CANADIAN SOCIETY OF CINEMATOGRAPHERS
$4 April 2020 www.csc.ca
CASTLE
in the
GROUND
Bobby Shore csc
Paul Sarossy csc, asc, bsc: Mariette in Ecstasy William F. White February Freeze
A publication of the Canadian Society of Cinematographers
FEATURES – VOLUME 12, NO. 1 APRIL 2020 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.
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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: Ernie Kestler
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.
William F. White February Freeze
The CSC is a not-for-profit organization run by volunteer board members of the society. Thank you to our sponsors for their continued support.
CORPORATE SPONSORS
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Genre Bender: Bobby Shore csc Builds Castle in the Ground By Fanen Chiahemen
Courtesy of Paul Sarossy csc, asc, bsc
AC Lighting Inc. All Axis Remote Camera Systems Arri Canada Ltd. Canon Canada Inc. Cinetx Inc. Codes Pro Media Cooke Optics Deluxe Toronto DMG Lumière FUJIFILM, North America Corporation FUJIFILM, Optical Devices Division Fusion Cine Grandé Camera Henry’s Camera HD Source Inspired Image Keslow Camera Kino Flo Lee Filters Mole-Richardson MOSS LED Inc. Nikon Canada Inc. PRG Panasonic Canada Panavision Canada Quasar Science REDLABdigital RED Rosco Canada Sigma SIM SIMMOD LENS Sony of Canada Ltd. Technically Yours Inc. Technicolor The Source Shop Urban Post Production Vistek Walter Klassen FX William F. White International Inc. Zeiss ZGC Inc. ZTV
Paul Sarossy
csc, asc, bsc:
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Looking Back at Mariette in Ecstasy
By Fanen Chiahemen
COLUMNS & DEPARTMENTS 2 4 6 8 10 26 28
From the Editor-In-Chief From the President In the News CSC Member Spotlight – Fraser Brown On Set Tech Column Production Notes/Calendar
csc
Cover Alex Wolff in a scene from Castle in the Ground.
Canadian Cinematographer April 2020 Vol. 12, No. 1 EDITORIAL BOARD EDITOR-IN-CHIEF Joan Hutton csc EDITOR EMERITUS Donald Angus EXECUTIVE OFFICER Susan Saranchuk, susans@csc.ca EDITOR Fanen Chiahemen, editor@csc.ca COPY EDITOR Patty Guyader PHOTO EDITOR Janek Lowe ART DIRECTION Berkeley Stat House WEBSITE www.csc.ca ADVERTISING SALES Guido Kondruss, gkondruss@rogers.com CSC BOARD OF DIRECTORS Serge Desrosiers csc Zoe Dirse csc Jeremy Benning csc Carlos Esteves csc Joan Hutton csc Kristin Fieldhouse Guy Godfree csc George Willis csc, sasc CSC EXECUTIVE PRESIDENT George Willis csc, sasc PAST PRESIDENT, ADVISOR Joan Hutton csc VICE PRESIDENTS Carlos Esteves csc Bruno Philip csc MEMBERSHIP CHAIRS Arthur Cooper csc Zoe Dirse csc EDUCATION CHAIRS Carlos Esteves csc George Willis csc, sasc AWARDS CHAIR Arthur Cooper csc DIGITAL PORTALS Carolyn Wong (Content Manager) RELATIONSHIPS Gaston Bernier OFFICE / MEMBERSHIP / SUBSCRIPTIONS 131–3085 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.
ISSN 1918-8781 Canadian Mail Product Sales Agreement No. 40013776 Return undeliverable Canadian addresses 131–3085 Kingston Road Toronto M1M 1P1 THE CANADIAN SOCIETY OF CINEMATOGRAPHERS IS A NON-PROFIT ORGANIZATION.
2 • Canadian Cinematographer - April 2020
FROM THE EDITOR-IN-CHIEF Joan Hutton csc
I
t was a heartbreaking decision, but a very necessary one to make. For the first time in the 63-year history of the CSC, the society’s marquee Annual Awards Gala has been postponed. It fell victim to the onslaught of the COVID-19 pandemic that has been gripping the world. An insidious respiratory disease, COVID-19 is thought to be highly contagious and is believed to be mainly transmitted through human-to-human contact. As of this writing, the virus has killed thousands of people and made hundreds of thousands ill worldwide. There is no known antidote yet and people are being asked to practice social distancing by simply keeping away from others until this outbreak runs its course. In the meantime, countries around the globe are in lockdown and the world’s economy is languishing. So is our industry. COVID-19 is cutting a devastating swath through the world’s film and television industries. South of the border, productions have been halting, while Hollywood could take a $20-billion hit because of delayed releases. In Canada, productions from coast to coast have gone on hiatus, unfortunately putting thousands of set personnel out of work. This is truly a horrible scenario, which will cause financial hardships for many. However, doing otherwise could yield consequences that are far worse. By the time anyone reads this column and if they’re still on set, I would seriously take stock of your commitment to your own health and to the health of your fellow human beings. Go home and remain healthy. As for Canadian Cinematographer, we’ll keep publishing through the COVID-19 crisis. We already work as individuals in different locations, conducting magazine business by telephone, email and conference call. What could hamper us is a mail stoppage, but even then, we’ll still digitally publish on the CSC website and the hardcopies will be sent later. As for our Awards Gala, it’s very much a wait-and-see situation with the outbreak. The CSC is eyeing the fall for a reschedule, but should that prove to be unworkable, then perhaps it’s a twin Gala next spring for both 2020 and 2021. We’ll keep everyone posted. In the meantime, everyone please be smart during this dark time and keep safe. Nothing is worth compromising one’s wellbeing or one’s life.
