Canadian Society of Cinematographers Magazine October 2017 by The CSC

CANADIAN SOCIETY OF CINEMATOGRAPHERS

$4 October 2017 www.csc.ca

James Klopko csc What Would Sal Do? Robert Scarborough csc Room for Rent Christian Bielz Pyewacket

A publication of the Canadian Society of Cinematographers

FEATURES – VOLUME 9, NO. 5 OCTOBER 2017

Celebrating 60 years of excellence 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.

Credit Iden Ford

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.

What Would Sal Do? James Klopko csc Puts Sudbury in the Frame By Fanen Chiahemen

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Robert Scarborough csc: Film Noir Meets Comedy in Room for Rent By Fanen Chiahemen

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Christian Bielz Works Magic in the Woods in Pyewacket By Fanen Chiahemen

COLUMNS & DEPARTMENTS 2 4 8 10 12 30 32

From the Editor-In-Chief In the News On Set Newly Accredited CSC Members Spotlight: Zoe Dirse csc Tech Column Production Notes/Calendar

Cover Dylan Taylor as Sal in What Would Sal Do? Photographer: Iden Ford

Canadian Cinematographer October 2017 Vol. 9, No. 5 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 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 Phil Earnshaw csc EDUCATION CHAIRS Carlos Esteves csc George Willis csc, sasc AWARDS CHAIR Alwyn Kumst 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.

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2 • Canadian Cinematographer - October 2017

FROM THE EDITOR-IN-CHIEF Joan Hutton csc

he clock is ticking. There are only days left to sign an online petition that can save your job. Organized jointly by the Directors Guild of Canada, ACTRA and the Canadian Media Producers Association to appeal, and hopefully stop, an odious Canadian Radio-television and Telecommunications Commission ruling that will allow Canadian television broadcasters and specialty channels to reduce their Canadian content. The petition is an initiative that the CSC fully endorses. The CRTC ruling is part of the broadcasting license renewal that will be in effect for the next five years. On average, broadcasters would be allowed to cut original CanCon funding from a required average of 8 per cent down to 5 per cent. That doesn’t sound like much, but it represents a steep drop of 37.5 per cent or $900 million in lost production over that time period. That translates into less money to invest into our home-grown film and television industry, a hit that large will most certainly result in job losses. In fact, it has already started. Three original dramatic series in Quebec were cancelled soon after the CRTC ruling, while in English Canada the shutting of MuchFACT and BravoFACT has robbed young emerging talent of very important proving grounds. Some industry experts project that nearly 4,000 jobs will eventually be eliminated from our industry. Perhaps the most galling aspect to the CRTC ruling is the utter lack of regard for our film and television industry, and Canadian culture. The whole reason behind CanCon was to help build a Canadian film and television industry, and to give a voice to Canadian stories. I think we’ve done quite well on both counts. Jean-Pierre Blais, who recently ended his tenure as head of the CRTC, said that our industry thinking is “flawed,” focused too much on “the status quo as an operating principle” that had its prime 20 years ago, and that the future is with broadband and apps. The struggles that brick-and-mortar broadcasters are having with streaming services grabbing an increasingly larger piece of the audience pie is well known, but to sacrifice our cultural industry because of this is short-sighted and wrong. Perhaps our government needs to revisit a levy on Canadian sales by companies such as Netflix, so that money can be plowed back into Canadian content to cover broadcasting shortfalls. There are more than 11,500 names attached to the petition, enough to give the federal government pause to review the CRTC ruling. But with more signatures, the closer we come to killing this funding reduction completely. The clock is ticking. Petition link: petitions.ourcommons.ca/en/Petition/Details?Petition=e-1137

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MAX Corporation, co-founded by honorary CSC member Graeme Ferguson, recently announced an agreement with Cineplex to install two new IMAX auditoriums and a new IMAX VR Centre in Canada. An IMAX auditorium will be added at Cineplex Odeon Eglinton Town Centre Cinemas in Toronto and at Cineplex Cinemas Normanview in Regina. With both sites expected to open next month, the addition of these two auditoriums will bring the number of IMAX auditoriums in Cineplex theatres across Canada to 25. Additionally, the companies are also working together to install Canada’s first IMAX VR Centre at Cineplex’s Scotiabank Theatre Toronto. The Centre will feature ground-breaking VR headset technology, 360-degree sound and sophisticated room tracking. Meanwhile, in honour of the 50th anniversary of IMAX Corporation, the Toronto International Film Festival presented an exclusive screening of Christopher Nolan’s epic Dunkirk during the festival last month. Nolan was scheduled to present the film, which was shot almost entirely with IMAX cameras. The screening was presented in IMAX 70mm. The free event was held at the restored and soon to be re-opened Ontario Place Cinesphere, the world’s first permanent IMAX theatre. Above: The Space Shuttle flight STS-29, 1989. Below: Graeme Ferguson.

Courtesy of TIFF

TIFF Director and CEO Piers Handling To Step Down After 2018

Piers Handling

4 • Canadian Cinematographer - October 2017

Piers Handling, director and CEO of TIFF, announced in September that 2018 will be his final year leading the Toronto International Film Festival, after almost 25 years. Highlights of Handling’s tenure at TIFF include growing TIFF from a 10-day event into a thriving year-round arts organization with global impact and supporting the careers of many Canadian and international filmmakers, including David Cronenberg, Atom Egoyan, Deepa Mehta, Guy Maddin, Denys Arcand, Denis Villeneuve, Jean-Marc Vallee, François Girard, Xavier Dolan, Patricia Rozema, Jennifer Baichwal and many others. In recognition of his many contributions, Handling has achieved some of the highest honours afforded to cultural leaders, including Officer of the Order of Canada, the Order of Ontario, France’s highest cultural insignia “Chevalier des Arts et des Lettres”, CEO of the Year by the Canadian Public Relations Society, the Queen Elizabeth II Diamond Jubilee Medal, Technicolor Clyde Gilmour Award, the Human Rights Watch Award, and in November he will be recognized by Business for the Arts with the Peter Herrndorf Arts Leadership Award. Over the coming months, TIFF’s Board of Directors will begin the process of identifying and selecting a new Chief Executive Officer.

Photo credit: Imax. Courtesy of the Smithsoian Institution / Lockheed Corp.

