrew Menzies who built a lot of set extensions deep in the background and actual physical structures such as the spaceship, cavern set and water cave. It allowed us to create a visual palette and define light and shadow in a space,” Lloyd says, adding that previsualization had a major role to play in developing the climatic conclusion. “Previs was the road map for the way we shot the huge battle scene in the third act. Because there are a lot of VFX plates, rubble, fires and guys laying tracking markers around, it is predominately a second unit experience. It’s handed off once we go into production so you have to manage the previs to make sure that it is really dialled in. The fight choreographers work out the moves during previs work, and then Dean and I will take that and sit with a storyboard artist and work out the actual shots.”

Lloyd credits PS Production Services in Vancouver for providing all the grip and lighting equipment. “To accomplish a lot of complex lighting effects, I used ARRI SkyPanel. The spaceship set had Bryan Cranston’s character encased in this wall; he is moving and emitting light while talking to our heroes. Modulating the light level with the sound of his voice proved to be an enormously complicated lighting and dimmer board operation. We built a wall out of SkyPanels which was moved wherever we wanted it,” he says.

Meanwhile, cameras came from Clairmont Camera in Vancouver. “We started with the new RED WEAPONS but converted back to the EPIC sensor. I tend to use those with Dean because he has an energetic style, so having a smaller camera does help,” the DP says, adding that the photography style evolves over the course of the movie. “It starts with more of a handheld gritty look. Once they get their powers, there are

Bryan Cranston’s character Zordon encased in the wall of the spaceship set.

r uction designe d ro p c ifi rr te a “We had who built a lot s ie z n e M w re d named An the background in p e e d s n io s of set exten res such as the tu c u tr s l a ic s y h and actual p ater cave. It w d n a t e s rn e v spaceship, ca palette and l a u is v a te a re allowed us to c w in a space.” o d a h s d n a t h g define li

Canadian Cinematographer - April 2017 •

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Photo Credit: Kimberley French

From left to right: Billy the Blue Ranger (RJ Cyler), Kimberly the Pink Ranger (Naomi Scott), Zack the Black Ranger (Ludi Lin), Trini the Yellow Ranger (Becky G) and Jason the Red Ranger (Dacre Montgomery).

more Steadicam and crane shots. The big battle at the end is no holds barred. It’s everything. It’s aerials, handheld and crane work," he says.

The crew used the Leica Summilux and Summicron lenses – which are lightweight and have fast exposure – all of which were supplied by Clairmont. The movie was shot at 800 ISO on RED MINI-MAGS with eight cameras configured differently for crane, Steadicam, dolly and handheld shots. “Most of the show was 5K and there were a few big visual effects sequences that were done in 6K. There was one GoPro sequence that is meant to be like a cell phone video that one of the kids records. The aspect ratio is widescreen 2.40:1, which was important because there are five kids often in the same frame at the same time,” Lloyd says.

Colours were slowly introduced into the imagery by Menzies. “The high school is white and dark. In the homes of our heroes you start to see their Ranger colours represented as an Easter egg. The spaceship and cavern are monochromatic with blacks and dark metallic surfaces. The Ranger suits, once they get them on, have a lit metallic feel to them. They were built by Weta Workshop in New Zealand.

“Pitt Meadows, which is about an hour outside of Vancouver, was quite a challenging location to shoot,” Lloyd recalls.

“The mining operation that they have there is enormous and because it is constantly active, the geography was changing all the time. You end up incredibly spread out. By the time we left the place, it looked like a grip and lighting expo. We used a lot of the high-power ARRI products such as ARRIMAXs and M90s, which have these incredible parabolic reflectors that have range like nothing you have ever seen. They were placed on Condors. We utilized the Starlite system which is a drivable lighting crane containing 9 x 6K HMI fixtures all individually moveable. Balloons were deployed to get lights over where we

14 • Canadian Cinematographer - April 2017

needed them. If they failed, we had to go to large grip frames and overheads.”

Recalling one of the most challenging setups, Lloyd says, “One of the kids pulls a prank at his high school, gets chased by the cops and ends up in a big car accident. That was done as one fluid shot from the backseat of the car that pans around and sees everything out of the windows. It took several days to do with a lot of complicated elements going on. It’s all in-camera. We had to build a car on top of the stunt car so the actor could be in the driver’s seat below. It was a massive grip and lighting setup all through this neighbourhood where you can pan 360 degrees every which way and not see any equipment but still keep the set lit. There are some visual effects elements in terms of stitching certain pieces together so that it all feels like one shot. It was a big interdepartmental process.”

Key crew members included gaffer Steve Mathis, rigging gaffer Jarod Tiffen, camera operators Daryl Hartwell and Peter Wilke, key grip Finn King, rigging grip Dave MacIntosh, focus puller Dany Racine, and DIT Mitch Bax. “Everybody has been excited about the look of the picture,” Lloyd states. “Stefan Sonnenfeld, who is based at Company 3 in Los Angeles, handled the colour grading utilizing DaVinci Resolve. I live in New York, so we did a lot of virtual sessions.

Stefan and I have worked together for many years so it’s almost never off the mark what he’s doing. I went to L.A. for the final colour finish with Dean.” The Calgary native adds, “The biggest challenge was figuring out how to keep the spirit of the show and make it modern in a way that wasn’t strictly stylistic.”

Currently, Lloyd is shooting a show that brings together Daredevil, Jessica Jones, Luke Cage and Iron Fist for the first time. “I’m on Marvel’s Defenders, which is a miniseries for Netflix that links up all of their Marvel shows. After that we’ll see what’s next.”

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Executing

Mary Kills People from Page to Screen

The original drama series Mary Kills People follows Dr. Mary Harris, a single mother who lives a double life, working as an ER doctor by day, while at night helping terminally ill patients end their lives. Created and written

by Tara Armstrong, and executive produced by Tassie Cameron (Rookie Blue), the six-episode series premiered on Global early this year, and has been picked up by Lifetime.

Series DP Stephen Reizes csc visually illustrates his process of working with director Holly Dale from preproduction, through location scouts, shooting and postproduction.

By Stephen Reizes CSC

U

pon hearing the title Mary Kills People, I was immediately intrigued. Euthanasia is an original, topical and sensitive subject that has undergone a shift in society’s perception, and Tara had found a tone that was neither heavy nor disrespectful. One of the things that attracted me to this project was that it was not typical stand-alone episodes with multiple directors but serialized with one director, Holly Dale, who has done many high-profile U.S. and Canadian projects.

