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A PUBLIC ATION OF THE C ANADIAN SOCIET Y OF CINEMATOGRAPHERS
Canadian Publications Mail
Product Sales Agreement No. 478423
April 2005
Volume 24, No. 8
Yuri Yakubiw csc
The Visual Drama
of Sue Thomas: F.B.Eye
ALSO CSC AWARDS: Winners and Nominees
IN GENIE AWARDS: And the Winner is…
FRAMES: Fujifilm Launches ETERNA500
THIS FILM
PRESIDENT'S REPORT: Glitter and Grit
ISSUE NEWS CLIPS: Hands-On Vancouver
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Volume 24, No. 8
April 2005
The Canadian Society of Cinematographers was
founded in 1957 by a group of Toronto, Montreal
and Ottawa cameramen. Since then over 800
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.
We facilitate the dissemination and exchange
of technical information, and endeavor to advance
the knowledge and status of our members within the
industry. As an organization dedicated to furthering
technical assistance, we maintain contact with nonpartisan groups in our industry, but have no political
or union affiliation.
CSC EXECUTIVE
President: Joan Hutton csc
Vice-President: Richard Stringer csc
Treasurer: Joseph Sunday phd
Secretary: Antonin Lhotsky
Membership: Philip Earnshaw csc
Publicity: Robert Brooks csc
Education: Ernie Kestler
Membership inquiries: 416-266-0591
CORPORATE SPONSORS
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Contents
2 - President’s Report
- Glitter and Grit
14-
Cover Story
Yuri and Sue
6 - CSC Awards
- Winners and Nominees
8 - Film Frames
- ETERNA500 Launched
12 - Genie Awards
- Paul Sarossy csc bsc Wins
8
16 - News Clips
- Hands-On Vancouver
20 - Action Production Notes
- CSC Calendar
16
CSC OFFICE
Canadian Society of Cinematographers
Administrator: Susan Saranchuk
3007 Kingston Road Suite 131
Toronto, Ontario M1M 1P1
Tel 416-266-0591 Fax 416-266-3996
email: [email protected]
Editor: Donald Angus (416) 699-9149
email: [email protected]
Editor-in-Chief: Joan Hutton csc
CSC NEWS is a publication of the Canadian Society of
Cinematographers. CSC NEWS is printed in Toronto and
is published ten times a year. Subscriptions are
available for $75.00 per year in Canada and
$95.00 per year outside the country. Canadian
Publications Mail Product Sales Agreement No. 478423.
4
Visit: www.csc.ca
Cover Photo: The cast of Sue Thomas:
F.B.Eye -- In back: Bobby (Rick Peters), Tara
(Tara Samuel). In front: Dimitrius (Marc
Gomes), Sue Thomas (Deanne Bray), Jack
(Yannick Bisson), and Myles (Ted Atherton).
Photo courtesy of CTV.
president’s report
Joan Hutton csc
CSC Awards:
Glitter and Grit
I
f the glittering CSC Awards Gala this
month were the only indication, I'd
have to say that the state of the
Canadian film and television industry
was in fine shape. We know that's not
quite true - yet - but there are strong signs
of recovery; with the help of increased
tax credits from several provincial governments, committed productions are on
the rise. As the days of spring grow longer
and warmer, so do the prospects for an
eventual return to sound filmmaking
health.
What has impressed me most
through all of the industry recession
over the past three or four years is the
positive determination, the hang-inthere grit, of my fellow filmmakers. There
have been regrettable casualties as belts
have been tightened, budgets squeezed
and some corporate operations consolidated. There have been long dry spells for
most cinematographers, who have had
to be as resourceful as they usually are
creative. It has not been easy.
The CSC Awards celebration, however, perhaps more this year than at any
other time I can remember, reflected the
lustre of a hardy profession that may be
bruised but not broken. The quality of
the entries in our 11 competitive categories spoke volumes - business may be
down but the talent behind the camera is
alive and well. Our congratulations to all
the winners and nominees for achieving
a standard of excellence that is on a par
with not only the best of the past but also
with the best of the world.
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2 • CSC News
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April 2005
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In a very real way, the 2005 Awards
were an island of reassurance in a sea of
uncertainty. Some pennies were pinched,
some frills were trimmed, but Awards
Chair Susan Saranchuk pulled another
rabbit out of her hat, and even the pickiest of scrutineers could find nothing less
than class and distinction in the annual
event. We are proud that many in the
industry think the CSC Awards is the best
ticket in town and across the country. It
is small wonder that Susan was chosen
unanimously by the CSC executive for
this year's Fuji Award, presented in recognition of outstanding service to the
Society. As Executive Director, Susan is
our Wonder Woman all year round.