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FROM THE PRESIDENT George A. Willis csc, sasc
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recently returned from Belgium, where the IMAGO conference (IAGA) and Awards Gala was to be held in Brussels in March. Just a reminder, IMAGO (International Federation of Cinematographers) is an organization of which the CSC is a full member. Each year, 54 societies from around the world gather in a (host) country to attend the conference, followed by the IMAGO Awards Gala. This year the host society was the SBC (Belgian Society of Cinematographers). Usually, two days are devoted to the IAGA conference, where a substantial agenda is tabled to deal with issues that relate to the various cinematographic societies from around the world who are members of IMAGO. The first day (in this case, the only day) began in the usual way, with delegates attending from around the world ready to address the many issues associated with international filmmaking. This IAGA agenda called for, amongst other items, the election of a new president, revised statutes, financials and various specialist committee reports such as authorship, inclusiveness, education, technical and working conditions, as well as a host of other topics that are all part of conferences in general. It was not too far into the first day – about two hours – when the first reports related to COVID-19 started coming in and then everything went sideways, as the saying goes. The most important announcements related to travel, border closures and the like. Of course, this was something akin to a small spark being fanned into a huge fire. While most of the society delegates are from Europe, there were many from other parts of the world including us, from Canada. Quite apart from the realization that major changes were in the works, the fact was that due to issues completely beyond control, the IMAGO Awards Gala was also being cancelled. This in itself was a major blow to
4 • Canadian Cinematographer - April 2020
the host society (SBC) because the resulting changes would mean severe financial consequences. All the delegates representing their societies, including the CSC, had to make immediate decisions regarding travel arrangements. Reluctantly, we had to accept this situation but were very surprised when the President of IMAGO suddenly explained that he had to leave for the airport immediately. He was now booked on the last flight out of Brussels, as the airport in his home country was shutting down. In reality, having revised travel itineraries many times before for different reasons, this did not seem to offer too much other than inconvenience for us all, but this opened up a new learning curve. Attempting to do what in another circumstance is merely a formality, took on a very different challenge. Communication with airlines via telephone or online was met with frustration and ineffectiveness. This necessitated a specific trip to the airport to change flight details so that we could be assured of getting a flight back home. While extremely disappointing and frustrating, there was at least the confirmation, reassurance and relief that we would not be in a situation where we would be unable to return home. This was indeed a possibility, as various international airports and borders were being closed. We did not take this turn of events at all lightly because of the unknown factors. On the morning of our departure, all restaurants, bars, etc., were closed, and had we decided to stay after the IAGA to visit other cities in Belgium, as was our original intention, we would no doubt have had to deal with a lot more than inconvenience. The quote from Irish novelist Oliver Goldsmith, “He who fights and runs away, lives to fight another day,” now has a very significant meaning.
In The News Broadcasting & Telecommunications Panel Report Proposes Changes to Funding System In late January, the federal Broadcasting & Telecommunications Legislative Review Panel (BTLRP) released Canada’s Communications Future: Time to Act, its final report and recommendations to government. Created in June 2018, by the Ministers of Innovation, Science and Economic Development Canada and Canadian Heritage, the six-member panel reviewed Canada’s decades-old Broadcasting, Telecommunications and Radiocommunication Acts and made recommendations for modernizing the legislation and regulatory framework. The report contains 97 specific recommendations touching on four themes: reducing barriers to access by all Canadians to advanced telecommunications networks; supporting the creation, production and discoverability of
Canadian content; improving the rights of the digital consumer; and renewing the institutional framework for the communications sector. Directors Guild of Canada hailed the findings urging that global streaming services operating in Canada be brought immediately under the Broadcasting Act and required to contribute to the creation of original Canadian programming. The DGC also congratulated the recommendations to expand the mandate of the CRTC and require that dramatic and documentary productions made with public funds (or moneys contributed to Certified Independent Production Funds) be required to engage Canadian creators in all key creative roles. The full report is available on the Government of Canada website at canada.ca.
Courtesy of Douglas Knapp Facebook page.
Alberta-Raised Cinematographer Douglas Knapp Dies at 70 Veteran American cinematographer and camera operator Douglas Knapp, who worked on the series Murphy Brown, two Star Trek series, as well as the films of John Carpenter and Tim Burton, died on February 3 at the age of 70. Knapp was born in Tulsa, Oklahoma, but raised in Calgary where he attended Western Canada High School. He graduated from the University of Southern California School of Cinematic Arts in 1972, and two years later, shot Carpenter’s feature debut Dark Star (1974). He went on to shoot Carpenter’s followup, Assault on Precinct 13 (1976) and was camera operator on Escape From New York (1981). He also served as camera operator on Burton’s Frankenweenie (1984) and Beetlejuice (1988), as well as on the films Coming to America (1988), National Lampoon’s Christmas Vacation (1989) and Driving Miss Daisy (1992). He taught cinematography at the Los Angeles Film School and West Los Angeles College.
ACCEPTANCES / AWARDS / NOMINATIONS
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William F. White International Adds TorontoArea Studio Space William F. White International recently announced plans to increase its studio operation in the Greater Toronto Area, with the addition of 181,000 square feet of new space in Mississauga. The company’s second GTA location, Whites Studios Cantay, will include four sound stages, as well as office space, two carpentry shops, two paint shops, two wardrobe areas and a lunchroom. It is slated to be open for business by early 2021.
AFC Announces Registration for Charity Golf Tournament Registration is now open for The AFC’s Big Swing Charity Golf Tournament. The annual tournament brings together members of the entertainment industry for a day of golf in support of the work of The AFC – the lifeline for Canada’s entertainment industry. This year’s tournament, co-presented by The AFC and DGC Ontario, will take place on Monday, June 22 at the Royal Ontario Golf Club in Halton. It will have a 6:30 a.m. shotgun start and end at approximately 4:00 p.m. More information is available at afchelps.ca/participate/big-swing-2020-registration.
Nicolas Bolduc csc (cinematographer) La Belle Époque (feature) nominated: Best Cinematography, César Award, Paris, February 28, 2020
FebruaryFREEZE 19th Annual
William F. White, February 4 and 5, Toronto
Photos by Ernie Kestler
Christina Ienna and Owen Deveney.
Martin Wojtunik, Christina Ienna and Owen Deveney.
Christina Ienna and Owen Deveney.
Rod Crombie answering inquiries on CSC workshops.
Dmitry Lopitan and Andres P. Galicia with a visitor to the booth.
Dmitry Lopitan and Andres P. Galicia speak with visitors. Canadian Cinematographer - April 2020 •
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Credit: Courtesy of Fraser Brown csc
CSC Member Spotlight
Fraser Brown csc What films or other works of art have made the biggest impression on you?
Lawrence of Arabia, with its nearly four-hour-long running time, incredible characters and brilliant cinematography. HBO’s The Wire, still the greatest show ever made. How did you get started in the business?