She is an emphatically visual storyteller and has an amazing eye. I’d worked with Holly on Flashpoint, and her episodes were really striking and much of that was because she really pushed the visuals.

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The Look At first glance the look is not unusual. It was meant to feel natural, not staged or artificial, but it’s also what is often referred to as heightened realism. I think there’s drama in the contrast and composition. In some ways, it’s very sophisticated but also conventional; it’s not out there in terms of framing, but it’s a very dramatic, strongly composed and preconceived kind of visual. Depending on the scene, the colour palette was fairly natural, emphasizing shades of similar tones set off by hits of complimentary colour. We strived for a natural feeling from the lighting but with enhanced contrast to dramatize and model the faces.

We typically lit with a soft side key, the ratio varying depending on the scene and context.

Holly shared many inspiring visual references, among them a video homage to Kubrick’s one-point perspective aesthetic that is a must-see (vimeo.com/48425421).

Preproduction It was a blessing and a curse to prep the six shows all at once. On one hand, there was really too much material to absorb and retain, yet on the other, it was a rare opportunity for me to prep all the episodes with the same director, to be part of that process, rather than the more typical scenario working with different directors with little or no prep. Holly, production designer Ingrid Jurek and I all brought a variety of visual references to the table that we thought appropriate to the scripts which Ingrid then assembled into a look book.

We spent weeks taking location reference stills, which Holly assembled on an iPad so when we went to shoot, she could reference them for framing. There are many examples in the show where the composition in the show is a direct outgrowth of our prep photography. The other thing that was different about this from the other shows I’ve worked on is we made a big effort to have a DIT [Daniel George] on set so we could establish the look while shooting.

Example of a signature Holly Dale shot beautifully framed by A-cam op Roger Finlay.

Locations Being involved in almost all the location scouts was invaluable. We were really fortunate to secure a stunning state-of-theart hospital location, which included the unused top floor of Bridgepoint Health [a care and rehabilitation hospital and research centre in Toronto]. The rooms that we used have stellar views of the city, which made it a real joy to shoot there. There were also a number of residential locations – we had to find a house for Mary, a loft for her colleague, Des, and a police station. Tassie introduced a water motif which added to the challenge, and when scouting, Holly looked for visual scale. She also constantly challenged me to work with Patrick Tidy our AD to schedule for backlight.

The single-point perspective was embraced not only in the obvious corridor locations.

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I offered up Shadows in the Valley, a video tribute to Roger Deakins ASC, BSC on Vimeo (vimeo. com/99589995) that is arranged thematically and also features a number of one-point perspective shots throughout. Holly was taken with the memorable Barton Fink beach shot, and we ended up with a bit of an homage when Mary goes to meet her patient, Joel.

The prep time gave me the rare opportunity to be deeply involved in the image-making process. For example, when scouting the Bridgepoint location, I wandered into this giant, almost empty occupational therapy room that Holly, Ingrid and I then transformed into a conference room. Starting with an empty room with a view and working with Patrick Tidy and set dresser Friday Myers standing in, we set the scene, eventually setting up some tables.

I saw the potential for reflections and requested a black shiny surface for the table. Finally on the day, we roughed in the frame with the Artemis finder.

ARRI Allexa / Plus 1.78:1 (16:9) Zeiss Ultra Prime Tilt 5° Down Bearing 354° (N) Photo taken: June 8/16, 9:10AM

ARRI Allexa / Plus 1.78:1 (16:9) Zeiss Ultra Prime Tilt 0° Down Bearing 306° (NW) Photo taken: July 4/16, 11:28AM

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Another unique location we scouted was Hutch’s Diner at Hamilton Beach.

It was a no-brainer to kill the lights and work with the daylight from the long row of windows.

We kept the single-point perspective alive even in the tighter coverage.

In the next scene, Joel (played by Jay Ryan) takes off leaving Mary, played by Caroline Dhavernas, standing alone in a lovely wide iconic frame.

Holly had me take the photo above that became the basis for a low-angle, dolly-in shot seen in the adjacent frame grab.

ARRI Allexa / Plus 1.78:1 (16:9); Zeiss Ultra Prime Tilt 65° Down Bearing 245° (NW) Photo taken: Sept 2/16, 12:29AM

Of course not every shot was inspired or planned during prep; sometimes we only came up with an approach during blocking. It seems obvious in retrospect that we needed to be above Naomi (Katie Douglas), a patient who has overdosed after stealing pentobarbital from Mary.

Roger Finlay and dolly grip Johnny Wersta executed a beautiful move from overhead on Naomi to across her to Mary.

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Another visual stylization that Holly used on a number of occasions was the tight profile shot.

Although I believe the job of the cinematographer involves working with the director in the design of the shot, composition and lens choice, more often than not, one’s main preoccupation during a shot is lighting. Both Holly and I agreed that a natural look was needed. Our goal was an unlit look, but with mood, dimensionality and modelling, and for that we embraced side light as much as possible. We used a variety of LED sources including MacTechs, Kino Celebs, and DMG Switchlights.

Since most of our show was daylight, we also carried the Arri M90, M40, etc., as well as Source 4 ellipsoidal spots and Dedo 400s. When possible, we chose dramatically and practically to use a fairly high lighting ratio. Gaffer Jonathan Brown and key grip Chris Toudy and their teams were invaluable in building these setups.

We shot HD on ALEXA classics primarily with Zeiss Ultra Primes, and when there was enough light we chose to shoot stopped down to achieve deep focus.

A simple one-light setup with a DMG Switchlight side lighting our stand-in, with the actors and with atmosphere, and finally an ALEXA frame grab of Jay Ryan.

In the final edit, Mary Kills People plays mostly in tight shots so it may not retain the cinematic scope we envisioned when shooting. The final cut of Mary Kills People is a more intimate version of the show than we originally conceived, and in that sense the lighting, which we used to underpin the mood of the scene and protect the actors, plays an important role. The fact that the cast was so deeply in character and extremely photogenic made for compelling close-ups.

The way Tara, Tassie, executive producer Amy Cameron and the writers approached the subject was bravely refreshing. To do a show where the hero is a woman doctor on a mission to end suffering and offer dignity to the terminally ill and yet who may be so damaged by her own childhood experience with death is truly special. It was a real treat to see how Caroline Dhavernas embodied a complex and unique character.

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mole.com/TenerLED

BOOTH # C6043

Photos by Martin Wojtunik except where noted

ARRI's Sebastien Laffoux and Franรงois Gauthier with Brendan Steacy CSC.

