Canadian Society of Cinematographers Magazine May 1990

CANADIAN SOCIETY OF CINEMATOGRAPHERS

NEWS MAY1990

VOL.9, N0.9

ISSN 0820-3431

THE CANADIAN SOCIETY OF CINEMATOGRAPHERS

NEWSLETTER VOLUME 9

NUMBER 8

MAY1990

TORONTO, ONTARIO, CANADA

Dear Members, There will be two meetings in June (11th and 24th) to screen winning films from the awards (details below).

It was also decided at the Annual General Meeting to try printing the newsletter on recycled paper. For this newsletter, the cover stock has remained the same, however, the inside pages have been printed on recycled stock.

I've also enclosed your listing, as it appeared last year, for updating the directory. As we've done in the past, if you don't wish to make any changes, it's not necessary to mail it back to the office. Duncan has just reminded me that if you're not a 'member in good standing' (i.e. your dues are paid!), you won't be listed. Please make best efforts to return this information to me by June 30th. Thanks, -

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JUNE MEETINGS

ISSN 0820-3431

Editor in chief: Robert Bocking, esc Editor: Jennifer Hietala Editorial Office and CSC Office

72 Fraser Avenue, Suite 203 Toronto, Ontario M6K 3E1 Tel (416) 538-3155 Fax (416) 538-8821

esc Executive President: Robert Bocking esc Vice-President: Joan Hutton 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 Membership inquiries: (416) 538-3155

June 11th: 7:30pm at Film House, 424 Adelaide Street East "Friends for Life" (Jim Aquila) -Industrial "Millenium" (Rene Ohashi, esc)- Feature "Ressac" (John Freeman), "Evening Rain" (Chris Enever) Student Films

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.

June 25th: 7:30PM at PFA, 111 Peter Street, 9th Floor "Oasis in the Sea" (John Stoneman esc)- Unique "War of the Worlds" (Maris Jansons) - TV Drama Classics "Parking Lot" (Peter Hartmann esc) - Commercial

Contents

Proflle on Jim Mercer esc ... 3 Report on the Annual General Meeting ... 7 Arri 535 ... 15 Carrottop Comer ... 18

ON THE ROAD AGAIN ••• A PROFILE ON JIM MERCER esc The Yom Kippur War, 1973.

The roadside is strewn with dead bodies lying in strange, contorted positions.

Current affairs cameraman Jim Mercer is setting up a tracking shot on a jeep. The vehicle rumbles down the road as the camera turns, recording the carnage for prime time television. Near the end of the run a corpse suddenly sits up, waves to the camera and quickly lies down again. Mercer nearly fell off the jeep, while the soldier laughed at having fooled yet another cameraman.

Hamilton Falls, Labrador. Early 1960s. Jim Mercer and other newsmen had just been trucked over miles of rough road to await the arrival of Sir Winston Churchill's grandson, Winston. It started to rain. In order to keep their clothes and equipment dry, someone suggested that the crew should put the rain gear on the cameras, and store their clothes in the cases until the rain stopped. It seemed like a good idea at the time. Everybody stripped. Suddenly Winston's helicopter appeared. The panic-strickened newsCSCNEWS

men asked themselves "what should we do?" Running for their clothes would mean missing the YIP's landing and possibly losing their jobs. A painful decision was made. As the dignitary stepped off the helicopter, he was met by the delegation of Canadian journalists. They were all worldng diligently albeit naked.* These events are just two of many that Jim Mercer has encountered in his more than 25 years in the business. Born in St Jolm's, Newfoundland, Mercer came to Toronto to shoot news and production work for the CBC in 1962. Two years later he was assigned the hour-long investigative journalism show "This Hour Has Seven Days." The challenge and freedom of shooting current affairs was very appealing. Something clicked and in a short time Mercer knew what he wanted to do for the rest of his life current affairs. When the show was cancelled in May 1966, Mercer went to "The Way It Is" (also a.CBC show) and finally CfV's WS, another investigative current affairs show.

3

Today, after all these years, Mercer is still shooting for WS. He has acquired many credits and much experience, particularly with foreign locations.

His documentaries have taken him to Mrica, Asia, South and Central America, the Middle East, Eastern Europe and Russia.

At the moment, approximately seventy-five percent of Mercer's work. is with WS. During theWS off-season, he shoots for other clients, but he is happiest when he is doing current affairs.

"After three or four days standing around a studio while twenty seven high-priced yahoos say 'I think we should tum the can just a little bit to the left' or 'whatdoesthatsaytoyou?'I say, it's a can of dog food and who the hell cares? But to somebody who's earning $100,000 a year to be a big shot, I suppose it's important to him. Myself, I can't wait until I'm on the road again."

On the work. of a current affairs cameraperson, he says, "There is a myth about the danger of being a cameraper-

son. People in current affairs get their fair share of bruises and sprained ankles resulting from jumping off trucks and trains. But it's no more dangerous than being a construction worker or miner.

"News and current affairs shows are like reverse lotteries. In a normal lottery, we all pay a small price and one person in a million wins. In this business, it's the opposite. One journalist out of a thousand will pay the price (he gets serious!yinjured or killed). All the other journalists are held in awe 'wow, he or sheisdoingverydangerous work!' Ifl'm working with a news producer and on a particular day we are not working hard, nobody minds because the next month I might be in Central America. Most of these situations are not dangerous but they are very uncomfortable."

Often an exotic foreign location means hiking over miles of rough terrain carrying heavy film or video equipment.

Coping with bad food, diarrhea, rain, crocodiles, snakes and primative conditions are par for the course. Interestingly, the occasional threat to the current affairs crew is usually initiated by man.

During the Yom Kippur War Mercer kept two cameras loaded, powered and ready to shoot at all times.

Given the unpredictable and explosive situation, his constant state of readiness served him well. During the War in 1973, Mercer came close to danger when he was attacked in the desert.

He explains: "The MiG came in, dropped a bomb and we all dove into the nearest shell hole we could find. Somehow, I managed to get rolling to film the Israeli Phantom attacking the MiG that had just bombed us. It was a classic sequence of one jet chasing another in a circle with me in the center of it. The Phantom fired an air-to-air rocket and blew the MiG out of the sky. There were all sorts oflovely pats on my back from the network at home: 'great dramatic sequence'. In actual fact, any first year film student who happened to be there with a camera could have done it just as well because the bright sun in the desert

gave me a very even f16.

"On the other hand, I've gone out to light huge areas using very few lights with a lot of ingenuity and no one ever said anything. It doesn't look dramatic.

That's what being a documentary cameraman is all about. You get satisfaction out of what you've done knowing what the original situation was. It is not just what you see on the screen."

Due to the nature of the current affairs, the creative aspect of cinematography takes a back seat to the story.