My first real job in film was as a grip for Peace Arch. Peace Arch made 12-day films, year-round, one week off inbetween and always with the same crew. I would complete 12 films as the fourth or third grip. Peace Arch was the ultimate film school, where I got to meet many talented crewmembers that I still work with to this day.
Who have been your mentors or teachers?
Mr. Olenick, my high school media arts teacher, really encouraged my interest in filmmaking. He empowered me to seek a career in the arts and is probably the only reason I got into Sheridan College for Media Arts. Boris Mojsovski csc has been my biggest mentor. He has taught me how to control the overall image of a film or television show, to push for better and to never compromise the quality of my work. What cinematographers inspire you?
Gordon Willis asc, Roger Deakins asc, bsc, Carlo Di Palma, Freddie Young bsc, Conrad Hall asc, Sven Nykvist asc, and the
8 • Canadian Cinematographer - April 2020
person I reference the most, Harris Savides asc. Name some of your professional highlights.
Being asked to join IATSE 667 as a cinematographer felt like the beginning of my professional career. Shooting Blood and Water with director John L’Ecuyer was the first project where I was given the creative space to do the type of photography I have always wanted to do. And most recently, signing onto Titans Season Three as the main unit alternating DP after two years of second unit work on Seasons One and Two. What is one of your most memorable moments on set?
One of my first days on second unit on Titans and
Batman is on the call sheet! I am so excited to see the costume and to light Batman. The scene finally comes up and they are about to bring him in. Then this gentleman wearing what looked like Batman pyjamas comes in and lies down on set. I asked the director what the deal was, and she says, “We already shot Batman’s coverage last week; this is the stand-in for the eye line.” Movie making is fake. What do you like best about what you do?
I love the collaboration involved in making movies. Everyone coming together to achieve one goal day after day. What do you like least about what you do?
The hours. Bad movies get made after 12 hours.
What do you think has been the greatest invention (related to your craft)?
The LED. If the light doesn’t dim or change kelvin, I won’t use it! The lack of heat and size of the new LEDs are truly amazing. They have changed my approach to filmmaking. How can others follow your work?
fraserbrown.ca
Presenting
THE 63 ANNUAL CSC AWARD NOMINEES nd
THEATRICAL FEATURE CINEMATOGRAPHY Sponsored by Deluxe Nicolas Bolduc csc La Belle Époque David Franco The Song of Names Douglas Koch csc Through Black Spruce Paul Sarossy csc, asc, bsc Guest of Honour Bobby Shore csc Stuber
COMEDY SERIES CINEMATOGRAPHY Sponsored by Vanguarde Artists Kristin Fieldhouse Little Dog “Round Eight” Wayne “Thought We Was Friends” D. Gregor Hagey csc Cabot McNenly Cavendish “Charlottetown Nights” Brett Van Dyke csc Carter “Harley Wears A Wig” ROBERT BROOKS AWARD FOR DOCUMENTARY LONG FORMAT CINEMATOGRAPHY
NON-THEATRICAL FEATURE CINEMATOGRAPHY Arthur Cooper csc Claws of the Red Dragon Samy Inayeh csc I am Somebody's Child: The Regina Louise Story Daniel Villeneuve csc Radio Silence Craig Wrobleski csc In the Tall Grass DRAMATIC SERIES CINEMATOGRAPHY Sponsored by Technicolor David Greene csc, asc Impulse “The Moroi” Gregory Middleton csc, asc Watchmen “This Extraordinary Being” Boris Mojsovski csc Knightfall “Death Awaits” Brendan Steacy csc Titans “Bruce Wayne” Craig Wrobleski csc Umbrella Academy “I Heard a Rumor” DRAMATIC SHORT CINEMATOGRAPHY Sponsored by Sim Matt Bendo A Dog Cried Wolf Adam Crosby Chubby Karim Hussain csc Please Speak Continuously and Describe Your Experiences as They Come to You Bobby Shore csc I Am in the World as Free and Slender as a Deer on a Plain Michael Wylam Where Darkness Lies FRITZ SPIESS AWARD FOR COMMERCIAL CINEMATOGRAPHY Sponsored by Whites Camera Kris Belchevski Jaguar “Inspired By Light” Stuart J. Cameron Gymnastics Canada “From Here, We Soar” Goh Iromoto Spirit of York “The Spirit” Jordan Kennington YMCA “A World Without Y” Mark Zibert & Eric Kaskens Sick Kids “Sick Kids VS: This is Why”
Geoffroy Beauchemin Odyssée sous les glaces I Under Thin Ice Jeremy Benning csc & Alone Across the Arctic Martin Wojtunik & Michael Reid John Choi Spaceman Ryan A. Randall Workhorse Kristoff Rochon Gordon Lightfoot: If You Could Read My Mind DOCUMENTARY SHORT FORMAT CINEMATOGRAPHY Mitchell Baxter This Ink Runs Deep Martin Buzora The Story of Pema Diego Guijarro Mothers Of Goh Iromoto Lure of the North MUSIC VIDEO CINEMATOGRAPHY Sponsored by Grande Camera Matt Bendo “Children of Today” performed by Blasterjaxx Jason George “Rise” performed by Apocalyptica Farhad Ghaderi “Virtuous Circle” performed by Jordan Klassen Norm Li csc “And, We Disappear” performed by Alaskan Tapes Alexandre Nour Desjardins “Lady Winter” performed by The O’Pears STUDENT CINEMATOGRAPHY Sponsored by Panavision Canada Jordan Batchelor Anemone Sheridan College Ian W. Mrozewski Bunny University of British Columbia Calvin Van Arragon Hang Up! Sheridan College THE MASTERS AWARD “For outstanding contribution to the art of cinematography.” Jean-Claude Labrecque csc, (posthumously)
BRANDED CONTENT CINEMATOGRAPHY Peter Hadfield Mark's Well Worn Collective “Troy Moth” Jason Han Hallmark “Memories” Goh Iromoto Sapporo “East Meets West Series - Indigo X Denim”
THE BILL HILSON AWARD “For outstanding service contributing to the development of the motion picture industry in Canada.” Walter Klassen
CHILDREN’S / YOUTH PROGRAMMING CINEMATOGRAPHY Mitchell T. Ness csc Creeped Out “The Unfortunate Five” Mitchell T. Ness csc Holly Hobbie “The Night-Crawling Newbie” Brett Van Dyke csc Northern Rescue “D-U-A-L-I-T-Y”
THE PRESIDENT’S AWARD “For outstanding service to the Canadian Society of Cinematographers.” Carolyn Wong THE CAMERA ASSISTANT AWARD OF MERIT “For excellence and outstanding professionalism in the performance of the AC duties and responsibilities” Joseph Micomonaco
Canadian Cinematographer - April 2020 •
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On Set
Credit: Nathan Garfinkel
Credit: Tomo Nogi
Going for a real flight in a vintage North American Harvard plane using an ARRI ALEXA Mini, associate member Sarah Thomas Moffat DP'ed and operated the narrative film Boundless.