William F. White's

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JEREMY BENNING csc

JOANNE ROURKE

Cinematographer

Colourist

SyFy’s ambitious space-centric drama, “The Expanse,” features a dark, sometimes harsh aesthetic that DP Jeremy Benning csc achieved partially through coloured ambient LED lighting on set with enhancements made in post by Deluxe Toronto Colourist Joanne Rourke. Benning shared, “Joanne took initial looks from our LiveGrade settings and balanced them against intercutting scenes, a benefit of working with an excellent colourist like Joanne, who uses the context of an overall timeline and edits to interpret looks I’ve set for each scene on set.”

“Jeremy had a clear vision from the start, which was important as the show is VFX heavy,” explained Rourke. “My job was to maintain the breathtaking visuals by matching scenes shot to shot to help make it flow, integrate the VFX and add nuance to make sure the mood was appropriate for each scene.“ Posted at Deluxe Toronto’s new state-of-the-art King Street West studio, Benning and Rourke included showrunner Naren Shankar and writers Ty Franck and Mark Fergus in review sessions remotely via Streambox. “It gave us the confidence that we are all seeing the same thing and able to judge minute tweaks collectively,” said Benning. Added Rourke, “Everyone was on the same page and invested in the look.”

Benning and Rourke continued their collaboration on the second season of “The Expanse,” which premiered on SyFy on February 1, 2017.

bydeluxetoronto.com Canadian Cinematographer - March 2017 •

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The Masters

“In recognition of those who have made an outstanding contribution to the art of cinematography.”

2017 is not only the CSC’s 60th anniversary, it also marks 30 years of recognizing extraordinary excellence through the CSC’s Masters Award. This special honour is conferred upon cinematographers who have transcended from just practicing their craft into leaders of their craft by influencing the cinematic art form through their exceptional creativity, technical skills and ingenuity. Originally called the Kodak New Century Award, it was renamed the Masters Award in 2014 to reflect industry changes brought about by the digital age.

In celebration of the CSC’s 60th anniversary, Canadian Cinematographer is presenting a 10-part series on the exceptional cinematographers who have received the Masters Award. This is part four.

By Guido Kondruss

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Miklos Lente CSC (1930-2004) 1996

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f there was ever a perfect balance of technical ability and artistry in cinematography, it was embodied by Milos Lente csc. Born in the rural Hungarian village of Hajdúnánás, Lente as a youth had aspirations of becoming an engineer. However, it was watching movies, especially American ones, that grabbed his imagination and turned his ambition towards making films. In 1948, Lente was accepted into the prestigious Budapest Academy of Film and Dramatic Arts. It was while studying at the Academy that he discovered the seamless blend of technology and art through cameras. Cinematography became his goal.

After graduation in 1952, Lente worked as an assistant camera on theatrical features and as a documentary cinematographer for several years. However, when the 1956 Hungarian revolution failed and life in Budapest became politically and economically untenable, he fled to the West. At age 27, Lente found himself in Toronto.

Working initially as a news cameraman, Lente soon moved to documentaries and short films, shooting for the CBC and the National Film Board.

During his career, Lente was the DP on dozens of commercials, more than 200 hours of television dramas and more than 15 features, including the critically acclaimed and visually stunning In Praise of Older Women, for which he received a CSC Award and a Genie for his cinematography. His low-key lighting is considered to have added significantly to the sensual appeal of the movie. Lente also used his low-key lighting technique in the 1980s TV series Night Heat, creating a style that influenced the look of police dramas for the next two decades.

As an inventor, Lente is credited with designing the 3-perf pulldown that eliminated head room problems in films projected for television and used 25 per cent less film for the same images. He also established Lentequip to turn his ideas for equipment into reality.

Lente is one of the few cinematographers to be honoured with the CSC Bill Hilson Award “for outstanding service contributing to the development of the motion picture industry.”

Rene Ohashi CSC, ASC 1997

Ernest McNabb CSC (1940-2003) 1998

ene Ohashi csc, asc has been one of Canada’s top cinematographers for more than 30 years. A third-generation Japanese-Canadian, Ohashi was born and raised in Toronto. As a child, it was drawing and painting that captivated his artistic eye. Film entered Ohashi’s life when he joined his high school’s camera club and found photography to be another outlet for his visual expression. Ohashi’s training in moving pictures began through a neighbour who was a documentary filmmaker and was willing to teach him the ropes. Ohashi eventually became his neighbour’s assistant. However, it was while studying at York University’s Film School and shooting student projects that Ohashi became mesmerized with cinematography. His career path was now solidified.

After graduating, Ohashi hit the ground running shooting documentaries that took him as far afield as a mountain climbing expedition in the Himalayas or recording the fascinating lives of the Kodo drummers in Japan for National Geographic.

While making documentaries sharpened Ohashi’s ability to think on his feet and make quick decisions, it was his desire to shoot dramas that edged him closer to television and theatrical features. In 1986, Ohashi received his first Gemini Award for his work on the Emmy-winning TV mini-series Anne of Green Gables. Ten more Gemini’s followed in subsequent years for Ohashi’s outstanding cinematography.

Known for his clarity of vison and his ability to bring unique and unprecedented qualities to his visuals, Ohashi has always been very much in demand. In 2001, he won an American Society of Cinematographers Award for his brilliant work on the TV film The Crossing, followed by three more ASC nominations. Ohashi’s exceptional abilities as a director of photography have been recognized by the Canadian Society of Cinematographers with an astounding 13 awards, with his most recent win in 2016 for his exceptional work on the theatrical feature Forsaken.

Ohashi continues to be based in his home town of Toronto.

rnie McNabb csc embodied the consummate melding of technology and cinematography. McNabb was born in Viking, Alberta, but as a young boy he moved with his family to Quebec, after his father – who was a mathematician and teacher – secured a position in the growing electronics industry in Montreal. As a youth, McNabb had a strong proclivity towards physics and all things mechanical. During this period, McNabb was also drawn to photography and its experimental possibilities.

After completing high school, McNabb entered Loyola College for a degree in engineering. Not satisfied with just theory and wanting to satisfy his craving for photo experimentation, McNabb jumped at the chance to join the National Film Board when an opening became available in 1960. Landing first in the NFB’s engineering department as a technician, he soon advanced to the science film unit and eventually into the camera department where he began building a formidable reputation for his unconventional cinematography.

