Canadian Society of Cinematographers Magazine November 1990

PROFILE ON GEORGE MORITA CSC

CHRISTMAS PARTY: DECEMBER 15TH

THE CANADIAN SOCIETY OF CINEMATOGRAPHERS NEWSLETTER VOL. 10 NO. 3

NOVEMBER 1990

TORONTO, CANADA

ISSN 0820-3431

The Canadian Society of Cinematographers was founded in 1957 by a group of Toronto, Montreal, and Ottawa cameramen. Since then, over 500 cinematographers and persons in associated occupations have joined the organization. Our members now represent the film and video community in all ten provinces.

Our aim continues to be to promote and foster the cause of cinematography and the interests of the Canadian film and video community.

CONTENTS

The Edge of the Shadow: Profile on George Morita esc ... page 3 Letter from Amsterdam Executive Reports

... page 7

We facilitate the dissemination and exchange of technical information, and endeavour to advance the knowledge and status of our members within the industry. As an organization dedicated to furthering technical assistance, we maintain contact with nonpartisan groups in our industry, but have no political or union afflliation.

page 16 CSC Executive

Carrottop Comer

... page 18 Presid~;nt: Robert Bocking esc Vice-President: Joan Hutton esc Secretary: Wang Chow Treasurer: Duncan MacFarlane esc Membership Chairman: Jim Mercer esc Public Relations: Lori Longstaff, Kenneth Post esc Education: John Holosko Awards Chairman: Jim Mercer esc

CHRISTMAS PARTY

Membership inquiries: (416) 271-4684

Saturday, December 15th at Cinevillage Editorial Office and CSC Office:

in conjunction with

89 Pinewood Trail Port Credit, Ontario L5G 2L2 Tel: (416) 271-4684 Fax: (416) 271-7360

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Editor in chief: Robert Bocking, esc Editor: Jennifer Hietala

The Newsletter is printed in Toronto and is published ten times a year. Subscriptions are available for $75.00 per year in Canada and $95.00 outside the country.

2

NOVEMBER 1990

The Edge of the Shadow - George Morita esc George Morita's interest in photography began one Saturday morning in 1950 while waiting for the Mutual Street skating rink to open. He didn't know it at the time but his life was about to change. He decided to walk across the street to the variety store to buy a five cent chocolate bar. Ahead of him at the checkout was a girl, perhaps eight years of age, with a box camera. Skeptical of the young girl's ability to handle the camera, the condescending store owner tested her know-how by asking a number of questions. Expertly she explained to the proprietor the workings of F~stops and shutter speeds, emphasizing the importance of turning the knob to advance the film after each shot. While F-stops and shutter speeds meant nothing to George Morita at the time, he was fascinated with her expertise. Enticed by the mechanics of the box camera he decided to learn more about photography.

Over the following year or so he devoted a great deal of time at the local library to reading books on photography. At the same time, he diligently saved his allowance and birthday money in the hope of buying a camera. After considerable sacrifice, at a time when a dollar was a large sum, Morita managed to come up with the three dollars he needed to buy a Baby Brownie camera.

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The first picture he wanted to take was a trick shot of his friend Albert boxing against himself. Morita knew enough about photography that in order to double-expose, he needed_a dark background and a very steady camera-.

When he tried to explain the shot to Albert, the cocky young man said he knew what to do. So Morita braced his camera close to the ground, lined up Albert in front of a tin can and made the first exposure. Instead of moving to the other side of the frame for the second exposure, Albert just stood there. "Albert, Albert!" Morita called out. Albert didn't have a clue as to what he was supposed to do. By that time Morita had moved the camera and he knew the shot was ruined. That failed attempt in photography taught him a lesson that he has never forgotten -if you want something done, you have to make sure all the pieces are in place first.

A few years later Morita enrolled in the art program at Central Technical School. In those days, teachers and artists looked down on photography with remarks such as "artists create, photographers copy".

Morita's feelings on the subject of art and photography are that: "photography doesn't have the same creative routes (as fine art). You are dealing with elements that are already in place. Theoretically, if you are creating a piece of work on a canvas, you can start it in your mind. In photography, you have to start with the basic elements. Granted there are methods of burning-in and ways of creating abstract images, but you still have the emphasis of creating an image through the lens."

After graduating from Central Tech, he landed a job as an artist with an ad agency.

At the same time, a fellow graduate of his, an animation artist, was working with the film company "Rapid, Grip, Batten". Television was burgeoning in Canada and Morita's friend was very excited that he had a toe-hold in the movies and suggested that Morita should join him. Eventually, Morita did work with "Rapid, Grip, Batten" where he met Harry Lake (then an electrician), and cameramen Jackson Samuels, Bill Girnrni and Fritz Spiess among others.

