Canadian Cinematographer Magazine May 2018

CANADIAN SOCIETY OF CINEMATOGRAPHERS

$4 May 2018 www.csc.ca

Boris Mojsovski csc

SIMMOD Lenses CSC Specialty Awards

A publication of the Canadian Society of Cinematographers

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.

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.

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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CSC Specialty Awards By Guido Kondruss

Credit: Simone Sinclair Walker

FEATURES – VOLUME 10, NO. 2 MAY 2018

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Credit: Courtesy of Boris Mojsovski csc

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SIMMOD: Firmly Focused on the Future with Vintage Lenses By Ian Harvey

COLUMNS & DEPARTMENTS 2 4 8 9 10 12 30 32

From the Editor-In-Chief In the News CSC Award Winners CSC Specialty Awards On Set CSC Member Spotlight – Ian Kerr csc Tech Column Production Notes/Calendar

Cover Still from 12 Monkeys ("Nature" Episode 306) Christopher Lloyd as Zalmon Shaw Photo by: Ben Mark Holzberg/Syfy

Canadian Cinematographer May 2018 Vol. 10, No. 2 EDITORIAL BOARD EDITOR-IN-CHIEF Joan Hutton csc EDITOR EMERITUS Donald Angus EXECUTIVE OFFICER Susan Saranchuk, admin@csc.ca EDITOR Fanen Chiahemen, editor@csc.ca COPY EDITOR Karen Longland ART DIRECTION Berkeley Stat House WEBSITE www.csc.ca ADVERTISING SALES Guido Kondruss, gkondruss@rogers.com EDITORIAL BOARD MEMBER Bruce Marshall, brucemarshall@sympatico.ca CSC BOARD OF DIRECTORS Phil Earnshaw csc Carlos Esteves csc Joan Hutton 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 Bruno Philip csc, Montreal MEMBERSHIP CHAIRS Arthur Cooper csc Zoe Dirse csc EDUCATION CHAIRS Carlos Esteves csc George Willis csc, sasc AWARDS CHAIRS 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.

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

PART TWO

Gender Parity and the “Old Boys’ Club”

I

n my column last month, I wrote about the origin of the CSC’s guiding principles 60 years ago and their relevance today. I was responding to a CSC Facebook comment that framed the CSC Executive as an “old boys’ club” and questioned the Society’s commitment to inclusion and gender parity.

Almost two years ago there was a momentous event at the CSC which was very emotional for me. Three women received their full CSC membership in one session and earned the right to display those all-important “csc” initials behind their names. They had proven to their peers that they were topnotch professional cinematographers who could consistently produce visuals that were of superior quality, both technically and creatively. While three women receiving the initials all at once was a watershed moment, it wasn’t even remotely close to gender parity in the CSC. Not by a long shot. I would imagine as the number of women choosing cinematography as a career increases, more will also choose to become members of the CSC. But is that really what is important? I’m sure if those three women were asked, they would say that they were granted full member status because of their skill as cinematographers, not because of their gender. I’m sure they would be devastated if they learned otherwise. I know I would be. In my opinion, it’s not quantitative parity, but respectful equality that is imperative.

As for the “old boys’ club,” the last time I looked, I was very much a female.

Kidding aside, I was the CSC president for 22 years and now I serve on the Society’s board of directors. I find this label exasperating and even dismaying. I can assure everyone that composition of the CSC Executive is by circumstance and not by any devious design. Yes, we are generally older. Most are either near the end of their careers or retired, but that in itself affords us the precious time necessary to volunteer and run the CSC. Yes, some of us on the Executive have known each other for decades, but that is prompted by a shared desire to serve and give back to our craft and community. Superficial optics of a situation, or a group as in this case, can misconstrue its true nature and context, which, unfortunately, seems to have spawned this disparaging assertion of cronyism.

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Bell Media announced in late March it had entered into an agreement for its Bell Media Studios division to acquire a majority stake in Pinewood Toronto Studios, in partnership with Comweb Studio Holdings, Castlepoint, and the City of Toronto. As a part of the transaction, Bell Media Studios Inc. will acquire a majority stake in the 33.5-acre facility in To-

Hot Docs Donates 25 Years of Festival History to Ryerson University Library and Archives

ronto’s Port Lands. Recent productions filming at Pinewood Toronto Studios include Star Trek: Discovery, Molly’s Game, Room and The Expanse. Nanci MacLean, vice-president and head of Bell Media Studios, will oversee operations at Pinewood Toronto Studios. Terms of the transaction were not disclosed.

NFB Launches Indigenous Cinema Online

To mark its 25th festival anniversary this spring, Hot Docs announced it made a significant donation to the Ryerson University Library and Archives. The gift includes decades-worth of assets from past Hot Docs Festivals and year-round activities that will be housed in the Library’s Special Collections, providing students the opportunity to reference the materials for their studies, and contributing to Ryerson University’s comprehensive collection of archival material in media arts. Included in the donation are: copies of festival and Hot Docs Cinema publications; marketing materials, including posters, handbills and creative properties; promotional film stills and EPKs from many of the thousands of films that have screened at the Festival; media clippings and publicity reports; and 70 DVDs from the KinoSmith Hot Docs Collection among other items.

NFB Releases 2017–2018 Gender Parity Results Honouring its commitment to gender parity, the National Film Board in March released its 2017–2018 results.

The board said it has all but achieved its parity objectives for the number of productions directed by women (which stood at 47 per cent in 2017–2018), the portion of the production budget allocated to women (46 per cent), and the key creative position of screenwriter (47 per cent), while progress has been made for the position of editor (38 per cent). However, work remains to be done in positions related to cinematography (13 per cent) and music composition (4 per cent), where the ratio of men to women is still unequal. In 2016, the NFB formally committed to ensuring that 50 per cent of its productions would be directed by women and 50 per cent of production spending would go toward women filmmakers. In March, The NFB also announced that it will make its Talent Bank for female professionals accessible to Réalisatrices Équitables (RÉ), Femmes du cinéma, de la télévision et des médias numériques (FCTMN) and Film Fatales. The NFB’s Talent Bank is a place where women audiovisual professionals can submit their portfolios, demos and CVs.

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Courtesy of NFB

In The News

Bell Media Buys Majority Interest in Pinewood Toronto Studios

Still from Gil Cardinal’s Foster Child.

