CANADIAN SOCIETY OF CINEMATOGRAPHERS
$4 June 2019 www.csc.ca
Made in Canada:
The Story Behind the CSC Envisionist Award • CSC Wisdom Lecture Series
A publication of the Canadian Society of Cinematographers
FEATURES – VOLUME 11, NO. 3 JUNE 2019 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.
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Credit: Carlos Esteves csc
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.
CSC Wisdom Lecture Series with Dean Cundey asc, csc
Credit: Courtesy of Amazon Prime Video
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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Made in Canada: American Gods By Trevor Hogg, Special to Canadian Cinematographer
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Credit: Carlos Esteves csc
AC Lighting Inc. All Axis Remote Camera Systems Applied Electronics Limited Arri Canada Ltd. Canon Canada Inc. Cinetx Inc. Codes Pro Media Cooke Optics Dazmo Camera Deluxe Toronto DMG Lumière FUJIFILM, North America Corporation FUJIFILM, Optical Devices Division Fusion Cine Henry’s Camera HD Source Inspired Image Picture Company Keslow Camera Kino Flo Lee Filters Mole-Richardson MOSS LED Inc. Nikon Canada Inc. PRG Panasonic Canada Panavision Canada REDLABdigital RED Red Square Motion Rosco Canada S1 Group 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
CSC Envisionist Award By George Willis csc, sasc and Carlos Esteves csc
COLUMNS & DEPARTMENTS 2 4 6 8 12 35 36
From the Editor-In-Chief From the President In the News On Set CSC Member Spotlight – Arthur Cooper csc Tech Column Production Notes/Calendar
Cover American Gods Credit: Courtesy of Amazon Prime Video
Canadian Cinematographer June 2019 Vol. 11, No. 3 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 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 Phil Earnshaw csc Carlos Esteves csc Joan Hutton csc Bruno Philip csc Joe Sunday PhD 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.
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FROM THE EDITOR-IN-CHIEF Joan Hutton csc
A
lfonso Cuarón’s latest film Roma (2018) has been burning up this year’s awards circuit. Cuarón doubled as the film’s director and DP, creating an innovative cinematic experience that is simply sublime. For his dual effort, Cuarón was honoured with Oscars for both directing and cinematography, a first for the Academy Awards. Roma also won the Best Foreign Language Film category. Although renowned as a director, Cuarón did study cinematography in film school and was a DP in the Mexican television industry before hitting Hollywood. Cuarón has also undoubtedly benefited from his long-time collaboration, since they were students, with Emmanuel Lubezki asc amc, who is possibly the greatest cinematographer alive today. Being both director and cinematographer is not new and is quite common, especially in the documentary genre. We often talk about the dynamic synergy between directors and cinematographers in creating visual languages that are compelling and captivating. Cuarón employs this dynamic to develop ground-breaking techniques in creating Roma. Roma is a deeply personal film by Cuarón. For its images and story, Cuarón mines his childhood memories of growing up in Mexico City’s Roma district during the turbulent 1970s. Roma is a black and white film shot in colour, using a wide format Alexa 65. The monochrome was then painted digitally in post. It’s not a grainy vintage look depicting an older era, but a modern monochromic expression used to provide the perception of looking into the past. By capturing in colour, Cuarón paid particular attention to the vibrant hues of clothing and surroundings so that he could create the correct tonal quality when transferring to monochrome. What resulted is a pristine palette of gradient greys, blacks and whites that are an intricate part of the film’s DNA. Another pleasing technique by Cuarón is his use of deep focus in his master shots. By bringing the background into the foreground, Cuarón has created stunning visual portraits rich with detail. Cuarón also blocked his scenes perpendicular to the lens, with the camera often moving in anticipation of actors’ movements. Whether it was a pan, tilt or an exquisitely choreographed tracking shot, Cuarón used the camera to superbly shape his storytelling. Roma is a uniquely beautiful movie that highlights the creative power shared between a cinematographer and a director. One critic calls Roma a work of high art worthy of a wall in the Museum of Modern Art. I wholeheartedly agree.
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Equipment and Services for Print & Motion
FROM THE PRESIDENT George A. Willis csc, sasc
I
remember a time in the film industry when we never thought twice about lifting equipment cases, no matter how heavy they were. However, it wasn’t just the camera equipment; there were many instances where we dealt with grip and lighting equipment as well. To some, this might sound rather strange, but for those who have worked with very limited crew, especially on documentary filming, this might make sense. Things were different in the early years, and the structure was very different indeed. When we travelled, especially internationally, we would on occasion pick up certain personnel if and when needed, and if finances allowed. But more often than not, budgets were limited, and in the case of international assignments we had to work as leanly and efficiently as possible. This presented many challenges, especially when it came to working in unfamiliar places. It was quite normal and to be expected that equipment management and efficiency was one of the most important considerations. Apart from the regular frustrations with airlines and carnet requirements, we also knew that in many instances, after clearing customs, etc., we hit the ground running and never stopped until it was done. Thinking back, the real issue that we never considered was the toll that it took on our mental, and in particular, our physical wellbeing. There were many contributing factors – longdistance flights with little rest, less than healthy eating habits, time changes resulting in jetlag, and of course the biggest issue of all, the long working hours. As well, almost every one of the assignments required capturing every sunrise and sunset. Therefore, if one pauses to think about the ramifications of this rather strange lifestyle, it is no wonder that we are paying the penalty as we age. The notion of invincibility that we espoused over the years when we were young and foolish tends to be replaced by the realization that we should no longer take for granted the fact that there are consequences for our (sometimes) careless and reckless behaviour. The question is what to do about this situation? Recently, I had an interesting, though very brief, conversation with a young filmmaker, and it was he who reminded me of our health and welfare in the industry. In fact, that conversation gave reason to write this column, and it is something that I really believe needs serious thought and discussion. I suggest that it would be very worthwhile to consider assembling a panel of CSC members who might be prepared to examine and discuss different points of view regarding this subject, as it affects all of us who work in the film industry. At a time when there has never been greater awareness in connection with so many issues, we should make every effort to address so much that we tend to take for granted. Now is a perfect time and opportunity for in-depth discussion, so let’s make it a priority.
