Canadian Society of Cinematographers Magazine March 2018

CANADIAN SOCIETY OF CINEMATOGRAPHERS

$4 March 2018 www.csc.ca

Cardinal

Dylan Macleod

csc

Creates Unabashedly Canadian Thrills

Duraid Munajim The Journey

A publication of the Canadian Society of Cinematographers

FEATURES – VOLUME 9, NO. 10 MARCH 2018 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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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.

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Cardinal: Dylan Macleod csc Creates Unabashedly Canadian Thrills

By Fanen Chiahemen

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The Journey: Going Home with Duraid Munajim

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COLUMNS & DEPARTMENTS 2 4 8 10 30 31 32

From the Editor-In-Chief In the News On Set CSC Member Spotlight – Ousama Rawi csc, bsc Tech Column CSC at the 13th Annual SIM Technology Showcase Production Notes/Calendar

Cover Karine Vanasse in Cardinal Credit: Steve Wilkie

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FROM THE EDITOR-IN-CHIEF

Canadian Cinematographer March 2018 Vol. 9, No. 10 EDITORIAL BOARD EDITOR-IN-CHIEF Joan Hutton csc EDITOR EMERITUS Donald Angus EXECUTIVE OFFICER Susan Saranchuk, admin@csc.ca EDITOR Fanen Chiahemen, editor@csc.ca COPY EDITOR Karen Longland ART DIRECTION Berkeley Stat House WEBSITE www.csc.ca ADVERTISING SALES Guido Kondruss, gkondruss@rogers.com EDITORIAL BOARD MEMBER Bruce Marshall, brucemarshall@sympatico.ca

Joan Hutton csc

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CSC BOARD OF DIRECTORS Phil Earnshaw csc Carlos Esteves csc Joan Hutton csc Alwyn Kumst csc Antonin Lhotsky csc Bruno Philip csc Joseph Sunday PhD George Willis csc, sasc CSC EXECUTIVE PRESIDENT George Willis csc, sasc PAST PRESIDENT, ADVISOR Joan Hutton csc VICE PRESIDENTS Carlos Esteves csc, Toronto Alwyn Kumst csc, Vancouver Bruno Philip csc, Montreal MEMBERSHIP CHAIRS Arthur Cooper csc Zoe Dirse csc EDUCATION CHAIRS Carlos Esteves csc George Willis csc, sasc AWARDS CHAIR Andre Pienaar csc, sasc Samy Inayeh csc PUBLIC RELATIONS CHAIR Bruce Marshall 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.

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2018

y column has a sneak preview this month. I’ve learned the names of two people who will be honoured with specialty awards at the 61st CSC Annual Awards Gala on April 14. Documentarian John Walker csc is the recipient of this year’s Masters Award “for outstanding contribution to the art of cinematography,” while tribute is being paid to Karen Longland, this year’s winner of the Presidents Award “for outstanding service to the CSC.” It was over 30 years ago that I first met John Walker. As fate would have it, it was at a CSC Awards Gala in the mid 1980s. We were both in the early stages of our careers and both of us were nominated that evening in the documentary category.

I had not seen any of John’s films yet, but when his nominee clip was projected, I was stunned into silence by the sheer beauty of his images that filled the screen. I thought to myself, “This is the winner.” My thoughts were prescient because John did win that year for his brilliant work on the ballet film Blue Snake. Since that night, John has become one of Canada’s most prolific and respected filmmakers. He’s a true auteur, who shoots, writes and directs his own projects. John’s films are what I like to call “documentary portraitures” that seek expression through a deep understanding of the human condition. His films are experienced, not simply watched.

If anyone has ever dealt with the CSC administration, then you know Karen Longland. A University of Toronto graduate with a background in financial investments, Karen hopped aboard the CSC 18 years ago and has been keeping the financial records on an even keel ever since. A powerhouse of energy, Karen is an integral member of the team that organizes a myriad of CSC events from the awards to workshops. Nothing escapes her attention as a proofreader of this magazine and she is valued member of its editorial board. Never at a loss for an idea and always up for a challenge, the CSC benefit’s tremendously from Karen’s considerable talents. I personally thank her for her dedication to the CSC and cinematography.

These are two exceptional individuals who have made significant contributions to our society, industry and craft. We owe them a huge round of applause on April 14.

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In The News

CSC Members among Canadian Screen Award Nominees CSC congratulates the members who have been nominated for Canadian Screen Awards: Achievement in Cinematography (Film): Nicolas Bolduc csc (Hochelaga, Land of Souls); Norm Li csc (Never Steady, Never Still) Ted Rogers Best Feature Length Documentary: Alfonso Maiorana (Rumble: The Indians Who Rocked the World); Duraid Munajim (My Enemy, My Brother); Mike McLaughlin (Unarmed Verses) Best Photography, Comedy: Maya Bankovic (Workin’ Moms “Pilot”); Fraser Brown (Kim’s Convenience “Cardboard Jung”); Christopher Mably csc (Baroness von Sketch Show “It Satisfies on a Very Basic Level”); Gerald Packer csc (Schitt’s Creek “Grad Night”); Jim Westenbrink csc (Letterkenny “Relationships”) Best Photography, Documentary or Factual: Van Royko csc (Interrupt This Program “Jerusalem”) Best Photography, Drama: Steve Cosens csc (Cardinal); Glen Keenan csc (Frontier “Wanted); Ronald Plante csc (19-2 “Labour Day”); Brendan Steacy csc (Alias Grace) Best Direction, Documentary or Factual Series: Jeremy Benning csc (Extraordinary Canadians: Douglas Coupland on Marshall Mcluhan) Winners will be announced at a gala on March 11.