IN THE NEWS

IMAX To Add Two Auditoriums and IMAX VR Centre in Canada

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IN THE NEWS

Government Asks CRTC To Review Licence Renewal Decision

Walter Schonfeld, president, Deluxe Distribution

Deluxe Appoints Walter Schonfeld as President, Deluxe Distribution Deluxe recently announced the appointment of Walter Schonfeld as president, Deluxe Distribution. In this role, Schonfeld will lead worldwide operations for delivery, localization and digital cinema. Previously the president of Digital Cinema Global Operations at Deluxe, Schonfeld is also the former CEO of localization company SDI Media Group. Deluxe announced it has also appointed Robert Julian as chief financial officer.

DJI Announces AirWorks 2017 To Help Put Drones to Work

On the advice of Heritage Minister Mélanie Joly, Ottawa this summer referred back for reconsideration a CRTC decision in May that would allow some broadcasters to cut spending on the creation of Canadian content. Following the decision, creative groups and screen industry leaders appealed to the government to reject the change (See Editor-in-Chief column, page 2). According to Joly, the government received 89 petitions about the case, more than any other CRTC-related decision. “We are asking the CRTC to reconsider these decisions in order to ensure that we achieve the right balance of investment in content and in the ability to compete,” she said in a statement.

Cinematographer Elected as President of U.S. Academy of Motion Picture Arts and Sciences

Drone and aerial imaging technology company DJI recently announced its AirWorks enterprise drone conference to be held on November 7 to 9 in Denver, Colorado. The annual event will bring together the global commercial drone ecosystem for three days of industry presentations, hands-on workshops, training sessions and networking focused on putting drones to work in skies around the world. AirWorks attendees will learn about current and future trends in the commercial drone industry while obtaining hands-on experience through industry-specific workshops. In addition, they will have the opportunity to hear from DJI executives and industry leaders through keynote and panel presentations, connect with the ecosystem of drone service providers in the exhibit hall, and network with industry professionals. Attendees will learn how drones are changing industries and how they can put drones to work in their operations today.

6 • Canadian Cinematographer - October 2017

Cinematographer John Bailey asc (Ordinary People, Groundhog Day, A Walk in the Woods) was elected the 36th president of the U.S. Academy of Motion Picture Arts and Sciences (AMPAS) in August by the organization’s Board of Governors. The last cinematographer to hold the position, almost 60 years ago, was George Stevens, who was more known as a director, the American Society of Cinematographers reports. Bailey has been a governor of the Academy’s Cinematographers Branch for 13 years. He succeeds outgoing AMPAS President Cheryl Boone Isaacs.

Canadian Cinematographer - October 2017 â&#x20AC;˘

Credit: Mark Myers

ON SET John Holosko csc on the set of Nursery Rhyme of a Madman with 1st assistant Lloyd Surdi.

Associate member Ryan Knight shooting the MMVA-winning music video for The Arkells' “Knocking at the Door.”

Credit: Ace Hicks

Associate member Ian Macmillan on the set of Acquainted. (Picture L-R: Steadicam operator Bryan Trieb, key grip Miles Barnes, Ian Macmillan and script supervisor Jenny MacLaughlin).

CSC at

CSC congratulates the following members whose films were selected for the 2017 Toronto International Film Festival Gala Presentations Nicolas Bolduc csc, Hochelaga, Terre des Âmes (dir. François Girard)

Nicholas de Pencier csc, Long Time Running (dir. Jennifer Baichwal/Nicholas de Pencier csc)

Primetime Brendan Steacy csc, Alias Grace (dir. Mary

2017

(dir. Kyle Rideout)

Short Cuts Kris Belchevski, Shadow Nettes (dir. Philip Barker) Stuart James Cameron, Latched (dir. Justin Harding) Guy Godfree csc, Bird (dir. Molly Parker) Cabot McNenly, Midnight Confession

Christian Bielz, Pyewacket

(dir. Maxwell McCabe-Lokos)

Harron)

Contemporary World Cinema Stirling Bancroft csc, Public Schooled

Cabot McNenly, We Forgot to Break Up Ben Lichty, Porcupine Lake (dir. Ingrid Veninger) (dir. Chandler Levack) Duraid Munajim, The Journey Evan Prosofsky, Möbius (dir. Sam Kuhn) (dir.Mohamed Al Daradji) TIFF Cinemateque Canada On Screen Douglas Koch csc, I’ve Heard the Douglas Koch csc, I’ve Heard the Mermaids Singing Mermaids Singing (dir. Patricia Rozema) (dir. Patricia Rozema) Graeme Ferguson, North of Superior (dir. Adam MacDonald)

Special Presentations Christophe Collette csc, Eye on Juliet (dir. Kim Nguyen) Discovery Norm Li csc, Never Steady, Never Still (dir. Kathleen Hepburn)

TIFF Docs Tomasz Kurek, The Carter Effect (dir. Sean Menard)

8 • Canadian Cinematographer - October 2017

(dir. Graeme Ferguson)

Barry Stone csc, Rude (dir. Clement Virgo)

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TUES. NOV. 7 & WED. NOV. 8, 2017 | METRO TORONTO CONVENTION CENTRE •

Canadian Cinematographer - October 2017 • Presented by

The Visual Technology People

Credit: Jeff Siberry

Credit: Normand Turgeon

Credit: Steven K. Johnson

NEWLY ACCREDITED CSC MEMBERS

The CSC congratulates the following members on receiving accreditation

Jonathan Decoste csc 2. Vincent De Paula csc 3. Chris Romeike csc 4. Robert Scarborough csc 1.

ACCEPTANCES / AWARDS / NOMINATIONS / Justin J. Chambers, associate member (DP) Martin’s Hagge (short) accepted at

Ian Macmillan, associate member (DP) She Came Knocking (short) accepted at

Long Beach Indie Film, Media & Music Festival (August 30-September 3, 2017,

Les Perceides, August 27, 2017, Percé, Québec; Sparta North (short) accepted,

California; accepted at St John’s International Women’s Film Festival, October

Edmonton International Film Festival, September 30; The Things You Think I’m

18-22, 2017, NFLD.