Whilethisisgenerallythewaywithother genres of filmmaking, it is especially true here. The crew is often confronted with impossible working conditions, yet they are still expected to get acceptable pictures and sound. Mercer likes to shoot with the lens wide open and a minimum number of lights. This he does even when he knows another light would give him a better picture. "It's my view in a current affairs show that you stop when you've done the minimum. The technical invasion of the person on his premises takes away the naturalness of the situation and works against the interview.

My job is to help the producer create the right atmosphere. One of the things I try to do is to clown around a bit. This seems irrelevant but it breaks the ice and relaxes the people. If I can help put the interviewee at ease, the interviewer will have a more successful interview."

According to Mercer, most of his work is very basic and he relies more on ingenuity than artistry. To illustrate, he uses the following example. He was shooting a promotional video for the Canadian navy, which involved shooting inside a submarine. Because of the wide shot one could see everything, there was no place to hide the lights.

Mercer elaborates: "The challenge was to light the submarine so that it looked natural. I used a lot of little pepper lights, clamps, gobos, etc. I remember Stan Clinton, after whom our Clinton Award was named, telling me that the only way to light a ship was to tape mirrors to the ceilings and bounce 4

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light off them from the floor. 1bis way, the lights cQmes down on people as top lights. Furthermore, due to the tremendous cost of having the submarine out at sea, the shooting schedule was very tight There were certain sequences where the valves and gauges had to be at the right positions. It was deemed easier by the navy to send us out and do a few dives rather than disconnect and fake the readings. We also had a couple of days shooting off a helicopter as the submarine dove and as it surfaced. The producer wanted a shot of an empty ocean and a close up of the submarine's bow suddenly poking up through the water.

'How do you do this?' When you are out in the ocean, there are no landmarks.

You can't say 'aim the camera over there and that's where the submarine's going to surface.' I thought about this and came up with a system that worked from my days in the navy. I knew the submarine had the ability to send up smoke buoys while submerged. I worked out with the captain that he would send up three smoke buoys at fifteen second intervals. At the same time, his vessel would maintian a steady course while rising. In the helicopter, I had coordinated with the pilot that after the three smoke buoys had come up, he would calculate the distance between the last two and project that distance ahead and hopefully that's where the submarine would surface. It worked perfectly on the first take. That's why I got paid."

In the world of current affairs, it isn't only the crew who get paid. Occasionally, a network or television station has to pay out large sums of money for law suits. In an increasingly litigatious society, the legal ramifications often determine what stories go to air. Mercer says: "Canada now has a new bible called the Canadian Charter of Rights.

As a result, we no longer have pimps organizing prostitutes but lawyers organizing criminals. So it is more difficult for anyone to say anything against anybody. The things which were done in the past (in current affairs) would be ten 5

times more expensive to do today because you need that much more legal support."

A case in point is the W5 story on a dump site operator accused of dumping toxic wastes into a landfill. The operator sued and won the case even though W5's allegations were valid. Mercer thinks the dump site operator invested more money in his defense and out-lawyered the Network.

The proposed fine of $1.00 per viewer based on the rating of the show (resulting in millions of dollars) was dropped. In the end, only a few thousand dollars were paid to the dump site operator. The embarrassment and bad publicity was far more damaging for W5. The verdict was not challenged because the battle woold have cost several years' budgets. It was decided that the money could be used more productively on new shows that could help society in other ways.

After the dust had settled, new evidence came out to show that the dump site operator had indeed dumped toxic wastes into the landfill. In one instance, he simply backed his truck in with its offensive cargo and had the whole lot burried.

Having travelled extensively for W5, Mercer has seen the various stratas . of the human condition. He has gained a balanced perspective on life and is wiser because of it. "In Canada, we are anxious about making an extra $100 or losing it There are people with wealth so vast that you can't imagine it. And there are people so poor that their whole life consists of trying to get one small bowl of food each day to share with their kids.

Whenever I hear somebody complaining about our lot in this country, I think 'how stupid'. I see such a difference in other people (in other countries). I always try to look at any situation from the viewpointoftheotherperson. Myperspective is certainly different.

"The reason why I'm branded as a right-wing free enterpriser is not that I don't believe in the benefits that socialism brings, but rather we should all try to work a little harder and free enterprise

Jim Mercer esc, Tom Mather, Helen Hutchison and Roy Tash esc at a launch party for Trivial Pursuit.

encourages this. Often people say to me 'why are you doing this' or 'why are you organizing the CSC dinner?' I like organizing the esc dinner because it has become the highlight of the year for us. It gets me in contact with a lot of people that! normally wouldn't see if I just stick to camera work. I think the more I do, the more it encourages others and the more we do collectively, the better off we all will be." .

There have been many high points in Jim Mercer's professional life. No doubt he will have more before he retires.

Last November Mercer was assigned to cover the revolution in Czechoslovakia.

His observations were eloquently expressed in his article "If Good King Wenceslas Could Look Down Now", published in the January issue of the esc Newsletter. Perhaps the highlight of highlights and closest to his heart is an institution he encountered while shooting the documentary "Ustinov's Russia".

He says, "If I have just one week left on this earth, I would like to spend that week in the Hermitage Museum in Leningrad.

It's unbelievable. Just as one could take all our provincial museums and they

would fit inside the Royal Ontario Museum here in Toronto, so you could lose the Royal Ontario Museum inside the Metropolitan Museum of New York.

Likewise, all the Metropolitan Museum would be lost inside the Louvre and all the Louvre would be lost inside the Her~ mitage. It is so vast, so beautiful. It has the finest artwork, jewelry, paintings, even the frozen remains of people thousands of years old."

The Hermitage has the largest repository of art treasures in the Soviet Union. The museum complex consists of five buildings, six major departments, three hundred and thirty rooms and two million, seven hundred thousand items.

Similarly, the professional life of a cameraperson such as Jim Mercer can also be a treasure of exciting experiences.

WANGCHOW

â&#x20AC;˘

* This and other stories appear in Linda Frum's new book "The Newsmakers" which is a collection of such anecdotes.

The royalties from this book go to Jean Guy Nault, a CBC cameraman, who was injured while working.

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MAY1990

REPORT ON THE ANNUAL GENERAL MEETING Prepared by Wang Chow, Secretary

The Annual General Meeting of the Society

was held on Saturday, May 12, 1990 in Toronto at the Lakeshore Inn. The following members were present: Robert Docking esc, Wang Chow, Joan Hutton, Chris Hayward, Joe DaSilva, Ken Post esc, Jim Mercer esc, Duncan MacFarlane esc, James Aquila, Suresh Rohini.

Bob Docking: I would like to call this meeting to order ... it's about ten o'clock.

Present is the CSC executive and two members at large. We have an exact quorum of eight members and no more (two more members arrived shortly after). Too bad there isn't more interest shown. Last November one of our members, George Sebb passed away.