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In The News
Litepanels Launches New Gemini 1x1 Soft RGBWW LED Panel
Peter Raymont of White Pine Pictures Receives 2019 Don Haig Award In April, Hot Docs announced Peter Raymont, president and co-founder of Toronto’s White Pine Pictures, as the recipient of this year’s Don Haig Award recipient. A filmmaker, journalist, writer and activist, Raymont has produced and directed more than 100 films and TV series during his 48-year career. The award – which carries a $10,000 cash prize, courtesy of the Don Haig Foundation and Telefilm Canada – is presented to an outstanding Canadian independent producer with a feature-length film in competition at the festival, and it recognizes creative vision and entrepreneurship, as reflected in the recipient’s body of work and festival film, as well as a track record of mentoring emerging Canadian filmmakers. White Pine Pictures produced The Corporate Coup D’État and Toxic Beauty (shot by Iris Ng csc), which were both featured in this year’s festival.
Credit: Courtesy of Litepanels
Toronto Achieves Nearly $2 Billion for Film, TV, Digital Productions Investments in 2018
Litepanels recently announced the Gemini 1x1 Soft, an all-inone, cine-quality LED light that is easy to transport and quick to rig in the studio or on location. Gemini 1x1 Soft offers fullspectrum white light and – as a full RGBWW light – delivers every colour in the 360-degree colour wheel and plus/minus green adjustment. Gemini 1x1 Soft requires no assembly and offers a broad range of control options, including DMX, wireless DMX and Bluetooth.
ARRI Facilitates Development of New 24-Volt Battery Mount Munich battery manufacturer bebob has developed the BMount – a new battery mount that makes it possible to supply 24 Volt devices while providing maximum flexibility regarding the choice of batteries and accessories – and ARRI will be using the B-Mount for all of its future cameras. The new B-Mount provides 24 Volt high-power but is also equipped to support multi-voltage (both 12 Volt and 24 Volt). The B-Mount makes it possible to supply all devices on set with a single battery system. With the introduction of the B-Mount, ARRI and bebob aim to create a new, universal 24 Volt industry standard. The specifications for this interface have been made accessible and have already been shared with various manufacturers in recent months.
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In 2018, domestic and foreign film, television, digital and commercials production investments in Toronto achieved their second highest level ever at $1.96 billion, according to an annual report presented recently to the City of Toronto’s Economic and Community Development Committee. This is the third consecutive year that the sector has contributed more than $1.8 billion to Toronto’s economy, with internationally distributed projects such as Star Trek: Discovery, The Handmaid’s Tale, American Gods, Schitt’s Creek, Condor, IT, Kim’s Convenience and Workin’ Moms are all shooting sequels in Toronto through to 2019.
Lionsgate, Victor Loewy, Mongrel, Cineplex Ink Distribution Deal Industry veteran Victor Loewy recently formed a strategic arrangement to distribute Lionsgate Entertainment films with Cineplex Entertainment and Mongrel Media. According to the agreement, the former Alliance Films CEO, Cineplex and Mongrel will jointly handle the Canadian theatrical distribution of films either acquired or produced by Lionsgate. The first film expected to be released through the partnership is director Rian Johnson’s Knives Out, which is slated for release in November.
Cooke Optics Rebrands ZGC as Cooke Americas Cooke Optics announced in April that it will rebrand its subsidiary distribution company, ZGC, as Cooke Americas, effective immediately. Cooke Americas will continue to sell third party accessories, as well as Cooke’s own acclaimed lenses. The Cooke Americas team remains in place to provide advice and service to customers. While the website URL and email addresses will change, Internet searches and emails to the old addresses will be automatically redirected to ensure a smooth transition. The new URL is: cookeamericas.com.
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 17 at the Royal Ontario Golf Club in Halton. It will have an 8:00 a.m. shotgun start and end at approximately 4:00 p.m. More information is available at afchelps.ca/ participate/bigswing2019.
Canadian Cinematographer - May 2019 •
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Credit: Jessie Wells
On Set
Cinematographer Kevin A. Fraser on the set of feature film Tin Can in Halifax, Nova Scotia.
The camera crew from A Very Foul Play in Whistler, B.C. L-R (bottom row): Quinton Lai (A 1st AC), Collin Morrison (A operator), Pieter Stathis csc. L-R (top row): Marco Bossow (B 2nd AC), Keith Granger (dolly grip), Yvona Gelo (A 2nd AC), Jason Kwan (DIT), Chris Smith (B 1st AC), Leo Harim (B operator)
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Credit: Khaled Zohny
Credit: Chris Brown
DP Mat Barkley (associate member) and Steadicam operator Kevin Packer on the music video set for The Mooks’ “Not Around” directed by Chris Brown.
DP Ahmad Al Morsy using the light meter in the “Isolation Room” on-set of The Blue Elephant 2, set to be released in August 2019.
Screening
Q &A Jurassic Park
and
for
April 13, 2019 TIFF Bell Lightbox, Toronto
A screening of the 35 mm print of Steven Spielberg’s 1993 blockbuster Jurassic Park was held for CSC members in Toronto in April, hosted by Manny Danelon and Jim Teevan. Arthur Cooper csc moderated the Q&A with Dean Cundey asc, csc after the screening.