Photo Credit: Simone Sinclair Walker

Hot Docs to Honour John Walker c s c with Focus On Retrospective at 2018 Festival Hot Docs will pay tribute to John Walker csc with this year’s Focus On retrospective, an annual program showcasing the work of a significant Canadian filmmaker. Hot Docs will screen a selection of Walker’s films in the Focus On program during the 25th annual festival, April 26 to May 6. Walker is one of Canada’s most prolific and respected documentary filmmakers. His films have won international acclaim and appeared at major film festivals from Toronto to Tokyo. He has received 19 nominations and awards from the Academy of Canadian Cinema & Television, including the coveted Donald Brittain Award for best social/political documentary. His feature documentary films include Strand-Under the Dark Cloth, The Fairy Faith, Men of the Deeps, A Drummer’s Dream, Arctic Defenders, and Quebec My Country Mon Pays, which had its world premiere at Hot Docs in 2016.

He also co-produced, wrote and directed the provocative feature film Passage, a fiction/documentary about the Sir John Franklin search for the fabled Northwest

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Passage. Walker has made several films for British television, including directing and photographing the first two films in the BBC/October Films trilogy, The Hand of Stalin, and his credits on Britain’s Channel 4 include Hidden Children, Orphans of Manchuria, and the groundbreaking Distress Signals, based on the communication theories of Canadian scholar Harold Innis. He is the first Canadian to receive the Organization of American Historians - Erik Barnouw Award, and his passionate commitment to the documentary form led him to co-found DOC, Documentary Organization of Canada, and act as a mentor to numerous emerging filmmakers across the country. The films in Focus On John Walker will be announced this month.

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Photos Ernie Kestler

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6 • Canadian Cinematographer - March 2018

Peter Warren csc shooting a cooking demo for the Chicken Farmers association.

Credit: Sebastian Gomes

Credit: Khyle Smith

On Set Daniel Villeneuve csc in South Africa shooting Love on Safari for Hallmark Channel.

DP and associate member Alysha Galbreath during the production of Virgins. Credit: Ebti Nabag

Cinematographer and associate member Peter Turek on location in Lampedusa, Italy, filming the documentary The Francis Impact.

ACCEPTANCES / AWARDS / NOMINATIONS / Tim Dashwood, associate member won a Lumiere award from the Advanced Imaging Society for his 360VR Toolbox (suite of post-production software), Beverly Hills, January 15, 2018 Justin Lovell, associate member (Cinematographer), Kill Order aka Meza (feature), accepted at the 43rd Annual Boston Science Fiction Film Fest, February 9-19, 2018 Ousama Rawi csc, bsc (Cinematographer) Before Anything You Say (feature), won Best Cinematography in a Feature Film, Milan International Filmmaker Festival, Milan, December 2017

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Brad Rushing csc (DP) Beautiful Dead Things (short), accepted at CefalĂš Film Festival, Sicily, May 1-December 31, 2018 Tony Wannamaker csc (DP, Director, UAV Pilot), Chief Doreen of the Shabot Obaadjiwan First Nation (documentary short) screening at Belleville Downtown Doc Festival, March 2-4, 2018; Kingston Canadian Film Festival, ON, March 1-4, 2018; Toronto Short Film Festival, ON, March 12-16, 2018

Canadian Cinematographer - March 2018 •

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

The Innocents; The Godfather; The Godfather II; Lawrence of Arabia; The Conformist. Old Masters paintings. The harsh light and shadows of Caravaggio, the soft warm glow of Rembrandt and the ultra-soft source of Vermeer showed me how well they appreciated light.

How did you get started in the business?

From the time of my youth, I was fascinated by photography. When a family friend introduced me to developing and printing my own pictures, I was hooked. I commenced teaching myself all I could about photography, and subsequently cinematography, all through my school years.

My first job in this business was apprenticing at a commercials production company in London, U.K. At first, I was the company’s “tea boy.”

Then I was a PA on all the shoots, watching many of the greats shooting commercials between their feature work. I learned a lot from them. During that period, I shot a short film for a friend who aspired to be a director. The film end-

ed up winning 2nd prize at the Cannes Short Film Festival and went on general release in the U.K. I was able to go from “tea boy” to newsreel cameraman at Border Television in Carlisle because of my work on that short film, along with my results when they gave me 100ft of Double-X 16 mm film and a Bolex camera to shoot any footage of my choosing in the streets of London.

Who have been your mentors or teachers?

No specific teachers per se.

At that time, I greatly admired the works of the old masters such as Freddie Francis, Oswald Morris bsc, Jack Cardiff bsc, Freddie Young bsc, Gordon Willis asc and Conrad Hall asc.

What cinematographers inspire you?

I love the work of Roger Deakins asc, bsc, Emmanuel Lubezki asc, amc and Robert Richardson asc.

Name some of your professional highlights.

I was lucky enough to be the recipient of the U.K.’s prestigious “Cameraman of the Year” award in my first year working on commercials.

10 • Canadian Cinematographer - March 2018

Credit: Kent Eanes

CSC Member Spotlight

Ousama Rawi csc, bsc Shortly thereafter, the next highlight was getting my break shooting my first feature, Pulp (1972).

chine to make a concept come to life.

What is one of your most memorable moments on set?

I feel honoured and grateful to be accepted in this business and love every aspect of it. Even the unpredictability that goes with it and how your best laid plans can be changed in an instant by a phone call. I find all of that very exhilarating and thrilling.

A particularly memorable moment was on the set of Borgia filming in Prague. While making a slight adjustment with my gaffer to a light on the ceiling above a bordello set, I heard a crack, and the next thing I knew I was falling 4.5 metres, landing on the floor between four naked ladies who were now bending over me with deeply concerned faces asking me if I was okay.

All I could come up with in response was that corny line, “I fell for you!”

What do you like best about what you do?

The excitement of going to work having planned exactly what I will be doing to create a certain look, yet not knowing what problems I might be faced with when I get to the set. I also love the teamwork that takes place on a shoot, getting a group of people who may be total strangers to become a cohesive team in a short space of time that work together like a well-oiled ma-

What do you like least about what you do?