During his 37-year career at the NFB, McNabb was involved in more than 40 projects as a director of photography that included capturing complicated aerial visuals to high-speed cinematography. He even dove into the frigid waters of the Arctic Ocean to provide a first-ever glimpse of the world beneath the polar ice cap. However, McNabb’s name became synonymous with IMAX and large format cinematography. He was the DP and stereographer on the first 3D IMAX film Transitions, produced for the 1986 Vancouver World’s Fair. For the film, McNabb designed and built a two-camera stabilization rig that was credited for pushing 3D to its next level of development as an art form.

He also earned equipment design recognition for IMAX’s 48 frame per second technology, which was employed on the first HD IMAX film Momentum for the 1992 Word Exposition in Seville, Spain.

Post NFB, McNabb was the president and CEO of Kinomax Cine, which designed and built specialized equipment for large format films.

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Focuses on the Future through the Past

W

hen you’ve been around since 1894, you’ve got a lot of history in your story.

So it’s no surprise Cooke Optics is going back to the future to re-launch their Panchro Classic line. As Cooke chairman and owner Les Zellan notes, though, these aren’t your great granddaddy’s Panchros.

Les Zellan

While the design dates back to the original 1920s glass, some of the materials and components, such as the mounts, have been updated. The mount is now PL and the aperture is reconfigured to today’s Academy standard aperture size of a Super 35s which is 24.89 mm by 18.66 mm, giving a diagonal of 31.11 mm.

“There are still some Speed Panchros around, but we haven’t made them in 52 years, so many really aren’t useable,” says Zellan, who bought Cooke in 1998 after becoming its U.S. distributor in the early 1980s. “Also, one of the elements in the glass was thorium, which is a radioactive metal and so it degrades over time.”

Such is that warm 1960s Panchros look that Cooke claims credit for at least part of the look achieved in the Netflix series The Crown (DPs Adriano Goldman and Ole Bratt Birkeland). It’s no accident, says Zellan: “We design lenses the way

26 • Canadian Cinematographer - April 2017

we always have. There are hundreds of different types of optical glass all with different indexes of refraction and different colour and dispersion characteristics. The character of the lens comes from the glass the designer picks. We pay attention to the refraction but we pay attention to the colour balance we want, too.”

Cooke, he says, designed the original lenses around the audience which was the camera. “So we ended up with a lens which has a very warm and nice look, and who doesn’t want to look good and warm?” he says. “In fact, back in the day, some early movie stars had it in their contracts that they were to be photographed with Cooke lenses.’”

All lens makers draw their raw glass from two manufacturers, Schott of Germany or Ohara of Japan, but every manufacturer has their own “look” he says. “A lot of people think it’s all in the coatings, but that’s not the case,” Zeller adds. “The coating would have to be really heavy duty to change the characteristics.”

Panchros were designed for film, he says, but Cooke hasn’t ignored digital. Last year, it rolled out the first in a series of anamorphic lenses, and this year it has continued to add to that line while also introducing a sibling line of anamorphics.

The anamorphic lineup now includes the 180 mm and 300 mm with 2x squeeze to complete the primes. They are next adding an anamorphic 45 to 405 T4.5 zoom to go with their anamorphic 35 to 140 mm zoom. The allure of anamorphic, he says, is they bring a “funkiness” to the image, adding a visual interest and taking out some of the clinical sterility inherent in digital capture.

Cooke’s anamorphics differentiate because the elliptical element is added at the front grouping, he says, whereas others add the element in the rear grouping. “Some manufacturers strive to take the funkiness out of their lenses,” he says. “But if you don’t want that funkiness, why not just shoot Super 35?”

Still, some DPs want yet more funkiness, so Cooke is adding a line of anamorphic SF to mirror their existing iLook anamorphics. “They add a little streakiness, some flare, an extra thrill, if you like,” he says. “You might only use the SFs on a commercial if there was a look you want, but on a feature you’d only use it for one or two shots. Otherwise it would be overdone.”

The point, he says, is to make digital more visually interesting, even if that means adding a little distortion.

“The problem with digital is that it’s boring,” he proclaims. “There’s no movement to stimulate the eye. With film, you could shoot a white wall and there would be mechanical movement, and sub-consciously it stimulates the eye.”

Ian Harvey is a Toronto-based journalist who writes for a variety of publications and covers the technology sector.

He welcomes feedback and eagerly solicits ideas at ian@pitbullmedia.ca.

Courtesy of Cooke

TECH COLUMN

Cooke

PRESENTING THE

2017 ANNUAL CSC AWARD NOMINEES DIRECTOR OF PHOTOGRAPHY AWARDS THEATRICAL FEATURE CINEMATOGRAPHY Sponsored by Deluxe Guy Godfree csc Maudie David Moxness csc asc When the Bough Breaks Ali Reggab csc Larmes de Satan (Tears of Satan)

MUSIC VIDEO CINEMATOGRAPHY Sponsored by Dazmo Liam Mitchell A Tribe Called Red Stadium Pow Wow Bobby Shore csc Thugli Sic Em Bobby Shore csc Zoe Sky Jordan Power Lines

TV SERIES CINEMATOGRAPHY Sponsored by Technicolor David A. Makin csc Beauty and the Beast “Monsieur et Madame Bete” Robert McLachlan csc asc Ray Donovan “Girl with Guitar” Robert McLachlan csc asc Westworld “Contrapasso” Gregory Middleton csc Game of Thrones “Home” Boris Mojsovski csc 12 Monkeys “Fatherland”

DRAMATIC SHORT CINEMATOGRAPHY Sponsored by REDLAB digital Todd M. Duym Rue André Pienaar csc sasc Mr. Bernstein Philippe Roy La Voce

TV DRAMA CINEMATOGRAPHY Sponsored by Sim Group David Moxness csc asc Dead of Summer “Patience” Pasha Patriki csc Gridlocked Ousama Rawi csc bsc Anne of Green Gables

TV MAGAZINE CINEMATOGRAPHY Allan Leader csc Colonist Car Discovery Channel – Daily Planet

FRITZ SPIESS AWARD FOR COMMERCIAL CINEMATOGRAPHY Sponsored by Whites Camera George Hosek csc China Merchants Bank “Private Banking” James Klopko csc Ontario Tourism “Where Am I” Port-au-Prince” Adam Marsden csc Newfoundland and Labrador Tourism “Crayons” Jackson Parrell SickKids Foundation “Sick Isn’t Weak” André Pienaar csc sasc Spotify “Nuns” BRANDED/CORPORATE/EDUCATIONAL CINEMATOGRAPHY Matt Bendo Lamborghini Aventador / Armytrix Titanium Exhaust / YST Tuning Canada “Storm” Cole Graham Nocturnal Workshop “Eclipse” D. Gregor Hagey csc The National Ballet of Canada “Onegin: Love. Honour. Passion” YOUTH PROGRAMMING, COMEDY, MULTI-CAMERA SITCOM CINEMATOGRAPHY Jonathon Cliff csc People of Earth “Snake Man & Little Guy” D. Gregor Hagey csc Human Town Samy Inayeh csc Man Seeking Woman “Tinsel” ROBERT BROOKS AWARD FOR DOCUMENTARY CINEMATOGRAPHY Sponsored by Sony Stuart Campbell Caribou Legs Vic Sarin csc Keepers of the Magic John Minh Tran csc Prison Fight