Thanks, Susan, and congratulations.
Susan's magic notwithstanding, we
recognize that the Awards Gala would
not fly without the generous support of
corporate sponsors who, despite budget
cuts, managed to find enough money to
keep us airborne. (No Jetsgo pun intended.) We are grateful not only for the
donations, but also for the gracious spirit
in which they were given. There is an
understanding in our close-knit world
that the annual honours bestowed on
cinematographers reflect a positive light
on all the many and diverse people who
helped create the images.
There are many others to thank for
this year's Awards Gala: administrative
assistant Karen Longland, jury co-chairs
Jim Mercer csc and John Hodgson, the
several jurors, the executive, writer Don
Angus, and our volunteers. There is one
name missing, a friend and colleague
who, for as long as I or anyone can
remember, has been a vital part of the
behind-the-scenes Awards operations.
Bob Brooks csc passed away on Feb. 4,
leaving a huge tear in the fabric of our
Society that will heal only in the fullness
of time and by adhering to the principles
of honesty, integrity and professionalism
that he stood for.
It was with great pleasure that I
announced at this year's Awards that,
beginning in 2006, the CSC honour for
best documentary would henceforth be
called the Robert Brooks Award for
Documentary Cinematography. As with
the Fritz Spiess Award for Commercial
Cinematography, the Roy Tash and Stan
Clinton news awards and the Bill Hilson
Award, this is as it should be. We honour
the memory of our heroes. •
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cover story
Yuri Yakubiw csc
Visualizing the Silent
World of Sue Thomas: F.B.Eye
Photo: CTV
W
The real Sue Thomas (left, with hearing dog,
Amazing Grace) is portrayed by deaf actress
Deanne Bray (right, with actor dog, Jesse).
DOP Yuri Yakubiw csc on the
set of Sue Thomas: F.B.Eye.
4 • CSC News
/
April 2005
hen, as a teenager, Yuri Yakubiw csc told his parents he wanted to be a cinematographer, they were supportive, but concerned. His Ukrainian dad and
Greek mom, both working-class, first-generation Canadians, nudged him
towards a trade. Surely carpentry or plumbing would provide a more stable living than
filmmaking, of all things.
But still, not wanting to squelch their son's ambitions, they pointed him towards
someone who knew the business. Even then, Yakubiw didn't get much encouragement.
“My mom was a house cleaner and cleaned house for a couple of soundtrack musicians,
so I went to talk to one of them. He told me, 'It's hugely competitive. Be prepared for
a big fight (to get established),'” Yakubiw said.
Early in his career, Yakubiw discovered the man hadn't been lying to him. “I used
to jog every day and I would actually repeatedly say to myself in a mantra-esque fashion, 'Some day I will be a cinematographer.' And I started to think that today's cinematographers have to retire some day and they are going to have to be replaced. Why
can't it be me?” His dad, still concerned, commented,
By Solange De Santis
“'You gave it your best shot. Maybe you should go for
a trade.'”
Today, Yakubiw, 46, is a well-established DOP who this past winter wrapped the
third and final season of the CTV/PAX-TV show Sue Thomas: F.B.Eye, shot in Sony
high-definition (HD) digital video - a format with drawbacks as well as rewards, he
feels. Produced by Toronto's Pebblehut Productions, the show is based on the life
of a real person named Sue Thomas, who is deaf and works with the F.B.I., reading
lips of suspects caught on surveillance cameras and in other situations where sound
isn't available.
The show features deaf actress and teacher Deanne Bray, who says on her web site,
that the series “focuses on what the deaf individual CAN do, rather than cannot do.”
Among Bray's co-stars is an actor dog that plays Thomas's hearing dog.
Set in Washington, D.C., Sue Thomas shoots main interior sets at Cinespace in
Toronto and exteriors at various Toronto locations disguised to resemble the American
capital. The series is created by Dave Alan Johnson and Gary R. Johnson, creators of
Doc. Marilyn Stonehouse produces for Pebblehut. The series portrays Thomas in her
journey from a college graduate to an F.B.I. fingerprint analyst, whose talent for reading lips is discovered by F.B.I. agent Jack Hudson. Jack quickly enlists her to join the
bureau's elite surveillance team, and action ensues.