When David Batten, one of the owner's sons, wanted to produce a pilot entitled "Music for Modems" in 1956, he asked Morita -if he would be interested in helping as focus-puller.

At that time, Morita had some basic knowledge

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of photography, but knew very little about film and even less about focus-pulling.

However, he accepted the offer and volunteered to take publicity stills as well. Batten was very impressed by the photographs.

Later when he and Bill Gimmi started their own company, "Camera 35", Morita joined them as a camera assistant. During the year and half that "Camera 35" was in business, they produced their own commercials and documentaries as well as working for other companies such as Rabko.

In February of 1958, Morita assisted cameraman Bill Gimmi on an exploitation feature entitled "The Fast Ones".

In Morita's own words, this film had all the appropriate ingredients: motorcycle gangs, fast cars, sexy girls and robberies. The producers initially approached Kodak for a deal on 50,000 feet of 35mm film stock.

When turned down, they went with Dupont film which was one of Kodak's competitors at that time. The Dupont stock had a tendency to break in cold weather.

As they were shooting exteriors in February, rethreading the film on a frequent basis was a difficult task.

An interesting side story from ''The Fast Ones" involved an enthusiastic PA, Lindsay Shonteff. According to Morita's recollections, Shonteff's enthusiasm got in the way and incurred the displeasure of Bill Gimmi. Generally speaking, if you started off on the wrong foot with Gimmi, you would always be out-of-step. At any rate, Shonteff was fired and disappeared from the Canadian film scene and ended up in England. To the surprise of the handful of people who knew him, Shonteff resurfaced in Toronto in the 1960's in a rather unusual manner. Mter many years, "The Fast Ones" was finally distributed. It was sold as the bottom half of a double bill to another exploitationmovieentitled "The Devil Doll". So obscure was "The Fast Ones" that there were perhaps only four people in Toronto who knew or cared about its release. As it turned out, Shonteff had directed "The Devil Doll". In this ironic coincidence, the once-fired P A had his second debut in Toronto as a director with both films showing in a double-bill.

During the seven years that Morita 4

was a camera assistant, he had the good fortune of working with Fritz Spiess. He considered it a "wonderful apprenticeship" and credits Spiess for bringing a tremendous amount of discipline to the craft.

Among the many techniques Morita learned from Spiess, one stands out in his mind. Rather than wave his hand in front of the lense as most cameramen did, Spiess would runoff lOto 15 feet of film at the end of a roll on something that looked like a useable shot. He did this to discourage labs from cutting off the leader at the end of a roll, which protected the last, and often the best, take of the day.

Morita recounts an incident when an inexperienced projectionist mistakenly threaded his negative through the projector for a screening. When the horrified crew realized what was taking place, they dashed into the projection room to stop the projector. Because of that extra 10 to 15 feet of leader, the negative was stopped before any takes were damaged.

1965 was the year Morita felt his time to make the big jump from assistant to shooter was at hand. He recalls the circumstances that influenced his decision: "I agonized over it. Nowadays people who work as assistants seem to feel that it is only a stop-gap and that after a year or two they can go out and shoot. The fact that I worked for seven years as an assistant, plus the fact that I was working for someone like Fritz with the technical skills that he brought to each shoot, I thought to myself, 'I'm going to have to go out and compete with men of his calibre'. I found that thought daunting. It took awhile for me to feel I could make the change. I thought I had to move up. There were a number of factors; the birth of my second son and the feeling that I should move on and meet new challenges. With the training and discipline I received from working with people like Fritz and Bill Gimmi, the transition was relatively smooth."

In 1968, Don McLean of Rabko offered Morita a position as staff cameraman. He accepted and stayed with Rabko until 1978. From there, Morita and six others formed The Partners Film Company in 1979. Partners has grown to be NOVEMBER 1990

Canada's biggest commercial production company with offices in Toronto, Chicago, L.A. and New York. Last year, Partners reportedly had 540 shooting days, making it the busiest production house by a wide margin.

Currently, Partners has approximately 60 employees in Toronto plus a number of freelancers. Their many facilities are located throughout the downtown core. The statistics are impressive: three conference rooms, twelve offices for producers and directors, two casting rooms, a wardrobe department, two screening rooms, six editing and post-production suites, a warehouse with an arsenal of cameras and accessories, three studio complexes, two tractor-trailers and various prop trucks and other production vehicles. With the personnel and equipment at their disposal, Partners can handle five or six shoots simultaneously. As one of the original seven partners that launched the company,

Morita's pride is clearly visible as he shows off the impressive full-service facilities to a visitor.

Partners is partly owned by Supercorp, which in tum is partly owned by Labatts. According to Morita, the corporate connection gives his company a certain amount of financial stability. However,he wouldn'tgoasfar as tosaythatthe relationship gives Partners a competitive edge over other production houses. Morita emphasizes that his company has to be viable because the competition is so keen.