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

There is no denying that the greatest “game changers” in our ever-evolving industry are the introduction of the digital image capture and the introduction of new technologies for lighting, LEDs and especially the bi-colour variety. The ability to use lightweight, cool operating lamp heads that can have the colour output changed from 2,000 Kelvin to over 6,000 Kelvin by turning a dial and eliminating the need for gels is a huge benefit.

How can others follow your work?

My work can be followed on my website ousamarawi.com.

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Canadian Cinematographer - March 2018 •

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“It’s the middle of the summer and we’re in bug land. It was crazy. The black flies were for real. The production bought every crew member a full-body bug suit, which I think I lasted about an hour in because they’re very difficult to work in – you’ve got these mesh nets in front of your face, and they’re kind of hot. You just had to deal with the bugs, or if they were driving you crazy, then you just had

Credit: Jasper Savage

to deal with this bug suit.”

12 • Canadian Cinematographer - March 2018

Cardinal Dylan Macleod 

csc

Creates Unabashedly Canadian Thrills Canadian Cinematographer - March 2018 •

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“I’m a fan of the RED camera. There’s a lot of unique functions with it. There’s a setting called HDRX that allows you to record two images at the same time, and the second image you essentially make darker using the shutter. And then Credit: Jasper Savage

those two images are blended in post. So in some situations I could walk into a room without bringing in much lighting

1

and use the HDRX function to allow us to still have detail outside the window where it’s sunny out, and then use just the ambient light bouncing around inside the room to get an exposure for what’s happening inside the room.”

By Fanen Chiahemen

Top: Dylan Macleod csc with director Daniel Grou. Middle: (L to R) Billy Campbell, Alan Thatcher, director Jeff Renfroe, Dylan Macleod csc and Yoann Malnati. Below: Macleod discusses a scene with Grou.

14 • Canadian Cinematographer - March 2018

of Seasons Two and Three. Daniel Grou directed the first and third seasons, and Jeff Renfroe directed Season Two. The series is “unabashedly Canadian,” Macleod says, and it “has a fairly unique look in the TV landscape,” mainly because of its pacing. “There are very few edits compared to other shows,” he observes. “They weren’t afraid to let shots play out for a long time.

Daniel Grou especially was very much into doing single long takes.

So that really informed the tone and look of Cardinal.”

Although Macleod and Renfroe were new to the second season, Macleod says Renfroe and the show’s producers, wanted a certain amount of visual continuity from Season One, keeping in mind that the story continues during a different time of year. “In the first season, the winter was such a character that to a certain extent we had to throw out some of what they did because we wouldn’t have winter as our production design,” the DP says. “So we took the tone that Steve and Daniel had set on

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Credit: Steve Wilkie

Credit: Jasper Savage

Credit: Steve Wilkie

T

he long-awaited television adaption of Giles Blunt’s awardwinning 2000 novel Forty Words for Sorrow began airing in January 2017 (on CTV in English and on Super Écran in French) under the title Cardinal. The six-part crime drama series, produced by Sienna Films, follows police detective John Cardinal (Billy Campbell) and his partner Lise Delorme (Karine Vanasse) as they investigate the murder of a 13-year-old girl in the fictional town of Algonquin Bay (a stand-in for North Bay). In February of last year, CTV announced the series would be renewed for a second and third season, with Season Two based on the third novel in the John Cardinal series – Black Fly Season – and Season Three inspired by the fourth and fifth novels in the series – By the Time You Read This and Crime Machine. All three seasons were shot in and around North Bay and Sudbury, with Steve Cosens csc lensing Season One, while Dylan Macleod csc took on the shooting

Credit: Steve Wilkie

Credit: Jasper Savage

Credit: Steve Wilkie

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Credit: Shane Mahood

Credit: Steve Wilkie

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Credit: Jasper Savage

6 1. Grou, Macleod and crew members Emily Jusic, Mike Hope, Kriten Thomson, Steven French, Ashley Nay and Allesia Spalvieri watch a scene.

2. Karine Vanasse, Alex Paxton-Beesley and Billy Campbell. 3. Justin Beattie, Tyler Emms and actress Alex Paxton-Beesley. 4. Karine Vanasse as Detective Lise Delorme 5. A camera/Steadicam operator Steven French with Grou and Macleod. 6. Karine Vanasse and Billy Campbell. 7. Kirill Belousov, Adam Horwood and Steven French with actor Billy Campbell

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Season One as a starting point and then just evolved the look for Season Two, and it evolved again when I started working with Daniel in Season Three.”

One of the things Macleod appreciated about the first season was the unique way Cosens

and Grou photographed winter.

“They went beyond what you would expect from a winter look – winter was brown, which was really interesting. But what do we do now walking into the summer season?” he reflects. “Black Fly Season is all about summer, so do

we do the opposite and go blue?

No, that didn’t make sense, so we decided fairly quickly that brown is the colour of Cardinal no matter what season it is, so it also worked into how we approached the summer look; we embraced the brown, and I did that mostly

Canadian Cinematographer - March 2018 •

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“There were a lot of times we would play with framing to leave a lot of negative space and have things shallow focus with the background very soft, and then somebody would appear in the background and you’re like, ‘Which character is that?’

So we could build a little

Photos this page by: Dylan Macleod csc

tension with shallow depth of field, as well as the way we would frame things.”

(L to R) Crew members Nigel Doucette, Brent J Craig, Adam Horwood, Tyler Emms and foreground operator Justin Beattie with MõVI and Slingshot rig.

Jonathan Yapp

APOGEE lenses Chris Chung, Brent Robinson and Tyler Emms.

through camera filtration. I used a lot of antique suede filters, which kind of imbues everything with a golden brownish tone.”