Credit: Rory Sommerville-Bathmaker
Cinematographer and associate member Dana Barnaby on the set of Hearts of Winter (aka A Tidy Romance).
Credit: Sean Guzen
Credit: Nathan Garfinkel
Director Tony Kaplan and DP Christina Ienna (associate member) frame up Pixar animator Steven Hunter with a Sony VENICE rigged above on the set of the documentary series Inside Pixar: Steven Hunter.
DP Quan Luong (student member), Steadicam operator Pedro Simone, 1st AC Ryan Offenloch (student member) and 2nd AC Alex DC on the set of the short film In Love We Survive (dir. Omar Benson).
10 • Canadian Cinematographer - April 2020
Associate Member Dennis Grishnin on the set of a music video for “I Drive Me Mad” by Ren.
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Canadian Cinematographer - February 2020 •
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Genre Bender
Bobby Shore csc Builds
CASTLE in the
GROUND
I
n actor-turned-director Joey Klein’s feature film Castle in the Ground, a young man living in Sudbury is the primary caretaker for his terminally ill mother, administering daily doses of OxyContin to ease her pain. When his mother dies, the teen, Henry, befriends his charming but troubled next-door neighbour, Ana, who is struggling to kick her own drug habit. Henry eventually becomes drawn into Ana’s sordid world and caught in the crossfires of the opioid crisis. Hereditary’s Alex Wolff leads the cast as Henry, with Neve Campbell playing his mother, Rebecca, while Imogen Poots (Frank & Lola, 28 Weeks Later) plays Ana.
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Bobby Shore csc
By Fanen Chiahemen
Canadian Cinematographer - April 2020 •
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Photos: Courtesy of Woods Entertainment.
B
obby Shore csc, who photographed Castle in the Ground, notes that Klein took a somewhat unconventional approach to handling the heavy subject matter. “I think what stood out the most was how it starts off as a character-driven tone piece and then almost imperceptibly shifts into a plot-driven genre piece,” Shore says. “I remember some of the initial conversations really being centred around how we could use aesthetic tropes of genre pieces to inform how we would film some of the more character-driven tonal aspects and vice versa.” French director Robert Bresson’s signature style was an inspiration for the film’s visual language, the DP reveals. “We watched a bunch of old Bresson movies just because he was “With Joey so restrained with the way he used the everything is just camera,” Shore says. “We were really interested in the idea that what works best about talking in psychological thrillers and horrors is never really knowing what is waiting for about the tone you just outside the frame. And the way and emotional Bresson uses a very locked-off camera and specific sound design, it cues the viewer’s character of a imagination to wonder what’s going on scene. It becomes outside of what you’re looking at. “Joey wanted to shoot and frame in 4:3 a very intuitive because he loved the idea of these black bars on either side of the screen, almost and explorative like the viewer wants to push the bars to process between the side to see what’s waiting around the corner,” Shore continues. “And so that the two of us.” became, at least for me, a very important jumping-off point as to how we’d use the
camera and how we would frame things. A lot of the time, we would try to frame the characters with a lot of foreground elements stacked to help amplify this sense of claustrophobia and help give the sense that sometimes maybe the characters are being watched, or if we’re really present with them that we’re holding on close-ups for a very long time and using sound design to try to intuit what might be happening around them.” Having worked on two features and four short films together, Shore and Klein had developed an efficient shorthand that came in handy especially when prepping the film. “I can definitely say that it’s by far one of the most collaborative processes working with Joey from every standpoint,” Shore observes. “We had two passes of the shot list done a month before we even started official preproduction, and so with Joey everything is just about
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talking about the tone and emotional character of a scene. It becomes a very intuitive and explorative process between the two of us.” Shooting on location in Sudbury allowed the production to take advantage of Northern tax credits, and the city was also an ideal setting to depict the impact that the opioid epidemic has had on small towns, although the location came with challenges. “From a logistical standpoint, it was one of the hardest shows I’ve ever worked on, and that had a lot to do with the hardships of shooting a movie in the dead of winter in Sudbury and the fact that there were five blizzards and six feet of snow on the side of the road, and just moving gear around outside became a massive ordeal,” Shore reveals. He, Klein and production designer Zosia Mackenzie scouted
“We were really interested in the idea that what works best in psychological thrillers and horrors is never really knowing what is waiting for you just outside the frame.”
Clockwise: ImogenPoots, Alex Wolff and Tom Cullen in Castle in the Ground. Imogen Poots and Tom Cullen. Imogen Poots as Ana. Alex Wolff.