However, the commercial production industry wasn't always this way. He explains: "I can recall years ago; this goes back to the mid to late sixties, a producer told me that he could completely reshoot a commercial and still make money. This was when there was a tremendous mystique surrounding film production. Then, only the producer from the agency was allowed on set. Nowadays, a lot of people

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Bill Gimmi assisted by George Morita in late 1950's. This photo may have been taken while shooting the"The Fast Ones".

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are just 'trading dollars', doing jobs just to cover their overhead and not even trying to make a profit. It's no secret what costs are.

There is a standard form that people who bid fill out. Agencies are well aware where each of the dollars go. The crew costs are generally the same, equipment costs are pretty competitive. Even on a project worth $100,000, prices from three houses will come in within two to three thousand dollars of each other. You can't put in an extra day or ask for a $25,000 contingency. You have to be prepared to do a job within the time span you've scheduled.

Part of the problem is that we are right beside the wealthiest country in the world with ten times our population. When you see an American commerical, theoretically they could spend ten times as much money on it. When we air our commercials besides theirs, we can't say they are only one tenth as good."

Inspite of the heady personal achievements as DOP and director as well as the success of Partners, George Morita remains uneffected and down-to-earth. On and off set he is known to conduct himself

6

with a sense of propriety and self control.

Bill Irish, a close friend, reported that in the twenty years he has known and worked with Morita, he has lost his temper only once. Furthermore, Irish said Morita is at the top of his craft.

He directs approximately one quarter to one third of his commercials.

Last year, he worked 150 days. Speaking with frankness and sincerity, Morita is not boastful of his accomplishments nor possessions, both of which he has in abundance. Rather, he feels more comfortable talking about the talents and contributions of others. "I think I contribute, but not a disproportionate amount to the success to my projects. I don't fool myself into thinking that I added that little touch that made it a prize-winner. I am fortunate to work with extremely talented directors like Bill Irish and others. It's a team effort. I don't see myself as extraordinary. I just happened to get into the business at a time when there was little competition. I have had a few lucky breaks - with the right qualifications, of course."

After thirty five years, Morita has

NOVEMBER1990

no illusions about the commercial production industry. He sees himself as only one player among many in the advertising game.

The seemingly inexhaustible inventiveness and ingenuity of the creative players are checked and counterbalanced by the reality of business. There are usually welldefmed limitations built into commercials long before they reach the studio floor.

Morita explains: "There are specific copy points, specific areas that have to be covered; such as a nice shot of the package or the name of the product has to be repeated four or five times throughout the spot.

Often your hands are tied and the best you can hope to do is a very professional job on a concept which is perhaps mundane. I've never felt that! should pick and choose my work. There are some people who feel that they have achieved that status in life and I wish them well.

"I will be selective, let's say there are certain kinds of spots that I don't want to get involved with. Of course, a lot of it is pre-selected forme by producers who do the quotes. They will direct my efforts to a project if they feel that I can add something to it. I enjoy projects that allow for interesting visuals, projects .that can entertain. I have on occasion worked on projects where I have little confidence in the people I was working with. Perhaps they were too brash, too pushy or overly aggressive, or just lacked good manners. I find those situations very difficult to deal with. Fortunately, I have been able to avoid these encounters. By and large the people at our level and those at the agency level are decent people out to do a professional job."

The pursuit of professionalism can sometimes lead one to extraordinary lengths.

Morita shot a 15 second "Jiffy Pop" spot in which the client wanted to show one single kernel of com pop in super slow motion (5000 fps). If there are thoughts out there about this being easy, banish them. Consider the following. When heated to the right temperature, a kernel of popping com turns into popcorn in approximately 14/ 100th of a second. At 5000 fps, the HiCam camera goes through a roll of film in 4.4 seconds, 1.3 to 1.5 seconds of which is

run-up time. Therefore, the usable footage is less than 3 seconds after "speed". Keep in mind the client wants only one, solitary kernel, full frame. It's an all or nothing situation. The success of the shot greatly depends on one's ability to anticipate the "pop" after the 1.3 to 1.5 second run-up but before the camera is out of film at 4.4 seconds.

Morita explains how he approached this challenging shoot. 'The research people on the client's side had narrowed the popping down to 15 seconds. But we had to narrow it down to 2.2 seconds. They didn't think it was possible. Fortunately, our production manager knew a jeweller with an electronic scale used to measure very small amounts of gold dust to an accuracy of l/1 OOOth of a gram. So our production manager took the package of popping com to the jeweller - I instructed him to be very careful in handling the kernels, to use gloves and tongs so body oils wouldn't get on them - and he spent an afternoon weighing approximately 200 kernels of com down to 1/1000th of a gram. He separated them into little film containers and brought them back to us.

Prior to the shoot I measured the width of each kernel with a micrometer. We then knew the width and weight of each kernel down to 1/1000th gram. Our grip, John Davidson, then separated the kernels with a magnifying glass according to shape.