Thinking (short) accepted, FIN: Atlantic International Film Festival September 17,

Bruce William Harper, affiliate member (DP) Poor Agnes (feature) won Barry Con-

2017; Oaxaca Film Fest, Mexico, October 6-13, 2017

vex Award for Best Canadian Feature at the Fantasia International Film Festival,

Juan Montalvo, associate member (DP) Fix and Release (documentary) won Best

August 3, 2017, Montreal

of Fest at the Yorkton Film Festival, May 28, 2017, Saskatchewan; won Best

John Holosko csc (DP) Nursery Rhyme of a Mad Man (feature) accepted at the

Documentary at Scinema Australia: International Science Film Festival, May 19,

World Film Festival, August 24 – September 4, 2017, Montreal

2017; (DP) Tomorrow’s Shadows (dr. short) won Platinum Remi Award, Dramatic

Ian Kerr csc (DP) Facing Putin (documentary) Nominated for Outstanding

Original at WorldFest Houston, April 21-30, 2017

Lighting and Scenic Directing at the 38th Annual News and Documentary Emmy

Duraid Munajim, associate member (DP) My Enemy, My Brother (documentary)

Awards, October 5, 2017, New York

screening at Vancouver Film Festival, September 28 – October 13, 2017

10 • Canadian Cinematographer - October 2017

Zoe Dirse csc

CSC MEMBER SPOTLIGHT

Fred Herzog, Robert Frank, William Eggleston and Annie Leibovitz. How did you get started in the business?

Docudrama for NFB (Ontario), French production, worked as a PA, saw myself as a cinematographer. Always loved the visual. Inspired by the DP Claude Benoît and his encouragement. Took the CSC camera assistant course and joined IATSE in 1979. In 1982, hired by the NFB in the camera department as an assistant. In 1985, shot first film, Fire Words. Who have been your mentors or teachers?

Wolf Koenig (NFB pioneer, cinema verité); Claude Benoît; Susan Trow (NFB, DP); Savas Kalogeras (NFB, DP); Pierre Letarte csc (NFB, DP); Sandi Sissel ASC. What cinematographers inspire you?

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

Films: The Spirit of the Beehive (Víctor Erice); The Sacrifice (Tarkovsky); The Passenger (Antonioni); Death in Venice (Visconti); Fanny and Alexander (Bergman); Silent Light (Carlos Reygadas). Art: Monet, Caravaggio, Rembrandt, Turner, Mary Pratt. Photography: Lee Miller, Sally Mann,

Andre Turpin, Pierre Gill csc, Vittorio Storaro asc, aic, Ellen Kuras, Nurtih Aviv, Edward Lachman asc, Rene Ohashi csc, asc. Name some of your professional highlights.

Filming 40 gorillas in the wild in Rwanda. The birth of a baby girl in a Toronto hospital. Filming Nobel Laureate Muhammad Yunus (“Banker to the Poor”) in Bangladesh. Filming authors Elisabeth Kübler-Ross, Margaret Laurence, Margaret Atwood. Filming courageous women in a refugee camp in Croatia during the Yugoslav Wars. What is one of your most memorable moments on set?

Working with Donald Sutherland, he asked what were my favourite films. I said The Red Shoes and 1900 (Bertolucci). Later realized he played the nasty dictator [in 1900]. At the wrap party, he asked me for a dance. Working with Richard Burton on Circle of Two, a master of his craft. Also on set with Orson Welles. I was in awe. What do you like best about what you do?

The creativity. Adventure. The sheer discovery of every moment and encounter. What do you like least about what you do?

Long hours. Snappy directors. The uncertainty of future work. What do you think has been the greatest invention (related to your craft)?

IMAX.

How can others follow your work?

Instagram.

12 • Canadian Cinematographer - October 2017

Canadian Cinematographer - September 2017 â&#x20AC;˘

What Would Sal Do ?

James Klo Puts Sudbury in the Frame

By Fanen Chiahemen Photos By Iden Ford

14 â&#x20AC;˘ Canadian Cinematographer - October 2017

n What Would Sal Do?, CraveTV’s third Canadian Original series, a foul-mouthed slacker from Sudbury is challenged to turn his life around after discovering he is the second coming of Jesus Christ. Written by Andrew De Angelis (Orphan Black, Mr. D) and directed by Samir Rehem (Degrassi, Skins, Open Heart), the series stars Dylan Taylor (Covert Affairs, Copper) as the titular underachiever, Sal; Jennifer Dale (Street Legal) as his mother, the virgin Maria; and Scott Thompson (The Kids in the Hall) as a conniving priest. The eight-episode, half-hour comedy was shot in Sudbury and received three Canadian Screen Awards nominations earlier this year. DP James Klopko csc, who shot the 2015 indie hit Sleeping Giant, says he wasn’t sure what to expect from his first foray into a comedy series, but the tonal approach of the project felt like familiar territory. “From reading the scripts, I saw that it definitely had a bit of a dramatic element, especially as we get deeper into the series,” he says. “And when I met with Samir, it was extremely comforting because instead of doing two cameras on zooms and trying to get a typical comedy style in terms of lighting, he basically said, ‘No, we want you to just do your thing.’” He and Rehem in fact pulled some ideas from dramatic projects like Sleeping Giant and the AMC period drama Halt and Catch Fire. “What we were looking for was a more dramatic aesthetic as opposed to the medium shot comedy,” Klopko explains. “And then in terms of the colour palette, we were kind of interested in doing a lower contrast pastel-like palette, and the network and producers were all on board and thought it was interesting and different. We basically wanted to shy away from anything that would look like a typical Canadian comedy but not making it too dramatic so that the comedy doesn’t come through. It was just about balancing it.” What Would Sal Do? was all block shot after about a month of prep, Klopko says. “It was a challenge for me because coming from a feature film background where we usually have one camera and we’re only shooting about five to six pages a day maximum, on this series we were block shooting a minimum of 10 pages, up to 15 pages, a day, so in terms of time we didn’t have much,” he says. “We were up against the schedule constantly, and generally on a feature film I’m very fixated on the nuances of the story and how we can bring it into the photography. But on a block shot TV series like this, it was very different. I wasn’t able to get as involved in the story architecture as I normally would. But luckily, Samir, who had worked on Degrassi as a director, had tons of experience in TV, along with our showrunner, Andrew De Angelis; those two were the core of it. I just had to focus on lighting and

doing the camera work and just making sure the technical aspect was honed and ready to go.” Klopko said what he loved about shooting the series on location was the rare chance to shoot Sudbury for Sudbury. “It was great to have a camera where we could frame up anything we wanted and play the city for what it actually is,” he says. After scouting the city, the production settled on the Copper Cliff area as the central location where the main character’s world is set. “A lot of immigrants moved to Sudbury to work at the metal refinery, and they built this small town that has curved roads and small homes and there are sometimes no sidewalks, and you have the smokestacks in the background. It’s very different from the rest of Sudbury, and we homed in on this small area that we thought was like a working town, and we just thought it was the best backdrop and

opko csc

Previous page: Sal (Dylan Taylor) and Vince (Ryan McDonald) look at the dead body of Vince’s uncle, played by Eric Peterson, just after Vince finally feels as if he’s made an emotional connection with his uncle, one of the only members of his family that like him. Above: Scott Thompson as Father Luke