Above: CSC Executive Assistant Patty Guyader, Guido Kondruss and Karen Longland. Right: Cundey and Cooper on stage
Photos by Joan Hutton csc
Top: Cundey and Cooper during the Q&A. Bottom: Cundey, Danelon and Cooper after the screening.
Canadian Cinematographer - June 2019 •
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CSC Wisdom Lecture Series with
Dean Cundey asc csc Sponsored by Urban Post Production April 14, 2019, The Royal Cinema, Toronto Following the special screening of Jurassic Park, Cundey – whose other credits include Hook, Apollo 13, Garfield, Romancing the Stone, Halloween, The Fog, Who Framed Roger Rabbit, The Thing and Death Becomes Her – shared his knowledge of the craft, revealing his tricks of the trade through stories and clips for the CSC’s latest installment of the Wisdom Lecture Series. The full video can be viewed at csc.ca.
Above and right: Cundey on stage
Rob Sim with Cundey.
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Cundey talks with attendees.
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CSC Member Spotlight
What is one of your most memorable moments on set?
The first day filming [Sudz Sutherland’s] Home Again in Trinidad was incredible. The effort to bring big production value together in a place where we couldn’t even rent a cube van for the show was amazing. The day before we went to camera, we weren’t even sure we would get our gear off of the container ship stuck in customs in the harbour. That production turned out to be lifechanging for so many people involved. The whole crew – Canadians and locals – were fantastic.
Arthur Cooper csc What films or other works of art have made the biggest impression on you?
The movie that opened up film as a possible career was Star Wars. Until then, I thought movies only came out of Hollywood. Reading fan magazines like Starlog and Cinefex opened me up to the magic involved in creating these films. The cinematography that I’ve found most influential both in their lighting and storytelling are Kieślowski’s Three Colours: Blue, shot by Slawomir Idziak, and Malick’s Tree of Life, shot by Emmanuel Lubezki asc, amc. The emotion that radiates from their images still leaves me in awe. How did you get started in the business?
My dad sparked my interest in photography, and I bought my first camera for 50 cents. I studied film at Ryerson, and before I even graduated, I joined Camera 81. I also got onto the permit list at IATSE 873 where I had my first professional days on a real set working in lighting, props and construction. Who have been your mentors or teachers?
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I started taking photos when I was seven. Books were my biggest teacher then. I never had a mentor, but as an assistant for about eight years, I had the opportunity to watch some great cinematographers light. Peter Suschitzky asc, Phil Méheux bsc, Richard Crudo asc and Bruce Surtees each helped shape my point of view. Around 1993 I started making music videos with my friend Terry Odette. Over the years, we probably shot over 100 and that was a great place to experiment and learn. What cinematographers inspire you?
Roger Deakins asc, bsc always inspires me. Closer to home though, some DPs I’ve had the privilege to work with that I still aspire to are Peter Wunstorf asc, David Franco, Jonathan Freeman asc and Greg Middleton csc, asc. Name some of your professional highlights.
The best moment for me is seeing the possibility and greatness in a script and then that feeling that we’ve captured it once the film is finished.
What do you like best about what you do?
I love collaborating with all the key creatives. I love planning and working with the team to execute the shots that will best reflect the story. I also love problem solving. Every scene is a puzzle waiting to be solved. Experience has helped me to react very quickly and efficiently to whatever is thrown at us. I recently shot a pilot for a series called Timberwood. From the time I was first contacted to when I returned from shooting in the Catskills was less than two weeks. I’m really proud of the work we did quickly coming together as a team. What do you like least about what you do?
The time away from my family is hard. What do you think has been the greatest invention (related to your craft)?
It’s difficult to decide between digital capture with some of today’s amazing cameras and LED lighting. Combined, they are incredibly powerful tools to help realize your vision. How can others follow your work?
On my website ArthurCooper.ca and on Instagram, @arthurcooper_csc
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Made in Canada:
Above: Salim (Omid Abtahi) and Ifrit/The Jinn (Mousa Kraish) travel together. Below: Crispin Glover (Mr. World) with Bruce Langley (Technical Boy).
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By Trevor Hogg, Special to Canadian Cinematographer Images courtesy of Amazon Prime Video
recently released convict (Ricky Whittle) grieving the death of his wife (Emily Browning) becomes the bodyguard of a conman (Ian McShane), who meets with various business associates while travelling across the United States – the straightforward premise of American Gods takes on mythical proportions as acclaimed British author Neil Gaiman frames the journey around the deities of lore seeking to usurp the growing worship of technology and media. “We are essentially about a road trip,” notes Christopher Byrne, executive producer/director of the fantasy mystery drama broadcasted and streamed by Starz and Amazon Prime Video. “Shadow Moon (Whittle) and Mr. Wednesday (McShane) are going places and visit-
Orlando Jones as Mr. Nancy.
ing people trying to get them onboard. This is also, I would argue, a drug trip. One of the key things that I try to keep in mind as we make the show is the question: Did Shadow get out of jail and fall in with gods or drug addicts?” Byrne was given the responsibility of overseeing the second season with essential support provided by producer Lisa Kussner and production manager Vair MacPhee. “My job is to take the cinema in the prose of the book and expound upon it; that has never changed,” explains Byrne, whose involvement with the small screen adaptation dates back to being the second unit director for the first season. Another constant has been cinematographer Marc Laliberté csc, who shifted from the second to main unit to shoot the Season Two finale. “I got on the show a couple of months after it started Season One because Chris Byrne wanted a
When you’re looking to make a deep sumptuous frame out of something that can be easily passed by in a day’s list of shots, it’s important to me to have DPs with a base understanding that there’s something more we can get out of this.” – Christopher Byrne, executive producer/director
Canadian Cinematographer - June 2019 •
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Mr. Town (Dean Winters) interrogates Shadow Moon (Ricky Whittle).