CINEMATOGRAPHER AWARDS

LIFESTYLE/REALITY CINEMATOGRAPHY Greg Bartels Hand Crafted “The Potter” Justin Lovell Choir! Choir! Choir! & Rufus Wainwright “Hallelujah” Frank Vilaca csc Wild Things with Dominic Monaghan “Indonesia” WEBEO CINEMATOGRAPHY Kristofer Bonnell We Aren’t Strangers Goh Iromoto The Path of Grey Owl Christopher Lew The Wall STUDENT CINEMATOGRAPHY Sponsored by Panavision Canada Alexandre Nour Desjardins Days of Eva Concordia University Robert Murdoch Moods Like Jazz York University Trish Young Dread Sheridan College THE CSC IS PLEASED TO PRESENT THE FOLLOWING SPECIAL HONOUREES FOR 2017 THE MASTERS AWARD David Greene csc asc “For outstanding contribution to the art of cinematography.”

THE BILL HILSON AWARD Hendrik Van der Kolk, TIFF “For outstanding service contributing to the development of the motion picture industry in Canada.”

THE PRESIDENT’S AWARD Guido Kondruss “For outstanding service to the Canadian Society of Cinematographers.”

THE CAMERA ASSISTANT AWARD OF MERIT Eric Bensoussan “For excellence and outstanding professionalism in the performance of the AC duties and responsibilities.”

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CSC Reports from the

Annual General Meeting 2017 for the year 2016 PRESIDENT’S REPORT AND VICE PRESIDENT’S REPORT 2016 has come and gone and we now find ourselves in pursuit of new ideas for the future of the CSC, both in the short as well as the long term. However, let us first have a brief review of the past year in the life of the CSC via the various committee reports. I would like to acknowledge the work that these committee members do for the society, especially as many of the members are also actively shooting various projects.

THE CSC ANNUAL AWARDS GALA In addressing the past year, I will start with the 2016 Annual Awards Gala, which by everyone’s account was a resounding success. My congratulations to Awards Chair Alwyn Kumst csc, Susan Saranchuk and all of her dedicated team for pulling off a most memorable event.

I am extremely pleased to report that the 59th Annual Awards Gala was a great success, so much so that we’re going to do it again this year. Seriously, it was without doubt one of the best galas that the CSC has ever produced. The bar has now been raised significantly, and so the pressure is on as the huge task of mounting the next gala swings into full gear.

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THE CSC’s 60th ANNIVERSARY Prior to the conclusion of the 59th gala, we also availed ourselves of the opportunity to officially unveil the new specially designed 60th anniversary logo and announce the news that the countdown had begun until the CSC’s 60th Anniversary Gala to be held on April 1st 2017, and that is no joke! Preparations began towards celebrating yet another milestone in the evolution of the society.

NEWLY ACCREDITED MEMBERS During the 59th CSC Awards Gala, we recognized the newly accredited members in a very formal manner, not only by acknowledging them but also by presenting them with their certificates as full members of the CSC. We believe that this gesture lends greater credibility to their new status. Their pride was a wonderful moment for all to share in, so much so that we intend to continue with this formal way of recognizing our new talent.

THE BRAND The previous Executive Committee has been very active in their endeavours to always keep the society top of mind and to promote the brand. The brand is the most important, fiercely promoted and protected commodity

a corporation or business owns. It is their name, who they are, their reputation, their core values. One of the most important elements used to reflect the brand of a company, corporation, institution or society is their logo.

The Canadian Society of Cinematographers, combined with the CSC logo, defines not only who we are but what we stand for, and we must always be cognizant of this, whenever and wherever our brand is used and seen.

Approximately two years ago, out of concerns for our brand, a Brand Book was developed. After a trial-anderror period in the development of appropriate brand solutions, the final Brand Book as been confirmed and printed. This process was a feat for our society and is now available to be used to support and protect our brand.

Besides our logo, the next important part of our brand is our core values.

What are our core values and what do we stand for? One of our core values is “to promote and foster cinematography in Canada.” With this in mind, all of us are messengers and protectors of our brand, and it is important to promote our brand/values at any and all opportunities that might present themselves, no matter how big or how small.

SOCIAL MEDIA Facebook, Instagram and Twitter. These

various social media applications within the framework of the CSC are progressing well and have become very effective vehicles for promoting the CSC brand, workshops as well as other initiatives.

CANADIAN CINEMATOGRAPHER A significant change in the structure of the CSC magazine was the appointment of (Past President) Joan Hutton csc to the position of Editor-In-Chief of Canadian Cinematographer. In my role as President of the society, I have found that there is much to attend to as many new initiatives are planned.

In order for me to devote more of my time to these various undertakings, I am very pleased to acknowledge that Joan has recently taken over this important role of Editor-In-Chief. I have always been a huge advocate of allowing a modification to a role if someone is interested in pursuing that particular position. Joan is that someone who knows the role well and is committed to applying her expertise in that regard.

I would like to thank Guido Kondruss for the very important part that he plays as he quietly goes about his undertakings on behalf of the CSC. He is always ready to promote and realize sales for the magazine, as well as assisting in the writing of articles for Canadian Cinematographer, and he has been a great help to me in that regard on several occasions.

Canadian Cinematographer continues to be very useful and informative to its readers and has a much bigger reach than just our membership. However, to sustain and build upon this, we need to have continued support by way of obtaining more featured articles, as well as other interesting material for inclusion in the magazine, and we encourage our members to participate in contributing such.

The magazine is a very effective calling card for the society and reaches many special events where dozens of copies are made available to those attending at these venues.

IMAGO On behalf of the CSC, I attended the IAGA (General Assembly), which was held in Bitola, Macedonia, in September 2016. I am sure that you will have seen the write-up pertaining to this gathering in the December issue of Canadian Cinematographer. Without repeating the contents of the article, I believe that the significant observation would be that I was asked to sit on the Working Conditions Committee, while also being a member of the Education Committee, which I was invited to join at the IAGA held in Israel in 2015.