Working with one director per season enabled the crew to approach each cycle “like a really long feature film,” Macleod recalls, adding that in the five weeks of prep for Season Two, they tech scouted all the locations. “It was nice to do everything up front and not have to do a lot of that weekend work that normally gets done on a series where you’re prepping the next episode while you’re shooting the one before that,” he says.

Most of the series was shot on location, with a couple of exceptions, such as the main police station. Macleod recalls that one of the most difficult locations to shoot in was an abandoned camp that is a major location in Season Two. “We were lucky enough to find a semi-abandoned camp. It was perfect for our needs, but it was very difficult to work in, partly because there was just a single-lane gravel road about a kilometre long that went into the place,” he relates. “It was a very rainy summer, so the road got really muddy and dirty, and on top of that, it’s the middle of the summer and we’re in bug land. It was crazy. The black

16 • Canadian Cinematographer - March 2018

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Canadian Cinematographer - January 2018 •

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Credit: Steve Wilkie

Grou directs Campbell and Vanasse.

flies were for real. The production bought every crew member a full-body bug suit, which I think I lasted about an hour in because they’re very difficult to work in – you’ve got these mesh nets in front of your face, and they’re kind of hot. You just had to deal with the bugs, or if they were driving you crazy, then you just had to deal with this bug suit. So it was a difficult location because of the weather, because of the bugs and because we had to block shoot for the most part. At the same time, we were experiencing the longest days of the year and we had a lot of night shooting to do. We would have to split a lot of our days and

shoot some day and then some night, and we’d be doing these mini moves all around this camp.

I am really thankful for my hardworking crew who remained positive and creative throughout those difficult shooting conditions.”

Macleod says the look of Cardinal is based in reality, so he would rely on the art department to provide a lot of built-in lighting and practical lighting especially when the crew had to be in and out of a location quickly. “For example, there was one location in Season Three where it was just a road, a middle-of-nowhere road at night, and we really wanted to avoid the moonlight cliché, so I asked the art

Credit: Steve Wilkie

Credit: Steve Wilkie

Top: Actress Alex Paxton-Beesley and Justin Beattie.

Middle: The crew shoot a scene on the water.

Bottom: (L to R) Alan Goluboff, Dylan Macleod csc, Jeff Renfroe, Dan Petronijevic, Mike Hope. On ground, actor Brock Morgan.

Credit: Steve Wilkie

18 • Canadian Cinematographer - March 2018

Billy Campbell films a scene.

Credit: Brooke Palmer

The hardworking Cardinal crew enjoy mid-morning substantials.

Credit: Brooke Palmer

department if they could do a streetlight there, and Rory Cheyne, our production designer, who is amazing, just said, ‘Yep, what kind do you want?’” Macleod recalls. “So they put in a street light for us, and to the viewer it’s not going to look like anything much, but it fits with the look of the show, which is naturalistic, more motivated lighting, and we didn’t have to show up with a pre-call for electrics to build moonboxes and take hours to get in there. We leaned a little bit on the art department to get that light in advance for us and have it set up and ready to go.”

DP Dylan Macleod csc Macleod also relied heavily on windows as a source of light, which can be seen in “[Renfroe] and [Grou] both John Cardinal’s house, another primary location on the show. “We didn’t want to have the same sensibility when create our own magical light sources like soft top lighting in the house,” he says. “It it comes to setting up and was just wherever the light comes from, we’d work with that. So windows became blocking scenes. They very very important. And also that combined with the need to maintain that style of much want to listen to what very long takes – oftentimes we’d be doing almost 360s in a room, so where else the actors have to say; they’re are you going to get your lighting from very conscious of the space but the windows?”

Season One of Cardinal was shot on the they’re in; they want to see all RED WEAPON at 6K, which Macleod was happy to shoot with for the followof that before they really deing two seasons. “I’m a fan of the RED camera,” he says. “There’s a lot of unique cide on what they want to do. functions with it. There’s a setting called HDRX that allows you to record two imBut Jeff has an editing backages at the same time, and the second image you essentially make darker using the ground, so once all that was shutter. And then those two images are blended in post. So in some situations I determined, his shot design could walk into a room without bringing in much lighting and use the HDRX was more based on allowing function to allow us to still have detail some good flexibility in editoutside the window where it’s sunny out, and then use just the ambient light ing. Whereas with Daniel he bouncing around inside the room to get an exposure for what’s happening inside was always trying to find the the room.

“Also, the RED has interchangeable opmost interesting and simplest tical lowpass filters, or OLPFs, so you can switch them out and optimize them for way to cover a scene, which whatever your lighting conditions are,” he explains. “So I would use the skin tone very often meant one shot in highlight OLPF when we were outside in the daytime, which made sure our higha scene with little coverage.”

Canadian Cinematographer - March 2018 •

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lights were nicely protected and made the skin tones look really nice, and then I would change it out and use the low-light OLPF when we were doing night work because it actually allows you to shoot in really dark environments and still get a nice, clean image out of it. So there were a lot of advantages to the RED that helped us to work quickly and get a good image quality.”

Macleod is also a big fan of Cooke lenses, so he used a set of Cooke 5/i Primes “mainly for their speed, but also they have a beautiful focus falloff, they have gorgeous bokeh, they produce really nice flares, and all that was especially important for Black Fly Season because we really wanted to play with flaring and sunlight and warmth and all of that,” he says. “I also had a boutique lens maker, a guy named Richard Gale, who’s based out of the U.K., rush me a set of lenses called APOGEE lenses – essentially a Helios 44 lens, which is an old Russian lens from the 1950s, but [Gale] has made all these customizable elements to them – because we wanted to do something a little different for the camp scenes in Season Two so that it would stand out a little bit from everything else. So for our purposes, I put oval apertures in the back, which created an almost anamorphic look to the outof-focus highlights in the background. And then there’s an interchangeable back element, an optical cell lined with amber, so any kind of flaring that would happen in the lens would also get a little more warmth. I think it really helped to make the camp scenes stand out without drawing too much attention to itself.