"In the meantime, we'd organized a device which was a hinged rig with a round pin at the end. We carefully glued each kernel on to the top of the pin. The rig was designed to swing down to position because the Hi Cam has no viewfinder when it is operating. We needed a device that could swing the kernel of corn precisely into position since we had no way of telling if the shot was centered in the frame or whether it was in focus. We used a 1OK light with another fresnellense placed in front of it to focus the light like a magnifying glass into a spot which was the kernel of corn. I used a couple of heat guns (the type that one would use for stripping paint) on the two sides of the kernel in order to equalize the heat and a digital thermometer to make sure the temperature was con-

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stant. I got these in position, focussed the camera, and then did the rehearsal with the lamps on and studio doors closed. The prop person would drop this hinged rig into position and the script assistant would start counting down the time. We would record when the kernel popped. Then we went to the next kernel in the same grouping and recorded its performance. If the kernels popped within 8 seconds, and often they did, we would have a good chance of getting it on film. However, it was still a guess because we didn't know whether the two kernels we used as scouts were at the low or high end of the scale. Quite frequently we would get the two pilot kernels to pop within a second of each other. We knew we had a good chance. It was so frustrating to start the camera and wait the 4.4 seconds, which seemed like an eternity, only to record kernels which would not pop! However, we managed to get two good takes within ten rolls."

In coping with the pressures of getting professional results on a consistent basis, Morita believes in good preparation and support from other professionals who take their work seriously. He commends his camera assistant, Ernie Meershoek, and key grip, John Davidson, who have ably assisted him over the last twenty years.

"What I discovered is that this is a 'people business'. If you treat people in a fair manner and are willing to accept the responsibilities that are your own, then they will accept theirs. There are so many . elements in filmmaking that you cannot control by yourself. I mean, you can't go around to every light to check if they are placed exactly the way you wanted. You have to rely on other people who become extensions of your body."

With regard to lighting, Morita prefers to work with soft lights. He likes to minimize the importance of shadows unless he is creating something specific with shadows such as giving dramatic emphasis or turning the shadows into another form .

For table top photography, Morita believes the key light should come from the left, throwing shadows to the right. This was the way the old masters such as Rembrandt painted their pictures. Also, left to right is NOVEMBER 1990

normally how people view a frame; the same way they read.

Earlier this year, George Morita was one of the guest speakers at Dimensions 90. In a lecture entitled "Creating the Right Mood with Lighting", he shared his philosophy and techniques that took him a lifetime to develop. The following is an excerpt from his lecture.

"When I start out to determine lighting for a scene, I keep in mind several basic requirements. Paramount among these is an attempt to understand the reasons for that particular scene's existence and what sort of mood and mind set we want the viewer to accept from viewing that shot.

"Many factors determine the lighting styles used. Quite often when I am shooting exterior locations or huge interior locations such as a hockey arena or supermarket, time and budgetary constraints will swing us toward the very viable option of using the existing ambient light, modified by four by eight sheets of white foam core, white card or griffolyn. Perhaps a front fill with a small fluorescent fixture is all that is needed to make the scene work.

"On exterior locations, the choice is sometimes to hold back the sunlight with a 20 x 20 foot translucent silk to allow for a more favourable position for the key light. Another option is to use griffolyn to block off the majority of the light to lower the light level in the foreground, allowing the background to be properly exposed.

This is useful when the background is un- ·

avoidably dark, such as a forest or dense foliage. Extreme close-ups of faces; especially the eyes demand careful deployment of the shape of lights used because the reflection in the eye or eyeglasses should appear to be the natural source of illumination in that environment. This can entail disguising the light source with cardboard cutouts of appropriate window crossbars or window dressings such as curtains."

George Morita's technical knowledge is considerable. When he is talking about a camera set up, particularly a complex one, he is very articulate and meticulous. According to Bill Irish: "George is extremely focussed in his work. He is very careful not to make a mistake and is often mechanically inventive." Bill Irish also commented that he has never seen George stymied by a technical problem.

Morita's inclination for things mechanical is reflected in his collection of a dozen or so vintage Leica cameras as well as his five silver cars that include a Turbo Porsche and Mercedes. Comparing these to Morita's first acquisition, the Baby Brownie, one can say that he has come a long, long way. Interestingly, it all began with a five cent chocolate bar.

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One of George Morita's favourite cameras is the Pericam which opens up a new realm of possibilities as seen in this shot of a book of matches.

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In the Toyota "Stack" commercial (below), the camera was mounted on its side to create the illusion that the cars were stacked one on top of the other.