You could go anywhere with that show, and I went along for the ride. Episode Six was a slight departure, which I was quite intrigued by. We indulged into a backstory of Mr. Wednesday when he was running a burlesque theatre in the 1930s. We had to be mindful of the period and what they would have had available to them from a lighting point of view.” – David Greene csc, asc
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full-time second unit DP to be with him.” Four of the eight episodes, including the Season Two opener, were shot by Tico Poulakakis csc, while David Greene csc, asc looked after three episodes; both of them were encountering the world of American Gods for the first time. “Tico and I did second unit work on Hannibal together in Season Two,” Byrne states. “David came to Hannibal when Tico was unavailable. I brought Marc in when I was concept artist and second unit director for 12 Monkeys for the four seasons of that show. They had an innate understanding of how I was going about the business of crafting the look of American Gods and know that I am completely collaborative. There is one thing that they all share in common, which is commercial experience. When you’re looking to make a deep sumptuous frame out of something that can be easily passed by in a day’s list of shots, it’s important to me to have DPs with a base understanding that there’s something more we can get out of this. Also, each of them has my respect for what they are bringing to the party, which is huge.” During preproduction, the three cinematographers and Byrne met at Technicolor Toronto
A scene in the House on the Rock.
with colourist Mark Kueper to discuss the visual language for Season Two. Afterwards, a series of camera tests were shot, and various LUTs were built by Poulakakis, Kueper and Byrne based on what they wanted to keep and change from Season One. Certain key aesthetics were developed, such as the look of magic. “There were times when Chris had a real vision and would say, ‘You know what the Northern Lights look like? I need that kind of vibe in the sky here,’” Kueper states. “What was different about this particular show is the 4K workflow, and the eyes of Mr. Wednesday and Laura Moon [played by Browning]. Ian McShane needed to look like he has a glass eye. Instead of going to VFX, we made eye mattes for all of his shots. They also wanted the eyes of the deceased Laura to look deader. She had makeup and contact lenses to make her look less alive, but there were eye reflections that seemed too lively, so eye mattes were made there as well to make them foggier, greyer and defocused. “We have the tools now to do so many things in colour finishing,” Kueper notes. “In this show we did sky replacements, added flares, lighting effects and removed various distracting things
David Greene csc, asc Canadian Cinematographer - June 2019 •
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New Media (Kahyun Kim) in the bunker belonging to Mr. World (Crispin Glover).
Tico Poulakakis csc on set with director Deborah Show and A camera operator Mark Willis (in blue shirt) for the "Muninn" episode.
20 • Canadian Cinematographer - June 2019
in the frame. As a team of colourists, editors, VFX supervisors and Chris, we would decide what shots we could handle and what shots would go to [visual effects company] Mr. X.” Alternating between two aspect ratios was the means to tell the viewer whether they are in the narrative timeline. “16:9 is for the present story with Shadow, while 2.39:1 is for ‘backstage,’ which is when the gods step outside of reality, and flashbacks,” Byrne explains. “We would frame for that on set.” Cameras and lenses were supplied by Sim, with the footage being mainly captured at ProRes 4444 and 3.2K resolution. “We used the ALEXA Minis, Leica Summilux lenses, as well as Atlas, Hawk and Cooke anamorphics. Atlas is a newer brand with limited lenses at the moment. They gave us prototypes to use on the show,” Poulakakis remarks. “With the Leica, we had a full set, which was 16 mm to 135 mm. At that point,
Yetide Badaki as Bilquis.
Mr. World (Crispin Glover), Mr. Wednesday (Ian McShane), and Shadow Moon (Ricky Whittle) in the diner situated at Motel America St. Louis.
Marc Laliberté talks to Christopher Byrne during the making of the second season finale.