“We had a zoom lens we used to get some really long lens things, but interestingly enough, in Season Three with Daniel we found a way to use some very slow zooms just to put little exclamation points on some moments for Cardinal like when he’s having a revelation or a realization,” the DP adds.

The show’s slower pace actually helped play up the suspense in the storyline by allowing for some evocative camera moves, Macleod says. “You could do a slow dolly in that’s not going to get cut into; you could actually let it play out, and that kind of builds tension and allows you to slowly reveal things during the shot with a slow push in,” he says. “We also did some shots where we would start out of focus and then push in slowly, and you’re wondering what it is, and it gets your curiosity up and kind of builds a little audience involvement in a way. Those slow push “We did some shots where we would start out of focus and then push in slowly, and you’re wondering what it is, and it gets your curiosity up and kind of builds a little audience involvement in a way.

Those slow push ins that start out of focus also make for nice visual transitions from one scene to another.”

20 • Canadian Cinematographer - March 2018

although both directors have slightly different approaches, “they both have the same sensibility when it comes to setting up and blocking scenes. They very much want to listen to what the actors have to say; they’re very conscious of the space they’re in; they want to see all of that before they really decide on what they want to do. But Jeff has an editing background, so once all that was determined, his shot design was more based on allowing some good flexibility in editing. Whereas with Daniel he was always trying to find the most interesting and simplest way to cover a scene, which very often meant one shot in a scene with little coverage.

“I would say for me Season Two was more of a learning curve, and by Season Three, I was dialled into the rhythm of the show, and to come back to working with Daniel, who had done Season One, felt very natural,” Macleod says. “I think we had taken care of his baby well in Season Two, so it made for a very comfortable flow in Season Three.”

Credit: Steve Wilkie

ins that start out of focus also make for nice visual transitions from one scene to another.”

He adds, “There were a lot of times we would play with framing to leave a lot of negative space and have things shallow focus with the background very soft, and then somebody would appear in the background and you’re like, ‘Which character is that?’ So we could build a little tension with shallow depth of field, as well as the way we would frame things.”

The production framed the second and third seasons for a 2:1 aspect ratio, as in Season One, Macleod says. “It’s interesting because that’s become more of a common format now in television. A lot of shows now are doing anamorphic and 2:35:1. You get a lot of black in the top and bottom of your screen, and then in 1:85:1 there’s almost no cropping top and bottom,” he maintains. “2:1 is almost in between 2:35:1 and 16:9, so it is a nice subtle wider screen ratio to frame for.”

Comparing his experiences with Renfroe and Grou, Macleod says that

Billy Campbell

Canadian Cinematographer - March 2018 •

19

The

Journey Going Home with

Duraid Munajim DP Duraid Munajim preps a scene.

22 • Canadian Cinematographer - March 2018

I “The chaotic day-to-day nature of living and working in the city carries over to the crew, how they handle themselves, and how they work. All of these were big factors we had to deal with every day.”

By Fanen Chiahemen photos Abdulrahman Hameed

n the feature film The Journey, by Iraqi-Dutch filmmaker Mohamed Jabarah Al-daradji, a young woman wearing an explosive device enters a busy Baghdad train station in December 2006 intent on committing an unthinkable act. Before she can carry it out, she is accosted by a talkative salesman, who soon learns of her plan and, after becoming her unwitting hostage, spends the rest of the day trying to understand her motives and talk her out of her destructive mission. The film, which is set entirely in the train station over the course of a day, had its world premiere at the 2017 Toronto International Film Festival last September, and in the months following screened at the BFI London Film Festival, the Busan International Film Festival, and the Dubai International Film Festival.

Associate member Duraid Munajim, who lensed the feature, says when Al-daradji approached him about the project (Munajim had previously shot Al-daradji’s 2007 feature Son of Babylon), he was intrigued by the director’s exploration of the difficult subject matter. “The idea of a suicide bomber has really gotten into our subconscious, so much that it’s kind of become the modern-day boogie man in a sense,” Munajim says. “It’s something that we fear but don’t know much about, and there’s a morbid fascination with what’s going on in the mind of a suicide bomber, especially when it’s a younger man or woman. What could they possibly be thinking? The film attempts to understand that a little bit, which I think is a very timely and brave thing for Mohamed to do in these times. So I immediately wanted to be a part of this film. I thought this is something very important to get out into the world, especially with regards to Iraqi cinema and how we make our films.”

Shooting The Journey in Iraq was a homecoming of sorts for Munajim. Born in Kuwait to an Iraqi father and an Iranian mother, the cinematographer describes himself as a member of the Iraqi diaspora. “In 1980 the Iraq-Iran war started, and I was neither able to go to my dad’s home town nor my mother’s,” he recalls. “When the American invasion of Iraq occurred in 2003 and the government fell, I went to Iraq as a way to start rebuilding roots and to connect with Iraq, which was impossible for me beforehand.”

But it has not been easy in a post-war climate, he says. “Me and Mohamed and other filmmakers of our generation have been struggling to rebuild Iraqi cinema to make it relevant to the younger generation, and pushing some of our more Canadian Cinematographer - March 2018 •

23

“The idea of a suicide bomber has really gotten into our subconscious, so much that it’s kind of become the modern-day boogie man in a sense.

It’s something that we fear but don’t know much about, and there’s a morbid fascination with what’s going on in the mind of a suicide bomber, especially when it’s a younger man or woman.”