The NFB in March launched Indigenous Cinema, a Web page offering free streaming of more than 200 new and classic titles from its collection of films by Indigenous directors. Indigenous Cinema has been developed as part of the NFB’s three-year Indigenous Action Plan to transform the relationship with Indigenous creators and audiences. Highlights include Mike Kanentakeron Mitchell’s You Are on Indian Land; several titles from Alanis Obomsawin, including her landmark Kanehsetake: 270 Years of Resistance; Gil Cardinal’s autobiographical Foster Child; Tasha Hubbard’s Canada Award-winning Two Worlds Colliding; and Elisapie Isaac’s acclaimed If the Weather Permits. Indigenous Cinema is searchable by subject, director’s name or Indigenous people or nation, and features curated and contextualized playlists for different age levels, plus filmmaker biographies.

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In The News

Canon Announces First Full-Frame Cinema Camera Canon in late March announced its first full-frame cinema camera, the EOS C700 FF. At the heart of the camera is a Canon-developed CMOS image sensor having a total of 5952 (H) x 3140 (V) photosites with a digital cinema 17:9 aspect ratio, which gives it the same image circle size as the full frame EOS 5D camera series, thereby supporting a wide range of shooting options. The EOS C700 FF is available in both PL and EF Mount. Existing owners of Canon’s original EOS C700 cinema camera can have their Super 35 mm sensor upgraded to the new Full-Frame sensor for a fee. The EOS C700 FF EF and EOS C700 FF PL are scheduled to be available in July 2018.

American Society of Cinematographers Appoints Eric Rodli as Executive Director The American Society of Cinematographers earlier this year named Eric Rodli as executive director, effective immediately. Rodli, an ASC associate member since 2001, has served six years as co-chair of the ASC Motion Imaging Technology Council’s Cinema Display Committee, dedicated to exploring new technologies and providing guidance on enhancing the moviegoing experience in service to the filmmaker’s creative intent.

He co-authored the committee’s 2016 white paper, “Cinema Display Evaluation Plan and Test Protocol,” which explores the key image quality parameters of dynamic range, colour space and overall luminance, as well as suggesting testing parameters. Rodli’s career includes extensive experience as an executive in the entertainment technology industry with management roles in start-ups and large corporations. He has worked on numerous creative and technical initiatives across multiple industry sectors, dating back to pioneering the use of the first generation of HD cameras, as well as 3D projection, digital streaming technology, and laser projection systems.

A.C. Lighting Debuts Follow-Me Lite A.C. Lighting Inc. in March announced the release of Follow-Me Lite, a remote

6 • Canadian Cinematographer - May 2018

follow-spot control system. The independent cost-effective network-based software package allows users to utilize standard moving lights as follow-spots. The Follow-Me Lite follows one target using up to three fixtures. The system features ArtNet output and continuous beam size function. The Follow-Me Lite System controls the X, Y, Z axis, iris, zoom, intensity, colour and the Z axis (height) offset from a midi board within the system.

Follow-Me Lite is a standalone system that does not have integration capabilities with a console. Follow-Me eliminates the need for climbing spot operators therefore improving on show safety and removing the requirement traditional follow-spot hardware methods would need in transportation. A.C. Lighting also announced in March that PAG Canada has been appointed to represent A.C. Lighting Inc. products in Canada.

RED Introduces New 5K S35 Gemini Sensor RED DIGITAL CINEMA in late March introduced the new GEMINI 5K S35 sensor for its RED EPIC-W camera. The GEMINI 5K S35 sensor offers an increased field of view at 2K and 4K resolutions compared to the higher resolution HELIUM sensor, and its 30.72 mm x 18 mm dimensions allow for greater anamorphic lens coverage than with HELIUM or RED DRAGON sensors. Built on the compact DSMC2 form factor, this new camera and sensor combination cap-

Courtesy of Canon USA

tures 5K full format motion at up to 96 fps along with data speeds of up to 275 MB/s. Additionally, it supports RED’s IPP2 enhanced image processing pipeline in camera. EPIC-W is able to shoot simultaneous REDCODE RAW and Apple ProRes or Avid DNxHD/HR recording. Beginning at $24,500, the new RED EPIC-W with GEMINI 5K S35 sensor is available for purchase at select RED Authorized Dealers globally and on RED. com. Alternatively, WEAPON Carbon Fiber and RED EPIC-W 8K customers will have the option to upgrade to the GEMINI sensor at a later date.

Keshet Launches $55 Million Drama Fund Israel-based global content producer and distributor Keshet International in March announced the establishment of a pioneering $55 million fund in partnership with several of Israel’s largest holding and asset management companies, including Altshuler-Shaham, Phoenix Insurance, Arxcis Global Wealth Management and Halman Aldubi Investment House Ltd. KI initiated the fund to bring high-profile TV and film projects to a wider global audience by utilizing Keshet’s worldwide distribution prowess. The fund incorporation and establishment was led by Sigal Alboher, the group’s chief financial officer, and Viktor Vakrat the group’s head of business affairs, with the advice of the investment banking firm Rosario Capital.

Presenting

THE 61ST ANNUAL CSC AWARD WINNERS DIRECTOR OF PHOTOGRAPHY AWARDS THEATRICAL FEATURE CINEMATOGRAPHY Sponsored by Deluxe

WINNER Nicolas Bolduc csc Hochelaga, Terre des Âmes (Land of Souls) Guy Godfree csc Norm Li csc Dylan Macleod csc Ronald Plante csc TV SERIES CINEMATOGRAPHY Sponsored by Technicolor Robert McLachlan csc, asc Boris Mojsovski csc Boris Mojsovski csc Bobby Shore csc

Suck it Up Hollow in the Land Trench 11 Bon Cop Bad Cop 2

Game of Thrones “Spoils of War” 12 Monkeys “Thief” Taken “Mattie G” Anne “I Am No Bird, and No Net Ensnares Me”

WINNER Craig Wrobleski csc Fargo “Who Rules the Land of Denial?”