Broadcast in Canada on CTV, U.S. distribution is on PAX-TV, a network of 60 broadcast television stations which reaches about 95 million homes, or 87 per cent of primetime television households, in the U.S.
Yakubiw has a somewhat jaundiced view of the HD format. It doesn't work for
every kind of show, he believes. “Earth: Final Conflict (a science-fiction television series
Yakubiw also worked on) started the ball rolling with HD in Toronto. For a studio
show, with special effects, it's great. You're already in a digital domain. A lot of shows
with special effects that are shot on film are dumped to digital for the effects then back
to film,” he commented.
On Sue Thomas, he said, he sometimes feels constrained. The series is shot on
several locations and the cameras are tethered by 50 to 75 feet of cable to a 4' x 2'
black box called the “coffin,” he said. Since Yakubiw often went into the coffin,
shrouded by a black drape in order to view the video monitor it contains, the crew
dubbed it his “burka” (after the head-to-toe garment devout Muslim women wear)
“because of my limited view of the world while in there.”
He said that “you can't be spontaneous enough” with the HD system they were
using on Sue Thomas. “When we were shooting downtown, if I were shooting
16mm, I could have just grabbed the camera and gone across the street. But with
HD, you have to re-cable, lay the cable mats down - a good 15 to 20 minutes could
go by as opposed to five to 10 minutes with film. On an average day on a location
Since Yuri Yakubiw csc often went into the "coffin,"
shrouded by a black drape in order to view the HD
video monitor, the crew dubbed it his “burka.”
shoot, I estimate an hour a day was lost to cabling and re-cabling,” he said.
“There are other (HD) configurations available to shoot with that could eliminate the spontaneity problem, but they could introduce other issues or problems
such as the inability to see your exposure or focus.”
HD, he feels, can replace 16mm film, but not 35mm, and there are some characteristics a DOP needs to keep in mind when shooting in HD. “Because it's so sensitive, it seemed like I couldn't set a proper exposure unless I saw my picture. With
16mm, you know your film stock and you know the latitude. HD is not as forgiving as film, so you need to be sure of your overexposure range,” he noted.
He also estimated that shooting in HD uses much more tape than shooting on
film uses film. On film, the ratio of film shot to film used in the finished product is
about 10 or 15 to 1. On a video shoot, directors often don't bother to stop shooting
when making changes or giving instructions to the cast, because, as is often heard,
“tape is cheap,” so the camera keeps rolling. Yakubiw said the ratio of tape shot to
tape used is 120: to 150:1.
HD does have some advantages, he said. “I see the most pristine image on my
monitor. I can make instant decisions on my exposure and my lighting because I
see exactly how the picture is going to look. On film, you must know your film
stock. With HD, what you see is what you get,” he said.
The video system also allows him to do some colour correction on the spot. “I
also created my own setting for a surveillance camera - grainy, desaturated - so you
don't need to do that in post-production,” he noted. Still, he feels Sue Thomas would
have been better suited to 16mm.
The show's crew this season was a bit unusual in that it contained three CSC full
members. In addition to Yakubiw, J.P. Locherer csc and Russ Goozee csc were camera operators.
Speaking with CSC News between jobs in mid-February, Yakubiw was rediscovering an early interest in still photography. “It's the complete opposite of being on
set. I photograph people for a living. To go out first thing in the morning into the
country when it's quiet is just beautiful,” said Yakubiw, who lives in the rural area
of Caledon East, north and west of Toronto.
When he was six, Yakubiw was given a glass prism and found he was endlessly
fascinated by the way the glass bent light into colours. “That prism sits on my night
table now,” he said. At age 10, attending a Maple Leafs hockey game, he found himself watching a nearby TV cameraman more than the game. He trained in the cinematography program at Humber College in Toronto, started as a production assistant, then gained experience in the lighting and electrical departments.
Over the last 15 years, he's been a DOP on national commercials, music videos,
feature films such as More To Love and The Defectors and TV shows such as The
Famous Jett Jackson and Doc. Cinematography, he said, “is an excellent way to
express yourself artistically and also be connected with technology.” And his father
doesn't much mention plumbing any more. •
Photo: CTV
'On film, you must know your film stock.
With HD, what you see is what you get'
Sue Thomas (Deanne Bray) and fellow F.B.I.
agent Jack Hudson (Yannick Bisson).