locations in Sudbury a couple of months before preproduction and found an apartment that would serve as the main location where most of the film takes place. “To Zosia’s credit, being as collaborative as she is, she was able to take the bones of something that would work very well from a camera and lighting standpoint and transform it into something that worked from a character standpoint for both Henry’s and Ana’s apartment,” Shore notes. “And knowing how much time we were going to be spending in these places, it became really important to utilize the space in the ways that would help propel the elements of the horror genre that we wanted to use in terms of having the camera float in and out of rooms and looking around one corner to another. Zosia was pretty instrumental in helping to cultivate and create a look and feeling because the apartments were basically just empty shells, and she totally designed a nice aged, well-worn feeling for both of them.” For lenses, Shore went to Panavision. “As always, I just tested a bunch of old shitty standard speed lenses and handpicked the ones that felt like they were the best feeling for the film,” he says. “And usually, in the past, I’ve used more Super Speeds or Ultra Speeds, but given the texture and feeling that we really wanted for the image, I wanted to go even older and use more of the standard speeds. We shot about 80 per cent of the movie on an old 40 SP, and the remaining 20 per cent was shot on a Close Focus 35 that we used for all of the macro work. And then obviously, if we needed to throw in a 29 mm or something, we would do that every once in a while, but the majority of the movie was a 35 or 40 mm, and it just felt like the right focal length. It let us see enough of the space but still kept things feeling a little bit claustrophobic while still getting a sense of proximity between the camera and the actors.” One of the biggest influences for lighting from a texture and tonal standpoint was the photography of Nan Goldin, he says. “If you look at what she was doing with people that were in her close friend circle in the ‘70s and ‘80s, there was a sense of intimacy and a very raw sense of loneliness,” Shore states. “So if it was a day scene, all the light was motivated from the windows, Canadian Cinematographer - April 2020 •
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and if it was a night scene, it was a streetlight or a lamp that was turned on, and that became the M.O. in terms of really wanting things to feel not really lit that much. And for day scenes, a lot of times we wouldn’t light at all; we would just use whatever natural light was coming in, and then if we lost the light, we would augment it and recreate our own daylight if we had to do night for day. “If you came on the set and we were doing a night scene, the setup probably looked worse than a student film,” he continues. “Because we would just have a 1K outside a window. We wanted it to feel motivated from sodium vapour streetlights, so we’d either use actual sodium vapour fixtures or we’d use MTY on the light that replicates the sodium vapour look pretty well just to light the sheers. It felt so rinky-dink and small, but it worked really well because of the sheers that Zosia put up that gave so much texture to the light or the wallpaper that was behind the character and would reflect and pick up the light so well that you didn’t need to augment or do anything else. “When we were staging night scenes where lamps would be on, we’d just keep everything motivated from a lamp source, so if there was a lamp in the corner, we would take a lite mat and then throw a bunch of unbleached muslin on it and put it right next to the lamp, and that would be our light. So if the characters moved away from the lamps, they would just go into shadow and if they moved towards it, they would move into their light,” he says.
Jason Vieira with Shore and Wolff on set.
“One of the elements that I think can get under utilized from the standpoint of visual storytelling is lighting contrast,” he observes. “And one thing that me and Joey spoke about doing very intentionally was as Henry gets deeper and deeper into this world, we wanted to use harder and harder light on him. So even
16 • Canadian Cinematographer - April 2020
“From a logistical standpoint, it was one of the hardest shows I’ve ever worked on, and that had a lot to do with the hardships of shooting a movie in the dead of winter in Sudbury.” in scenes that didn’t make sense to have the lights turned off inside the apartment, we would just turn them off and have the inside lit by what would look like a streetlight coming in from outside a window, just as a way to build up the contrast and get much darker, really rich shadows and not being able to see everything so clearly as a way to visually represent his descent into this darker world. From a camera standpoint, it became a lot about using the camera in very locked-off frames and letting Henry move in and out of the frame or stacking a lot of foreground elements in front of him so that he starts to feel kind of trapped.” The camera was locked off 90 per cent of the time during the shoot or on a dolly, with a couple of big Steadicam shots executed by Jason Vieira and associate member Andreas Evdemon, Shore says. Jim Fleming completed colour timing on the film, using a variation of a LUT that Shore used on another project earlier that year, and which he tailored to suit the visual aesthetic the filmmakers were going for. “I think it really captured the tone and texture of the old Nan Goldin photos from the ‘70s and ‘80s,” Shore says. “She used a chromogenic print process called C-41, and when you see the light on a character’s face, it has a kind of subtle filmic roll-off to the highlights and information in the shadows, but you still really feel the contrast of the source. Of course, having worked with Jim on multiple features and TV series and really trusting his taste, he was able to really finesse it and hone in on all the aspects of the lighting that the LUT really brought to the image.” Klein being an actor as well as a director was an advantage to the production, Shore maintains. “When we did his first feature The Other Half together, I felt like I was learning more from him than I had learned from almost any other director I’d worked with before, and that had everything to do with the way he spoke with actors and the way he approached everything from the perspective of an actor,” the DP says. “So I felt like I was learning something new because I was listening to the words he would use to describe motivation or an intention of a feeling, and hearing him use those words infused in me a deep understanding of what a scene was actually about, so the conversation became elevated and more about subtext and the more ethereal, emotional unspeakable stuff.”
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Canadian Cinematographer - February 2020 •
17
Paul Sarossy
csc, asc, bsc
Looking Back at
By Fanen Chiahemen
I
n 1996, Paul Sarossy csc, asc, bsc served as director of photography on the feature film Mariette in Ecstasy, an adaptation of the Ron Hansen novel that depicts a 17-yearold girl’s religious fervour when she enters an upstate New York convent as a postulant. The film was directed by cinematographer John Bailey asc, and it was on the set that Sarossy met his wife-to-be, actress Geraldine O’Rawe (Circle of Friends, Adoration), who played the lead, Mariette. Due in part to the bankruptcy of production company Savoy Pictures, the film was never released, and few had seen it until it was screened late last year as part of a retrospective of Bailey’s career. Despite the years that have passed, Sarossy clearly remembers his first meeting with Bailey. “We immediately connected when talking about this French film by Alain Cavalier called Thérèse, which was subject-wise very similar to this film and very beautifully photographed. I could see his eyes light up when the conversation went in that direction, and I kind of think that was the moment when I got the job,” Sarossy says. For Bailey, who served as president of the Academy of Motion Picture Arts and Sciences from 2017 to 2019, his first meeting with Sarossy was just as memorable. “As soon as I met with him, I was just captivated by
his enthusiasm – and I mean this in the most positive way – his kind of boyish energy and enthusiasm,” Bailey recalls. “I felt on a certain level he would be a counterpoint and a balance against my own inherent sense of pain and guilt-ridden Catholic obsessions because he seemed to be very life-affirming and very positive. I thought Paul would help keep me from falling into a penitential pit, and he did. So I asked him to do the film as much for his temperament and his personality as for his work. And of course once we started to make the film and I actually watched how he would light, I thought, ‘Boy, this is great.’ The lighting is Paul’s completely; I just left him alone.” Baileys’ hands-off approach to the cinematography was one of the things Sarossy most appreciated about the director. “He was a wonderful person to work with, a great collaborator, because he absolutely didn’t interfere with the photography and the lighting of the film, which is of course the obvious fear when you go into a working relationship with a well-known cinematographer. Will he be able to resist getting his hands dirty,” Sarossy says. “And he was wonderful that way. But he was also a very verbal person, unlike myself, so he very much was able to talk about and describe paintings and works of literature, other films and visual references that he was interested in.” Bailey, who was raised Catholic and had initially planned to enter a Jesuit novitiate to become a priest, says he was always interested in filmmakers that dealt with metaphysical themes and was influenced by directors like Michelangelo Antonioni, Ingmar Bergman and Robert Bresson. “The common visual style I saw in all their films was a tremendous sense of formality; a
“He was a wonderful person to work with, a great collaborator, because he absolutely didn’t interfere with the photography and the lighting of the film, which is of course the obvious fear when you go into a working relationship with a well-known cinematographer,” Paul Sarossy csc, asc, bsc
18 • Canadian Cinematographer - April 2020
All photos courtesy of Paul Sarossy csc, asc, bsc
“John wanted this sparseness to be present in the movie to counteract the intensity of Mariette’s journey. It was a visual balance to the emotions Mariette was feeling while in ecstasy. This style of filming mimicked the simplicity and ritualistic nature of the life of the nuns,” Geraldine O’Rawe
Top: Actress Geraldine O’Rawe. Bottom: Helen Hughs, Janet Wright, Soo Garay, Nancy Beaty, Meg Hogarth and Deborah Lambie. Left page: Actress Geraldine O’Rawe, DP Paul Sarossy csc, asc, bsc and actress Eva Marie Saint.