‘progressive ideals’ has been tough. It’s been a series of ups and downs and victories and setbacks,” he explains. “When we talk about making films in Canada, our main obstacle, I suppose, would be the budget, scheduling and what you can and can’t afford, and all of that. Whereas over there just getting the film on its feet, getting the production rolling, is an arduous task. Our issues were things like getting proper electricity flowing into the train station so we could set up our lights, and being able to work with security forces there because security is such a big issue that it’s hard to navigate filming in different areas. Connected to security, just getting crew members to set at call time was difficult because of all the checkpoints dotted around the city on top of the gridlock conditions of traffic. The crew we had over there were all very young and very hungry but lacked the experience we have here in Canada, so it was a tremendous task just to get the lighting to move and to get the grip work to move and the camera department to run smoothly. The chaotic day-to-day nature of living and working in the city carries over to the crew, how they handle themselves, and how they work. All of these were big factors we had to deal with every day.”

Production on The Journey began in Baghdad in December 2015 and wrapped in February 2016. Munajim says during the shoot, the militant group Daesh, also known as ISIS, was waging war up north in Mosul. “What was happening in Baghdad was the odd car bombing and suicide bombing, usually situated in predictable places,” he says, but he did not feel he was in any danger. “I brought my wife and daughter for three months while we were filming there, and we also brought three Canadian actors for about 10 days. So the fact that we were able to do that says a lot about how much the situation has improved.”

They did not, however, feel it was safe enough to bring over an entire Canadian film crew. “They would stick out like a sore thumb because there are no European faces on the streets in Baghdad. About 10 years ago, there was a hostage crisis in the country, and it sort of faded away, but the danger was still pervasive,” the cinematographer says. “Our crew was all local, and we taught them from the ground up. We rented the equipment from Panavision Paris – Olivier Affre was our contact there – and John Lindsay at Panavision Toronto

DP Duraid Munajim captures some footage.

24 • Canadian Cinematographer - March 2018

Actor Ameer Jabarah as Salam.

helped me arrange preliminary testing, so we were able to compare different lenses (mostly anamorphic versus spherical) and set up different looks. They were great at giving us support, and it was that level of support from Panavision here in Toronto that allowed us to get out the door in confidence in Paris.

“This is a great country and a great city to really learn as you make your way up,” the Toronto-based Munajim says. “All I basically did was bring my training to Iraq. What I’ve learned from Concordia’s film school, and subsequently all the people I’ve worked with who have mentored me coming up in the industry were who I had in mind in terms of teaching the new generation.”

His main Baghdad crew consisted of camera operator Salam Salman, 1st AC Ali Atia Al-Daradji and 2nd AC Maytham Falah Jbara. The shoot required the use of a gimbal and remote focus, which Munajim says is new to Iraqi filmmaking, “so getting past that learning curve was a big hurdle; getting an understanding of the gimbal and how it works and how to balance it properly was another big hurdle. But once we passed those, it was smooth running.”

Discussing the look of the film, Munajim says, “Mohamed’s a director who’s more in tune with Eastern European and Russia cinema than he is with western cinema. So his sensibilities come more from filmmakers like [Andrei] Tarkovsky, Béla Tarr, [Emir] Kusturica, those are the filmmakers he admires, and of course the Iranian cinema movement is something he loves, so the idea of using a camera as a window into the world with as little bells and whistles as possible is one way to describe it. You’re able to capture the realness of a situation in a way that allows you to be that window. He really enjoyed being able to do long uninterrupted takes. There are some sequences where we linger for quite a while before we cut, and that was very important to him. That was the Canadian Cinematographer - March 2018 •

25

“Me and Mohamed and other filmmakers of our generation have been struggling to rebuild Iraqi cinema to make it relevant to the younger generation, and pushing some of our more ‘progressive ideals’ has been tough. It’s been a series of ups and downs and victories and setbacks.”

Above: The crew prepares to shoot a scene in the train station.

Above Right: Munajim confers with Al-daradji. Right: The crew preps a scene with actress Zahraa Ghandour.

overriding idea – this naturalism with a hint of magical realism sewn in. As we get further into the film, it goes into places where you’re not sure if it’s real or how plausible it could be.” He cites a scene in which the protagonists have a candlelit dinner in an abandoned train car as an example.

Munajim shot with the ALEXA Mini not only because “it’s such a great all-around camera, but mainly because it’s a camera that’s made to put on a gimbal and balance easily,” he says. “It gave us other advantages, like we could film in tight spaces. Being able to have a compact camera where we could sneak into corners and shoot was great. For lenses, we used the Panavision Primos, which are a classic lens set. They have a lot of character in them, I think, in terms of capturing the frame without a kind of glossed look. They’re also great lenses because they handle flare interestingly.”

The desire to create free-flowing movement was what incited Al-daradji to request the Letus Helix gimbal, Munajim says.

“We wanted to be able to have that Steadicam flow and be able to have the autonomy of having either myself or the director

26 • Canadian Cinematographer - March 2018

operate the gimbal,” he explains. “That idea really attracted Mohamed. It gave us the feeling of autonomy, but there are also a few things a gimbal can do specifically that a Steadicam can’t do right. I think the main thing is being able to do long uninterrupted takes through uneven terrain. If you think about using the dolly, you’d have to build a sophisticated track for it if the ground is uneven; you have to balance the track and level it off throughout its length. Also, if you have to move the dolly or shift it in any way, it takes time. The great thing about the gimbal is that you can go over sidewalks or dirt or steps, or any combination of the three, and it still gives you that great smooth follow movement.”

Although the crew shot in the Baghdad train station for three months, shooting there was not overly-complicated, according to Munajim. “The train station manager was very generous in terms of giving us access to most of what we wanted and also access to trains that they would move upon request,” he says. “As a functioning train station, there are only two trains, basically.

One that leaves at 6 p.m. to go to Basra and one that arrives into

Munajim with Canadian actors Michel Kandinsky, Bennet DeBrabandere, Zion Forrest Lee.

Baghdad at 6 in the morning from Basra, both overnight trains.

That’s all we had to contend with in terms of working around. So there was one platform that was for the explicit use of the train that goes to Basra, and they just made sure it was cleared one hour before the scheduled departure. So from 5 p.m. that one platform was out of bounds, which was fine for us to accommodate. The liberty we took with the story of the film is that we made it look like a really busy train station, with multiple working trains, a bustling schedule and hundreds of patrons. In reality, the station has not been really busy since the ‘50s.”