These are two areas that I find to be very significant in our industry and the only impediment to my full participation in these two important committees is the fact that we are not situated in Europe. However, on behalf of the society, we will continue to offer whatever we can to promote the ideals of these committees, and I would entertain any input in the way of suggestions and/or comments that the membership might have with regard to that.

EDUCATION I wish to acknowledge the superb work that the Education Committee has done with regard to initiating and promoting the various workshops that the CSC offers. These many and varied workshops offered during the year have been well received. I would like to stress that the CSC Education Committee is a vital component of the society. As well, it is an extremely important part of what the CSC does. If we are to continue to enjoy the positive feedback that we receive from those who attend the workshops (which gives good reason to continue them) we need help in running these workshops. There is much to do both prior to and after the actual running of the workshop on the weekends. The reality of the situation is such that we cannot continue to effectively run the workshops without member

assistance, no matter how small.

All in all, and as with many workshops and events, there is always the issue of obtaining volunteers to administer and take part in running the show. Mounting a workshop is nothing short of a production, and we all know what that entails.

Plans are in the works to significantly expand our workshops, however, I fear that we might not be able to realize this effort as effectively as intended, for there is a reality attached to our intentions and planning. We need your help!

CSC BY-LAWS During the latter part of the year, there was a distinct departure and reform with regard to some of the CSC by-laws. Our treasurer, Joe Sunday PhD, has been responsible for this significant undertaking and has devoted an enormous amount of time in attending to this very important initiative. The modification of some of the existing by-laws is both necessary and timely if we are to keep pace with the current legal and corporate requirements regarding some restructuring of the society. Again, I would like to thank the Executive Committee for their commitment, their hard work as well as their unflagging support of the CSC and its brand.

INITIATIVES FOR 2017 No organization grows while sticking to the status quo, and the CSC is no different. We have to move on and continue to grow, become inventive, create new ideas and run with them and develop new strategies because the rules of engagement have changed.

It is one thing to make plans. It is quite another to carry the thought process through and then see those plans come to life, for therein lies the reward. For 2017, we would like to give life to a few of our new challenges and initiatives, and some of these are: extend our marketing and social media platforms; expand the various CSC Committees Canadian Cinematographer - April 2017 •

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Annual General Meeting 2017 (where applicable) to meet the needs and requirements of its membership; request the membership to offer their services as volunteers to assist us with workshops, etc.; create a roster of those willing to assist us, either with regard to organizing or as instructors for various workshops; expand some of our workshops, initially in Vancouver, Montreal and then to Sudbury; embark upon a path to continue to grow the Canadian Cinematographer via membership contributions and articles of interest; and finally, looking to the future, still one of our goals and ambitions is to continue the drive to build on acquiring old, redundant and historical (cameras and allied) equipment via donations, for inclusion in the “CSC Museum.”

We will gratefully acknowledge any individual/s or company responsible for any donation and that person or organization will have their name attached to the donated items when we are able to formally place them on display.

THE HQ Over the last two years, there has been some informal discussion at the executive level, regarding the intention of putting in place a formal plan to begin the process of acquiring our own clubhouse, hereinafter, which shall be referred to as HQ. While this is a dream that many of us share, we want to dispense with the notion that it is merely a dream and concentrate on making it a reality. This will be a huge undertaking and one that will require tremendous effort and resolve. We have been addressing the myriad details regarding this endeavour and have started working on the basic requirements for propelling our first thoughts into a meaningful approach to a very complex undertaking. As the plan progresses, we will keep the membership apprised of developments as we proceed with establishing a protocol or “blueprint.

This year, the CSC celebrates 60 years, and in my heart the discussion

30 • Canadian Cinematographer - April 2017

of owning our own HQ is overdue.

We’re the generation of caretakers discussing the notion of a CSC headquarters and looking into the future. What we do matters.

During the last 60 years, much has been achieved. Many of the achievements began just like this one – with an idea.

The ownership of our own place will strengthen our brand’s maturity. The advantages of ownership are numerous and are in direct proportion to the limitations of not having our own place.

Where would the funds come from?

The money would come from us, from sponsors/friends, but most importantly, from an open invitation to all full and associate members to become sponsors of the HQ Founders Wall by placing their names on it. Under the guidance of the new Board of Directors, we will study the funding feasibility of such a worthwhile project.

Yes, it is challenging, but anything that has value always is. Imagine having our AGM in our own space…

It is possible because of who we are. We are a society of like-minded people that accomplish great feats every day. We fight and achieve and we depend on our strengths and succeed. Although today the HQ is just an idea, our collective strengths can make it a reality and establish a society with deep roots for generations.

ADMINISTRATION My thanks to Susan Saranchuk and Karen Longland who head up the CSC’s administration. It goes without saying, but always needs to be said, that we are in debt to them for the very important part that they play as they go about their enormous undertaking to keep the CSC running like a Swiss watch. Many of the membership might not be aware of the amount of work that it takes to administer this society.

It would be remiss of me if I did not thank the many other unsung heroes who help to promote the CSC, includ-

ing Sydney Kondruss, who also works diligently to assist the administration in making sure that the workshops run smoothly. My thanks also to Jeremy Benning csc, Francis Luta, Martin Wojtunik and Justin Lovell, who on so many occasions have offered their time and expertise to assist in photographing and promoting the various workshops.

My thanks also to the Executive Committee for their diligence and their hard work in the running and maintenance of this society. The CSC would not be able to function without their continued passion and commitment.

CONCLUSION We are now at a major turning point in the evolution of the society, and we strongly believe that we have to do whatever we can to realize the opportunity to take a giant leap forward, to break from what I (respectfully) refer to as the status quo. This will be a monumental undertaking, but I am confident that the membership of the CSC will rise to the occasion as we prepare to advance to the next stage in our quest to build the Canadian Society of Cinematographers into a bigger and better brand.

SPONSORS The final word in this report concerns the CSC’s 37 corporate sponsors who are a vital part of the equation and whose participation within the society is greatly valued. Without them, we would exist in name only, therefore I would like to formally acknowledge and thank each of them for their generosity and commitment, as well as their ongoing and unflagging support of the CSC. George Willis csc, sasc President Carlos Esteves csc Vice President

Canadian Cinematographer - November 2010 •

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Annual General Meeting 2017 TREASURER’S REPORT For the CSC’s fiscal year ending 31 December 2016, the society achieved an extraordinary annual surplus of $33,151.76. This accomplishment provides our organization with the financial base essential to our credibility for any future discussions about capital initiatives. At the same time, it challenges us to remain vigilant with our finances, continuing to expand our revenue and to curtail our expenses, but always funding the publications, education programs, awards, services and other events that attract prestige to CSC members.