CSC News / April 2005 •
5
awards
2005 CSC Awards
Winners, Nominees and
Special Awards Honourees
H
ere, listed first and in bold type,
are the winners in competitive
categories at the CSC Awards
Celebration in Toronto on April 9, followed by other nominees in brackets:
Roy Tash Award
for Spot News
Kirk Neff, 401 Takedown,
CityTV/CityPulse News, Toronto
(Darin Saarela, Christmas Fire, CFCN
Television, Calgary; Alan Stephens,
Haiti Food Shortage, CTV Television)
Stan Clinton Award
for News Essay
Randy Maahs, Motorcycle Collector,
CJOH/CTV Ottawa
(Randy Maahs, Fly Fishing, CJOH/CTV
Ottawa; Yehoram Pirotsky, The Messiah,
Global Television)
Student
Daniel Grant, The Peculiar Case of
Dr. Alexa, Ryerson University
(Pavel Patriki, Anamnesis, York
University; Kiarash Sadigh, It Happened
to Us, Humber College Institute)
Music Video
Brad Rushing csc, Alsou Always on
My Mind, HSI
(Ray Dumas, Finger 11 One Thing, DSquared Picture Company; Ray Dumas,
Fembots Small Town Murder Scene, 235
Films)
Docudrama
Marc Gadoury csc, The Unsexing of
Emma Edmonds, Films Piché Ferrari
(Damir Chytil csc, Zero Hour: Massacre
at Columbine High, Cineflix Inc.3BM
UK; George A. Willis csc sasc, Ancient
Olympics: Let the Games Begin,
Cinenova Productions Inc.)
Documentary
Michael Jorgensen, Lost Nuke, Myth
Merchant Films
(Derek Rogers csc, Shipbreakers,
Storyline Entertainment; Chris Triffo
csc & Steven Allen, Escape from Iran:
6 • CSC News
/
April 2005
The Hollywood Option, Partners in
Motion)
Dramatic Short
Serge Desrosiers csc, Le Pont,
Metafilms
(Bruno Philip csc, Summer Chill, Viking
Films; Derek Rogers csc, Porcelain Pussy,
Canadian Film Centre)
Fritz Spiess Commercial
Dylan Macleod csc, Advil Turn Off
the Lights, Spy Films
(James Gardner csc sasc, Dairy Farmers
of Canada Skaters, The Directors Film
Company Ltd.; Pierre Gill csc,
McDonald's Alexandre Despatie,
Jet Films)
TV Drama
Steve Danyluk csc, Earthsea, Sea
Earth Productions/Hallmark Pictures
(Norayr Kasper csc, Nancy Eaton Deadly Friends, Voice Pictures Inc.;
André Pienaar csc sasc, The Winning
Season, TNT/Rosemount Productions
International; Ron Stannett csc,
Evel Knievel, Jaffe Braunstein Films Ltd.)
TV Series
Glen Winter csc, Smallville
“Memoria”, Smallville 3 Films Inc.
(Kamal Derkaoui csc, Robson Arms
“Aftershock”, Omni Films Productions
Ltd./Creative Atlantic Communications
Ltd.; Alwyn J. Kumst csc, Mutant X
“Cirque des Merveilles”, Mutant X
Productions)
Theatrical Feature
Paul Sarossy csc bsc, Head in the
Clouds, Remstar
(Bernard Couture csc, Le Dernier tunnel,
Bloom Film/Christal Films;
Rene Ohashi csc asc,
Highwaymen, New Line
Cinema/Millenium Films/Cornice
Entertainment)
Special Honourees
Bill Hilson Award
Stan Ford
Outstanding service contributing to
the development of the motion picture
industry in Canada
Fuji Award
Susan Saranchuk
Outstanding service to the Canadian
Society of Cinematographers
Kodak New Century Award
Harry Makin csc
Outstanding contribution to the art of
cinematography •
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Toronto-Montreal-Vancouver
Fujifilm Launches ETERNA500 Colour Negative
High-Speed Film Boasts Versatility and Dramatic Improvement in Performance
W
ith a three-city kickoff in
late February and early
March, Fuji Photo Film
Canada launched Fujifilm's new
motion picture colour negative film,
ETERNA500. Braving a late winter
snowstorm, about 110 cinematographers and other film professionals
turned out at the Paramount Theatre
in downtown Toronto on Feb. 28.
Attendance in Montreal numbered 63
at Cinémathèque Québéçoise on
March 1, and 54 showed up in
Vancouver at the Chan Centre for the
Performing Arts, University of British
Columbia, on March 3.
Presentations in all three cities
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manager for motion picture based in
Hollywood. Account representative
Stephanie Fagan assisted in Toronto.