Munajim says he kept the lighting as natural as possible partly because of the way Al-daradji works. “He really is a very actorcentric filmmaker and will spend up to six hours on a scene to get the performance right, and within that six hours the sun will move from one position low in the east to a whole different

Rosco Color meets DMG Lumière Tecchnology

28 • Canadian Cinematographer - March 2018

position way up in the sky. Once the director was happy with the performance, say, with the master, we would maintain that look mainly with flags and bounce, throughout the coverage. So in order to light in a way that has consistency throughout the scene, keeping a simple, ‘natural’ look was really the key to getting the film to look right.”

The biggest light in his basic lighting kit was a 6K HMI par, and they also had one 1.2K HMI, along with a small assortment of Kino Flos, 4’ Kino Flo 4 Bank lights, one 4’ 2 Bank, a smattering of tungsten lights and one Matchstix LED light (2 x 12” lights) from Cineo, which he says were “incredible lights in terms of being able to put them in tight corners and use them in all kinds of situations. Surprisingly bright for such a small fixture, the 6K HMI was used mostly in the main hall of the train station. We wanted to replicate the sun as it came around the station from 11 a.m. to 2 p.m. So all other times we brought up the light to the third floor through the window, brought it down and just matched it.”

The train station director also gave the production an office where they could set up for dailies. “That’s where we were doing our conversions and our backups, and that’s where we were able to look at the footage,” Munajim says. “So what would happen on a given day is I would get to set during call time, and if there was time, I would go to the office and take a look at the most recent footage, go over it with the assistant editor and see how things were going. We were able to pull up frame grabs and do some colour correction and talk about the look we were going for, but that was all kept to a minimum. The dailies room ended up becoming a 24-hour factory of dailies conversion and transcoding, given the director’s proclivity to shoot with a high ratio.”

Munajim concludes that the biggest challenge of making The Journey was “being able to be clearheaded about what it is we were shooting and why we were shooting in the face of all the chaos that goes on in Baghdad, to maintain a climate of creativity and curiosity. I think here in the West we really get that chance to take a moment and figure out what we’re doing. Over there, it’s so much more important to do that because the chaotic nature of the environment makes the nature of shooting chaotic sometimes, which besides being a bad idea, is also mostly inefficient. The most important thing was to have a genuineness about the film in that we were lending the film its own cinematic language, its own sense of pacing. And that can be the hardest thing to do sometimes.”

The Cooke Look

ÂŽ

Photo by Aeric Adams

One Look. All Speeds

"Since the Alexa Mini went 4:3 I had shot with nothing but 2:1 squeezed lenses in either 16:9 crop mode or full screen 2:40 totally humbled by the extraordinary and daring magical imagery. Then, I was sharing cinematography on Dynasty with Michael Karasick and Starr Barry when it abruptly became a Netflix show and were obliged to shoot 4K. I suggested that we use the Canon C700 coupled with the new Cooke Panchro/i Classics because The Crown was shot so exquisitely by Adriano Goldman using vintage Cooke Speed Panchros (rehoused by TLS). I loved that dreamy forgiving and painterly palette.

By Spring 2017, Cooke had recreated the look of the old lenses using modern glass and barreling. Our timing was perfect. We took delivery of the first two partial sets of the new Panchro/i Classics supplementing them with the vintage Panchros. The new lenses still bloom lovingly until 3.5/4 and have the curved focus field of the originals.

The 9 linear iris blades allow for a glorious bokeh. It gives you the quality and feel of anamorphic, especially when shooting wide open.

T2.2

T2.0

T2.3 T2.3

T2.0

T2.8

We are sure that the look of the show photographed by these lenses was a big contributor to the pick-up of the back 9 episodes."

British Optical Innovation and Quality Since 1893.

Rodney Charters, ASC, CSC, NZCS Dynasty, Netflix television series

cookeoptics.com

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Canada, South America, USA: T: +1-973-335-4460

Credit: Kejd Kuqo

Tech Column

Hands on with the Canon C200

By Justin Lovell

A

s an owner and avid user of the Canon EOS C300 Mark II, I was quite intrigued by the prospect of what the C200 had to offer. My friends at Canon set me up with a loaner for testing, and ZERO11ZERO / Iron Bay Media donated additional crew and production support. I was privileged to have my friend Jeremy Benning csc invite me onto the set of The Expanse to shoot a behind-the-scenes video. It was an excellent opportunity to compare ergonomics, workflow and image quality.

In this situation, I was shooting HD 4444 12-bit on the C300 Mark II and HD 4:2:0 8-bit on the C200 (the highest quality it does without shooting Cinema RAW Light). Not a totally fair comparison, but in reality, this is how I would be using it as a B camera in this circumstance (the RAW workflow was not conducive to our data pipeline).

C200 Ergonomics: The weight difference is negligible. The menu structure

30 • Canadian Cinematographer - March 2018

has improved layout, including more custom menu settings for shortcuts to what’s important to you. The touch screen is a nice addition; touch focus is neat but not a deal breaker. The stock monitor attachment is improved, and I would consider using this instead of building an aftermarket support kit. Though if you want to put this camera on your shoulder, you’ll want to extend the LCD out further, so you don’t go cross-eyed. Shape and Zacuto have some nice well-thought-out options.

C200 High Speed: Not as many highspeed options – 120fps or 60fps. C300 Mark II allows far more variable options when shooting things that don’t require extreme slow motion, or where 36/48 fps would be more usable for screen time in an edit. However, 120fps can be shot in 4K with no crop, which is impressive.

C200 Timecode: There’s no way to jam timecode. If you’re using plural eyes or something similar to sync your audio, it may not be a concern. But if timecode sync is important to you, you may be

looking for alternate solutions, such as connecting a tentacle sync or similar device that creates timecode on one of the audio channels.