10

NOVEMBER 1990

LETTER FROM AMSTERDAM

Driving to Cologne on the wellknown autobahn I discovered yet another Dutch chauvinism: our roads are better than theirs! It is true that most of the autobahns are old, they were built by Adolf (Hitler, that is) who intended them for the blitzkrieg so he could move military material quickly. They are narrower than the Dutch roads, the turnoffs are very tight and the signs are confusing. Ingrid and I promptly lost our way and we ended up on a secondary road. As we weren't in any particular hurry, when we saw a sign indicating a 'scenic lookout' we followed the arrows, ending up at a grandiose vista ... of a totally desolate strip mining area.

Other countries would be ashamed and hide such ·a wicked sore, but there it is a sign of great opulence.

This opulence shows everywhere, particularly on the road. Not only in the costly cars you see, but also in their conduct as drivers. Maybe they are the Americans of Europe. Sure, the Dutch have a top legal speed: 100 km/hour. Well, nevermind, everyone goes 120 so what. But better you look over your shoulder once in a·while; the traffic police drive souped up Porscoo's. My nice little Dutch-made Volvo 340, has a novel automatic transmisson: two rubber bands. It is a Dutch invention called CVT, Continuous Variable Transmission, first used in a DAF car in the sixties. Now a few Japanese manufacturers and a Detroit maker have adopted it and it is a huge success. In the Japanese version the rubber bands have been replaced with a metal type, also exclusively manufactured right here in Holland. Never mind, I drive 120 km too, if I can, even if my car translates that not in fast driving, CSCNEWS

but slow flying. I sort of push it a tad.

Centre and multiple that by, say, 20 times.

When we passed the German That is more or _less the area you have to border (no checking anymore) the traffic cover if you want to visit everything. We verily became rambunctious. My car rocked tried to, but failed miserably. To give you from the air pressure of Mercedes and an idea of its size, we were able to find Audi's passing us at, believe it, 200 kilo- Agfa's booth, but not Kodak's.

It was so overwhelming that we meters per hour! It makes for venturesome driving and a decidely fluttering heart rate simply gave up trying to see it all. We at times. But we made it to Cologne and concentrated as much as' we could on the found, hahahaha, that funny fat Dutch guy, two professional buildiflgs which occuthere are no, I mean no, keine, nyet hotel pied five floors. Oddly enough, the very rooms in Cologne. So we backtrack 120 · first exhibitor we saw was Arri/Nagra. Joe kilometers and discover a nice inn near the Sunday was quite surprised to see us and Dutch border at an exorbitant price: the immediately pressed a good beer in our last room, honest, mein Herr! hands, the first of the day!

The Photokina is not for the perI admired the Arriflex 765 shown son with bad feet. Try to imagine the size - the culmination of camera design that I of the Metropolitan Toronto Convention first encountered when I started in the

Joe Sunday and Robert Rouveroy esc at Photokina 1990.

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business in 1947; an Arri 1C, I believe, which served me well for years. I must admit I favoured my spring-wound Bell & Howell Spider Eyemo for news shooting in my early years, as the beast was equally utilitarian for hammering tent pegs as it was for fighting one's way out of a mob.

But I always fell back on the Arri for the beauty shots, even if the lead acid batteries were apt to leak and ruin my clothes.

Later, in Canada, after the Auricon period where I encountered 16mm for the first time, I bought myself an Arri 16BL and promptly fell in love with it.

With her, I mean, I even gave her a name.

This is most interesting: I never heard of anyone falling in love with his video camera. Possibly because electronic cameras don't last long, no I don't mean they break down, they have an admirable tour of duty.

They just get upgraded every year and if you don't have that latest geegaw you're out! I know, upon selling my two year old Betacam I took a beating I'll never forget.

However, I ·sold my Arri 16BL just before I left for Holland, for nearly what I had paid Steve Cook for it in 1968!

My God, she was over twenty one years old and a brand-new SR could not get you a better or sharper picture.

The Arri 765 is decidedly different; they took a page from their electronic

(video) counterparts. The 765 has a specific LCD error display that runs a constant diagnosis of all camera functions and runs from 2 to 100 frames per second. I saw a 30nun Zeiss designed, 110 degree lense with practically no corner distortion.

The noise specs are also improved. Ingrid was never too impressed with a mike close to the Arri ill-35BL as it has a penetrating ticky sound. Come to think of it, my Arri 16BL was considerably quieter than any SR; likely to do with blimped versus unblimped lenses. By comparison, the !MAX camera, one step larger picture than the 765, sounds like a motorcycle.

The only way to prevail at Photokina is to just let yourself be guided by things that really catch your fancy. That happened at Camera Essentials, where they were showing the small version of the Harrison Film Changing Tent. Look I saw the big one, sold I think at either Cinequip or Kings way. It was not too practical. You see, on any feature set I know, the clapperloader has a truck with a built-in darkroom. Same on every commercial set. I think that given the, admittedly, slight chance of a light leak in any bag would give any self respecting producer the galloping willies. Perhaps such a tent comes in handy on low budget music videos.