TV DRAMA CINEMATOGRAPHY Sponsored by Sim Jeremy Benning csc The Long Road Home “Abandon Hope” Jon Joffin asc Tiny House of Terror David Moxness csc, asc The Kennedys: After Camelot Bobby Shore csc Anne “Your Will Shall Decide Your Destiny” (Pilot)

WINNER Brendan Steacy csc Alias Grace “Part One”

FRITZ SPIESS AWARD FOR COMMERCIAL CINEMATOGRAPHY Sponsored by Whites Camera Douglas Koch csc National Canadian Film Day “Can't Lie” Christopher Mably csc SickKids Foundation “SickKids Vs: All In” Adam Marsden csc Air Canada “Invictus Games: Above All Odds” Oliver Millar csc Chevrolet “The Hunt Alone”

WINNER Bobby Shore csc Interac “Life in Beeps”

BRANDED/CORPORATE/EDUCATIONAL CONTENT CINEMATOGRAPHY Kris Belchevski Samsung “Russell Westbrook: Driven”

WINNER Matt Bendo Kombat Arts “Legacy” Daniel Grant csc Daniel Grant csc Goh Iromoto

Manulife “Carnival” Manulife “Simplify Your Finances” Bush & Beyond

YOUTH PROGRAMMING, COMEDY, MULTI-CAMERA SITCOM CINEMATOGRAPHY Sponsored by Vanguarde Artists Management Neil Cervin csc Mech=X4 “Versus the Dark Night”

WINNER Samy Inayeh csc Man Seeking Woman “Dolphin” Christopher Mably csc

Brett Van Dyke csc Brett Van Dyke csc

Baroness Von Sketch Show “It Satisfies on a Very Basic Level” Backstage “The One” Dark Haven High “The Lizard of Ooze”

ROBERT BROOKS AWARD FOR DOCUMENTARY CINEMATOGRAPHY Sponsored by Sony Nicholas de Pencier csc Long Time Running Kevin A. Fraser Invading Giants Goh Iromoto The Canoe Alfonso Maiorana RUMBLE: The Indians Who Rocked the World

WINNER Duraid Munajim My Enemy, My Brother DOCUDRAMA CINEMATOGRAPHY Amy Belling Holy Angels

WINNER John Choi & Nicolina Lanni The Eleven “Motel Murder” Sam Karney & Tyler Funk Felipe Rodriguez

John Minh Tran csc

Taken “Danita Big Eagle” Blood and Fury: America’s Civil War “The Battle of Nashville” Notwithstanding

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MUSIC VIDEO CINEMATOGRAPHY Sponsored by Dazmo Camera Jason George The Used Rise Up Lights

WINNER Pierre Gill csc The Killers Run for Cover Cole Graham Cole Graham Bobby Shore csc

Ackee Tecumseh Tamagotchi Felix Cartal Hold Tight Stormzy Gang Signs & Prayer

DRAMATIC SHORT CINEMATOGRAPHY Sponsored by REDLAB digital Kris Belchevski Shadow Nettes Alfonso Chin Haley

WINNER Todd M. Duym Dawn Catherine Lutes csc Bobby Shore csc

Emmy Bumblebee

EXPERIMENTAL/UNIQUE CINEMATOGRAPHY Sponsored by Partos Co Jericca Cleland csc Leap!

Ray Dumas csc, Vinit Borrison, Jeremy Benning csc Horizon: A 360 Journey Christopher Lew Sororis

WINNER Athan Merrick Uninterrupted CINEMATOGRAPHY AWARDS: TV MAGAZINE CINEMATOGRAPHY Allan Leader csc Ice Allan Leader csc Survivor

WINNER Allan Leader csc Treasure Hunters LIFESTYLE/REALITY CINEMATOGRAPHY

WINNER Sean Harvey Dead Set on Life “Born and Raised on the Boardwalk” Gurjeet Mann Tony Wannamaker csc WEBEO CINEMATOGRAPHY Dmitry Lopatin Ian Macmillan Sarah Thomas Moffat Yifan (Evan) Ning

Hello Goodbye “We Are Family” Chuck & Danny’s Road Trip “Salt of the Earth” Teenagers “Gay, Straight, Bi, Whatever” Filth City “I Bet That Hurt” A Frankie Drake Mysteries Cold Case “Episode 6” Be With You “Part 2”

WINNER Stephen Reizes csc Save Me “Trauma Related to Sleepwalking” STUDENT CINEMATOGRAPHY Sponsored by Panavision Canada J. Connor Bjornson The Fruit Machine York University Farhad Ghaderi The Good Fight University of British Columbia Chris Munro Perception Sheridan College

WINNER Alexandre Nour Desjardins The Aviary Concordia University Mark Smith

Ramp 32 Sheridan College

THE CSC IS PLEASED TO PRESENT THE FOLLOWING SPECIAL HONOUREES FOR 2018 THE MASTERS AWARD John Walker csc For outstanding contribution to the art of cinematography THE BILL HILSON AWARD SHAPE co-founders Mylène Girard and Charles Vallières For outstanding service contributing to the development of the motion picture industry in Canada THE PRESIDENT’S AWARD Karen Longland For outstanding service to the Canadian Society of Cinematographers THE CAMERA ASSISTANT AWARD OF MERIT Kevin Michael LeBlanc For excellence and outstanding professionalism in the performance of the AC duties and responsibilities

CSC Specialty Awards 2018 The 2018 Masters Award Winner

Photo Credit: Nigel Markham

John Walker csc

“For outstanding contribution to the art of cinematography.”

John Walker csc is one of the finest documentary filmmakers in Canada, whose films have garnered national and international critical acclaim. His prodigious volume of work spans decades and stands as a testament to his lyrical sense of the visual, which Walker uses effectively to highlight and frame the human condition. His work is deeply personal, and Walker is uncompromising as an artist, unafraid to experiment with form and content to imprint his perspective. A gifted cinematographer, Walker is also an award-winning director, producer and writer. His films are an expression in diversity with subjects ranging from coal miners losing their jobs in Men of the Deeps to an exploration of Canadian/Quebecois identity in Quebec My Country Mon Pays to the fabled search for the Northwest Passage in Walker’s fiction-documentary Passages, which has been hailed in the Toronto Star as “one of the great triumphs in Canadian documentary film.” A creative visionary and a compelling storyteller, Walker continues to push the boundaries of filmmaking and cinematography to this day. He has left an indelible mark with his work that kept Canada at the forefront of documentary cinema.

The 2018 Bill Hilson Award Winner

SHAPE

“For outstanding service contributing to the development of the motion picture industry in Canada.”

SHAPE has been on a mission for the past 11 years to “shape the world one camera rig at a time.” The Quebec-based company was founded in 2007 after seeing a need for camera shoulder mounts that were both comfortable and could be used with ease. Their first rig became instantly popular with prosumers looking for affordable professional stabilizing systems and accessories. By 2009, SHAPE had developed the world’s first and only Push-Button Handle System on a 360-degree axis for quick and easy adjustment, which revolutionized the camera stabilizer and support industry. Today, SHAPE continues to be an industry leader, developing gear that is ergonomic, lightweight and user-friendly, and which can be operated in conjunction with cameras from CSC sponsors such as Canon, Sony, Panasonic, ARRI and RED. Shape’s technical innovation has been a tremendous benefit to cinematography and to cinematographers, helping to further enhance their craft and creativity.