George and Ursula worked at Chetwynd Films for many years. His Christmas story showed up in one of our newsletters. I want to mention that we remember George as a CSC member, a cinematographer and his contribution. The minutes from last year's annual general meeting was published. We don't usually read them out, therefore, I would like to presentit as published. Could someone move that it be accepted?

Bob Docking: President's Report. Allin favour? I don't have much to report. I was very honoured to receive the Kodak Award. It came as a total surprise. Over the year we've had some pretty good meetings. I'm very thankful to Joan Hutton who stepped in as vice president We will look forward to her help in the coming year. Perhaps we can discuss a theme for the coming year, if you want. That's all I've got to say. I'll ask Joan if she has anything to add.

Joan Hutton: The only thing about the meetings is the general thrust of them.

One of the things I would like to do is to split the meetings 50/50 between technical things and screenings of films and videos. In that regard, I would like to screen the winners oflast year's awards in the June 1990 meeting. My experience from the past is that most people don't get to see those films. In the future, perhaps we can even have a screening before the awards. It's pretty tricky because the films come in very close to the deadline.

But it's something to think about. ArriNagra has already been in touch with me about a special meeting for the new 35mm camera. There is also a wine and cheese meeting involving a new dolly. It appears that we have a full schedule for the fall. We may have more than one meet.ing during each month. Perhaps we can show George Sebb's films in one of those meetings. That's all I have to say. I would be interested in some feedback as to what films the esc would like to see.

Ken Post: When you screen the awardwinning films, you might like to show the runners-up as well because they are often just as good and sometimes even better.

Duncan MacFarlane: I so move.

Joan Hutton: I second it

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Bob Docking: Wang Chow, any comments?

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Wang Chow: I have a very short report.

We had six regular monthly meetings last year and I have had the pleasure of reporting them in our newsletter. The first meeting was at Precision Camera and we screened Reginald Morris esc's film, "The Fortunate Pilgrim". The attendance was excellent Over the course ofthe year, we averaged between 30 to40 people at the monthly meetings. This is quite an improvement over previous years where the average was around 20. It seems that everytime we had a screening, the tum out was especially impressive.

An example of this is the meeting we had at DVLA. The second meeting of last year was the Sony Hi 8 presentation.

That was also very well-attended. Following that was our annual Christmas party in December. In January we were at Trickett Productions where we saw examples of post-production effects and the motion control system Elicon Blue arm. Lee Colortran hosted our February meeting. At that meeting we also saw a retrospective of Bill Mason's films. We were at DVLA in March. In April, the annual CSC Award/Dinner replaced our regularmeeting. Overall, it was an excellent year and credit should go to Joan (Hutton) and Bob (Bocking) for organizing the meetings.

Joan Hutton: We should get together with the Canadian Independent Film Caucus and Women in Film and have a joint meeting, for example, the Christmas party. Film House is interested in sponsoring a meeting, maybe it could be this one. There are producers and directors there that we work with. It would be nice to meet them in a non-threatening way. Also, it may lower our costs.

Bob Bocking: Duncan MacFarlane is going to tell us how broke we are.

TREASURER'S REPORT In the comments by Marianne Gracey for the 1989 Financial Statement, she states that "she was unable to satisfy herself that the revenue and expenses were allocated to the proper accounts and therefore she made some adjustments as required", this was to balance out some receipts that were not clear as to what account they should be allocated to. I think Marianne has tried to put these amounts against the appropriate expenses, so that we can see more fairly the costs of such things as the newsletter.

We had a pretty good year in '89 with total revenues almost $142,CXX). Our expenses are a good deal higher now and next year if the GSTcomes in they'll take quite a jump again. The newsletter is now costing us about five dollars a copy, and this is plus postage, so affiliate members are getting a good deal with this alone. Let us congratulate Jennifer on doing such a fine job!

The total accounts receivable figure at 31st December 1989 was $33,895.75 mostofthis sum was for the directory and only about $4,395.00 was outstanding for'89 member dues. Of this sum, only approximately $2,000 was actually collectible and I think $2,395.00 will have to be written off. I'm glad to report the advance billing for 1990 dues was a great success and many members have sent their cheques in good time.

This has kept us in good standing at the bank, in particular during the Awards banquet, but there are still many members who have not paid for this years dues yet, and I must remind them that if their cheques are not received, their names

will not go in this years directory!

We have lost three and maybe a fourth sponsor over the last short period and as we rely on sponsors to help us financially, this is a big loss. If anyone can get the esc some new sponsors please do so, we'll send any new prospects our'Sponsorinformation package'.

At this point, I don't anticipate any raise in dues for '91, but with the extra costs of the GST it could get tight.

In closing, let me thank Marianne Gracey for making some sort of sense out of all our figures and our sponsors for their continued support.

Duncan MacFarlane esc

Comments I have examined the bookkeeping of the Canadian Society of Cinematographers as at December 31st, 1989 and prepared the statements of revenue and expenditure. My examination was made in accordance with generally accepted accounting standards and accordinglyincluded such tests and other procedures as I considered necessary in the circumstances except as explained in the following paragraph.

As a result of the bookkeeping I was unable to satisfy myself that the revenue and expenses were allocated to the proper accounts, therefore I made the necessary adjustments as I felt required to give the best breakdown of the Society, as fairly as I could with the paperwork I was provided.

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MAY1990

Canadian Society of Cinematographers Balance Sheet as at December 31, 1989 Assets Cash Accounts Receivable

Liabilities Accounts Payable Retained Earnings

1988 $ 4,179.89 $ 30.5()9.38 $34,689.27

1989 $ 10,488.99 $33.895.75 $44,384.74

$28,399.38 $ 6.289.89 $34,689.27

$33,987.92 $ 10.396.82 $44,384.74

Total Statement of Revenue and Expenditure for the Year Ended December December 31, 1989 Revenue Membership/Advertising Camera Workshop Camera Workshop Initiation Directory Film Awards Film Awards Expenses Paid Sponsors

$43,891.00 8,204.30 42,654.38 9,845.00

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$107,117.18 Expenses Office Expense Newsletter Postage Project One Inc. Courier Charges Computer Supplies Car Expenses Telephone Office Equipment Flea Market Awards Meetings Camera Course Directory Christmas Party Legal Sponsor/Membership Refund Advertising Fax Rental Service Charges Miscellaneous

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CSCNEWS

Duncan MacFarlane: This is mostly Bob (Rouveroy)'s when he was still around.

Also, both Jim (Mercer) and I have computers.

Wang Chow: The other question is regarding the directory. Last year, it cost the Society $40,781.44, this year, the cost went up to $54,286.63. Is this inflation?

Duncan MacFarlane: No. It's just the way it balanced out. Some of the expenses overlapped from '88 to '89.

$58,440.00 8, 625.00 780.00 52,751.27 14,930.00

Bob Docking: Who would like to motion acceptance of the treasurer's report?

5.568.00 $141,094.27

Wang Chow: I second it.