The show included a technical
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• 16/35mm colour
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Audio and Video quotes available
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Deluxe | Sound & Picture
C O N TA C T :
Ed Higginson:
Al Lindsay:
Tel:
Fax:
[email protected]
[email protected]
(416) 461-8090
(416) 461-0768
Toll free: 1-888-822-2505
183 Carlaw Avenue • Toronto, Ontario • M4M 2S1
8 • CSC News
/
April 2005
power point presentation by Mimaki
and a screening of a clever short film
by British director Marcus Dillistone to
demonstrate the low-grain versatility
of ETERNA500 in bright sunlight, lowlight interiors and night exteriors.
Dillistone, director of the 2000 documentary Sir John Mills' Moving
Memories, created a story around a
mysterious black woman known only
as The Shadow who seeks out light
pollution in various forms and
destroys it.
In one scene of the film, shot in
and around Pinewood Studios in
London, The Shadow blacks out a
neon-lit nightclub by pulling the fuses
one by one. In another, she kicks out
the headlamp of the leader of a motorcycle gang. Even venerated actor Sir
John Mills, now 97, gets into the act,
playing a bum under a blanket of
newspapers who is awakened when
someone drops a lighted flashlight (or
electric torch) on his chest. That scene
was shot by the equally renowned Jack
Cardiff bsc (The African Queen), himself
90, one of four ranking cinematographers who each shot a sequence of the
test drama.
His colleagues were Toronto-based
Ron Stannett csc (Evel Knievel), Phedon
Papamichael asc (Sideways), and
British DOP Sue Gibson (Hear My
Song). Stannett (see CSC News,
February/2005) shot the introductory
daytime exterior of the demonstration
film.
“The daytime shoot at 500 ASA was
a challenge,” he said, “but the ETERNA500 handled the contrast and the
highlights very well. Normally you'd
Among those who attended the Toronto launch of ETERNA500 were (from
left) Cathy Cultraro, Samantha Esteves, Colin Davis, all of Technicolor,
Arthur Cooper csc, and Helen Baik, also of Technicolor.
Photo: Don Angus
Launching the Fujifilm ETERNA500 film stock in
Toronto on Feb. 28 were (from left) Mike Mimaki,
technical manager for motion picture based in
Hollywood, Toronto account representative Stephanie
Fagan, and Graeme Parcher, Canadian sales director
of motion picture products.
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ETERNA500. •
Photo: Don Angus
speed film, ETERNA500 offers granularity similar to that of E.I.250 films
and provides a dramatically finer grain
and better colour reproducibility than
existing E.I. 500 films. This means that
the quality of your image in ensured,
even in dark areas.”
The features of Fujifilm's ETERNA500 offer the following benefits for
cinematographers:
Superb image quality is ensured,
even in dark areas, because the grain
of ETERNA500 was advanced to a level
similar to that of E.I.250 films;
ETERNA500 ensures a stable grey
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ETERNA500 consistently reproduces excellent skin tones by embodying a balanced interlayer effect in each
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Photo: Don Angus
select a 200 or something. It was such
a bright, sunny day that I had to stack
a lot of ND (neutral density) on to the
camera. It was all sort of backlit, which
was great, and I just split the difference between my highlights and my
front light and did a balance that way,
favouring the front light as being a little bit under.
“I wanted to see what the stock
would do by itself, and it did very well.
The highlights held, the balance was
nice. We ran into a bit of a situation
where we were starting to lose a bit of
the light under a big tree, but I thought,
'You know, it'll be a test. This is what it
is.' And it wasn't too bad at all.”
The new ETERNA500 stock offers
improved grain and consistent grey
balance over a broad range of exposures in a high-speed film, resulting in
improved image quality, said Kelly
Pulford, senior director, magnetics and
motion picture at Fuji Photo Film
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ETERNA500 also incorporates new
technologies that have previously been
unavailable in motion picture colour
negative film, including Super NanoStructured S Grain technology, SuperEfficient DIR-Coupler technology and
Super-Efficient Coupler technology.
“Since film versatility is extremely
important to both traditional and digital post applications, we designed
ETERNA500 - a high-speed film with
improved grain, consistent grey balance over a broad range of exposures
and stable reproduction of skin tones,”
Pulford said. “While it is an ultra-high-
Forming an all-star camera department, (from left) Brad Hruboska, Cudah
Andarawewa, Jasper Vrakking, Rick Kearney and John Holosko csc liked
what they saw at the Toronto launch of Fujifilm's ETERNA500.