The 2018 President’s Award Winner

Photo Credit: John Narvali

Karen Longland

“For outstanding service to the Canadian Society of Cinematographers.”

If anyone has ever had dealings with the CSC administration, they will have crossed paths with CSC Executive Assistant Karen Longland. She has been with the CSC since 1999 and since then has become one of the stabilizing underpinnings of the Society. Longland’s extensive talent with numbers, sharpened from years in Canada’s capital investments sector, keeps the CSC’s financial records on the straight and narrow. The financial industry’s loss in this case has definitely been a boon for the CSC. Longland’s impressive administrative skills are very evident in the organization of many CSC events, ranging from the CSC Awards Gala to coordinating the full membership adjudication meetings. She is also a vital member of the CSC editorial board, and also possesses extraordinary proofreading abilities. No wayward detail in Canadian Cinematographer ever escapes Longland’s blue pencil. Longland’s commitment, drive and integrity embody the spirit of the CSC and its goals.

Canadian Cinematographer -May 2018 •

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On Set

ACCEPTANCES / AWARDS / NOMINATIONS / Amy Belling,associate member (DP/A Camera op) You Can’t Say No (feature), world premiere at Cinequest Film Festival, March 3, 2018

Credit: Alexei N. Malakhov

Karim Hussain csc (DP) Parallel (feature), premiered at Brussels International Fantasy Film Festival, April 10, 2018, Belgium

AC Andrew M. Richardson and cinematographer Nicholas Kovats swap the magazine on the Aaton XTRProd on the set of the independent short film Ignis Fatuus. Pictured (left to right): Dennis Hingsberd (background), Andrew M. Richardson and Nicholas Kovats.

Iris Ng, associate member (DP) Shirkers (feature doc), accepted at Hot Docs, Toronto, April 27May 6, 2018 Ousama Rawi csc,bsc (DP) Before Anything You Say (feature), nominated for Best Cinematography in a Feature Film, Nice International Film Festival, May 6-11, 2018, France

Credit: Waldemar "Wally" Tello

Brad Rushing csc (DP) Planet (short), accepted at 17th Annual SCI-FI-LONDON Film Festival, May 1-7, 2018, UK; (DP) Beautiful Dead Things (short), accepted at NewFilmmakers Los Angeles, May 19, 2018, LA

Waldemar "Wally" Tello shooting a documentary for The Knights of Columbus in Toronto.

John Minh Tran csc (cinematographer) The Heat: A Kitchen (R)evolution (feature documentary) and Turning Tables (documentary short), accepted at Hot Docs, Toronto, April 27-May 6, 2018; Standup Toronto (feature documentary), nominated in category of Best Documentary Arts & Culture at Yorkton Film Festival, May 24-27, 2018.

CSC ANNUAL GENERAL MEETING Monday, May 7, 2018 at 6:30 pm

Credit: Joe Gonzalez

Technicolor Toronto.

Boardroom No. 1 49 Ontario Street

Amy Belling in Santa Rosa, California, shooting the romantic comedy You Can’t Say No.

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Following the meeting we will have a light dinner and refreshments, courtesy of the good folks at Technicolor.

Great opportunity to meet and chat with your fellow cinematographers! Hope to see you there, CSC member!

Canadian Cinematographer - March 2018 •

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Credit: Turner Templeton

CSC Member Spotlight

Ian Kerr csc The Black Stallion by Ballard and Deschanel, Field for The British Isles by Antony Gormley, and apparently I reference Annie Leibovitz a lot.

cameraman with a rental house. Eventually I combined my love of the outdoors with cinematography and began shooting natural history and expedition films while keeping a foot in the commercial and drama world. I’ve tried to work across genres ever since.

asc, Rob McLachlan csc, asc, Pierre Gill csc and Greg Middleton csc, asc. Their manner on set and in person has also made a great impression. I’ve recently made a connection with Roger Vernon csc and love his outlook on the industry and how he approaches his work. Mathias Herndl aac and Oliver Millar csc have also been kicking ass and are both very inspiring.

How did you get started in the business?

Who have been your mentors or teachers?

Name some of your professional highlights.

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

I began at 16 when I was hired by community cable station CRTV-10 Campbell River. The station was run by a bunch of high school students. We created, shot, edited our material and then aired it nightly. The only adult was a very kind, patient and generous man, Hugh Smith, who was my first mentor and boss.

I later snagged a scholarship to BCIT (British Columbia Institute of Technology) and then shot news for CKVU in Vancouver. It was the height of the “shaky-cam” news look (field lighting was banned).

I was so disillusioned that I left to shoot industrials and small docs as a contract

My mother’s love of photography drew me in, and she was the first to support my interest as a teenager. When I transitioned to moving pictures, Hugh Smith, Kevin Harrison, Al Klein and Dale Johannesen were my teachers and mentors. Moira Simpson was one of the first doc DP/ directors I worked with, and I learned a lot from her, including to always shoot your subject’s cat. With a camera.

What cinematographers inspire you?

I routinely steal ideas from the work of John Bartley csc,

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Winning my first Emmy for an expedition film I shot on human mummification in a remote area of Papua New Guinea. My wife Carmen Kerr and director John Rubin were at my side, and that moment pretty much fulfilled all my teenaged ambitions.

What is one of your most memorable moments on set?

My favourite memories are of working with small crews in remote areas. Touching the back of a bowhead whale calf as it surfaced at a hole in the ice, or bicycling into a remote desert archaeological site at midnight to set up a

time lapse – these are moments that I experienced only because of the job, and it’s the job that gave these moments purpose. I love bringing back little visual treasures for the rest of the world to see.

What do you like best about what you do?

The variety of ludicrous locations and situations we find ourselves in really keeps me coming back. I like to show off technically and move people emotionally, but most of all I like working with kind and creative minds on exciting material.

What do you like least about what you do?

The effect that long hours and travel has on a family and the stress we place on ourselves have excluded far too many people from this career.

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

Coffee and Excel gum.