C200 Sensor: Improved performance in low light. C300 Mark II is incredibly clean up to 6400 ISO, with the C200 edging the noise level slightly cleaner at higher ISOs. No concerns shooting at bright backlit windows or bright sources with the improved sensor in the C200.

C200 8-bit Codec: Some broadcasters may flag the lower bitrate codec as a concern, but you could creatively talk your way around that. I was concerned about banding and lack of colour information but was pleasantly surprised. No doubt the 4444 12-bit of the C300 Mark II will provide more flexibility in grading and VFX work. However, the quality in the 8 bit was much better then I had expected.

It feels slightly more saturated due to fewer bits to spread the colour information. I’ve seen some impressive TV work shot on the C100, which is also 8 bit and

CSC at the 13th Annual SIM Technology Showcase

Credit: Gayle Ye

January 25, 2018, Toronto

Tech Column continued from page 30

the C200 is generations above that. In comparison, the Sony α7S II 8 bit exhibits more banding in gradients and more compression artifacts. Canon must have some secret sauce to keep it looking great.

C200 use: Ultimately, for me, if I was shooting a commercial that won’t be rolling a lot of footage, then I would use the internal RAW workflow. For feature film or doc work that can handle the

data management, I would consider the C200 for its robust internal RAW codec.

Rumour has it that a 10-bit codec is coming in a firmware update. If you haven’t checked your current cameras firmware (DSLR or video) I would suggest checking their website.

With a few other camera options around the corner, one could wait forever. The C200 is another iteration of the Cinema

series that has proven trustworthy since the C300. At this point in time for me, I’m quite happy with the low light, colour, reliability and added functionality that the workhorse C300 Mark II is delivering.

If you’d like more information, feel free to reach out on insta/twitter/fbook @justin_lovell or email info@justinlovell.com.

Justin Lovell is an associate member.

Canadian Cinematographer - March 2018 •

31

2nd Unit 1st Assistant Kevin Michael Leblanc

to April 6

Toronto

A SERIES OF UNFORTUNATE DP Bernard Couture csc (alternating EVENTS III episodes) Camera Operator Jim Van Dijk

to May 8

Vancouver

ANNE II (series)

Camera Operator Andreas Evdemon

to March 28

Toronto

DP Gordon Verheul csc & Bruce Worrall (alternating episodes)

to April 20

Vancouver

BLUE BOOK (series)

DP C. Kim Miles csc

to April 26

Surrey

DESIGNATED SURVIVOR II (series)

DP Michael Storey csc (alternating episodes) B Camera 1st Assistant Jim Chirayouth Saysana

to March 23

Toronto

FALLING WATER II (series)

B Camera Operator Perry Hoffmann

to March 20

Toronto

FAST LAYNE (series)

DP Neil Cervin csc

to April 27

Burnaby

FLASH, THE IV (series)

DP Brenton Spencer csc (odd) & Alwyn J. Kumst csc (even)

to April 21

Vancouver

HARRY AND MEGHAN: A ROYAL ROMANCE (MOW)

DP Thomas Harting csc

to March 9

Vancouver

THE GOOD DOCTOR (series)

DP John Bartley csc, asc

to March 1

Coquitlam

ONCE UPON A TIME VII (series)

DP Tony Mirza

to April 2

Burnaby

POLAR (feature)

B Camera Operator Juan Montalvo B Camera 1st Assistant Ciaran Copelin

to April 6

Toronto

RIVERDALE II (series)

DP Brendan Uegama csc

to March 21

Langley

SALVATION II (series)

DP Thomas Burstyn csc, nzsc

to August 24 North Vancouver

SHADOWHUNTERS III (series)

DP Mike McMurray csc (alternating episodes)

to May 15

Mississauga

SUPERNATURAL XIII (series) DP Serge Ladouceur csc Camera Operator Brad Creasser

to April 27

Burnaby

TAKE TWO (series)

Operator/Steadicam Greg Fox

to July 26

Burnaby

TIN STAR II (series)

DP Paul Sarossy csc, bsc, asc

to August 3

Calgary

TITANS (series)

DP Boris Mojsovski csc & Brendan Steacy csc (alternating)

to May 21

Toronto

TRIAL & ERROR II (series)

DP Michael Balfry csc

to June

Vancouver

UMBRELLA ACADEMY, THE (TV series)

DP Craig Wrobleski csc B Camera Operator Peter Sweeney

to July 11

Etobicoke

CAMERA CLASSIFIED IS A FREE SERVICE PROVIDED FOR CSC MEMBERS.

VALLEY OF THE BROOM (series)

DP François Dagenais csc

to May 28

Burnaby

WINGS OVER EVEREST (feature)

DP Danny Nowak csc

to April 27

Vancouver

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.

ARROW VI (series)

csc

MARCH 11, Canadian Screen Awards, Toronto, academy.ca/awards/ 1-4, Kingston Canadian Film Festival, Kingston, ON, kingcanfilmfest.com 8-28, International Film Festival on Art, Montreal, artfifa.com

32 • Canadian Cinematographer - March 2018

APRIL 14, CSC Awards, Arcadian Court, Toronto, csc.ca 26-May 6, Hot Docs Festival, Toronto, hotdocs.ca May 7, CSC Annual General Meeting, Technicolor Toronto

Classifieds

Production Notes Calendar

12/24 (feature)

EQUIPMENT FOR SALE 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 - 250721-2113 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. $ 35000.00 can 416 817 3938 or acadian@rogers.com Rick Kearney Preston FIZ 2 kit - $13,000 2 x Arri MB-20 studio matte box - $8,000 Arri LMB-15 Clip-on matte box - $1,200 Power-Pod Classic - $13,500 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

@canadiancinematographer @csc_CDN

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.

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