$ 3,213.80 10,581.11 237.05 4,500.00 117.87 4,341.87 2,242.85 627.63 11,767.34 1,480.50 13,095.74 267.48 8,142.97 40,781.44 582.49 579.70 400.00 1,300.00 162.00

$ 4,746.77 26,905.54 428.00 6,000.00 449.61 3,294.78 2,925.21 795.82 800.00

$104,421.84

$ 136,987.34

24,007.63 256.06 9,347.91 54,286.63 551.09 285.00 1,500.00 187.00 101.86

118.43

Excess of Revenue over Expenditures

Wang Chow: I have a couple of questions for Duncan. Question one- the cost of computer supplies is $3,294.78, where did that come from? I didn't know we have any computer equipment or supplies.

$4,106.93

Ken Post: I motion to accept it

Bob Docking: The next report is from Jim Mercer, Membership aiX1 CSC Awards Chairman.

Jim Mercer: Thank you. This report will consist of two parts - that of the membership chairman and awards chairman.

MEMBERSHIP CHAIRMAN'S REPORT This report will consist of two parts, that of my activities as Membership Chairman and that of Chairman of the Annual Awards Dinner.

First, some general comments.

The good news is that our Society seems to be growing and doing well. The bad news is that in the process of growing from a one man operation in 1989 in which Bob Rouveroy struggled alone to do everything himself, to a team effort, there have been some growing pains.

The old (spare) computer passed on to me, was found to be unable to handle work. generated on later models

used by Duncan, our Treasurer, and Jennifer at our office. This incompatibility must be corrected in the near future. This may entail spending money, and we must have an orderly budget system to know if we can do this.

Now for some comments on our membership. As the previous Membership Chairman left half way through the upgrading process, confusion was created, no members were upgraded to full esc. and some material submitted for screening was lost. This is probably because both the esc office (Project One Inc.) and I moved at about this time, and it coincided with the arrival and screening of dozens of tapes for the annual awards.

The debate still rages about what criteria should be used to determine those eligible for the full esc category.

Tradition has held that only those with feature and big commerciallighting experience should be considered. Others argue that it is wrong to present our coveted awards of excellence for industrials, documentaries and unique productions to those who we simultaneously categorize as not being good enough to be full members.

While it has been necessary to intetpret the (full membership) regulations in accordance with the way our industry has changed over the years, I think it wise that we should do this within a more defined framework in the future.

To address these issues, I would make the following recommendations: (1) To facilitate the long term growth of the esc, we must establish a budget projection mechanism to guide expenditures for basic things such as office and computer upgrading, and subsidization for travel in connection with the awards, and the dinner itself. To this end, we must consider our "unofficial" budget year of May 1 to April 30.

As our 1990 Awards Dinner has already

taken place, and most of our 1990 money has been both collected and spent, we cannot use this experience to guide us for 1991, as at this meeting, we are only permitted to discuss 1989 activities.

(2) The upgrading process of screenings and meetings connected with it, should be separated from the annual awards.

(3) The upgrading jury should consist of full members on the executive in office at the end of April in any given year, and that the new full esc members be announced by the outgoing executive at the Annual General Meeting. The intetpretation of full membership requirements should not be left to those members who happen to be available on the particular day chosen for screening, as these persons (who may happen to be highly qualified directors of photography), may not represent the existing membership.

Now for some comment on the Annual Awards Dinner.

We expanded the dinner to a fully served, sit down dinner, after a champagne welcome by Kodak, at the Metro Toronto Convention Centre. For the first time we tried a state-of-the-art video projection system, which all agreed worked well. We had live music for the dinner and dancing afterwards. We introduced a new award in honour of Stan Clinton esc, for the best news essay. The entries in this category were exceptional.

It was decided to widen the old "music video" category to include all unique productions in the future. A detailed accounting was presented within 30 days of the event, and a copy is attached to this report In summary, it shows that total revenues from dinner activities were $20,498.00 and total expenses were $22,807.63.

Having to use about $2,300.00 from general revenues was, I believe, quite justified for such an important event.

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MAY1990

While all the finances have not been finalized for the just completed 1990 Dinner, I believe it was about as successful an event, with an even smaller net loss.

I would recommend that we continue to hold our event in cooperation with the VICOM 91 show, as it gives us the necessary power to deal with the MTCC in a way in which our comparatively small organization could not. It must be remembered that the requirements of our dinner (reception, dinner, theatre projection and dance area) are so complex, that only a place like the MTCC is suitable.

In summary, I would like to thank all those who assisted with the judging, and all of our sponsors, with special mention of Kodak, Mobile Image, Film House, PFA, Brian Holmes esc, Ken Post esc and Jennifer Hietala, who made the exceptional behind the scenes efforts that made me look good!

decide who gets the esc and who doesn't The present system relies on a unanimous decision within the membership committee. If there is one holdout, the esc is not awarded. If the committee has one avant-garde or old-school cinematographer, there is no chance for the documentary cameraperson getting the esc. It's easy enough for me to stack the jury so things will happen my way, but I don't want that. It might be easier to have the executive make the decisions since they have been democratically elected. If anyone wants to exert any influence as to who should get the full membership, they should volunteer and serve on the executive.

Secretary's note: After his report, Jim suggested changes be made to the present upgrading system. The following discussion touched on some of these ideas.

Bob Bocking: I would like to suggest that you form a committee to look into the whole process, come up with a quantitative system of screening films to arrive at full esc membership.

Jim Mercer: It could be done without much authorization. In the past, it was up to the prerogative of the membership chairman to get a committee together and

Joan Hutton: I think that's wise because those who do the work should make the decisions.

Jim Mercer: This will take the onus off any one individual. Also, it will be beneficial for the growth of the Society.

We have to reflect the working industry.

We can make this Society into anything

Lr-1= Filters

we want. If you want to do excellent work in documentary or shoot 500 feet under the sea, then it's up to us if we want to give you that esc.

Ken Post: Regarding the single holdout situation, I have in the past, felt an individual deserved that recognition, but ...

One of the ways to award the full esc is to base it on the individual's specialty in which he or she excels. Despite that, some people will say: 'they can't manage a large studio or a large crew'. But we should base it on a person's specialty and excellence.

Jim Mercer: There has been a void over the past couple of years. There are people who have woo. awards, whose work we've seen and they should have the full CSC. What I would suggest is, over the next couple of weeks, get a list of those who qualify for the CSC Executive to vote on. In mid June, we can give those people the recognition. If you would like to recommend anyone, please let me know. I don't wantto sound like an avant-garde against the traditionalists. Tradition is great, but if you read the rules and regulations for full membership, the traditionalists have the situation more in their favour. We have to work around this problem creatively. I would like to prepareaninterimlistofmembersanddo a brief report on them for the CSC Executive in early June.