Canadian Cinematographer - April 2020 •
19
Credit: Ron Hanson
“I thought Paul would help keep me from falling into a penitential pit, and he did. So I asked him to do the film as much for his temperament and his personality as for his work,” John Bailey asc
Both photos O’Rawe as Mariette.
certain kind of pageantry, or a controlled processional ritualistic imagery, one shot succeeding the next in a kind of classic way. And I thought the formalities and rituals of the religious life were very interesting to explore in the film,” Bailey says. “But I didn’t want it to look too devoid of rich imagery. You think of Bergman and Antonioni, especially the black-and-white work, it’s very spare and elemental in terms of the use of visual elements, so I decided I really wanted to shoot it in colour rather than black-and-white, and I wanted it to be wide screen anamorphic because I saw a lot of the movement and action in the film in this kind of horizontal processional way, the ritual and the movement of the nuns within the convent.” The anamorphic format also “lends itself to the frame being very solid and the filmmaking not being too cutty or edited because of the wide frame and the fact that you had an ensemble cast where at any given moment there are may be five or six people in the frame,” Sarossy observes. “Because it’s a convent, in a sense, there is a kind of proscenium that everyone is performing in.” Casting the film with actors primarily from the theatre also served the film’s style, according to O’Rawe. “John wanted this sparseness to be present in the movie to counteract the intensity of Mariette’s journey,” she says. “It was a visual balance to the emotions Mariette was feeling while in ecstasy. This style
20 • Canadian Cinematographer - April 2020
of filming mimicked the simplicity and ritualistic nature of the life of the nuns. There is a monotonous tone to life in a convent, every small moment, every little detail, holds more meaning than it would in a fast-paced world.” The sparseness is mirrored in the lighting, with candles lighting a lot of the film. “Pretty much in the convent it was all candlelight,” Sarossy recalls. “I guess now looking at this film in retrospect, it really makes you realize what a different approach you would take today. We are now at a moment in digital cinematography where you can actually light with a candle, but in those days it was utterly impossible, you had to make various efforts to create that illusion and mimic candlelight artificially.” Although the tools of the trade have become more efficient, Sarossy suggests shooting the old-fashioned way was more creatively satisfying. “I feel lucky to have gone through the period of time where film was less sensitive. You had different tools and had to do things another way,” he remarks. “Today, you’re almost throwing away as much lighting as you’re embracing. In the olden days, you started with nothing and added one light after the next; it was an additive process.” Both Sarossy and O’Rawe fondly remember the Toronto shoot and the dedication of the cast and crew. “I remember everyone, particularly myself, John and Paul, being totally tunnel-visioned as to what we wanted to do,” O’Rawe says. So she barely paid attention when actress Eva Marie Saint (who played Mother Saint-Raphael) came up to her and, pointing to Sarossy, said, “See that guy there? You should marry him.” O’Rawe says she laughed it off, but the seed was planted for a courtship with Sarossy. “It was when I sort of started to pay attention,” she recalls. “After that, we chatted a bit and got to know each other, and a whole other layer was added to the making of this beautiful piece.” Then after the production wrapped, Mariette in Ecstasy “just
Canadian Cinematographer - March 2020 •
21
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Producer Alba Francesca and John Bailey asc.
sort of disappeared,” she remembers. Bailey declines to elaborate on the “ugly politics” that led to the disappearance of the film but cites “creative differences of opinion” with co-producer Frank Price “that increased when Savoy became very unstable financially and went bankrupt.” Bailey eventually withdrew from the project late in postproduction. “With the bankruptcy of Savoy, no distributor would pick the picture up, so it just kind of languished for several decades and it was too painful for me to look at it again,” he says. Then in August of 2019, when the Camerimage Film Festival announced it would be honouring Bailey with a Lifetime Achievement Award at the 27th edition of the festival in Toruń, Poland, Bailey decided to add what he calls his “orphan film” to the retrospective screenings of his works. Mariette in Ecstasy would finally have its world premiere in November 2019, more than two decades after it was shot. After so many years, Bailey says he was surprised to find himself getting “caught up in the movie” during the Camerimage screening. “It was the first time I was seeing it with a room full of people who knew nothing about the movie, projected on a large screen,” he says. “So it was like seeing it for the first time, and I got caught up looking at the emotions and the journey that Mariette takes.” He was particularly struck by O’Rawe’s performance. “Truly transcendent in my mind
is the absolute conviction that Geraldine brings to the role of Mariette,” he says. “It’s a kind of no-holds-barred performance; it’s very courageous, very naked. I’m just swept away by her performance.” O’Rawe indicates that Bailey’s directing style allowed her to give such an honest portrayal of Mariette. “I trusted John and Paul to have my back, and simply tried to deliver a sincere performance of a young girl who was deeply and passionately in love with God,” she says. “I felt very much embraced and I felt safe; I was left to deliver. He trusted me to have done the research and to put on screen what he wanted to see.” The actress says she was “overwhelmed and surprised” when she saw the film at Camerimage. “I hadn’t messed up, which is what I thought I had done so long ago. I had not for 20 years seen the finished movie, and watching it, I felt a part of me – the part I had given to this role – come back. During the Q & A after the screening, I could see a shift in all of us, something had changed in John, Paul and I. The piece that had remained incomplete and unresolved had found closure.” As for Sarossy, seeing the film after almost 25 years was like “unearthing a time capsule,” he says. “I’m looking at it through the eyes of working with very different methods and tools. I was surprised in a wonderful way, and I was so bowled over by how beautiful Geraldine was in the film.” Canadian Cinematographer - April 2020 •
23
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CSC Tabletop Lighting Workshop
Credits: Justin Lovell
February 15-16, 2020, Toronto
24 • Canadian Cinematographer - April 2020
CSC Lighting Faces Workshop in Partnership with ICG 669
Credits: Tony Mirza
Led by: Carlos Esteves csc and George Willis csc, sasc
William F. White, Vancouver, BC February 22-23, 2020
A huge thank you to William F. White, who supplied all the gear (lighting/grip/camera packages), as well as the location.