How can others follow your work?

iankerrdop.com

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In Memoriam

Paul Norris 1948 - 2018

P

aul Norris, Deluxe’s former VP of sales, passed away in early February. Norris was born in Toronto on February 20, 1948. At the age of 17, he joined the Royal Canadian Air Force, serving from February 1965 until November of that year. He then worked at Toronto’s Addison Cadillac, doing painting and touch-ups for a short time. In 1967, at age 19, Norris joined Deluxe (then known as Film House) as shipper and receiver. Working hard and long hours, Norris worked his way up from shipper and receiver to production control supervisor (1970s) to laboratory manager (1980s) to VP laboratory manager in 1987 to his final position of VP laboratory sales at Deluxe. He retired in 2012 after working for Film House/Deluxe his entire adult career. Norris loved his work, the travelling, his colleagues and dealing with clients. His children remember that when taken to the movies, they were always the last people out of the theatre – their father made sure everyone saw “Film House” or “Deluxe” on the tail credits, something that made him very proud. Norris was a member of the Variety Club of Canada and Motion Picture Pioneers.

After a battle with cancer, Norris died on February 9 – two weeks before turning 70 – surrounded by his children, wife and family. He is survived by his wife Lee Norris, father Ugene Norris, sister Rhonda Norris, daughters Tracy Norris/Blake (and her children Cole and Piper), Christine Norris (and her children Katelyn and Joshua), and son Robert Norris/Brown (and his children Zackary, Jacob, Seth, Nathanial).

Canadian Cinematographer - May 2018 •

15

WITH

Boris Mojsovski csc

By Trevor Hogg Special to Canadian Cinematographer

I

nitially, Boris Mojsovski csc decided to pursue a different profession than his father, who was a cinematographer. “I became a photographer, but it never felt like an ultimate calling. It wasn’t until my girlfriend [and future wife] Liljana pointed out one day that I would be good at directing.

I got a film degree, became a director first and then a cinematographer. I still do both,” Mojsovski says. The native of Sarajevo currently lives in Toronto and works mostly in North America and Europe. “Having done a bunch of independent movies, I’m prepared for anything. Any show with a healthy budget is a lot easier to do than a small movie with a giant ambition. The key aspect of television cinematography is how quickly can one light and suggest solutions,” he says.

16 • Canadian Cinematographer - May 2018

Canadian Cinematographer - May 2018 •

17

Having done a bunch of independent movies, I’m prepared for anything.

Any show with a healthy budget is a lot easier to do than a small movie with a giant ambition.

The key aspect of television cinematography is how quickly can one light and suggest solutions.

inspired by the 1995 movie directed by Terry Gilliam and starring Bruce Willis as a time traveller trying to prevent an extremist group from unleashing a viral plague on humanity. “Every episode has its own look because of being set in a different era than the episode preceding it. The unifying factor was the look of the time travel facility in 2046 where our heroes constantly return to recharge and define the new adventures,” Mojsovski says.

“12 Monkeys is different from other television series that I have worked on because I didn’t give it a look, Dave Greene [csc, ASC] did that,” he notes. “While our styles and beliefs are similar, his images are so perfect and deceivingly complex, I was extremely nervous, and I doubted I could do the job. I had done a similar look before so I understood the goals and aims of the imagery, but I didn’t sleep for three weeks before my first episode!”

Lighting has stayed the same over the course of the four seasons, but the camera work has shifted from a handheld approach to a less jarring choregraphed movement. “One

Photo By: SyFy

Still from "Thief" (Episode 309). James Callis (Athan) chases Eliza (Claire Cooper).

Kidnap Capital, Hello, It’s Me and 12 Monkeys have resulted in Mojsovski becoming a CSC Award nominee, with the latter also garnering him an ASC Award in the Episode of a Series for Commercial Television category earlier this year.

The “Thief ” episode of 12 Monkeys, for which he won the ASC Award, “was almost entirely shot in and around Prague,” Mojsovski says. “It had a unique look and a particular patina we added to the time period of the late 1800s. Electricity was sparse and for the privileged. The air was still dirty from the oil lamps.

I used various facts like these to create the look of the episode. At the opening of the episode we meet our thief; she runs away from the hero, and the chase ends in a hospital for the poor. There, he realizes why she stole the gold and decides to help her. The sequence has various looks and uses different styles in the changing environments. I thought that was dynamic and visually interesting, so I proposed the ASC jury watched that clip as my entry for the awards.”

The Syfy series is named after and

18 • Canadian Cinematographer - May 2018

Credit: David Grossman

should never force a look and/or an aesthetic on the story,” Mojsovski declares. “As I’ve often said about 12 Monkeys, we have made a visual poem in the science fiction television realm. The poem is dark, nuanced, layered and cool; it’s the vision of [executive producer] Terry Matalas, who is so smart, talented and generous.” Research involves collecting facts dealing with the year being depicted. “We have this strange vision of different eras that are mostly based on the romantic representation of that time. I love bending and shaping the perception and emotion of the audience by introducing objects [like electrical lamps] in periods that would not have them. It’s my way of checking who is paying attention,” Mojsovski says.

Time travel is the most fun aspect of the show. “At first, we had so many ideas [about] how to create various feels for different eras and periods,” the DP reveals. “We did all kinds of crazy things, including an [almost] black-and-white look of the Cold War in the “Fatherland” episode. Then, we started playing

with nuances of colour where we infuse or take it away. Our production designer John Mott and his team perform miracles to support our collective ideas and dreams.”

Two camera units shoot in parallel, resulting in episodes featuring scenes shot by both Greene and Mojsovski. “Our producer Michael Wray devised a genius but complicated schedule to get us more shooting days. We got used to it and would share designing the light of the new sets,” Mojsovski says, adding that Mott sends SketchUp

Caption: Boris Mojsovski csc shooting at a castle around Prague.

Every episode has its own look because of being set in a different era than the episode preceding it.

The unifying factor was the look of the time travel facility in 2046 where our heroes constantly return to recharge and define the new adventures. files to explain certain ideas, as well to provide information about new sets and locations. “Some directors believe in storyboards more than others. We usually storyboarded visual effects heavy scenes or the Canadian Cinematographer - May 2018 •

19

20 • Canadian Cinematographer -May 2018

12 Monkeys is different from other television series that I have worked on because I didn’t give it a look, Dave Greene [csc, asc] did that. While our styles and beliefs are similar, his images are so perfect and deceivingly complex, I was extremely nervous, and I doubted I could do the job. I had done a similar look before so I understood the goals and aims of the imagery, but I didn’t sleep for three weeks before my first episode!

Still from "Nature" (Episode 306). (L-R) Hannah Waddingham as Magdalena, Jack Fulton as Young Athan.