Bob Bocking: The Australian Society have a similar system. They call it accreditation. You can become accredited and you can use the initials ACS after your name. They use the national executives which is made up of all the presidents from the various chapters. Is there a motion from the floor to accept Jim Mercer's report?

Joan Hutton: I motion to accept.

DISTRIBUTED BY

Chris Hayward: I second it.

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Bob Bocking: Ken (Post), do you have anything on public relations to report?

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Ken Post: Lori Longstaff and I do PR for the CSC. We don't have any program, but Lori supplies articles for the newsletter and I supply photographs from time to time. Both of us promote the CSC as individuals wherever we happen to be.

It's an ongoing procedure. If you at any time have pictures of members at work, I would appreciate getting 8 x 10, horizontal colour prints. We do have the makings of an exhibit. Please keep in mind if you have anything interesting.

Bob Docking: I want to thank Joan for the time she spent on arranging meetings and Wang Chow for his excellent work on writing articles for the newsletter, Duncan for his work as treasurer and Jim for the exceptionally well-done awards night, Lori and Ken for their efforts and JohnHolosko for his work with the assistant's course. At this point, let's break for coffee. (Continuing after break) New business. It's wide open.

Jim Mercer: Budget projections. From my point of view, it would be nice if at this time if we know what money is coming in. The big ticket item is the Awards Dinner. We are talking about $25,000. Only half of that comes from ticket sales, the rest is from the sponsors.

Next year, maybe we can have the sponsors' logo present at the Dinner. It would be nice before the fall if we know how much money we have in the bank so we can detennine what we can do.

Bob Docking: Would it make more sense to have April 30th as the budget year?

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Duncan MacFarlane: It would be difficult because membership dues are based on the calendar year from January to December.

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Jim Mercer: Now is the time when our activities are ebbing. We should decide if we should buy some new things or not.

Perhaps we can discuss the budget in June.

Duncan MacFarlane: It's one thing to do a budget and quite another to know when the money is coming in. We still 1.2

have quite a bit of money to come. Most of the members pay their dues on time.

Others we have lost contact with and we don't know where to get in touch with them now. There are still a few sponsors who haven't paid. I will send out statements soon and usually that gets some response. There is just under $14,000 that still has to come in.

Jim Mercer: Can I ask you to put together an estimate of how much revenue, after deducting fixed expenses such as the Newsletter and Project One, is available for other areas.

Duncan MacFarlane: I'll try to work something out in June.

Jim Mercer: The biggest thing about the Awards is the screening. If we had some money, we can say, 'this is going to be the place where the films/videos will be screened and it has all the facilities we need. It's going to be a certain time over a certain period.' This will give people the opportunity to come and see. It takes money. I want to know if there is enough money in the budget to do it at this time of year.

Duncan MacFarlane: If you can put together a proposal as to how much morey you need, perhaps I can help you.

Jim Mercer: I'll make a projection ofthe cost of the Awards and CSC upgrading for next year.

Bob Docking: Ifyou have a lot of people at the screening (for the CSC Awards), how will the judges operate?

Jim Mercer: That's okay because we have ballots. But it's a good point. That's the kind of input we need. If I can get the dates of next year's Awards Dinner, there are two things we have to consider, the NAB and Vicom. The NAB is held at about the same time as our Awards and we don't want to conflict with it. Next year, the NAB is going to be between Aprill5 to 18. Vicom will be Aprill1 to 13. We can get space in the Metro Convention Centre for Friday the 12th or Saturday the 13th. Having the Awards MAY1990

on the 13th might be a little too close to the NAB because some companies like to send their representatives there one day early. Friday the 12th will distance our event from the NAB one extra day, but it's a work day. I will check with some of our sponsors to see if there is any conflict. I still would like to have it on the Saturday.

Duncan MacFarlane: I think Jim did a .really good job in the Awards again this year. I was wondering if it would be better to have the awards first, then the dinner afterwards, like at the Geminis.

This way, the meal would blend into the dancing.

mics. This I found out at 6:30pm. I went to Tel Av to crank them up. That took 45 minutes. That's all part of the growing up process. The coat room was also a screw up. That's something we can deal with next year. What we really need is a couple ofdedicated workers who are paid to help us.

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Joan Hutton: Do you think students will be capable of doing that?

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Ken Post: Some can.

Duncan MacFarlane: Was the door prize any good? We were hoping to get Air Canada to donate two tickets.

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Bob Bocking: That would make it very late for the dinner.

Duncan MacFarlane: What's the length of the awards - an hour?

Jim Aquila: That's not very hard to do because the Canadian Independent Film Caucus raise their money by selling raffle tickets and they get scmething like $2,000 worth of prizes from editing houses.

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Jim Mercer: One hour and fifteen minutes. The cocktails are from 6:30 to 7:30.

The awards start at 7:45, then dinner will be at 9 o'clock.

Joan Hutton: Or they get Kodak to donate a few rolls of film.

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Jim Mercer: Now, the other thing; ticket pricing policies. Some members can't afford the $150 for two tickets, parking, etc. to attend the Dinner. I think what we should have is a policy giving 50% off to seniors who are officially retired and listed as such in the directory.

A couple more things. There's going to be a show called the Playback 91, organized by Playback Magazine and a couple of equipment manufacturers and producers. It's a vehicle to get producers and suppliers together. It would be a good idea for the esc to have a presence there.

It will be held at the International Centre.

Last thing, keeping in touch with our sponsors. What we've done this year was to have a photographer take pictures for us at the Awards. I'll get 8 by 10 inch prints of our sponsors making presentations and at the tables and send them to our sponsors next week as a thank you.

Keeping in touch with our sponsors is something we should concentrate on.

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Joan Hutton: That's a little late.

Ken Post: You might check with some authorities who specialize in hospitality to see if there are any pitfalls. With respect to music, I wonder if we can have a little more care in selection. I realize some people like rock.

Jim Mercer: They will play whatever we want.

Ken Post: Sometimes they are too noisy for conversation.

Bob Bocking: Yes, you couldn't talk once they started playing.

Jim Mercer: When was that?

Ken Post: Cocktails, for instance.

Jim Mercer: There were two medium size problems at the awards this year.

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Ken Post: One thing I want to mention is lighting for the stage. It's something I've done in the past. If it isn't done, it doesn't look right. Generally, there are no lights available at the location. What I've done is to go in ahead of time and do some lighting that is subtle, modest and doesn't have glare that will affect the audience. I believe you can enhance the presentation with a bit of lighting. I've done it in the past because if I didn't do it, it wouldn't be done.

WangChow: Ken,doyouneedhelp? If you do, I would like to volunteer.

Ken Post: Well, at my age, you never know. Imaybegonetomorrow. I'mjust mentioning it so you can be aware of it Bob Docking: The SMPTE conference is going to be here in Toronto in 1992.