22 • Canadian Cinematographer - June 2019
there were only three Atlas lenses available – 40 mm, 65 mm and 100 mm.” The shots can quickly shift from macro to micro, so the Innovision Probe II lens was the staple of the second unit. The lighting package featured ARRIMAXs, M90s, M40s, 10K tungsten and 4K HMI Molebeams. “For interiors on the sets, we used a lot of SkyPanels because of their versatility. Instead of using big HMIs, sometimes we would use the SkyPanel 360, which is a big, soft light. For the forest battle scene, that was a bunch of cranes with LRX singles, which are 16K Pars that backlight everything,” Poulakakis says. The octocopter drone supplied by SkyMotion made use of Leica Summicron lenses to take advantage of their bigger image circle to cover the 6K imagery being produced by the RED DRAGON camera. “We used a RED DRAGON camera for anything that needed a higher resolution,” Byrne explains. “We would generally fly it on a drone when we needed a god’seye view of what’s going on. The high-angle perspective is an important part of the language of the show, especially for Mr. Wednesday because he has ravens that follow him along and do his bidding. We also used the RED camera for the vision of Laura; it has an infrared style that Mark modified with a splash of colour that features blue for the sky and amber for Shadow.” Individual episodes were shot one at a time over the course of 10 days with Poulakakis and Greene alternating with each other. “There were also two tandem days where Marc would shoot leftover bits while I started prepping my next episode,” Poulakakis states. “There were three DPs constantly working between main and second unit prepping and shooting an episode.” Sets were constructed at Revival Film Studios with three main ones being the diner, funeral home and bunker. Location shooting took place mainly around Toronto with the production crew travelling as far as Niagara Falls and Oshawa, as well as to the iconic roadside attraction House on the Rock situated in Spring Green, Wisconsin. “The budget was quite big, so when you did need to pay for a place you could,” Laliberté states. “We shot a lot of stuff at the Spadina House, which is the basis for the funeral home/mortuary set. Our production designer Rory used that as his model to build the interior.” A major action sequence is the forest battle. “A lot of time and preparation from Tico and [second unit DP] James Gardner csc went into choosing the right location and equipment that would go in,” Byrne notes. “We found a park setting that had a road where we could do high speed with a gator on the tracking shot, and another trail around the back where we could put in some bright lights. We were shooting high-speed photography, anamorphic and rain towers, which was a recipe for beautiful images if you get it right. It was an incredible two-day shoot that pushed our production to the max.” “You could go anywhere with that show, and I went along for the ride,” Greene notes. “Episode Six was a slight departure, which I was quite intrigued by. We indulged into a backstory of Mr. Wednesday when he was running a burlesque theatre in the 1930s. We had to be mindful of the period and what they would have had available to them from a lighting point
The entire camera, grip and lighting crew were fantastic The second unit gaffer Sami Hajjar and key grip Malcolm Nefsky did yeomen work for me, especially when I went onto the main unit. They stayed to make sure that the second unit – which was being filled up by directors coming up from Los Angeles and different DPs that were available here in town – kept a continuity, and that made a big difference to the show.” – Marc Laliberté csc
Try It Before You Buy It Video shoots can be complicated. So many details. So little time. And you’ve got better things to worry about than some piece of gear you remembered at the last minute. We’re not here to sell you peace of mind – but maybe you can rent it. When you’re down to the wire, Vistek Rentals takes some pressure off: much of the equipment Vistek stocks – including lighting
Bilquis (Yetide Badaki) and Shadow Moon (Ricky Whittle) on an Asgardian beach.
and audio gear, cine lenses, tripods and more – is also available to rent. If you decide to buy it, we’ll even deduct your one-day rental fee from the purchase price. Now that’s a load off.
A flashback to a battlefield in Ireland featuring Mad Sweeney (Pablo Schreiber). Canadian Cinematographer - June 2019 •
23
TORONTO | MISSISSAUGA | OTTAWA CALGARY | EDMONTON
VISTEK.CA
American Gods is one of the best shows that I’ve ever worked on, both creatively and visually. It’s not a hospital show where we have to make everyone look beautiful all of the time and make that the focus. We’re trying to make the story come alive, and there are not many shows which let you do that.” Mark Kueper, colourist
Above: Ricky Whittle as Shadow Moon. Below: Lilquis (Yetide Badaki), Mr. Ibis (Demore Barnes) and Mr. Nancy (Orlando Jones) in a funeral home, which was one of the largest sets.
of view. We ended up using a lot of LED fixtures that had an old style feeling to them. We wanted to do a lot of colour changes throughout the show, and with LED fixtures you can change the colour to whatever you want. We accentuated the golden tones of those beautiful tungsten fixtures and footlights on the stage, as well as some cooler tones coming from other various sources.” Three cameras were utilized during the principal photography. “We had one on a crane and two on a dolly in the crowd for all of the stage work. It was quite a complicated choreography, and we didn’t want to put the dancers through that more times than what was necessary. The challenge was keeping the cameras out of each other’s shots. We shot spherically using our normal Leica lenses but cropped the image to 2.40:1,” Greene says. An in-camera approach was adopted for the fantasy sequences that would be digitally augmented by Chris MacLean and his visual effects team at Mr. X, along with major contributions by animation studio Tendril, led by co-founder Chris Bahry. “In September 2017, we were working on a process called rotomation to weave into the show somehow,” Byrne recalls. “When the studio brief came to try something more visually spectacular for the Hall of the Gods, we pulled out this idea. All of the gods in America ride the carousel, go through the porthole, enter Wednesday’s mind, and go into the Hall of the Gods; it was inspired by Ralph Bakshi, who had done The Lord of the Rings in the late 1970s. We had the largest stage
24 • Canadian Cinematographer - June 2019
at Revival Studio with a 360 black environment, and fire to light the scene. Costumes were selected that would enable the actors to be separated from the background, but some of them also have black hair. By shooting ARRIRAW and working with Mr. X, we were able to separate the actors and still achieve the organic low light look that we wanted to have.” “Jonathan Gaudet was the gaffer who saved the show,” Poulakakis remarks. “Mitch Holmes was the key grip. Mark Willis was the A camera operator and wonderful guy all around. Brad Crosby was the B camera operator. Barrett Axford was the focus puller for A camera. Brian White was the B camera focus puller. Joshua Jinchereau was the DIT.” “The entire camera, grip and lighting crew were fantastic,” Laliberté adds, “The second unit gaffer Sami Hajjar and key grip Malcolm Nefsky did yeomen work for me, especially when I went onto the main unit. They stayed to make sure that the second unit – which was being filled up by directors coming up from Los Angeles and different DPs that were available here in town – kept a continuity, and that made a big difference to the show.” “American Gods is one of the best shows that I’ve ever worked on, both creatively and visually,” Kueper says. “It’s not a hospital show where we have to make everyone look beautiful all of the time and make that the focus. We’re trying to make the story come alive, and there are not many shows which let you do that.”
#WeAreAllCreators Our expertise doesn’t come from a brochure, it comes from doing. We’re not clerks, we’re collaborators. We’re photographers, filmmakers, content producers, and artists. We’re industry insiders and social media makers. We’re over 400 Henry’s Associates across Canada, and we are all creators.
