5 minute read
The Masters
2017 is not only the CSC’s 60 th 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 60 th anniversary, Canadian Cinematographer is presenting a 10-part series on the exceptional cinematographers who have received the Masters Award. This is part one.
By Guido Kondruss
Fritz Spiess csc (1925-1998) 1987
The first recipient of the Masters Award was Fritz Spiess csc. Considered a genius for his unparalleled creative lighting techniques, Spiess also strived for perfection in his work, planning every aspect of a production down to the smallest detail. Nothing was ever left to chance. Spiess’ technical precision in creating special effects to highlight and tell a story was legendary. He drove his crews hard, but with kindness. Spiess would do take after take until he felt the shot was flawless. He revelled in challenge and producing a solution. Spiess became known as the dean of Canadian cinematography, helping to mentor and pave the way for a generation of Canadian crews and filmmakers. No matter the format, Spiess would have been the top cinematographer in his field. However, he consciously chose the 30- and 60-second television commercial format to produce his cinematic vision. Spiess likened his commercial cinematography to a poetry sonnet, where the likes of Shakespeare and Michelangelo could convey a story and emotion in 14 lines. He did the same with every frame he shot. While Spiess’ commercials may have been short, they were always spectacular. As a young boy, Spiess was an apprentice in his family’s photographic studio in Leipzig, Germany. Later, he attended the prestigious Munich Photo School, graduating with a Masters of Photography. Specializing in portrait and industrial photos, Spiess continued to shoot stills after immigrating to Canada and settling in Toronto. His photos appeared in many magazines of the day such as Life and Mayfair. In 1954, Spiess brought his photography skills and sensibilities to motion pictures, shooting and directing some 3,000 commercials over the course of his career. Spiess won many awards and accolades for his cinematography. But as a lasting testament to his impact on the art of cinematography, the CSC presents annually the Fritz Spiess Award for Commercial Cinematography, as do the Bessie’s with the advertising industry’s Fritz Spiess Award.
Michael S. Smith 1988
Michael S. Smith has the distinction of being the only person to have ever received the Masters Award and not be a cinematographer. Smith was a technician, manager and eventually a film optical house owner, whose insight and drive for improving quality pushed Canada to the forefront of optical printing technology. After immigrating to Canada from England in the late 1950s, Smith found himself working in a Toronto bank. Smith had a growing interest in photography, so when a bank customer informed him that Film Opticals out of New York was opening a Toronto branch, Smith applied and became the first employee at Film Opticals in Canada. Smith dove into his new career, learning the craft with a keen eye on improving the technology. Optical printing in those days ran a high risk of scratching and damage from dirt during a process called bi-packing, where two reels of film simultaneously pass through a projector gate. Working with technicians and manufacturers in the U.S., Smith had a printer designed with two projector heads. One of the projectors, mounted on the rear, would have the same movement and play as the camera. This new design alleviated the bi-packing problem, greatly improving quality. When 16 mm film began flexing itself as a cheaper alternative to 35 mm film, it had a major drawback – it could not be optically duplicated with any success without first being blown up to 35 mm, an expensive process. Smith thought differently, designing and building in Toronto a 16 mm optical printer that produced quality 16 mm prints. The film industry took notice and 16 mm became a staple. Smith further cemented Film Opticals as the leader in the 16 mm format by designing and building a full immersion, liquid projector gate for 16 mm optical printers that eliminated the bubbles created by the shuttle movement. The process worked so well it became an international standard and was also adapted to 35 mm and 8 mm formats. Eventually, digital technology changed the nature of the work done by Film Opticals of Canada and the company, which was now co-owned by Smith, closed its doors in 2006. Smith lives in retirement with his wife in Wasaga Beach, Ontario.
Robert Brooks csc (1929-2005) 1989
Robert Brooks csc was born in Regina, Saskatchewan, just as the great depression began wreaking its havoc. With no work on the horizon, the Brooks family eventually pulled up prairie stakes and headed east to find better economic times. Toronto became their new home. Just shy of his 18 th birthday and acting on a tip, Brooks landed a job at Associated Screen News as an office boy, and his education in film production from the ground up had begun. By 1950, Brooks was firmly ensconced behind the camera shooting newsreels, industrials and theatrical shorts. He had found his calling. Brooks was the cinematographer on hundreds of productions during his long career, many of which won awards. He crossed every filmmaking genre possible, from features to commercials, to medical and educational films, but where Brooks excelled was with documentaries. A compassionate man, Brooks wore his heart on his sleeve. It was this empathetic quality that drew him into the human condition, giving Brooks a unique touch that is mirrored throughout his work. He was a master at capturing the essence and soul of what he saw through his lens. While Brooks became renowned for his extraordinary documentary work, he also brought his distinctive talents to sports cinematography. He was the DP for 18 official Stanley Cup films and 23 official CFL Grey Cup films, including the 1962 “Fog Bowl,” which has become a sports classic. Brooks stepped onto the world sports stage with the Olympics, where he was the DP on four official Olympic films. But it was at the 1994 Lillehammer Winter Olympics that Brooks himself went gold, winning an Emmy for his cinematography in the documentary Lillehammer ‘94: 16 Days of Glory. Brooks’ formidable contribution to the art of cinematography continues to be recognized through the Robert Brooks Award for Documentary Cinematography, which is presented each year at the CSC Annual Awards Gala.