As every 35mm clapper-loader is

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NOVEMBER1990

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CSCNEWS

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sure to carry a Dunk bag for emergencie~. the big Harrison looks like overkill for 35mm work and is really too big for a tight 16mm shoot. The Harrison Pup Tent is another entity altogether. For 16mm work it is the best design yet. The aforementioned Dunk bag (originally invented and manufactured by Bert Dunk, esc, asc), works admirably and has served me since it first appeared on the Toronto market. I ¡ think Janet Good of Canadian Motion Picture Equipment Rentals handled the prototype.

The only drawback I found, was that changilig a BL magazine in Bombay at 100 degrees and 100% humidity was a bit difficult. It got so hot in the bag that the emulsion would wipe off and get into everything. Also, the inner bag sometimes caught on the lid, causing no end of trouble.

The Harrison Pup changes all, truly.

It packs away very neatly, utilizing the same principle as the Flex reflector that Don Hall sells. I was told that it would shortly be available in Toronto too and if! still was in the business I would procure it immediately. If you can't find out who's distributing it in Canada, call Ms. Patti Harrison at Camera Essentials in Los Angeles, CA phone (213) 666-8936 (press * for fax). Consider it a ''best buy''.

The next thing that caught my eye was the (amateur type) Steadicam, brought out by Cinema Products where an old acquaintance held reign: Manfred Klemme.

I'm sure many of you know him also, he used to work in Toronto. He showed me something even more interesting. I was not too impressed by the Datacode System introduced some years back that worked with a transparent magnetic coating applied over the whole film, including the image area. It purported to make editing easier, however, it created several severe problems and was, thankfully, removed from the market. Then Kodak introduced Key Code, a machine readable barcode of the same type you see on groceries. Well ~ - now General Products has announced two new items: a Workprint Logger and a Reader that attaches to a Rank Cintel Flying Spot Scanner.

I have always been in awe of the negative cutter who sits and stares at those

... unfold dolly ....

small smudged numbers on a murdered workprint and painstakingly writes them all down, then precisely matches the negative! It wouid drive me stark raving mad.

At any rate, it was time somebody came up with something different and Cinema Products has.

The Workprint Logger is a neat, trim code reader that makes the neg cutter's work much simpler. When the film rolls through the subminiature laser reader, the discontinuance in the Keycode number causes a beep, the readout tells the exact frames and the signal is fed to any computer through the CP Benchlogger software program. Here you can add scene and shot descriptions. The files are neatly printed out. The computer can also be programmed to indicate the appropriate start and stop numbers on the negative.

The Key code Reader attaches to the Rank Cintel and syncs up the Code with the SMPTE time code on the Mag track and keeps everything kosher. First rate system I think to use negative stock for better picture quality. Call Manfred Klemme in Hollywoodat(213) 836-7991. I'll tell you later of the (amateui) Steadicam. I'll be using it next week at a wedding, using an S-VHS recorder.

... click track together ...

By this time we were quite exhausted. Imagine that you are bombarded with so many different things to look at -the jibs, tracks, follow focus, cars, lights, video assists, lenses, even the storm shooter (I could've been a contender as I saw this rotating disk used on a Canadian destroyer to increase visual control in a storm and immediately thought about fabricating that for film use. I, of course, never did and there it was being demonstrated at Photokina. When I heard that it had been on the market for considerable time, I felt like a fool, trying to invent the wheel all over.)

We met Bill White of William F. White Ltd., sourcing out new things for his inventory. I was happy to be able to steer him to a very nifty track and dolly, made in, you guessed it, Holland.

But first for the bockworst und bier for lunch. Even with a couple of dozenrestaurants in the place this was a bit difficult. This was October 3rd, one day after the combining of the two Germanies and most were bleary-eyed and maybe somewhat subdued as it must have dawned on them life might just be a tad more expensive, at least for a while. Reactions are quite mixed I think.

Let me recall what we found at the 14

... complete track parcel ...

Key West Booth, the track and dolly place I mentioned to Bill. You, 16mm low budget man like me, must also recollect our envy of the big guys with the Elemacks, Fisher, Western or whatever. You may, like me, used whatever was at hand to get that smooth shot. Jeez, at one time when I was thin, an unmentionably long time ago, I used to fold myself up in a shopping cart and handhold. Oh, yes, likewise a wheelchair, even in a pinch wheeling my most beloved FOBA tripod on its IANIRO wheels. Whatever we did, in the end the repeatability of the camera move was sadly lacking and if it became serious we convinced that penny-pinching director to rent the trashiest, most decrepit dolly equipment, that always needed a burly grip to move about. Hammering the wedges under the track on that nice parquet floor or chiping the doorway in that beautiful home. Sorry if! go on aboutt!ha but I experienced that all and it is time to fmd the situation corrected.