Photo by: Ben Mark Holzberg/SyFy

scenes with a massive number of extras or special equipment.”

12 Monkeys is shot in 2K with an aspect ratio of 16:9. “Our producing director David Grossman blocks scenes better than anyone on this planet,” Mojsovski observes. “With him, we talk generalities in prep unless it was something big and/ or specific. Some directors [mainly from feature films] like to be precise in prep so we work out blocking ahead of time. This gives me time to preplan lighting and rigging, which ultimately made us faster on the floor. Depending on the blocking, our coverage is defined by one or two cool wide shots, and then close-ups and overs for the dialogue. We always used two or three cameras, and I have learned how to get them all working on every setup by making sure they are on the same side of the created contrast.”

Craig Milne from SIM Camera supplied the ALEXA Mini cameras, as well as the Leica lenses (Season One and Two used Cooke lenses). “Both Dave and I like large HMI units, which we heavily diffuse and create book lights with most of the time,” Mojsovski says. “Our go-to key light was the soft box LED light that I built. The guys call it the Boris Light. We are mostly LED-based. I love the advantages of changing colour and intensity with a quick dial of a button. The ARRI SkyPanel has become a workhorse. There are no grids in most sets, as we light from the floor, with the exception of backlight.”

Finding locations in Toronto has become more difficult because of the number of film and television productions taking place at the same time. “In Europe, we had better luck, but all of our locations were humongous,” Mojsovski states.

“The most difficult location was the main bridge in Budapest, as we closed the city core for several nights. The runner-up is the great forest in the Czech mountains with no vehicle access to the location, which was a canyon in the hills. Both were, of course, night scenes.” Challenging lighting scenarios took place during a Season Four episode shot in the Czech Republic that involved a huge hilltop abandoned church situated on the German border and a forest in a canyon. “No light remained on the truck. We had light-

ing cues galore and a large cast. For the forest scene, no vehicles could go there so we couldn’t use lifts. We lit the forest with practical fire strategically positioned in and out of frame, and with numerous balloons rigged to the high old trees. I had no clue if the light falloff would be too great and if the top of the trees were going to be nuclear bright compared to the bottom where the actors were. On top of that, we had horses, so had to be very careful with fire not to scare them off.

“We had a lot of VFX in the show and a fair amount of green screen,” he remarks.

“I’m not a great fan of shooting on green because it removes the actors and the crew from the reality of the final product, but it can be very cool to invent worlds and visualize what the light can do to enhance the virtual background. Our VFX team, led by Sébastien Bergeron, was incredible; they encouraged us to push the envelope and get the shot without limiting ourselves with the technicality of how they were going to solve it.”

Essentially, all of the colour was captured in-camera with alterations taking place for story reasons. “Our on-set DIT Joshua Jinchereau is incredibly talented, and we set all the looks for every episode with him. Jim Garrow at Universal [using Resolve], would take our offline colour and improve it,” Mojsovski says. Key crew members were third season camera operators David Sheridan and Jeremy Lyall, and fourth season camera operators Joe Turner and Michael Carr, while Scott Baker handled the A camera on the second unit. “We had two alternating gaffers in Bob McRae and Doug Reid. Our key grip was Christian Drennan. Focus pullers on the main unit were Rob Mountjoy and Andrew Macklin, while Kar Wai Ing was A camera on second unit,” the DP says.

The “Thief ” episode concludes in a grand cathedral where Dr. Cassandra Railly (Amanda Schull) and James Cole (Aaron Stanford) finally meet their son, the Witness (Andrew Lichti-Lee); he is standing over the casket of his beloved

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The Visual Technology People

19

| MISSISSAUGA TORONTO Canadian Cinematographer - March| OTTAWA 2018 • CALGARY | EDMONTON

VISTEK.CA

Still from "Thief" (Episode 309) Claire Cooper (Eliza) helps a wounded patient.

Photo this page by: SyFy

Still from "Masks" (Episode 308). Amanda Schull as Cassandra Railly and Aaron Stanford as James Cole.

Amanda Schull as Dr. Cassandra Railly, (Episode 306 “Nature).

One should never force a look and/or an aesthetic on the story. As I’ve often said about 12 Monkeys, we have made a visual poem in the science fiction television realm. The poem is dark, nuanced, layered and cool; it’s the vision of Terry Matalas, who is so smart, talented and generous.

22 • Canadian Cinematographer - May 2018

Eliza (Claire Cooper).

“The Basilica of St. Peter and St. Paul is beautiful and important to the city of Prague,” Mojsovski explains. “Next to it is the Vyšehrad Cemetery where most of the Czech greats are buried.

It’s a dominating structure atop a 10th-century castle. Light had to be pushed through the heavily stained, colourful windows, but the challenge became a lot more complicated as we learned that no machine could be put in the cemetery and in the small street running beside the cathedral since there is a maze of catacombs underneath. We got the specs and the math started. What machines are light enough to carry enough ARRIMAX lights at a reasonable height to pierce through the thick coloured glass at a distance that would not affect the paint? The shoot came and we had no answers for the dominating window. It was a heavily overcast winter day. At the last minute, the bishop allowed the use of smoke machines. As Martin Granilla [gaffer] and I turned to the grand window, a glorious streak of unlikely sunshine hit it. We started yelling to go right away and the actors took their marks. Perhaps God lit the scene for us.”

For Mojsovski, Season Four, which is the finale of 12 Monkeys, is “super huge and has an incredibly bold and different look. I can’t wait for the viewers to see a new set, which was built for one wellknown character everyone fears. I was also excited to shoot a sequence involving Nazis in a big castle with a great ballroom. What happens in there is the coolest moment of the series. Terry Matalas outdid himself with a gem of a scene. It’s as unexpected as it gets.”

As the series concludes, Mojsovski had the opportunity to work on the first season of a DC Entertainment and Warner Bros. Television series with Brenton Thwaites starring as Nightwing. “Titans is going to surprise people with its cinematic approach and great acting and story,” the DP says. “Our look is ground-

Boris Mojsovski csc setting up a shot.

Credit: Courtesy of Boris Mojsovski csc

ed and measured yet appropriately elegant. I know there is a huge following for the Titans franchise already, and we are hoping to live up to the expectations. The team of writers/showrunners is as impressive as it gets – Akiva Goldsman, Geoff Johns and Greg Walker. The support we had from everyone to make the show is overwhelming.

Brad Anderson directed the pilot.

Boy, did we have fun doing it!”