The new structure for the CSC has been implemented to streamline our administration and decision-making, and we know that this evolution will take considerable time to resolve and refine the crucial matters facing our directors and Executive. These processes are meant to happen in the background, so that members and our other stakeholders continue to be served very well by our staff, our committee chairs and our many volunteers.

We look forward to supporting more events in dominant regions like Montreal and Vancouver, and are pleased that there are CSC directors and executives representing those regions and advocating for their members.

The financial records are maintained through the year by Karen Longland and Susan Saranchuk.

Their excellent work on these files simplifies the treasurer’s tasks immensely, and I thank them greatly.

Within the new structure, establishing member fees is a responsibility of the Board of Directors, without a separate motion at the AGM. Even so, this Treasurer will encourage at least a one-year freeze for the annual fees at their 2017 level, which are detailed on the CSC website under “Members – Online Payments.”

Joseph Sunday, Treasurer

32 • Canadian Cinematographer - April 2017

MEMBERSHIP REPORT The membership committee met twice in 2016 to review submissions of 13 applicants who wished to upgrade to full membership. Using the standards laid out in our by-laws and regulations four new full members were approved by a two-thirds majority vote. In terms of a percentage, 30 per cent of the 13 applicants were successful. Congratulations to our new full members: Catherine Lutes csc, Oliver Millar csc, Nathalie Moliavko-Visotzky csc and Geneviève Perron csc Most of you know that we do the committee online now, so we have full members attending from across Canada, helping our far-flung members be involved in the CSC in a meaningful way. It is these people who set the bar for who can be included in this elite group of full members of the CSC. If you want influence pertaining to how high the bar should be set for full membership, then sign up to be a committee member and let your voice be heard.

Thank you to those who volunteered for the committee last year: Stirling Bancroft csc, Stan Barua csc, Jeremy Benning csc, Henry Chan csc, Nicholas De Pencier csc, George Hosek csc, Allan Leader csc, Christopher Mably csc, Robert Mattigetz csc, Greg Middleton csc, Bruno Philip csc, Ron Sim csc, Ron Stannett csc, Paul Steinberg csc, Brett VanDyke csc, Andrew Watt csc and Kit Whitmore csc.

In 2016, our overall membership increased by 16. We now have 544 members spread out across the country in every province except PEI and the Territories, and in 13 countries other than Canada.

Thanks to the executive with whom it is a privilege to serve. Many thanks to Susan Saranchuk and Karen Longland for their daily help with membership issues and everything else they do for the CSC. Arthur Cooper csc Membership Chair Philip Earnshaw csc Membership Chair

PUBLIC RELATIONS REPORT On the public relations front, we continue to expand our efforts to strengthen the CSC brand on the national and international fronts.

Over the past year, we have also attempted to increase our media output via traditional media, including the trades and general entertainment.

Executive Director Susan Saranchuk and I have a list of publications and outlets to which we send news releases when called for, including to those of our sponsor partners. To further the CSC PR outreach, we appeal to members – if you come across other news sources that you feel are relevant and could be beneficial to our society, notify me or Susan and we’ll follow up.

Our Instagram account continues to grow in popularity. Since our modest beginning late 2015, with mere hundreds of followers, we are now at 10,400. Thank you to all our featured full members for stepping up to the plate and posting strong images and clips that profile their work, creative influences, inspirations and technical prowess. It has been effective towards strengthening the CSC brand – which is something that we constantly work towards – and proven to be very popular with both members and non-members of the CSC around the world.

New for 2017: Initially, guest hosts were participating on a monthly basis, but now are bimonthly. It’s less pressure and we are able to feature 24 of our talented members per year, instead of only 12. Many thanks to Carolyn Wong, who coordinates and curates the guest host lineup for the CSC Instagram account.

We have also seen modest growth on Facebook where we now have close to 6,000 members. This is a great place to keep abreast of CSC events and be a forum for discussions about cinematography and other related topics.

Thanks to the following administrators

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for actively monitoring posts and membership requests: Jeremy Benning csc, Dylan Macleod csc, Ron Stannett csc, Phil Earnshaw csc, Carolyn Wong, Guido Kondruss, Sydney Kondruss, Ernie Kestler, Eric Oh and Karen Longland.

Regarding our Twitter account, we currently have 539 followers. It’s a different social platform than Instagram or Facebook, but it does engage nonetheless and it is an excellent social platform. Currently we do not have a dedicated tweeter, so if anyone is interested, let me know.

Bruce Marshall Public Relations Chair EDUCATION REPORT The Education Committee met on January 14, 2016, to set the dates for CSC workshops for the year, as well as evaluate and modify existing courses. The education committee was comprised of Alwyn Kumst csc, Luc Montpellier csc, George Willis csc, sasc, Joan Hutton csc, Carlos Esteves csc, Bruce Marshall, Sydney Kondruss, Susan Saranchuk, Karen Longland and Ernie Kestler.

Each of our workshops has been made into a promotion video which generates more interest in our educational curriculum. Francis Luta completed the collection of these promotion videos in April shooting the Lighting for Faces Workshop.

Thank you to Francis Luta for a great job. There were a total of seven CSC workshops held throughout the year.

These workshops are the tried-and-true CSC workshops that continue to be popular. We have been fortunate to have both George Willis csc, sasc and Carlos Esteves csc continuously improving and

34 • Canadian Cinematographer - April 2017

perfecting the lighting workshops over the years. As well, Lem Ristsoo, first AC, has been teaching the Lens Testing and Camera Assistants workshops for years and has generously made time to share his expertise with future ACs through the CSC education program. Ray Dumas csc kindly shared his knowledge and expertise teaching for the second time the camera movement workshop.

Special thanks to Lee Filters Canada; Rosco Canada; SIM Digital; Clairmont; Bruce Dale, manager, Education and Training at William F. White; Brandon Morin; and Sydney Kondruss.

The CSC partnered with YouTube Spaces Toronto to conduct a weeklong workshop on November 28, 29 and 30, and December 1 and 2, 2016, for 15 of their rising YouTube Creators.

The CSC provided two directors of photography, George Willis csc, SASC and Carlos Esteves csc, one sound instructor, David Best, and one editor instructor, Arthur Ditner. The workshop which covered, lighting, filming (storytelling), green screen, acting, sound, writing and editing was a resounding success, and the CSC continues to work with YouTube Spaces Toronto planning future workshops in 2017.