Canadian Cinematographer - April 2020 •
25
Tech Column
De-Aging Technology
Still from The Irishman.
I
t was inevitable. If you can bring the dead back to the screen, why not make them younger too? The film du jour at the centre of discussion, of course, is The Irishman, a stunning gangster genre story spanning decades, which leverages technology that allows for flashbacks of its principal characters. Such is the nature of that piece of movie magic that the technology itself has taken the spotlight. However, it’s nothing new. What is new is the speed, accuracy and unfettered way it can be done, and The Irishman is the poster for that technology from Industrial Light and Magic. De-aging as a visual first gained widespread notoriety when actors Patrick Stewart and Ian McKellen were de-aged in X-Men: The Last Stand (2006). Since then, some 21 productions have featured it in one form or another, such as The Curious Case of Benjamin Button (2008) right up to Star Wars: The Rise of Skywalker (2019), which also featured a resurrected Carrie Fisher. What the future holds for de-aging as a cinematic tool is anyone’s guess, but the technology behind it is indeed fascinating. There are a couple of versions of de-aging out there, from Gradient Effects’
26 • Canadian Cinematographer - April 2020
Shapeshifter, which was used for a flashback sequence on John Goodman in the HBO series Righteous Gemstone (2019), while Weta Digital mapped a digital Will Smith from archival footage and used motion capture in Gemini Man (2019). There’s a Canadian quotient to it as well – Gradient has a Montreal office and Rodeo FX, also of Montreal, did the deaging on Le bonheur des autres (2011), but it was a slow and painstaking process that burned a month of production time for a 30-second scene. Things have since developed rapidly, and the process is faster and more affordable now, but again, it’s just another tool to tell stories. Undoubtedly, there’s a learning curve for all stakeholders as to how to best use it, how to ensure the performance is seamless and how to eliminate some of the downside – such as young men moving like 75-year-old men. Gradient’s version first analyzes the actor’s face, extracts data and then uses those data points to make it over. Like the ILM version, there is no mocap, no special suits or face-mounted markers, and it also uses artificial intelligence. While Gradient’s software has a hands-on artist
to set it up, ILM uses a three-camera system and infrared to kick off the process. The concept was kicked off by director Martin Scorsese, who had The Irishman script in hand and knew where he wanted to go with it but needed some technology beyond what was available in 2015. The actors, especially Robert De Niro, also laid down some hard parameters: no markers on their faces, no special clothing, just regular lighting on a regular set. Two years later, they had something: a three-camera rig. The central unit is the director’s camera and the two outside units were adapted ALEXA Minis using infrared. The software, Flex, pulls all three images into one to render the faces, which are then replaced with the FX version. The reference for the de-aged face was pulled from previous images and clips – some going back to De Niro’s work in Taxi Driver (1976). AI also played a major role pulling it all together, scanning those images and producing options to select from. For the actors and the crew, it meant the performance was real, in real time, and what they saw was what they got even after all the technology worked its magic, and that means the close-ups, the tight shots of a simple flicker of an eye, were precisely captured and lost nothing in the translation of de-aging. When will we see the next iteration of de-aging? When it fits the story, presumably. Otherwise, it risks falling into the gimmick trap. Similarly, bringing the dead back to the screen, which debuted with Peter Cushing in Star Wars: Rogue One (2016) also runs the same risk of being a short-lived novelty unless key to advancing the story. Nonetheless, James Dean will feature in Finding Jack, a Vietnam-era war project in production and expected to release this year. Ian Harvey is a journalist who has been writing about digital disruption for 20 years. He welcomes feedback and eagerly solicits subject matter ideas at ian@pitbullmedia.ca.