It was great to have a camera where we could frame up anything we wanted and play the city for what it actually is.” Canadian Cinematographer - October 2017 •

Sal’s antics land him in prison.

Shooting What Would Sal Do? made me troubleshoot on a much faster scale than I ever have before in terms of lighting and how to approach coverage, and it really helped me hone my abilities to get the shot to the quality that I want while working very, very fast. It was an exciting shoot to be a part of, and I’m actually quite proud considering how much we were shooting every day.” 16 • Canadian Cinematographer - October 2017

an interesting way to approach Sudbury. A lot of Italian immigrants moved there and, I think, modelled it after Italy, and Sal is Italian, so we thought it just was the perfect place and it just looks right,” the DP says. Scenes in the local church were shot in a real church, Klopko says. “We’d light from the outside in with large HMIs, which we put on the exterior roof of the church – there was a lower grade roof that we were able to put the lights on and light through the stained-glass windows – and basically light up the whole church through that. And then just had to balance the shadows with an HMI bounce or Kinos on the other side, and there was a lot of room to play with and we could put our cameras almost anywhere,” he says. Even in the basement of the church “there were these windows up high that were ground level and we just took two 4K HMIs with about a quarter to half CTO on them and just had them coming down onto the middle of church basement, and we had them backlit by that,” he adds. One of the most challenging locations to shoot it was Sal’s home. “There was a lot of debate during prep because when I saw this house, I loved it and thought it was great, but some people in production were worried about how small this house was,” Klopko says. “I saw the potential of having this cramped small house, and also it just has these wonderful

angles where you could shoot down a hallway to the kitchen or to the living room – it just kind of flowed. And Dylan is so tall, he just looks so big, like he doesn’t fit in his mom’s house anymore and he shouldn’t be there, and I thought that was fun to play with.” The ARRI ALEXA provided the best workflow for the show, and the crew had two ALEXAs running, one of which Klopko operated, while the second was operated by Billy Buttery “who was great to work with and his experience came in handy on set,” Klopko says. They used Cooke S4 Prime lenses for their “warmer softer aesthetic,” the DP says, explaining that using primes, rather than zooms allowed them to approach the series with an emphasis on composing each shot individually. “Samir and I had wanted to approach it with a little more of a cinematic style, and if we were shooting on zooms, especially in television with the fast schedules, it’s just easy to constantly punch in from your current setup to get the close-up, but optically in camera that has a different effect on your depth of field and it limits the camera positioning. Where the primes came in handy was when we needed to move the camera off the track on a wide and get closer to the actor and swap the lens to a 55 or a 75, and just get our coverage that way. I think it brought in the more dramatic elements of the script in a way,” he says. Illustrating how he would handle the interplay between the drama and the comedy in the show, Klopko says, “There’s a great moment in Episode 4 when Sal does a bunch of cocaine and hits an all-time low in a motel room. He’s on the toilet, and he breaks down and cries and he thinks he’s by himself. So we have this very intimate moment showing that Sal has doubts about his life and who he is, whereas around other people he’s got this big personality and is never wrong. And then eventually he finds out his friend is behind the shower curtain after passing out in the bathtub. It’s quite a funny moment, but we just play it straight as you would in a dramatic film. “The lighting in that scene is very naturalistic,” he continues. “It’s just lit to look as if Sal’s sitting in a hotel bathroom. It’s got that overhead light that’s not too flattering on his face and it embraces this hotel bathroom vibe, and it’s exactly how I would have lit it in a feature if it was a scene about a person sitting on a toilet breaking down in a bathroom. I didn’t punch in eye lights or put a backlight on him or anything. It was just a single source coming from where it would in the bathroom naturally. We just augmented what was already there by inserting a short 2 Kino over the top of the sink that was cut off from the back wall so we had some separation of light that was a little brighter than the background, and it just draws our eye towards Sal.” The camera was operated either handheld or on a dolly, and the camera movement also helped to sell the tone in some scenes, Klopko says. “When the story tipped on the more

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Canadian Cinematographer - October 2017 •

Top: Jennifer Dale (Maria) and Dylan Taylor (Sal). Bottom left: Father Luke with Sal and Vince. Middle: Sal’s mother praying. Right: Bishop Galloway (Sean Cullen) and Father Luke confront each other about their controversial past and the church’s need for money.

dramatic side of things we tended to go handheld,” he says. “There’s a scene where Sal tells Zoe (his love interest) that he’s the second coming of Christ, and kind of uses it as the reason why he is the way he is. And for that whole scene, we moved through her apartment and almost did the scene like the coverage of one take. It was cut up in the edit, but so the actors could get into it, we kept flowing with the actors handheld through the apartment and I just lit it to the best of my ability so they would always be in a decent exposure. But in that scene, in part the handheld brings you out of the comedic world and into Sal’s world – this is a real guy going through a strange part of his life and he’s putting it out there to a girl, and everybody’s put themselves out to somebody else and understands how exposed you are, and going

18 • Canadian Cinematographer - October 2017

handheld and letting the actors go through that scene continuously without breaking it up really brought the dramatic elements of the series together.” Reflecting on the experience of lensing his first comedic television series, Klopko offers, “Shooting What Would Sal Do? made me troubleshoot on a much faster scale than I ever have before in terms of lighting and how to approach coverage, and it really helped me hone my abilities to get the shot to the quality that I want while working very, very fast. That was also a product of it being a union show and having the whole union mechanism and hierarchy to work with, but it was an exciting shoot to be a part of, and I’m actually quite proud considering how much we were shooting every day.”