Ernest Ng Vancouver, British Columbia Henry’s Associate Cinematographer
HENRYS.COM
T H E
S T O R Y
B E H I N D
I
t’s strange how sometimes an event and a story evolve from a situation that was never planned. Vice President Carlos Esteves csc was unable to attend the 2017 CSC Awards, but as he watched the livestream of the event online, he noticed that the awards resting on the table – and soon to be presented – were hardly visible. The following morning, I received a call from Carlos, and even after limited conversation, it became clear that something needed to be done to make the award more visible. Carlos then emailed me a sketch, and this is what started the whole process of designing a new award. It is my opinion that one of the most difficult things in the design process is taking an existing and well-established idea and attempting to improve the design without detracting from the original concept. It is far easier to initiate a new and fresh approach for a design simply because there are few limitations and restrictions.
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T H E
CSC
ENVISIONIST AWARD By George Willis csc, sasc and Carlos Esteves csc
THE PROPOSAL We presented our proposal, named “Project X,” to the CSC Board of Directors at a meeting in October 2017. As with most new ideas, various opinions and comments were offered, which we addressed as we continued on our self-imposed mandate of design. The one thing that we could all agree on was that the Eyeball Award (so named by someone in the CSC, and it stuck) had been an integral part of the Society and should remain so, as it is synonymous with the CSC Awards, having first been presented in April 1991. While still preserving and paying homage to the history of the current award, the basic idea of the proposed new award was to give it some status by elevating it (pun intended) visually, as well as psychologically, so that it could stand alongside
some of the iconic film and entertainment industry awards. Our approach was always to incorporate the Eyeball Award, but to elevate its presence. “Elevate” was to be the single most important word in the new design. THE PATH During the livestream of the 2017 gala, it became apparent that one of the most important aspects that had to be considered was the awareness and visibility of the award. We began by drawing up a wish list – while being vigilant of production costs – followed by a few basic sketches to define our vision of the new award. The basic sketches were soon replaced by more detailed and proportionate illustrations, which then led to full-size graphic interpretations of our intended vision. The next stage was to source a manufacturer.
Canadian Cinematographer - June 2019 •
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Illustration: George Willis csc, sasc Photos: Glen Wallis Credit: Carlos Esteves csc
GLEN WALLIS
Top left: The original concept drawing of the new Award. Top right: The rough casting process of two of the components. Above: Wallis Design Build, the manufacturing facility of the Envisionist Award in Trenton, Ontario.
28 • Canadian Cinematographer - June 2019
After some research, Carlos contacted well-respected manufacturer and designer Glen Wallis of Wallis Design Build. Wallis Awards has been the proud manufacturer of prestigious awards for the Academy of Canadian Cinema and Television for more than 18 years. Wallis Awards also contributed to the design and manufacturing of the new Canadian Screen Award. Other awards produced by Wallis Awards are the Gemini Award, the Gala Artis Award (TVA – French Language Television) and the Genie Award (designed by sculptor Sorel Etrog). An initial meeting was set up with Glen Wallis in Trenton, Ontario, where we presented our design sketches and other pertinent information, as well as a very rough rendition of a partial section of the proposed award carved out of wood. We used an Eyeball Award to establish basic proportions. Even though our intentions were for a slightly scaled-down Eyeball Award, we had to deal with the fullsized award to establish the basic proportions. We left the meeting on a very optimistic note, knowing that we had found someone who was in line with our thinking and had the initiative and interest to help us develop our vision. After our initial meeting in May 2017, Carlos and I met once again with Glen in September that same year. Glen had been working on the scaled-down version in a rough prototypical form. We were very pleased with the progress, and after Carlos did some reference stills, we left Glen’s premises with the knowledge that there would be a more detailed prototype to follow sometime in mid-October.
Credit: John Narvali
THE NEW DESIGN The base unit The base is made up of three segments, which, while separate, are part of the whole and blend together to form a solid foundation for the award. The plinth This is the lowest and broadest segment that forms the foundation of the award and upon which the other segments are built. The plinth is machined from solid aluminum and powder-coated for a durable finish. A requirement for the plinth is resilience in its handling, as well as for consideration of the surface upon which it will be placed.
Top left: Gold-plated components of the Envisionist Award shown with a casting of the Eyeball Award. Top right: The Envisionist Award designers: Vice President Carlos Esteves csc and President George Willis csc, sasc Above: President George Willis csc, sasc and Glen Wallis, the Envisionist Award manufacturer, discuss details of the prototype.
The rotunda This intermediate segment of the base is where the recipient’s name appears with the award category. The name and other information are laser-engraved onto a thin brass plaque, which in turn is affixed to the face of this segment. There is also a slight slope to the sides of the body of the rotunda segment. This is specifically intended to add some elegance to the base, a subtle but important consideration. The material for this portion of the base has also been machined from aluminum and powder-coated. It was essential that the ratio of weight between the base and the Eyeball be carefully calculated in order to provide stability.