We should think about what sort of pres-

ence we should have at that. It is usually held in L.A. I don't know if we should have a booth. I don't know how much it will cost Ken Post: We should have a display. I have some photos. But we should have some flats made, or find some good, used ones that are reasonable. I have these flats at Humber College, but it's a question of storage. I have used them for the CSC and it hasn't cost us anything. I think we should have something permanent so all you have to do is change lhe contents.

Jim Mercer: To have a flexible, movable, semi-permanent display to use for VICOM, SMPTE, Playback 91 is something we can get a lot of use out of.

Duncan MacFarlane: I think we should be doing more advertising. We are putting an ad in Playback to announce the CSC Award winners. Maybe someone can write out a press release that we can send out after the Awards.

Ken Post: There is one thing I want to say regarding promotion. It's fine if it doesn't cost too much. If we have good stories and pictures and ifthey are timely and newsworthy, we can have them published for nothing.

Jim Mercer: WithPlayback91, they are going to need us. Now is the opportune moment. I am 'working with Terry Cribbey at Precision Camera on that show.

Other items of new business discussed included t-shirts and sweat shirts, newsletter cover design and recycled paper.

Joan Hutton, Ken Post and Duncan MacFarlane will meet with a graphics designer to look into options for designing a logo for sweat shirts and t-shirts. It was also suggested that this logo be used on the cover of the Newsletter. Ideas from the membership would be welcomed.

As the environment is going to be a very critical issue in the 1990s, Wang Chow suggested that the newsletter be printed on recycled paper. Having previously spoken with Tom Ferguson of Minuteman Press, who assured Wang that the quality of both the text and pictures would remain the same, it was decided to print the next issue on recycled paper.

Ken Post: I think Wang has done an excellent job with respect to stories about iOOi.viduals and we should encourage him.

If people have a gift for writing, they should be aware that this publication is open for their submissions. Wang has come on very well in"what he does and deserves credit Bob Docking: Is there anything else?

The other thing I want to bring up is the election of the CSC executives. I have no word of any nominations for any position. Since everyone on the present executive is willing to serve, there is no official election. Therefore, all the present executives ·are in by acclamation. I declare the new executive in place for next year.

Ken Post: The present executive is doing a terrific job, very thorough and supportive. The concern about stability I had in the past is now gone. I am very grateful to see this.

Jim Mercer: Perhaps the CSC executive who are full members can meet back here after lunch. We can go over a preliminary list of those membership who should be given full membership.

Jim Aquila: I have a question about sponsorship. If we know of a potential sponsor, should we approach this company or person or should we get in touch with someone in the executive?

Joan Hutton: I don't think it's a good idea for an individual to approach a prospective sponsor because that individual might not have all the information and we can lose that sponsor. I think there should be one person in the Society who should look after that Ken Post: In terms of seeking sponsors, at my age, I can go anywhere and do damn well anything and not get into trouble. This is one area where I can concentrate on.

Duncan MacFarlane: Please get in touch with Ken Post if you have people interested in sponsoring the esc.

With no further new business to discuss, Bob Bocking adjourned the meeting.

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Bob Docking: I'll have that meeting at my place in the first couple of weeks in June. · 14

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MAY1990

ARRI 535 CAMERA SYSTEM

On Wednesday, May 23 rd, Arril Nagra presented the Canadian premiere ofthe newArriflex535. For members who were unable to attend, the following has been extracted from Joe Sunday's presentation.

First and foremost, we believe that a modem principal camera must allow the director of photography a freely interpretational point of view. This belief abandons any concept of a camera that is limited by a viewfinder rigidly positioned on the left side. Our Arriflex 16SR did away with this limitation in 1974.

A new 35mm camera used mainly for dramatic production certainly should have no less.

The 535's finder permits viewing from virtually any position and from either side of the camera. It rotates on three axes and is fully compensated with the image remaining correct side-to-side, and right-side up.

Today's high-speed lenses, together with fast film stocks, can record images under lighting levels barely bright enough to see in. Operators, working with a lense at T1.3 in a few foot candles of set light through a poorly matched old finder system, often have had to rely only on past experience and instinct to frame a shot. To remedy this, the 535 has the most generously dimensioned, extensively corrected, brightest viewfinder on any camera. The large exit pupil makes offCSCNEWS

axis viewing less critical, and a built-in 2-times magnifier doubles the normal 6.5-times eyepiece to 13-times for critical focusing.

Viewfinder displays, using LED's, allow the operator to monitor various camera functions, battery status and programmable film-end warning.

These displays may be switched on or off.

For low-light filming, the new design ArriGlow may be selected from eight standard markings, combined as desired and programmed for use; two separate ArriGlow programs may be stored directly in the camera for even greater flexibility.

The camera also includes comprehensive LCD displays on both sides of the camera, each with access to the same information, selectable with a simple mode button. Information is displayed in the following groups: - running speed (FPS) plus footage counter for current take, - actual shutter angle plus selected speed, - battery strength plus footage counter since reset, - timecode (HH:MM:SS:FF), and - time.code user bits.

Both LCD's also report on the performance of magazine, movement, and shutter functions.

Video monitoring with the 535 is a fully integrated systems concept, rather than an after-thought as in previ15

ous cameras. We believe that the potential of video assists has only begun to be realized, as it enters a phase of applications in post-production rather than simply on the set. For this to be possible, the video requirements have been included in the initial optical design, without compromising the operator's optical viewing.

Since no light-splitting ratio is ideal for all possible shooting conditions, the 535 has a built-in optical turret allowing the operator to select the best of three ratios for any given situation: 20/80, 50/50 or 100% to the video. The operator may then choose the optimal mix for both optical viewing and video viewing even under the most difficult low-light conditions or for remote or running shots.

Arri's proprietary flicker-compensated process is integrated into the 535 optical module, producing a video image with definite off-line post-production capabilities. The current CCD camera provides over 750 pixels of horizontal resolution without the well-known deficiencies of tube cameras. We acknowledge that Arri is not a manufacturer of video pickup tubes and chips, but rather a company that better understands the interface between film and video. Consequently, our design for the 535 video facilities has been made modular and adaptable, at minimal cost, to new advances in video devices. More importantly, we are committed to ensuring that the video assist component of our system does not

subject the fast-paced world of a film set to the annoying teclmical delays of video production.

The 535 includes an integral timecode generator allowing recording of SObit timecode exactly according to SMP'IE established standards RP-135 and RP136. The timecode is recorded between the picture frame and the perforations, making Ani timecode immediately compatible with Eastman Kodak's new KeyCode edge numbering system .. The design is flexible enough to accommodate all foreseeable applications of timecode in the future.

The 535 has the most advanced programmable variable shutter design now available to the industry. Without any add-on accessories, both the shutter angle and the frame rate may be preselected and activated. Both features are controlled by reliable, redundant microprocessor circuitry. The mirror shutter opening may be adjusted continuously from 11 to 180 degrees at any camera speed. The 535 microprocessor also permits simultaneous frame rate/shutter angle effects for expanded creative latitude, such as programmed speed changes with precise exposure compensation.