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Robert Scarborough csc Film Noir Meets Comedy in

ROOM FOR RENT By Fanen Chiahemen

20 â&#x20AC;¢ Canadian Cinematographer - October 2017

to the cinematography. “I usually come on very late and I’m given a palette to work with, and the only influence I have is minimal at that point because the director and writer have a look in mind and I’m just executing that look,” the DP says. “But the difference with this project was we talked about the look throughout the process of writing the script, which is really helpful when you get to set and you don’t really have to think about the look as much. You have your references that you’ve talked about for two years.” The film was shot in Winnipeg with most of the action taking place in Mitch’s parents’ home, and Atkinson and Scarborough had to decide how they would block scenes in an interesting way while shooting in one main location, as well as how they’d allow the actors to move freely. “A big thing for Matt is to have the actors move around in a space, so he doesn’t want too many marks laid down, especially because all these actors are comedians and they’re used to doing improv and ad-libbing and moving around, and we didn’t want to limit that,” Scarborough says. “That was the main challenge of the whole film, to allow them to move, to allow the scenes to have some breath. And so we went to the location and took photos of every setup, scene by scene with an app called Artemis. That was super helpful.” Winnipeg IATSE gaffer Laurence Mardon was instrumental in helping Scarborough navigate the tight spaces of the house they shot in,

Mark Little, Brett Gelman and Robert Scarborough csc on rooftop shooting the final scene Canadian Cinematographer - October 2017 •

Credit: AC Jackson Yeung

he dark comedy Room for Rent follows Mitch Baldwin, a young man who finds himself flat broke, reclusive and still living with his parents three years after winning the lottery in his senior year in high school. With his father retiring, talk of downsizing pushes Mitch to suggest renting a room to a mysterious stranger named Carl. When Carl upsets Mitch’s way of life, a battle of wits turns into all-out war involving deception, humiliation, spying and revenge. The film stars Patrick J. Adams (Suits), Mark McKinney (The Kids in the Hall), Brett Gelman (The Other Guys), Stephnie Weir (Mad TV, Fist Fight), Carla Gallo (Bones, Neighbors) and Mark Little (Mr. D, Picnicface), and was written and directed by Matthew Atkinson, longtime friend and collaborator of Robert Scarborough csc. Both director and DP decided that rather than approach the film as a standard comedy, they would make it darker, introducing some film noir elements into it. “I was always pushing for something a bit more dramatic visually speaking, and Matt agreed with not doing the standard look for a comedy,” Scarborough says. “That’s why we chose to shoot anamorphic. And we love combining genres. It’s always a cool thing when you see a movie that’s not just a horror movie or just a comedy.” Getting to read Atkinson’s multiple rewrites of the script over several years helped Scarborough shape his approach

(Left to right) Brett Gelman, Stephnie Weir, Mark McKinney, Matt Atkinson, Patrick J. Adams, Mark Little, Carla Gallo, Robert Scarborough

which was small with low ceilings. Out of necessity, Scarborough generally lit daytime scenes broadly from windows, accentuating the actors’ faces with bounce or small fixtures. “In retrospect, that worked very well for our plan to have the actors move around a lot because they didn’t have a specific place to be, and they didn’t have to fall into a specific light; it was a very broad soft light source from the windows. And as I moved in for closer shots, I would shape the light a little bit more with some flags,” he says. Scarborough believes in keeping the lighting as soft as possible no matter where he is shooting. “Actors love it, directors seem to love it, and I think it’s flattering in a lot of ways because HD, 4K, 6K and 8K is so unforgiving. The softer the light the more forgiving it is on someone’s skin

22 • Canadian Cinematographer - October 2017

tone,” he notes. “So I’m always bouncing something and then diffusing it before it gets back to the skin. But in small locations, it’s kind of hard to set up a bounce and a diffusion beside an actor without limiting them to a little tiny place.” On Room for Rent, he could light with an 18K outside bounced into an Ultrabounce with a diffusion on the window. “So there would be this really beautiful soft light spilling into the room and it would just fall off really quickly, which is really nice because the windows were not that big in that house,” he says. In a notable scene early in the film, Mitch and his parents eat dinner silently in their dining room while the bright light spilling in from the large rectangular window behind them underscores the palpable discomfort. “I wanted to make the

Credit: Steven K. Johnson

outside feel pretty uncomfortable off the top of the movie because Mitch never goes outside. He’s a shut-in guy, so I wanted it to feel a little bit brighter than usual, so you see this big bright window and you don’t really want to go out there,” Scarborough explains. “So we had the art department put up some sheers on the window so it had some texture, and then we had a couple of 18Ks outside the window bouncing into a 20 by Ultrabounce, just basically to mimic the sky light coming in. It just made it feel like it was really hot and crappy out there.” Scarborough says for night scenes he relied mostly on practical lights. “I always ask the art department to bring a load of practicals like a stand-up lamp or a table lamp – depending on the feel we’re trying to get – that has a texture or colour, whether it’s a warm lampshade or a red lampshade. Anything that stands out and looks interesting in the frame,” he says. The basement is the setting for at least one pivotal moment

in the movie and the challenge of lighting in a real basement was offset by the house’s existing design, according to Scarborough. “There was a 600 square-foot real basement with ceilings probably only about 7 feet tall, but it had a full tiki bar. The ceiling was palm leaves, the walls were palm leaves, and there were lighting fixtures around the room with green and red bulbs,” the DP recalls. “So we basically just had these beautiful fixtures that we didn’t have to put up ourselves. And we just changed them to film bulbs and had this amazing green light on the wall and the practical cocktail sign. That was one of those scenes where we would set up a frame and just move a lamp in or just move a neon sign in. There were also these amazing fixtures in the ceiling that were all stained glass, and if you switched them on, they spread this amazing textured light all over the place. It was insane. So I would just end up lighting the faces. To get the faces lit was a little bit of a Canadian Cinematographer - October 2017 •