Rosco Color meets DMG Lumière Technology

SIMMOD Firmly Focused on the Future with Vintage Lenses

Looking at vintage lenses re-engineered by Sarorn “Ron” Sim csc, you realize they are the perfect example of the circular economy. In the linear economy, we manufacture, sell, consume and discard, but in the circular economy we repair, re-manufacture, reuse or re-engineer things at the end of their life cycle. Aluminum cans and steel get melted down again, plastic is shredded into pellets for reuse, and even waste wood is processed into chipboard sheets, mulch or stove fuel.

By Ian Harvey

24 • Canadian Cinematographer - May 2018

Ron Sim csc Photos of lenses and of Sim are courtesy of Ron Sim csc

A

nd that’s exactly what SIMMOD LENS are all about – the rebirth of vintage lenses by re-engineering them and using their quality glass for cinematic capture at one-tenth the price of new. In the case of vintage 35 mm still film lenses, whether Leica, Nikkor, Canon or Zeiss, it’s not that the glass itself has deteriorated or even that the mechanics of the lenses are failing, it’s that demand has dropped off a cliff.

Yet, they’re too precious to be thrown away, so Sim re-engineers them for cinematography.

First, he disassembles the lenses, then “de-clicks” the aperture mechanism. Next, he installs a custom 32-pitch follow focus gear, adds an 80 mm front ring and installs an EF Leitax hard mount. The process also allows him to thoroughly clean, lubricate and adjust the lenses to optimum working condition.

Sim, who is originally from the Windsor, Ontario, area and cut

his teeth behind a camera in Toronto, is currently based in Los Angeles and says he’s always been a tinkerer. “It really started as a hobby, something to do between gigs as a DP,” says Sim, who has a small CNC machine set up at his shop. “I’m from Windsor and my dad was a mould maker. We didn’t have a lot of money, and a lot of the stuff I bought when I started out came from Goodwill stores and had to be repaired.”

Sim – no relation to the folks at SIM International – either buys vintage 35 mm lenses from a network of dealers he’s established relationships with or has clients send him their own lenses which he will convert. A conversion runs from US$200 to US$550, depending on the level of service specified.

Drawn by the allure of the vintage look, California-based director and DP Matt Devino bought two modified Leica lenses to test drive them. “I thought for $1,200, why not? If they were Canadian Cinematographer - May 2018 •

25

“I thought for $1,200, why not?”

– California-based DP Matt Devino

Frame grabs from sci-fi film Nereus shot on Sim’s modded lenses.

Frame Grabs Credit: William Hellmuth

junk, I could flip them,” he says. “But when I got them, they were like brand new.”

In upgrading his RED rig, Devino’s overarching goal was to stay as light and compact as possible. “I had some Canon glass, but when you start adding focus to them they get big and heavy,” he says. “Also I remembered the quality of Leica from my college days when I worked in a camera store and the owner let me take a Leica out to shoot stuff and I’d spend hours in the darkroom afterwards.”

He’s since bought another lens, a 24/2.8 to go with the 28/2.8 and 50/2.0, and says that while they’re not the fastest glass, the quality more than offsets any loss of speed. “They are so beautiful,” he says. “Other glass can just be so clinical, too clean. With these, I was out shooting a professional mountain biker in northern California and every time the sun popped through the trees, the flare was amazing. Beautiful.”

“These lenses have amazing coatings and provide for great capture,” Sim says. “But obviously they were made for stills. But now with 35 mm sensors, they can work and create great cine motion images. The sensor plane is huge; you can go right up to 8K with them.”

Since the initial acquisition prices for these lenses has

26 • Canadian Cinematographer - May 2018

Canadian Cinematographer - May 2018 •

25

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Ron Sim csc

dropped so dramatically, even after Sim recovers his investment in time and materials from the conversion, the resale prices are still spectacular. His site – simmodlens.com – lists a set of Leica R primes for US$12,000 and a Leica Elmarit 100 mm APO Macro for US$2,100, for example.

There’s something special about vintage lenses, says Sim, who has won CSC awards using his own vintage glass. “I’m not going to knock the lens manufacturers, but with many of those new lenses shooting digital, the first thing a lot of DPs do is stick a filter in front to soften the image and bring some character to it,” he says.

He adds that he can convert almost any lens made, and works on Nikkor, Canon, as well as Leica and Zeiss, including Zeiss Contax and Jena. “I don’t buy directly from eBay because you never know what you’re getting,” he says. “The dealer network I have knows the lenses I am looking for and what condition I want. I don’t want them too beat up.”

He’s also hit a sweet spot in the market place: “Before I began my business, there was only one prominent company providing such services, Duclos Lenses out of L.A. Canadian DPs had to send their lenses across the border for servicing and had to transact in U.S. funds. My company has offices in Canada and the U.S., which makes it easier for Canadian DPs to get the services needed for their lenses.”

Canadian Cinematographer - May 2018 •

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Tech Column

BIG

Go or Go Home Is 14K the Ultimate Resolution?

T

he last decade or more has seen an exponential explosion in digital sensor technology and corresponding leaps in resolution. But how big is big enough? Is it 8K? 16K? Or are we looking at the wrong picture in the quest for more pixels to play with?

A column last November at redsharknews.com by Neil Oseman, the UKbased DP whose work includes The Little Mermaid, Heretiks and Night Owls, kicked off a discussion at the CSC. Oseman reported back from Cameraimage, the Polish film festival where camera makers were boasting of bigger and better offerings. At 8K with soft lenses, movement is smoother and more natural, went the pitch.

Front and centre was Panavision’s Dan Sasaki, vice president of optics – a DP in his own right who knows lenses inside and out – waxing poetically about the advantage of high-resolution capture even though the final product won’t be exhibited at anywhere near that density.

In fact, he said, the ultimate sensor size is 100 MP because it matches with the human eye’s 100 million rods and cones. Indeed, there are sensors available that size from Hassleblad and Phase One, whose XP system developed with Sony has an IQ3 100MP digital back with a CMOS sensor measuring 53.7 x 40.4 mm.

When the right lens design and focal length is matched to the large sensor capture there’s less distortion of perspective and the image seems more natural to the human eye, he argues. The result is an image more readily accepted by the viewer, who is then more comfortable immersing themselves in the story narrative.

The point, buttressed at panel discus-

30 • Canadian Cinematographer - May 2018

sions, is that higher resolution isn’t about sharpness – which can seem artificial – but smoothness. What about downstream from capture? Does 14K mean a nightmare of data, the demand for faster throughput and bigger and faster storage?