Canadian Cinematographer - June 2019 •
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Credits: Carlos Esteves csc
President George Willis csc, sasc examining details of the initial prototype of the Envisionist Award. The dial The rotunda sits atop of the plinth, and in turn the dial has its place on top of the rotunda. This is the uppermost of the three segments that make up the complete base. The dial is brass. When viewed from above, the words, Canadian Society of Cinematographers (as per the Brand) can be seen as they follow the curve of the disk. These are laser-engraved on the flat surface. The support column This segment of the new award is the key to realizing our goal. While addressing the aesthetic of elevating the award, another target in the design process was to speak to its elegance. We concentrated on a design that allows for the psychological projection of upward mobility, a design aesthetic that forces a cognizant shift in visual attention and perception. The support column does more than simply support the Eyeball. It too has a subtlety in its design with a visual taper, a slight twist and delicate support or “cradling” of the Eyeball. The lowest attachment point of the column to the base has a slight flare for visual interest, as well as an inward-sloping chamber that affords added simple elegance. One of the key elements – and indeed somewhat of a challenge in this design – was to create a separation of the Eyeball from the support element. However, cohesiveness in design was always top of mind, and to achieve this, we opted to keep the Eyeball separate from the support but attached by a subtle support stem, which also serves the practical (and mechanical) function of holding the entire
30 • Canadian Cinematographer - June 2019
unit together. The visual flaring of the upper section of the two segments of the column alludes to an almost floating support of the Eyeball Award. The final important aspect of the column design is that it affords a recipient the ability to hold the award high in a gesture that is synonymous with victory and success, two important aspects of the competitive process. The Eyeball As we began to address the final phase of the new design, we realized we needed to give further thought to the textures due to the different metal used in the manufacture of the re-sized Eyeball. The painted portion of the Eyeball overshadowed the design changes and modifications. The difficult hand process of painting very precise outlines gave somewhat unflattering results. This significant production issue will be addressed this year. Our key words when embarking on this new design were, and still are – aspirational, elegant, prominent, memorable, and, with an intended pun, statuesque. We believe that we have been successful in this regard. The final stage of this initiative and proposal was to consider a name for this new award, a name that is more appropriate and synonymous with some of the most important aspects of cinematography – creativity, imagination and vision. That word is “envision.” The dictionary definition of envision is “to picture mentally,” and what can be more creatively challenging and demanding in the business of cinematography than that. Therefore, we present to you our newly designed award for excellence in cinematography: the CSC Envisionist Award.
Canadian Cinematographer - February 2019 •
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CSC LIGHTING FACES WORKSHOP in Partnership with ICG 669 Led by: Carlos Esteves csc and George Willis csc, sasc Location: William F. White, Vancouver, BC March 2-3, 2019 A huge thank you to William F. White, who supplied all the gear (lighting/grip/camera packages), as well as the location. Carlos Esteves csc
Lena Vinogradova (669 participant) and actor Bumni Popoola.
Photos by: Bettina Strauss
Carlos Esteves csc and George Willis csc, sasc
Actor Bunmi Popoola, grip Chirs Tate, gaffer Paul Cunningham and electrician Vince Laxton.
32 • Canadian Cinematographer - June 2019
669 participants Tegan Kolodinski, Aiden Zanini, Chris Oben and Christina Kasperczyk.
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dxl.panavision.com Canadian Cinematographer - April 2019 •
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Tech Column
The Lowdown on Camera Support Tools for Handheld
SHAPE Push Button Telescopic Handles I have found the SHAPE telescopic handles to be a valuable part of my kit in the way I operate. You can mount one or two of them depending on if you need a hand on the lens or have an assistant pulling focus for you. They are super quick to reposition one handed when going from shoulder mount to shooting from the hip (or gun mode, as I call it). No twisting knobs to adjust. Just push the button, move the arm, release the button and you’re locked. The telescoping feature gives you that little bit of extra flexibility to find the sweet spot. Easyrig There was a time when the guy with the
Credit: Michael Hofman
W
hen a director approaches me with a project, I’ll read the treatment and begin painting visuals in my mind of how the camera should be represented as a viewer seeing the story unfold. As one of my latest examples, I knew in my heart a good chunk of it needed to be handheld. Mid-range budget, fast paced, shooting a mix of ALEXA Mini / C300mk2. Both cameras can be stripped down to a small build under 20lbs. No big deal for most operators when you have the ability to take the camera off your shoulder and put it down or pass it off to an assistant. But then that moment comes when you suggest shooting a one-hour interview handheld because you want the viewer to have that visceral feeling like they are a character in that world, part of the conversation. We’ve all got our secret tools and ways to make these situations more comfortable. You don’t want your creativity restricted by a stinging bead of sweat slowly dripping into your eyes struggling through a long take. I have a few support tools that work great for me and am happy to share.
Justin Lovell shooting Roger Mooking using Easyrig Vario 5 / Flowcine Serene Arm.
Easyrig was laughed at for his silly contraption and for not being tough enough to “man it out.” But once you’ve tweaked your back, you’ll think twice about this tool. It is now a commonly accepted camera support. Not for every situation; it has its place and time. My preference is the Vario 5 with 5” extended post, gimbal support vest and Flowcine Serene Arm. The extended post allows you to variably extend the camera hanging point away from your body, which is helpful for gimbal work. The gimbal support vest is the most comfortable for me, relocating the load lower down to your hips, relieving back strain. The biggest misconception about the Easyrig is that it’s great for walking shots. It’s not. As soon as you take a step, the movement from your hips translates out to the camera, causing the viewer to feel your steps. However, the Flowcine Serene Arm has proven to be a good solution. It adds a vertical stabilization to help eliminate the bobble when walking. A hinge allows the camera to swing and pivot above you, giving the ability to hold the camera sideways or look back while you walk forwards. In many cases, I feel safer operating the rig (with an onboard monitor), as I feel
more aware of my surroundings and steps as I track around. Pick your battles on what makes the most sense in the situation. I still feel more graceful when I’m straight up handheld in shorter manageable takes. But I also want to be comfortably operating 30 years from now, not a crippled mess. Peak Design Everyday 10l Sling Bag If you’re trying to pack light, slim down gear and be efficient, this bag can be a great solution. It can hold three standard prime lenses, some additional batteries, cards, etc. Now wait, this article is about camera support, right? If you cinch the strap shorter, you can swing it in front of you and drop your elbows onto it. It provides a solid base of support to take away the weight of the camera as you hold it. There are many more options out there, and I look forward to hearing some of your secret tips. Let’s continue this discussion on the CSC Facebook Page and at one of our Pub Nights.