Credit: Steven K. Johnson

(Left to Right) Director Matt Atkinson and Robert Scarborough csc

I always ask the art department to bring a load of practicals like a standup lamp or a table lamp – depending on the feel we’re trying to get – that has a texture or colour, whether it’s a warm lampshade or a red lampshade. Anything that stands out and looks interesting in the frame.” 24 • Canadian Cinematographer - October 2017

challenge because it was so tiny down there, but the elements were all kind of in place when we walked into the house.” Scarborough shot Room for Rent with the ALEXA XT at 2K fitted with Hawk C‑Series Anamorphics provided by Clairmont (recently acquired by Keslow Camera) in Toronto. “I did a bunch of lens tests on new anamorphics and old anamorphics and found that new anamorphics were too clean and clinical,” he says. “When I used to watch Indiana Jones or The Goonies when I was a kid, they had this anamorphic and you could feel the focus pull. And if there’s a zoom, you can feel this anamorphic zoom, so I felt the newer lenses just lost a lot of those characteristics, which my brain has been programmed from an early age to enjoy. So we ended up going with the old-school 1970s Hawk lenses.” Although the older lenses had flaws, they actually worked for the look Scarborough was crafting: “Parts of the frame were out of focus; they had this beautiful bokeh-ing in the background for outof-focus twinkly things, which is really nice. And naturally, they’re a little bit softer too, which helps with my lighting and not being able to soften the light as much as we wanted to in the tiny little house,” he says. The DP kept the lenses mostly wide because there are often multiple characters in a frame. “Also, Matt’s a big fan of keeping things a little more loose because it just gives the actors more ability to be funny and move around and have space,” Scarborough says. “Especially with the anamorphic lenses, you get such shallow depth of field, as soon as you go to a long lens the actors can’t really move. I’m a fan of very long lenses and almost the voyeuristic approach to shooting stuff. It feels like you’re in the room.” When they did go tight it was just to accentuate a feeling, he says. “My favourite tight shot in the film is when Carl is sitting

Credit: Steven K. Johnson

on Mitch’s bed at night and there is this super red light on his face. It’s probably the tightest shot in the film where you have this character that’s basically getting into Mitch’s space and his life, so it made the most sense to leave that tight for this moment where he’s being the most scary and to accentuate how close he is to this person. So we left the close-ups to very specific moments only to make those close-ups more important.” To keep the multiple scenes inside the house interesting and fresh, the crew shot in different rooms, taking advantage of the existing décor. “We walked into this house and it had wild red wallpaper, it had that tiki bar in the basement, there is an orange shag carpet in the living room, like it was designed in 1960 and never changed, but it was spotless, nothing is out of place,” Scarborough recalls. “And you couldn’t sync that up; a writer couldn’t plan for that, it just was there.” The décor also dictated the art direction and colour palette. “Thankfully we found a house where there were a lot of primary colours – there were reds, greens, blues and some orange and yellow, so it became this classic palette,” he says. Colour correction was done by Hardave Grewal at Urban Post. “They’re awesome. They had this really great new 4K suite at their facilities. We were one of the first features to use it and it’s a beautifully resolved suite that we sat in for two weeks and coloured the film,” he says. “Hardave did an

(Left to Right) Mark Little, Matt Atkinson, Mark McKinney, Stephnie Weir

amazing job, and with our limited time at Urban Post, we were able to make the raw files jump off the screen.” Scarborough also lauds his 1st AC Jackson Yeung. “He is the only guy I brought from Toronto, and without him, the process would not have been so incredibly smooth. He prepped the camera at Clairmont Toronto and helped me with my anamorphic lens tests,” the DP says. “James Piper and Stewart Aziz were our contacts at Clairmont there and they were amazing. They shipped all the equipment from Toronto to Whites Winnipeg and we re-prepped it there. On our shoestring budget, they made it work, and I owe a lot to them.”

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26 â&#x20AC;˘ Canadian Cinematographer - October 2017

Pyewacket Christian Bielz Works Magic in the Woods By Fanen Chiahemen

Photos by Melissa Connors

ctor-turned-director Adam MacDonald and cin- in Backcountry to underscore the tone of Pyewacket. “What ematographer Christian Bielz first collaborated on we tried to do on Backcountry was create a visceral experiMacDonald’s feature directorial debut Backcoun- ence for the viewer” Bielz says, explaining that they applied try, a ripped-from-the headlines tale about an ur- the same approach to their second feature. “We didn’t look at ban couple whose weekend camping trip turns into a tale of Pyewacket as a horror/supernatural film with overly heightsurvival when, lost in the woods, they are forced to face off ened visuals. Instead we wanted the story to feel grounded against a predatory black bear. Backcountry premiered at the in reality where something supernatural occurs. Rather than going with classic and steady cinematography, we wanted 2014 Toronto International Film Festival. In their second feature collaboration, MacDonald and Bielz the camera work to feel intimate and immersive by shootreturn, at least in part, to the woods setting. In Pyewacket, ing handheld and favouring wider lenses. We felt the camera produced by JoBro Productions and Just Believe Produc- should really have the freedom to move and react, giving life tions, and starring Laurie Holden (The Walking Dead) and to the image.” Nicole Muñoz (Defiance), a grieving teenage girl is uprooted During preproduction for Backcountry, Bielz and MacDonfrom her circle of friends when her mother decides to re- ald had bonded over the 2012 Derek Cianfrance feature The Place Beyond the Pines. “We locate to a northern cabin in the loved the look and the texture of woods. Feeling increasingly alienit. There’s a grittiness and a tone ated from her unstable mother, the “There was a lot to do in a limited that we gravitated towards. The girl, Leah, who has been dabbling handheld frames have an energy in black magic, awakens something amount of time. Fortunately, we to them and feel very present,” in the woods after performing an had an excellent crew and Adam’s the DP says. Similarly, Bielz creoccult ritual. ated a sense of intimacy in PyAlthough the two films deal with vision, from the beginning, was so ewacket primarily by using wider vastly different themes, the director and DP applied the same clear. As a cinematographer, it’s a lenses, as well as shooting most of the film handheld. “I like to get in principles of the visual language pleasure to collaborate with him.” there to capture moments, and bethey had successfully established Canadian Cinematographer - October 2017 •

Cinematographer Christian Bielz getting a shot of lead actress Nicole Muñoz.