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Classifieds
Production Notes & Calendar
EQUIPMENT FOR SALE
8 BIT CHRISTMAS (feature)
DP Samy Inayeh csc B Camera Operator Keith Murphy B Camera 1st Assistant Kyryll Sobolev
to June 2
Toronto
ANOTHER LIFE II (series)
DP Ryan McMaster csc
to June 20
Langley
BEST INTENTIONS (series)
DP Brett Van Dyke csc Operator/Steadicam Colin Akoon
to May 8
Toronto
FLASH, THE VI (series)
DP Brenton Spencer csc (odd) & Alwyn J. Kumst csc (even)
to April 6
Vancouver
GOOD SAM (pilot)
DP Brendan Steacy csc B Camera Operator Lainie Knox
to April 5
Toronto
HOME BEFORE DARK II (series)
DP C. Kim Miles csc & Bruce Worrall csc (alternating episodes)
to June 24
Richmond
NANCY DREW, THE (series)
DP John Bartley csc, asc
to April 7
North Vancouver
NURSES II (series)
DP Thom Best csc 1st Assistant Ciaran Copelin
to June 11
Mississauga
RIVERDALE IV (series)
DP Ronald Richard (odd episodes)
to April 3
Langley
SEX/LIFE (series)
DP David Makin csc & Mike McMurray csc (alternating episodes) Data Management Technician Marc Forand
to June 2
Mississauga
SINGLE ALL THE WAY (series)
DP Eric Cayla csc
to May 15
Montreal
SISTER RISING III (fka STREETS OF YESTERDAY) (series)
DP Marc Laliberté csc (even episodes) 2nd Unit DP Paul Sarossy csc, asc, bsc
to April 3
Toronto
SUPERNATURAL XV (series)
DP Serge Ladouceur csc Camera Operator Brad Creasser
to April 3
Burnaby
TITANS III (series)
DP Boris Mosjovski csc & Fraser Brown csc (alternating episodes)
to November 1
Toronto
UNTITLED HOME ALONE (feature)
2nd Unit C Operator Alfonso Maiorana
to April 17
Montreal
VAN HELSING V (series)
DP Gerald Packer csc & Neil Cervin csc
to June 18
Vancouver
VICAP (pilot)
DP Glen Keenan csc Camera Operator Peter Sweeney
to April 3
Calgary
WYNONNA EARP IV (series)
DP Gavin Smith csc
to May 15
Mississauga
Y (series)
DP Catherine Lutes csc (even episodes)
to August 28
Mississauga
APRIL 4, CSC Awards, Arcadian Court, Toronto, csc.ca – POSTPONED TBA 18-22, NAB Show, Las Vegas, nabshow.com – CANCELLED 25, CSC Screening at TIFF, Eternal Sunshine of the Spotless Mind with DP Ellen M. Kuras asc, csc.ca – POSTPONED, TBA 30-May 10, Hot Docs Festival, Toronto, hotdocs.ca – POSTPONED
@canadiancinematographer @csc_CDN
28 • Canadian Cinematographer - April 2020
MAY 6, CSC Full Member Spring Selection Committee, csc.ca JUNE 4-7, Cine Gear Expo, Los Angeles, cinegearexpo.com JULY 5-11, Festival Internacional de Cine de Gibara, Cuba, ficgibara.com 19-23, Siggraph, Washington, D.C., siggraph.org AUGUST 18-20, Cine Video Television Expo, Mexico, revistapantalla. com/expo 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.
Sachtler Video 20P Head (7x7) with carbon fibre standard legs (thick) 100mm ball base, pan handle, interior spreader, rubber feet and hard case. $5000 Michael Ellis 416-729-6988 michaelellis70@gmail.com CANON zoom lens - $500: 8mm. to 120mm. B4 Bayonet Lens mount. Lens has 2X Doubler. Lens is Switchable from 4:3 to 16:9. Macro capable. Lens hood and cap included. Excellent condition. 2 complete Kino Flo Diva Lite 401 Packages $500 Each. Both Lights are in Perfect Condition. Each Package Includes: 1 Diva Lite 401 fixture; Floziers; 4 x 3200 Degree Light Tubes; 4x 5600 Degree Light Tubes; Both have excellent Travel Cases Each Package Contact: 1michaelsavoie1@gmail.com COLORTRAN Nook light with bard doors and bulb. Includes long power cable and Quartzcolor 2K switch. $75. LOWEL Blender with AC power adapter, battery adapter for Canon E6 batteries, 1 protective screen, 3 diffusion screens. Very Good condition. $250. CHIMERA Triolet with 3 bulb adaptors, Chimera 9890 ring, glass diffusion dome and small Chimera pancake lantern (type 1864). $475. CHIMERA Extra Small Video Pro Plus with 3 screens (type 8115, 16"x22"). New condition. $200. CHIMERA Small Video Pro Plus Strip bank. (type 8155, 9"x 36"). Good condition. $250. gefilterfish@yahoo.com 416.587-4848 Panasonic DVCPRO Digital Video Recorder D230H. SONY BETACAM SP Recorder UVW-1800. JVC S-Video Cassette Recorder BR-S800U. Panasonic H1350 Colour Monitor. JVC 9" Colour Monitor. JVC Hi Resolution Colour Monitor. A VERY GOOD DEAL FOR SOMEONE Contact Robert Bocking csc for further information. 416 636-9587 or rvbocking@rogers.com ALEXA ITEMS FOR SALE Arri Alura T2.9. 18-80mm (PL Mount, Feet) CAD$20,000 OBO Arri Eyepiece Leveler (EL-3) Brand New CAD$400 OBO Arri Viewfinder Cable Medium KC151S Brand New CAD$350 OBO Please email Ian Toews csc at: ian@291filmcompany.ca Canon CN-E Prime Lenses. 24mm T1.5, 35mm T1.5, 50mm T1.5. In excellent condition. EF mount, covers S35 and full frame. Asking $3400 each. Contact info@johnker.com. 35 4x5.6 Schneider filters: ND’s, color correction, diffusion, grads 2 138mm Tiffen Tobacco, Sunset grad 2 138mm Schneider Tru Pola, 85 Pola 2 138mm Schneider CU diopter #1, Cu Diopter • includes case and pouches for every filter. • Excellent condition • 4x5.6 and 138mm. clears included Today’s value in U.S. dollars $13,705 U.S. Selling price $9,500 CDN CONTACT: Bert Tougas H: 514-634-2374 C: 514-913-2376 I have 15 - 3x3 Tiffen filters for sale - fogs, Promists Grads, 812's etc. all with cases. $185.00 - contact Barry Casson csc - 250-721-2113 or e-mail bcasson@speakfilm.com TIFFEN ULTRA STEADICAM , HD Ultrabrite color monitor ,HDMI Decimator 2,Iso-elastic arm, 4-24 volt batteries, 1-Pag battery charger 24v,1-Lentequip battery charger 12/24v,Klassen vest and carrying bag, 1 Preston F1+Z transmitter 1 Preston MDR-1 receiver,1 Preston control, 2 motors, 2 batteries, charger, numerous Hill motor mount brackets rossette brackets and rods, 1 long dovetail plate,1 short dovetail plate, 1 docking bracket,1 fgs wheel chair/dolly adaptor,rain cover, too many cables, hard cases and accessories to list.This rig was well maintained looks new,all it needs is a few upgrades. $3,5000.00 can 416 817 3938 or acadian@rogers.com Rick Kearney Preston FIZ 2 kit - $5,000 2 x Arri MB-20 studio matte box - $8,000 Arri LMB-15 Clip-on matte box - $1,200 Power-Pod Classic - $5,000 Please contact Michael Balfry csc @: michaelbalfry@gmail. com for a complete list of items. Looking for a set of old, no longer used, standard legs with Mitchell base. Or any type of disused heavy camera support. This is to be used to mount a Mitchell BNCR camera in order to place it on display. Anyone with access to such a tripod or with information about one, please contact me: rawi@earthlink.net 416-691-6865
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