The Aniflex multi-link film transport is a breakthrough in mechanical design. With no rotating cams, channels or followers, the dynamic efficiency ,low mass and low wear result in an extremely precise, reliable and virtually servicefree film movement. Dual pin registration conforming to optical printer standards guarantees exceptional image steadiness. The movement has a limited, adjustable pitch control, and is easily removed for cleaning or substitution with a 3-perforation pull-down mechanism.

The new coaxial magazines simplify loading, since the feed and take-up sprockets are now located in the camera, and both upper and lower loops may be adjusted after threading inside the camera. Each magazine also includes tension-controlling motors, an LCD footage counter, a mechanical raw-stock, gauge, and push-button safety locks.

The universal aperture plate uses interchangeable format masks for all standard or special aspect ratios. This system offers many practical advantages over conventional apertures, an obvious one being the virtual elimination of frameline contamination. As well, it permits Ani to respond to client demand for a behindthe-lens gel slot, without compromising

our criteria for trouble-free shooting.

Finally, removing or exchanging apertures no longer means disturbing the highly critical flange focal setting of the camera.

The 535 features the established PL lens mount with relocatable optical centre, that can easily be converted to the Super-35 format, as an integral design component. The rigid mechanism connection between the lens mount and the film plane, a hallmarlc of Arriflex cameras, has been retained by choice. Image sharpness is guaranteed even when the camera is subjected to extreme conditions, rapid acceleration or unusual inclinations.

The camera is designed for 24VDC power to ensure reliability in all filming conditions especially with several accessories. Ani provides this power in two forms: a robust 24V-7AH battery block and a molded 24V-2AH on-board pack for hand-held filming. These may both be charged using the new 3.5-hour charger.

The new bridge plate system is centred on the camera's optical axis, and includes a reversible base for Super-35 filming. Thenewsupportrodshavebeen

I

t

doubled in strength for precise alignment of lens accessories. All rod-mounted accessories (such as the universal lens support) have a special quick-mount mechanism, so that any accessory or lens may be quickly changed without removing the matte box.

The new swing-away 6.6" x 6.6" matte box comes with four filter stages as basic, stages rotating in pairs, and with a geared stage in each pair for accurate control of graduated effects. Other stages may be easily added allowing more filter combinations with quicker changes. This system can accommodate ten filters without blinking its eyebrow.

The new follow-focus provides precise 2-speed operation from either camera left or camera right, including the prompt snap-on assembly and removal.

Electrooic control of the 535 may be performed directly from the camera itself using the standard Variable Speed Unit and Shutter Control Unit. Even greater flexibility is possible using the Remote Unit that combines frame rate, shutter angle and running program functions together in a simple palm-sized controller.

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trol is achieved using the separate Camera Control Unit, or CCU, one of the most innovative features of the 535. 'Ibis unit is neither essential nor obvious during routine operation, but it does permit the widest variety of creative options available to a cinematographer. We have taken this conscious separation of those functions which routinely serve the operator (as "on-board" features) and the multitude of functions possible through the microprocessor's programs. With the CCU, operational functions such as presetting aspect ratios for the ArriGlow, setting of timecode master clock data, or pre-programming of various shutter angle and speed combinations can be set during the assistant's checkout before shooting begins. All these pre-programmed functions may then be called up via on-board controls during operation.

The CCU also incorporates a full status-checking and diagnostic modes to allow qualified personnel detailed analysis of the camera's electrical system and sensors. This facilitates all levels of service, from trouble-shooting in the field to full component maintenance performed by trained technicians.

Ani's leadership in the microprocessor design permits the 535 electronics to be completely open-ended, so that the discovery of new techniques and applications may be easily incorporated through straight-forward software updates.

The system is flexible enough to adapt to whatever challenges the future brings.

As the 535 enters the Canadian market, we will conduct small-class courses at Arri/Nagra to acquaint cinematographers and assistants with its operation from the basics to the unleashing of your creative dreams.

The Arri design team has obviously spent many years bringing this new camera concept to reality. New technologies have been devised and perfected.

But the 535 development has never been restricted to technology. We have spent an unprecedented amount of time assessing the project based on input from the greatest experts we could consult - you, the professional cinematographer. The 535 is our response to your ideas, your suggestions and yourneeds. On behalf of the whole Arri family, I thank you for our open dialogue and your continuing support, as we finally enter the future of cinematography.

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PANTHER ARRIVES IN CANADA

Before I begin this month's column, I would like to make a few corrections from the last issue. Mark Willis called to tell me that Brian Gedge did not operate oo the pick-up days on "Black Pearl", but rather he rented his camera truck to the production. For the feature, "Entry in a Diary", we used the 5245 Kodak film stock for exteriors, not interiors (I'm sure most people figured that one out!). I should know, I threaded the camera!

"Hitchhiker" will start up again in July. The DOP has not been confirmed yet Atlantis has a couple of shoots on the go, "Sound of Silence" to shoot in mid July in Nova Scotia and a pilot series "Maniac Mansion".

Dennis Chapman will be the PM for ''The World's Oldest Bridesmaid" (somehow I knew it would be a low budget production). I don't usually include phone numbers, but Dennis can be reached at 536-7931. "My Secret Identity" is also to start up again.

Most of us already know Peter Benison esc shot "Detective Spot", but Peter just finished another pilot series for Cody Allan Ruimy, called "Mystery Fare". The first episode is titled "Soul Searching". Cody called in the facts while editing at PFA. Colin Hoult assisted DOP Moe Belli on a docu-drama "My Happy Days in Hell" on Hungarian poet Falody directed by David Harel. They shot in Toronto at Wallace Studios on 16mm' and locations in Hungary will be shot on betacam.

Old soldiers never die. They just take a long time to fade away. For the second year in a row, Ken Post esc, photographer in the RCAF during WWII takes on nine candidates, all photographers from the Canadian armed forces.

From right across the country, chosen participants make the trek to Humber College to study camera and light under "Kenny baby".

John Westerlaken and Renald Trudel of Pandora Motion Picture have brought the first Panther dollies into Canada, four years after they first met Panther representatives Erich Fitz and Florian Granderath.

After key gripping on "Prom Night" last November, John Westerlaken went to Los Angeles to attend a · training program for the Panther dolly.

Pandora Motion Picture in cooperation with Neil Mackenzie represent Panther's interest in Canada.

On April23rd, while working on "Entry in a Diary", John's dollies arrived in Canada. Richard Stringer esc and myself, Lori Longstaff, were the first camera team to ride the Panther dolly on its first day in Canada. (Of course we took a photograph for posterity).

The second Panther dolly is currently on "Effects II" for ten weeks.