ing able to move organically is a big part of that, rather than being locked in on a tripod. It’s about feeling something when looking through that frame, allowing the camera to breathe and be active. That’s a big part of our visual language,” he says. Pyewacket, which had its world premiere at TIFF last month, was shot in Sault Ste. Marie, and the most important location in the film was the cabin that serves as the new home for Leah and her mother. In preproduction, Bielz says, “we scouted a number of cabins and finally found one where the layout was straight out of the script, including the forest surroundings. It was quite remarkable.” Bielz selected the Canon C300 Mark II for the project for several reasons. Having built-in ND filters “was a big timesaver when shooting outdoors,” he remarks. “You’re not

“We didn’t look at Pyewacket as a horror/ supernatural film with overly heightened visuals. Instead we wanted the story to feel grounded in reality where something supernatural occurs. Rather than going with classic and steady cinematography, we wanted the camera work to feel intimate and immersive by shooting handheld and favouring wider lenses. We felt the camera should really have the freedom to move and react, giving life to the image.” 28 • Canadian Cinematographer - October 2017

swapping external NDs every time the sun ducks in and out.” Most importantly, he needed the camera’s ability to shoot in low ambient light. “We shot most of the film at 800 ISO, but regularly bumped it up to 1,600, 3,200, even 6,400, and in one instance where we couldn’t even see in front of us, we tried 12,800, which I wouldn’t typically recommend. But when I saw it in the colour correct, it wasn’t a problem at all,” he recalls. “We just applied a touch of noise reduction to that particular shot and added some film grain to the rest of the scene, and it blended together nicely. “Also, the camera’s got three Log curves to chose from, each with certain benefits. We shot most of the film in C-Log2, which offers the flattest curve with the greatest dynamic range,” he adds. “Having C-Log1 allowed us to shoot clean images at up to 6,400 ISO for certain low light scenes but with reduced dynamic range. On occasion, we used C-Log3 as an in-between curve, offering slightly more contrast than C-Log-2. It was nice to have the options.” Bielz appreciated that the camera could even handle candlelight in one scene where the mother and daughter relax with a glass of wine after a terrifying incident. “That was entirely lit by the candles,” Bielz recalls. “Adam felt the scene would be more intimate that way, and I agreed. We didn’t want to open up the room more with other house practicals or movie lights. And thanks to the C300 Mark II’s low light performance, we were able to capture that mood. That scene was shot at 6,400 ISO.” For lenses, he employed ARRI Ultra Primes, supplied by 2D House, shooting between wide open and a T2.8 for the entire film. “I owe huge props to my amazing focus puller Josh MacDonald for keeping me sharp on the move and nailing focus pulls with no marks,” he says. Bielz’s daylight kit included several HMI sources, which he diffused and aimed through the cabin windows, and the

From top: A night scene with Leah and her friends (played by Chloe Rose, Eric Osborne and Romeo Carere). The burn room. Cinematographer Christian Bielz.

Digital Sputnik LED system, which were particularly useful inside. “The DS6 is a terrific light that gave us lots of output, excellent colour and full dimming capability,” he reports. “My gaffer used the iPhone app to dial in the intensity, colour temperature and saturation. No scrims or gels needed. I love that light.” Describing one of the more difficult

sequences to shoot in which a character is set on fire, Bielz says, “Since we were shooting in somebody’s home, we had to build a replica room set that we could light on fire. Our production designer Damian Zuch and his team did such a fantastic job. Fortunately, our cabin location was around the corner from a small fire department that had a space where they would set cars on fire as part of their firefighter training. So that’s where we staged the burn. It couldn’t have worked out better. “In preproduction we decided we would be lighting our character on fire instead of creating it with VFX. Adam insisted on it being as realistic as possible, so what you see in the film was all captured in camera,” he recalls. “Our stunt team, led by Wayne Wells, was very excited to do the burn because it’s a rare stunt these days given what post visual effects can now simulate.” The challenge visually was matching the action and the lighting of the practical location to the fire set, Bielz says. “First we shot the scene in the cabin with our two actors, which involved a fire light gag,” he explains. “We built a 5’ high post with three gelled tungsten lights on it, like a Christmas tree, which we had on a flicker box. The post was mounted on wheels so that we could move it across the room to give the effect of the fire travelling across Leah’s face. “When we transferred over to the fire set, we choreographed both characters’ movements to match our reverse shots. We covered the fire from several angles, including a shot from behind Leah as she watched the room burn. Having her in the foreground helped sell it as one space.” Pulling off such stunts, as well as all that the film required, was “a fun challenge,” Bielz says. “There was a lot to do in a limited amount of time. Fortunately, we had an excellent crew and Adam’s vision, from the beginning, was so clear. As a cinematographer, it’s a pleasure to collaborate with him.” Canadian Cinematographer - October 2017 •

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an cinematography glass be affordable and good at the same time? As prices plummet on the capture side of a camera, with offerings from Blackmagic, RED and digital camera bodies from Nikon, Canon and Sony leading the way in price drops, the other side of the equation often gets overlooked. Glass has traditionally been a highvalue, high-priced item in the DP’s toolbox and most have personal preferences about brands, lengths, styles, and primes versus zooms. But what of those who are financially constrained – and in a business that’s often feast or famine, who isn’t at some point? Especially those starting out. That “prosumer” space, as it’s been described, is exactly where Fujinon sees opportunity for its new line of MK lenses. They’re lightweight, ultra compact and aim to deliver higher-end optical performance. Sure, these aren’t a set of eight Cooke S4 primes. Then again, they don’t cost US$125,000, as a set of Cookes were listed on eBay recently. But then again, maybe you don’t need a set of S4 primes at this stage and that’s where the MK series wants to be. The first of the two lenses, the Fujinon MK 18-55 mm T2.9, rolled out earlier this year and the MK50-135 mm T2 debuts this fall. Priced at US$3,799 and US$3,999, they’re attractively posi-

tioned for that specific segment of the market, according to Stosh Durbacz, Canadian sales manager for Fujifilm’s Optical Device Division. “We like to say it’s 4K for under $4K,” he says with a laugh. “Though with the Canadian dollar against the U.S., that’s hard sometimes.” The lenses are designed for E mounts – which is the Sony A7S, FS7 and FS5 – have three rings to enable manual and independent adjustment of focus, zoom and iris with a gear pitch of 0.8M. The focus rings rotate up to 200 degrees and are compatible on E-mounts with Super 35 mm APS-C sensor and the Fujifilm’s X Mount. “Research shows us there are 40,000 E-mounts on the market,” Durbacz says. “And that’s where the R&D and marketing department found opportunity.” Fuji also recruited high-profile cinematographer Philip Bloom (philipbloom.net) to shoot some test footage with the Sony A7S II, Sony PXW-FS7 and Sony PXW-FS5. One of the main selling points for the MK series out of the box is that they are designed from the ground up as cinema lenses, Durbacz says. “So for the Sony DSLR A7S II, for example, when you put a still lens on it and shoot video you really don’t get the same cinema look,” he says. “The MK series is designed as a cinema lens to render that cinematographer look