It is. How would you like a doll that at 44lbs. can be easily manipulated. It has a seat that rolls around the central column (with a universal head mount) for a smooth 360 degree tum and at the unfolded 26 inch size is perfect for doorways NOVEMBER 1990

... on track ....

... change wheels ...

and it collapses into a very neat, small package for shipping. A standard parcel of 27 feet curved and straight tracks that weighs less than that, all packed in carryon bags. The track has no partitions as it is self-correcting as you can see in the pictures. On·very rough ground there is an additional levelling kit available and you can change to air tires ina jiffy. The whole kit and kaboodle retails at the same price as a good tripod. Unbelievable? Listen, I thought so too until it was demonstrated to us. The gliding action is eerily quiet and received good marks from Ingrid who has been plagued by a good amount of creaky tracks in her career. I must say that this is the most innovative system we have seen until now. It is perfect for the documentary cameraman as it can easily be handled by any assistant cameraperson. Above all, it is very. very quick and simple to assemble and deploy. If you cannot find it soon at your favourite rental place, contact: Key West, Box 145,1250 AC Laren, The Netherlands. From Canada the telephonenumberis 01131215316883 or fax 16884.

More in the next issue ...

... transportation dolly ...

When only the best will do.

PS & Cinevillage, 65 Heward Ave., Toronto, Ontario, M4M 2T5 (416) 466-0377; Fax: (416) 466-9612

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ROBERT ROUVEROY, CSC CSCNEWS

• 15

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F~:(416)890-6261

Dear Members, The Canadian Society of Cinematographers has been in existence since 1957, when a small group of cinematographers gathered to form an organization similar to our British and American counterparts. Over the past 33 years a relatively small number of members have kept the organization together through good times and bad times, each year. During those same years, many cinematographers from across Canada have joined the Society, become full members, were honoured in our annual cinematography awards, provided information for our newsletter, and have brought honour to themselves and to the Society through their outstanding contribution to our art form.

Unfortunately, we have also lost many members over the years. Some, because they were not upgraded to Full Membership when they felt they should have been, some, because they fell on hard times or changed positions in the industry to become writers, directors, producers, etc. and others who felt that we are a Toronto based organization and the only advantage to belonging was to receive the newsletter. At the present time, while we know there is a downturn in the economy, we still have many members who have not paid their annual fees for last year, and new invoices will be sent out in the near future for 1991.

We are one of the few organizations that has remained consistent over the years. While other organizations have folded, we have survived, mainly due to a few individuals who have given their time above and beyond the call of duty. I'm sure that all of you ... sponsors, advertisers, and members at large would like to make sure the Society survives another 30 years, and can also continue to provide an excellent newsletter, accreditation, assistant camera course, lobby to the government, representation on various industry committees, as well as our annual awards ceremony that has become tl:Jsl industry event in April each year.

As president of the Society, I have a request. If you are behind in your annual dues, or advertising in the newsletter, please make a very special effort to mail us a cheque today. It would also be great to hear from members who have been blessed with success over the years who may wish to make an outright donation to the Society. Remember, it's tax deductible!

Sincerely, Robert Bocking, esc, President

16

NOVEMBER 1990

SECRETARY'S REPORT ON THE OCTOBER MEETING

A smaller than usual crowd turned out at Film House for the October meeting.

It was a pity not only because Kodak had put together a few informative and entertaining presentation, but also because the refreshments were quite impressive.

TheEXRfilm5245,5248and7296wereshownindramatic,documentaryand camera test formats. Some of the test footage was shot by Canadian cinematographers including CSC's Fritz Spiess, who was on hand to field questions.

Fritz and other camerapeople put Kodak's EXR film stock through the paces by under and over-exposing them up to three stops. Kodak also used split screens to compare EXR stocks with the traditional films side by side. There is a definite improvement in the way of colour, grain, sharpness, contrast, and shadow details incorporated into the EXR films.

Kodak expressed interest in having more of these presentations in the future.

A hearty thank you both to Kodak and Film House from the Society for their efforts in staging such an informative presentation.

WANG CHOW

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Above: This photo was taken at one of the earlier CSC meetings. George Morita esc, one of the first secretaries of the Society, is second from the right. Please call if you can help us identify others in this photo.

CSCNEWS

17

toll free from Ontario & Quebec: 1-800-268-0726 or 0727 elsewhere In Canada: 1-800-387-3661

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News from the west coast: John Bartley is DOP on 'Wise Guy"; Bob Ennis esc is DOP on "Nancy Drew"; Peter Woeste, main unit DOP on "Bingo"; Neil Seale is camera operator and second unit cameraman on "Bingo"; Andreas Poulsson esc is DOP on "Mom PI"; Rob McLachlan esc is 2nd unit DOP on "McGyver"; Richard Leiterman esc is DOP on "The Sea Will Tell"; Don Hunter is operator on "Bordertown" and Doug Field is operator on "Broken Badge".