The next YouTube Spaces Toronto workshop in 2017 is one day for green screen and another day for products.

The CSC is proud of the excellent results at YouTube Spaces Toronto and congratulates both Carlos Esteves csc and George Willis csc, sasc, who, as mentioned above, have become such a well-oiled teaching machine that they were easily able to adapt the CSC workshop product to best target non-professional participants.

In conclusion, we would like to say that all CSC members are welcome to

attend our meetings and/or submit ideas for educational activities. We strongly encourage your involvement. Running the CSC workshops takes a great deal of time and energy, and we need volunteers. There is much to do both prior to and following the actual running of the workshop on the weekends. The CSC administration will be sending an email to the membership outlining everything that goes into the production of these workshops and asking for volunteers. So please, if you have any free time, we would appreciate your help.

Alwyn J. Kumst csc Education Chair Luc Montpellier csc Education Chair AWARD’S REPORT The 59th CSC Awards Night was held Saturday, April 2, 2016, at the Arcadian Court in Toronto. The Gala event was attended by 291 members, sponsors and friends. The evening commenced with opening remarks by President George Willis csc, sasc, and both he and Membership Chair Phil Earnshaw csc presented full membership certificates to the 2015 new accredited members. Willis then introduced the host, actor Rick Roberts, and Nick Iannelli of Deluxe gave a congratulatory speech to the nominees.

This was the fifth year that the Gala was streamed on the Internet. The decisions regarding the Awards are made by the Awards Committee. There were 209 entries in 2016. The juries were held in Toronto at the CSC Clubhouse and S.I.R.T. The juries were chaired byAlwyn Kumst csc and Susan Saranchuk.

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The Visual Technology People

23 31

| MISSISSAUGA | OTTAWA TORONTO Canadian Canadian Cinematographer Cinematographer - March - April 2017 • CALGARY | EDMONTON

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PRODUCTION NOTES

A SERIES OF UNFORTUNATE EVENTS II (series)

DP Bernard Couture CSC

to April 16

Vancouver

ARROW V (series)

DP Gordon Verheul CSC (odd)

to April 19

Vancouver

BRIDAL BOOTCAMP (MOW)

DP Thomas Harting CSC

to April 20

Burnaby

CAMPBELL II (series)

DP Michael Balfry CSC

to June 6

Burnaby

DP Peter Benison CSC Camera Operator Andreas Evdemon B

to April 7

North Bay

to August 15

Toronto

CHRISTMAS INHERITANCE (TV movie)

Camera Operator Rod Crombie CONDOR (series)

DP Steve Cosens CSC

DARK MATTER III (series)

Trainee Shakithyan Niranjan

to April 13

Toronto

DESIGNATED SURVIVOR (series)

DP Michael Story CSC (alternating DP) B Camera 1st

to April 28

Toronto

Assistant Jim Chirayouth Saysana DOOMSDAY (pilot)

Operator/Steadicam Keith Murphy

to April 3

Burnaby

FARGO III (series)

DP Craig Wrobleski CSC

to May 2

Calgary

THE FLASH III (series)

DP C. Kim Miles CSC (odd)

to April 22

Vancouver

GHOST WARS (series)

DP Thomas Burstyn CSC, NZCS

to September 6

Vancouver

THE GOOD DOCTOR (pilot)

B Cam Operator Ian Seabrook CSC

to April 7

Burnaby

GREEN HARVEST (series)

DP Colin Hoult CSC (alternating episodes)

to September 8

Toronto

LA BOLDUC (feature)

DP Ronald Plante CSC

to April 24

Montreal

LES SIMONES III (series)

DP Geneviève Perron CSC

to June 3

Montreal

KILLJOYS III (series)

DP Bruce G. Worrall CSC

to May 12

Toronto

MR. SNOWMAN (feature)

DP Charles Lavack

to April 3

Winnipeg

OLLIE AKA THE PREDATOR (feature)

2nd Unit DP Roger Vernon CSC

to May 19

Burnaby

POTOMAC (series)

B Camera Operator Alfonso Maiorana

to May 17

Montreal

PRIVATE EYES II (series)

DP Christopher Ball CSC & Pierre Jodoin CSC (alternating

to May 19

Scarborough

episodes) 1st Assistant Pierre Branconnier B Camera Operator Brad Hruboska REBOOT: THE GUARDIAN CODE (series)

DP Vincent de Paula Operator/Steadicam Greg Fox

to April 4

Saanichton

SHADOWHUNTERS II (series)

DP David Herrington CSC & Mike McMurray CSC (alternating

to May 16

Mississauga

episodes) Data Management Technician Marc Forand SOMEWHERE BETWEEN (series)

DP Michael Wale CSC (alternating episodes)

to June 15

North Vancouver

STOCKHOLM (feature)

DP Brendan Steacy CSC

to May 19

Toronto

STRAIN IV (series)

DP Alwyn Kumst CSC (alternating episodes) B Camera

to April 11

Toronto

Camera Operator Michael Soos

to November 15

Toronto

Co-Producer & DP Serge Ladouceur CSC; Camera Operator

to April 26

Burnaby

Operator J.P. Locherer CSC SUITS VII (series) SUPERNATURAL XII (series)

Brad Creasser TOM CLANCY’S JACK RYAN (series)

B Camera Operator Alfonso Maiorana

VAN HELSING II (series)

DP Brendan Uegama CSC

to June 16

Vancouver

WYNONNA EARP II (series)

DP Gerald Packer CSC

to April 13

Calgary

ZOO III (series)

DP François Dagenais CSC

to June 16

North Vancouver

Montreal

CALENDAR OF EVENTS

28, CSC Lens Testing Workshop, Toronto, csc.ca 29-30, CSC Camera Assistant Workshop, Toronto, csc.ca

APRIL

MAY

1, CSC Awards, Arcadian Court, Toronto, csc.ca 22-23, CSC Lighting Workshop, Toronto, csc.ca April 27-May 7, Hot Docs, Toronto, hotdocs.ca

Write to Us

www.csc.ca Connect online with the CSC

27-28, CSC Lighting Faces Workshop, Toronto, csc.ca JUNE

3-4, CSC Tabletop Lighting Workshop, Toronto, csc.ca Follow us on Instagram to see featured full members' work @canadiancinematographer

Canadian Cinematographer welcomes feedback, comments and questions about the magazine and its contents. Please send your letters to editor@csc.ca. Letters may be edited for clarity and space.

36 • Canadian Cinematographer - April 2017

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