There were similar concerns in the shift to 4K, and more recently 8K, but the discussion in Poland suggested it just hasn’t been as big an issue as feared since technology seems to always evolve.

So then, what role will 14K ultimately play in cinematography? “My own feeling is that resolution never quite matters as much as it’s how you tell the story,” says Andrew Richardson, a cinematographer/ motion capture tech/ DIT and a CSC affiliate member. “It’s been that way since 8 mm, 16 mm, 35 mm. Film stock isn’t the quietest medium, but it doesn’t have to be perfect to tell the story.”

That said, he can see 14K gaining immediate traction in the area of scientific documentaries or wildlife cinematography. “There it’s in the pictures more than the story; the image is more important,” he says. “So I can see, say, National Geographic or NFB using it more.”

The last word goes to the Society’s own Jeremy Benning csc, cinematographer of note who says we’re probably focusing on the wrong thing. “What’s more important to me isn’t resolution as much as

dynamic range,” he says. “Resolution has continued to grow, but really we haven’t had the same advances in dynamic range.”

He’s been working with Deluxe shooting tests looking at HDR and he’s impressed with what he’s seen.

“It’s way more impressive than the first time I saw 4K,” he says. “On a good monitor there’s much more depth and power than just more and more resolution. I’d like to see the focus more on making HDR more commonplace than going for more resolution.”

That said, there are clearly issues. Consumers aren’t buying HDR monitors because there’s not a lot of content for them.

Still, the expanded range of contrast and colour combine to give more depth and brighter blues, greens and reds.

“I have seen 8K Super High Vision at NAB a couple of years ago, which was from NHK in Japan, who have been working at this for years,” Benning says.

“For me this is IMAX-type large format, a way to get what IMAX film could capture that we don’t have a digital equivalent for.

To me 14K is great and could be used for presentations like IMAX.” Ian Harvey is a Toronto-based journalist who writes for a variety of publications and covers the technology sector. He welcomes feedback and eagerly solicits ideas at ian@pitbullmedia.ca.

© 2016 MARVEL & ABC Studios © 2017 MARVEL & ABC Studios

WWW.RED.COM

Canadian Cinematographer - May 2018 •

31

DP Bernard Couture csc (alternating episodes) Camera Operator Jim Van Dijk

to May 8

Vancouver

BLETCHLEY CIRCLE, THE – SAN FRANCISCO

DP Kamal Derkaoui csc

to June 7

Maple Ridge

BLOOD AND TREASURE (TV series)

Camera Operator Alfonso Maiorana

to December 15

Montreal

CHILLING ADVENTURES OF SABRINA, THE (series)

DP Brendan Uegama csc

to December 5

Langley

FRANKIE DRAKE MYSTERIES II (series)

DP Stephen Reizes csc

to August 28

Etobicoke

GIRL IN THE BATHTUB (MOW)

DP Thomas Harting csc

to May 11

Vancouver

GREEN HARVEST II (series)

DP Glen Keenan csc (odd) & Colin Hoult csc (even) B Camera Operator J.P. Locherer csc

to November 8

Toronto

JELLY BEAN (miniseries)

DP Dylan Macleod csc Camera Operator Yoann Malnati

to June 22

Garson

KIM’S CONVENIENCE III (series)

DP Fraser Brown

to July 27

Toronto

LES SIMONE III (series)

DP Geneviève Perron csc

to May 11

Montreal

LIGHTHOUSE, THE (feature)

Camera Operator Christopher Ball csc

to May 22

Dartmouth

MEAN QUEEN (MOW)

DP Daniel Villeneuve csc

to May 11

Montreal

NATALIE (feature)

DP/Operator Steve Cosens csc

to May 10

North Bay

PRIVATE EYES III (series)

DP Pierre Jodoin csc & Eric Cayla csc csc (alternating episodes) 1st Assistant Pierre Branconnier B Camera Operator Brad Hruboska soc

to August 24

Scarborough

PROJECT BLUE BOOK (series)

DP C. Kim Miles csc

to May 2

Surrey

PUP STAR- CHRISTMAS (MOW)

DP Mark Irwin csc, asc

to May 4

Victoria

SALVATION II (series)

DP Thomas Burstyn csc, nzcs

to August 24

North Vancouver

SCHITT’S CREEK V (series)

DP Gerald Packer csc Camera Operator Rod Crombie soc

to June 14

Toronto

SHADOWHUNTERS III (series)

DP Mike McMurray csc (alternating episodes)

to May 3

Mississauga

SPEED BUMP II (series)

DP Gerald Packer csc Camera Operator Rod Crombie

to June 14

Toronto

STREETS OF YESTERDAY (series)

DP David Greene csc, asc (alternating episodes) 2nd Unit DP Marc Laliberte Else csc

to August 31

Toronto

STRIKE! (feature)

DP Luc Montpellier csc

to July 2

Winnipeg

SUITS VIII (series)

Camera Operator/Steadicam Michael Soos

to November 16

Toronto

SUPERGIRL III (series)

B Cam Operator Jill MacLauchlan

to May 4

Langley

TAKE TWO (series)

Operator/Steadicam Greg Fox

to July 26

Burnaby

TIN STAR II (series)

DP Paul Sarossy csc, bsc, asc

to August 14

Calgary

TITANS (series)

DP Boris Mojsovski csc & Brendan Steacy csc

to May 24

Toronto

TRIAL & ERROR II (series)

DP Michael Balfry csc

to May 22

Burnaby

UMBRELLA ACADEMY, THE (TV series)

Craig Wrobleski csc B Camera Operator Peter Sweeney

to July 11

Etobicoke

UNSPEAKABLE (miniseries)

2nd Unit DP Brian Whittred csc

to June 29

Burnaby

VALLEY OF THE BOOM (series)

DP François Dagenais csc

to May 28

Burnaby

WEDDING MARCH 4 – SOMETHING OLD (MOW)

DP Ryan McMaster csc

to May 11

Burnaby

Classifieds

Production Notes Calendar

A SERIES OF UNFORTUNATE EVENTS III

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 - $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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May April 26-May 6, Hot Docs Festival, Toronto, hotdocs.ca 7, CSC Annual General Meeting, Technicolor Toronto 31-June 3, Cine Gear Expo, Los Angeles, cinegearexpo.com

32 • Canadian Cinematographer - May 2018

June 12-14, Cine Video Expo, Mexico, revistapantalla.com/ expo

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

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