The feature film "No Apologies" (working title of film was "Boat in the Grass") recently won five awards at the Atlantic Film Festival/Atlantique.

Lionel Simmons who shot the film received two "Awards of Excellence" -for cinematography and for lighting. Congratulations!

CSC CHRISTMAS PARTY!

Saturday, December 15th

Phil Earnshaw esc the long time shooter for "Kids of Degrassi" and "Degrassi High" recently directed and DOP'd a "Degrassi High" episode "Three's a Crowd". Phil's focus puller, Colleen Norcross was upgraded to operator, Judy Lindo was second assistant and I filled in to do focus.

Deborah Parks is still shooting "Talk 16". The year long documentary has been rolling periodically since December 1989 and is to be completed by the end of December.

at Cinevillage in conjunction with Toronto Women in Film & Video and the Canadian Independent Filmmakers Caucus

Tony Wannamaker, a senior cameraman at City-TV and Much Music, is in Moscow shooting "Mondo Moscow", a feature length documentary.

"Mondo Moscow" will document the lives and works of some of Moscow's most radical, avant-garde artists, performers, poets, fashion designers, musicians, architects and, of course, filmmakers. The film is being shot for television in Canada and will be released theatrically in Europe after being superscanned from video to 35mm film.

Ion-Dragos Sireteanu has been shooting a 90 minute documentary about gynmastics in Romania. It is part of the "Trilogy of Sports" series. In the spring, he will shoot anothe rsegment of this trilogy in Hamburg "99 Lost Bal-

See you there!

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NOVEMBER 1990

October 11, 1990

loons". It must be nice to be booked so far in advance! Ion-Dragos is also writing, shooting, producing, and directing a feature film called "Obscure Identities", part of which has already been shot.

Dear Lori,

The Canadian 35mm feature film "Entry in a Diary" directed by Bob Stampfl, has won the "Roberto Rossellini" Award for most outstanding first feature film at the 43rd International Festival of Salerno, October 8 - 14, 1990. The Canadian film "Beautiful Dreamers" also was awarded a top distinction at the festival. The main purpose of the Salerno Film Festival is to promote first time filmmakers who display a unique personal style.

"Entry in a Diary" was shot by Richard Stringer, esc. It was shot in Toronto last April on a tight 10 day shooting schedule. Richard was assisted by Cathy MacDonald and myself. It is the story of a painter who can not come to terms with the suicide of his 19 year old daughter. The principle cast includes veteran Canadian stage actress Kate Trotter and Michael Burgess of the Toronto production of Les Miserables.

Just a quick up-date on what is happening to us here at Mako. We are presently wrapping the lOOth and final episode of"The Last Frontier" and then we are off to the Caribbean to begin work on our next series, being a 13 part, one hour show entitled 'The Ocean World of John Stoneman".

This series will take some two years to produce and then/ am thinking of taking a short vacation, perhaps do some diving or motor racing or something that is restful!

That's the news for this month. Please give me a call to let me know what you're working on!! My pager number is toll free (416) 553-7356.

Yours truly, John Stoneman, B.Sc., M.Sc., esc

LORI LONGSTAFF

CORPORATE NEWS â&#x20AC;˘.â&#x20AC;˘

New President at The Image Group Brian Foley has joined Image Group Canada Ltd. as President and CEO.

-~--

Mr. Foley was formerly with Selkirk Communications Ltd. as V.P. Television, and President & CEO of Niagara Television Ltd.; and All-Canada Radio & Television.

I CSCNEWS

19

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Sony BVW-505 CCD Camera and SP Recorder.

Si.Qgle owner, single user; in excellent shape.

(Also will consider selling Fuji9x14 Pegasus II or Angenieux 8x14, if required. This is a very good camera. I am only selling it now because I received delivery of a new Sony "400"). $ 17,000 Sony VAl-V Recorder Adaptor (to use SP recorder as stand alone unit; or CA-3 & VA1-V can be used together to separate Betacam camera portion from the recorder -- as new condition). $ 1,500 "Kangaroo" Case for Sony VA1-V & Recorder (as new) $ 125 Arri lOOOw Bluebells (as new, little use) $325 each Precision Camera "Light Beam" (new, with case) $ 1,900 Call Jim Aquila esc Hamilton: (416) 545-4773 Toronto: (416) 346-5786 Eclair NPR, LW16 (5 mags) lkegami HL83 (9.5-133 Fujinon lens; complete kit with all accessories and shipping case) Sony 330A BVP (9-108 Fujinon, complete) BVU-50- 3/4" (complete with kangaroo cover, in excellent condition, very low hours).

For further information call James Grattan esc at (514) 932-1463.

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