Justin Lovell is an associate member @Justin_Lovell
Canadian Cinematographer - June 2019 •
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Production Notes Calendar
AKILLA’S ESCAPE (feature)
DP Maya Bankovic csc
to June 6
Scarborough
ALTERED CARBON II (series)
DP Bernard Couture csc (alternating episodes)
to June 25
Surrey
ANNE WITH AN “E” III (series)
DP Catherine Lutes csc
to August 22
Toronto
BURDEN OF TRUTH III (series)
DP Thom Best csc
to October 24
Winnipeg
CARTER II (series)
DP Brett Van Dyke csc Camera Operator/Steadicam Colin Akoon
to July 17
North Bay
CHILLING ADVENTURES OF SABRINA, THE II (series)
DP Stephen Maier (alternating episodes)
to February 5, 2020
Langley
CHINA’S TRUTH (series)
DP/OP Arthur Cooper csc
to June 16
Toronto
CONDOR II (series)
DP Jeremy Benning csc
to September 9
Toronto
FRANKIE DRAKE MYSTERIES III (series)
DP Stephen Reizes csc 1st Assistant Ciaran Copelin
to August 27
Etobicoke
GET SHORTY III (series)
DP Attila Szalay csc, asc, hsc
to June 31
Burnaby
GRAND ARMY (series)
DP Bobby Shore csc
to October 4
Mississauga
GREEN HARVEST III (series)
DP Glen Keenan csc
to February 14, 2020
HEARTLAND XIII (series)
DP Jarrett Craig
to September 6
Calgary
IMPULSE II (series)
DP David Greene csc, asc & Marc Laliberté csc B Camera Operator Robert J. Barnett
to June 14
Etobicoke
KIM’S CONVENIENCE IV (series)
DP James Klopko csc Camera Operator Duraid Munajim
to July 25
Toronto
LOCKE & KEY (series)
DP Tico Poulakakis csc & Colin Hoult csc B Camera Operator Peter Sweeney
to June 19
Toronto
MAGICIANS V (series)
DP Corey Robson (alternating episodes) DP Thomas Burstyn csc, nczs (alternating episodes)
to November 8
Vancouver
MAGNESIUM (series)
DP George Lajtai csc
to July 16
Toronto
MERCURY (cable TV series)
DP Craig Wrobleski csc
to November 15
Toronto
MOTHERLAND: FORT SALEM (series)
DP Michael Wale csc
to August 16
Vancouver
MURDOCH MYSTERIES XIII (series)
DP Yuri Yakubiw csc 1st Assistant Kevin Michael Leblanc
to November 12
Toronto
NIGHT RAIDERS (feature)
DP Daniel Grant csc
to June 27
Winnipeg
POCKET SQUARES VI (series)
DP David Makin csc
to June 28
Toronto
PUSH PIN (feature)
Camera Operator Jim Van Dijk
to August 27
Coquitlam Toronto
SCHITT’S CREEK VI (series)
DP David Makin csc
to June 28
SUITS IX (series)
Camera Operator/Steadicam Michael Soos
to August 19
Toronto
TALES FROM THE LOOP (series)
DP Craig Wrobleski csc DP Luc Montpellier csc
to July 25
Winnipeg
TALLBOYZ (series)
DP Ben Lichty
to June 12
Toronto
TITANS II (series)
DP Boris Mojsovski csc (odd episodes) & Brendan Steacy csc (even episodes)
to September 18
Toronto
UTOPIA FALLS (series)
DP Samy Inayeh csc Camera Operator Brad Hruboska
to June 25
Etobicoke
VAN HELSING IV (series)
DP Gerald Packer csc C Camera Operator Christopher Oben
to June 20
Vancouver
WHEN HOPE CALLS (series)
DP Russ Goozee csc Camera Operator/Steadicam J.P. Locherer csc
to August 27
North Bay
WINDFALL (feature)
DP Ronald Richard to
July 5
Vancouver
YOU ME HER V (series)
DP Michael Balfry csc to B Cam Operator Jill MacLauchlan
to July 9
Burnaby
JUNE 9-12, Banff Media World Festival, Banff, banffmediafestival.com 15, William F. White Sudbury Open House, whites.com 26-69, Cine Video Expo, Mexico, revistapantalla.com/expo JULY 7-13, 15th International Film Festival of Gibara, Cuba, ficgibara.com/en/
@canadiancinematographer @csc_CDN
36 • Canadian Cinematographer - June 2018
JULY 28-August 1, Siggraph, Los Angeles, s2019.siggraph.org SEPTEMBER 5-15, Toronto International Film Festival, tiff.net 13-17, IBC, Amsterdam, show.ibc.org ICFF Manaki Brothers, Bitola, Macedonia, manaki.com.mk
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.
Classifieds EQUIPMENT FOR SALE 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 PLEASE 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 - 250-7212113 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,1Lentequip 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. $ 35000.00 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
CAMERA CLASSIFIED IS A FREE SERVICE PROVIDED FOR CSC MEMBERS. For all others, there is a one-time $25 (plus GST) insertion fee. Your ad will appear here and on the CSC’s website, www.csc.ca. If you have items you would like to buy, sell or rent, please email your information to editor@csc.ca.
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