The DOP, Vic Kemper, specifically requested the Panther dolly. Rene Ohashi esc is going to shoot a rock video that requires a 360 degree dolly shot. I'm sure

Rene will find the Panther is well suited for that job.

Panther has spent a lot of time designing and researching the special technical needs of OOPs, grips and producers. Panther is so technically advanced, their pieces of machinery have a use for just about any situation. Panther has six pages of accessories, four different seat risers, extensions, two types of seats. The accessories are so vast they even eliminate the need for grips to cut pieces of plywood (which is time-consuming and a little wasteful).

The Panther dolly is very stable, creating smooth dolly moves. The centerboom lets you do a full 360 degrees around the dolly, so you can actually walk around it. It's a modular dolly that allows for many configurations and runs off either 110 volt system or battery power. You get 200 lifts (cranes up) out of one battery. The centerboom/column has four gas shocks, a free floating system.

Currently in development is a 12 volt and 24 volt splitter cable that will connect to the camera so the batteries will

Clairmont Camera is on the· Lot at North Shore Studios.

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MAY1990

power the camera and the dolly at the same time. This is great since it eliminates possible tangles of camera cables.

Another benefit is the operator always rides the same height as the lens, eliminating the need for an extension eyepiece.

The Panther has a handgrip which enables the key grip to program five moves. You program it, then store it.

Panther drive system is quite simple.

The computer is a completely sealed unit and is a separate unit which is modular in itself. There are only four other wires running to the column (so it is not a wiring nightmare!). If any problems occur, there is a complete backup system sitting in the truck. The change over to the replacement system is faster than changing the electronic board in a Panaflex camera.

It's easy enough to see why John is attracted to the Panther dolly. John and his peers are always involved in special grip rigging. John has spent years researching various ideas for a car rig and re has come to the conclusioo that "camera can go anywhere". John has designed special car and motorcycle mounts. He says he can put a camera anywhere on a motorcycle. They used these special rigs last year when Perry Hoffman was shooting motorbike races.

AI Kiley from "Canada Camera Car" and John Westerlakenhaveputtheir ideas together. They are developing the "Hi-Hat" dolly that requires leveling designed to be used on small film sets.

Another one of their inventions is the "headlight dimmer system". Instead of using cut-gels on the headlights the dimmer connects in line with the car's electrical system. The lights can be turned on by remote or by the car's ignition. In this manner, to achieve the desired level of brightness, you need only set the dimmer.

Pandora is having a special release show for the Panther dolly on June 22nd at Showline Studios, 915 Lakeshore Blvd. at 6:00pm. This will be a great opportunity for camera people to test the Panther dolly. For further information, call John (565-1631), Renald (536-3864) or Linda (531-4299).

See you there!

LORI LONGSTAFF

CSCNEWS

John Westerlaken and Lori Longstaff on set of "Entry in a Diary"

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BULLETIN BOARD UPCOMING EVENTS

FOR SALE

June 11: Meeting at Film House, 424 Adelaide Street West at 7:30. Screening films from awards. (see page 2 for schedule)

Sony CA-3 Camera Adaptor (as new) $ 2,000 Sony VA1-V Recorder Adaptor (as new)$ 2,000 'Kangaroo' Case for Sony VAl-V and Recorder (as new, to be sold with or after VAl-Vis sold)$ 125 Arri 'Hard Shell' Case for 4 Arri Bluebells (good condition, new cost $500) $300 Arri1000W Bluebells (2) (as new, will sell stands with lights if you need) $325 each Old, Black lanlro Lighting Case (with lots of room for 4 redheads, stands, etc.) $ 75 Matthews Grip Stands (2) (with sliding leg) $ 125 each Non-Matthews (Ampro) Grip Arms (2) (complete)$ 65 each Precision Camera 'Light Beam' (new, with case)$ 2,000 Call Jim Aquila (416) 545-4773 (Hamilton); (416) 346-5786 (Toronto)

June 24th: Meeting at PFA, 111 Peter Street, 9th Floor at 7:30. Screening films from awards.

June 2, 3, 9, 10, 16 & 17: The owners of Chutney & Various, the film and tv prop house, are retiring ... and selling their stock which includes antiques, memorabilia, collectibles, housewares, works of art, etc ... 18 Busy Street. 463-5975

CBC has opened its doors to independent Canadian filmmakers with the Witness series of three point-ofview documentaries. "A Rustling of Leaves: Inside the Philippine Revolution" (DOP Kirk Tougas) airs on June 5th; "Albanian Journey" (DOP Joan Hutton) on June 12th; and "The World is Watching" (DOP Dan Holmberg) on June 19th.

35mm Arri IIC with pileton generator, matte box with 5 power cables, constant speed motor, variable speed motor with forward and reverse switch, 3 -400 ft. mags, 200 ft. mag, 28 mm Xenon lense, 40 mm Xenon lens, 75 mm Xenon lens.

Additional lenses: 18 mm Cinegon lense with filter ring #85; 90 mm Mikro Kilar lens with #85 lens, Angenieux zoom lens 25-200mm , zoom lense motor with cables. Arri 35 camera case, case for lenses, PS universal camera case. Zoom lens supposed with bayonett mount and large sunshade. -Camera also supplied with bayonett mount.

Call Josef Seckeresh esc (416) 651-9032.

Colortran 1K lights, multi 10 and multi broad and vari 1O's. Mint condition $240 each. Call Vaughan Killin at 622-4041 .

EXCLUSIVE! For CSC members only!

Personal Luggage Tags Send business cards (enough for the number of tags that you would like) or print out you name and address as you would like it to appear on the tag. Tags at $1.25 each plus postage and handling (1-5 tags=$2.00, 5-10 tags=$4.00).

Please make cheque payable to the CSC, P.O. Box 421, Unionville, Ontario L3R 5V1

Angenieux 10-150 with chrosziel fluid zoom Angenieux 9.5-57 with chrosziel fluid zoom 9' movie screen. Call Philip Earnshaw 1-416-536-5241 Arri S 16mm with time lapse accessories, Zeiss 10-1 zoom, 400ft. mag. Hycam K1004E Hispeed Best offer. Call Michael Pankow at 1-613-836-3003.

res co

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Aaton 7LTR 16mm motion picture camera, excellent condition with two 400 ft. magazines, 3 batteries, charger, handgrip, universal viewfinder with super 16mm capability, case and filters; Angenieux 9.5-57mm zoom; Angenieux 12-120mm zoom. Asking $23,500.

Also for sale, Sachtler tripod, steel legs, 7+7 fluid head, case, as new $3,500. Would consider trading above Aaton package for Arri ill package. Contact Jonathon Kay at 1-604731-6620 or 1-604-731-6684 (fax).

WANTED

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Mitchell35 NC or GC; tripod; 400 ft. mag for Bolex; side motor for Bolex; battery and charger. Call Ali at (416) 493-3~40.