Before zooming

DSLR Lens need to refocus since the focal point moves while zooming

with shallow depth-of-field and beautiful bokeh.” The MKs share Fujinon’s high-end Cabrio lens coatings and the separate zoom and focus groups so that zooming doesn’t affect focus, he adds. Also, the lens characteristic is clean and high contrast, in keeping with the entire lineup of Fujinon lenses. The lenses are fully manual, but it’s expected that third-party manufacturers will jump in with servo-controls. The most likely buyers are small production companies, Durbacz says. “There’s a lot of content being captured by those shooters, especially with those A7 cameras, which can see in the dark,” he says. “Given their budgets, this won’t break the bank and will allow high-end capture.” Sportsnet is already road testing them on their Blue Jays camera and, given their light weight and cost, it’s expected to generate interest in ENG too. As the product line develops, Durbacz says, Fujinon may add products and others may engineer adaptors to other mounts, though with the compact nature of the back end, there are a few challenges to overcome physically, he adds. 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.

Images courtesy of Fujifilm

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30 • Canadian Cinematographer - October 2017

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23 31

DP Bernard Couture csc (alternating episodes)

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ANNE II (series)

DP Christopher Ball csc Camera Operator Andreas Evdemon

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ARROW VI (series)

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THE BEAVERTON II (series)

DP Gerald Packer csc Camera Operator Rod Crombie B Camera Operator Matt Phillips csc

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BROTHERHOOD (feature)

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MAGICIANS III (series)

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MARY KILLS PEOPLE II (series)

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ONCE UPON A TIME VII (series)

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32 • Canadian Cinematographer - October 2017

EQUIPMENT FOR SALE I have 15 - 3x3 Tiffen filters for sale - fogs, Promists Grads, 812's etc. all with cases $185.00 - contact Barry Casson csc - 250-721-2113 or e-mail bcasson@speakfilm.com TIFFEN ULTRA STEADICAM , HD Ultrabrite color monitor ,HDMI Decimator 2,Iso-elastic arm, 4-24 volt batteries, 1-Pag battery charger 24v,1-Lentequip battery charger 12/24v,Klassen vest and carrying bag, 1 Preston F1+Z transmitter 1 Preston MDR-1 receiver,1 Preston control, 2 motors, 2 batteries, charger, numerous Hill motor mount brackets rossette brackets and rods, 1 long dovetail plate,1 short dovetail plate, 1 docking bracket,1 fgs wheel chair/dolly adaptor,rain cover, too many cables, hard cases and accessories to list.This rig was well maintained looks new,all it needs is a few upgrades. $ 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

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.

Burnaby

VICTOR LESSARD II (series)

WRITE TO US

CLASSIFIEDS

PRODUCTION NOTES

A SERIES OF UNFORTUNATE EVENTS II & III (series)

@csc_CDN

CALENDAR OF EVENTS OCTOBER 4-15, Festival du nouveau cinéma, Montreal, nouveaucinema.ca 12, HD Source Open House, Toronto, hdsource.ca 14, CSC Advanced Post Workflow Workshop, Toronto, csc.ca 21-22, CSC Lighting Workshop, Toronto, csc.ca 25, Vic Sarin csc Eyepiece book launch and screening, VanCity Theatre, Vancouver NOVEMBER 7-8, ProFusion, Toronto, profusionexpo.com 11-12, CSC Lighting Faces Workshop, Toronto, csc.ca 17, CSC Lens Testing Module, Toronto, csc.ca 18-19, CSC Camera Assistant Workshop, Toronto, csc.ca DECEMBER 2-3, CSC Tabletop Lighting Workshop, Toronto, csc.ca

Fireworks

Lightning

Lighting Effects. No console required.

Paparazzi

Cop Car

Television

12 amazing effects programmed into every SkyPanel. SkyPanel Firmware 3.0 includes a powerful new feature: lighting effects. With SkyPanel Lighting Effects users can now choose and manipulate 12 effects without the need for a lighting console or hours of programming. The lighting effects include: candle, clouds passing, club lights, color chase, cop car, fire, fireworks, light strobe, lightning, paparazzi, pulsing, and television. SkyPanel Lighting Effects changes the game for on-set lighting effect generation.

Download SkyPanel Firmware 3.0: www.arri.com/skypaneleffects

SOFT LIGHTING | REDEFINED

Fire

Strobe

Candle

VENICE INSPIRES Sony proudly introduces VENICE – their next generation full-frame digital motion picture camera. Housing a 36x24mm full-frame 6K image sensor with a maximum resolution of 6048x4032, VENICE is designed specifically to meet the demands and performance of high end cinematography. And like the city itself, Sony’s new motion picture camera generates a cornucopia of colour. VENICE is capable of beautifully reproducing the true colour of the scene in front of your lens, providing thousands of shades of green, red and blue – for more expression. VENICE can also capture in almost any format, including full 18mm-height Super35 anamorphic and spherical and full-frame 24mm-height anamorphic and spherical. And almost any aspect ratio: 1.85:1, 2.39:1, 17:9, in full-frame or Super35. With its user friendly design, clear and simple menu navigation, and a highly durable, reliable construction, the appeal of VENICE is obvious. As a filmmaker, you can focus on filming, not the camera.

Full Frame • Anamorphic • Spherical Super35

METRO TORONTO CONVENTION CENTRE TUES. NOV. 7 & WED. NOV. 8, 2017 CANADIAN PROFESSIONAL IMAGING EXPO

Sony VENICE. See it for the first time in Canada at ProFusion 2017.

COMMERCIAL PRO VIDEO Direct: 416-644-8010 • Fax: 416-644-8031 • Toll-Free Direct: 1-866-661-5257 • CommercialVideo@vistek.ca

The Visual Technology People

VISTEK.CA