CSC News / April 2005 •
9
awards
Paul Sarossy Takes Home 2005
Genie Award for Head in the Clouds
P
aul Sarossy csc bsc has his Head in the
Clouds these days. The acclaimed director
of photography won the 2005 Genie
Award for achievement in cinematography on
March 21, and less than three weeks later the
same movie gained him the CSC Award for best
theatrical feature cinematography. It was his
third doubleheader; he won both the Genie and
CSC awards for the Atom Egoyan films Exotica
and The Sweet Hereafter.
Head in the Clouds, a Remstar Corp. production starring Charlize Theron, Penelope Cruz and
Stuart Townsend, was written and directed by
John Duigan. It also won Genies for editing, original score and costume design, the only film to
capture four awards.
Also nominated for cinematography were
Louis de Ernsted csc for Nouvelle-France, Bernard
Couture csc for Le Dernier tunnel / The Last Tunnel,
Pierre Mignot for Ma vie en cinémascope and
André Turpin for Childstar.
Best picture at the 25th annual Genie Awards,
presented by the Academy of Canadian Cinema
and Television, was Les Triplettes de Belleville / The
Triplets Of Belleville, the first animated feature to
earn the honour. Runners-up were Being Julia,
Love, Sex and Eating the Bones, Ma vie en cinémascope, and Mémoires affectives.
Pascale Bussières took the Genie as best actress
in a leading role for her performance in Ma vie en
cinémascope, and Roy Dupuis won best actor in a
leading role for Mémoires affectives.
For performance by an actress in a supporting
role, the Genie went to Jennifer Jason Leigh in
Childstar, and to Jean Lapointe for best actor in a
supporting role in Le Dernier tunnel.
Francis Leclerc (Mémoires affectives) took home
the Genie for achievement in direction. •
CAMERA CLASSIFIEDS
FOR SALE: Back-mount Steadicam vest for sale.
Swiss-made ACTIONCAM: Fully size adjustable no fitting required; reversible and height
adjustable arm mounting bracket; tool-less
adjustable socket-block (Steadicam); lightweight
(8 lbs.); mounts and dismounts quickly with two
ratcheting buckles; 9 months old - used less than
a dozen shooting days (excellent condition).
Allows for easier weight distribution - you can
put all the rig weight on your hips, for example. I
found it much easier to breathe and move than
with my IIIa vest. Also makes “push-away”
moves much easier to hold than with a standard
vest. Can also be rigged for “body-cam” actormount applications. C$3500. Contact Ian Kerr
604-307-4198, [email protected]
FOR SALE: Arri 35/Super35 35BL Evolution camera package. Original camera before the Evolution
upgrade was a BL4 with a BL3 finder. Camera is
easily switched to regular 35mm from super
35mm in just minutes. Package includes Evolution
optics, extension eyepiece, super wide angle eyepiece, video tap with Sony XC-999 camera,
4x1000' mags, 2x400' mags, Media Logic
Digitach, base and bridgeplate and many other
extras. Also included is a Steadycam low mode
bracket for use with the 35Evolution system. All
items come in heavy-duty Clydesdale cases. The
camera is in excellent working order. It has been
privately owned since new and has been serviced
regularly by Arri Canada. Asking price is $45,000.
Details on the Evolution system are available at
www.pstechnik.de/ Questions or requests for
photos can be sent to [email protected]
or (416) 604-4696.
FOR SALE: A limited number of surplus Red Eye
adapters are available to clear: 10 units of the .7x
- 82 mm Red Eye aspheric wide-angle adapter,
and 4 units of the .7x - 72 mm Red Eye aspheric
adapter. Contact Rene J. Collins for details:
[email protected]
FOR RENT: Pied-a-Terre in Los Angeles: Several
of us 'out-of-towners' share a West Hollywood
apartment and are looking for another partner.
Quiet building with balcony facing sunny courtyard pool and hot tub. Furnished, fireplace,
secure parking, phone , fax machine, voice mail,
cable TV, DSL internet . . . all ready to go at $460
US/mo. We use it as a drop-in centre while on
business in LA. One-year lease starting April 1,
2005. Call Peter 416-698-4482 or e-mail
[email protected]
FOR SALE: Nikon Super Zoom system for
Betacam - you can fill the frame with the moon
or pan within a postage stamp, $4,000; BVW25
Betacam record playback deck with Telcom
time code display, Pelican and soft cases, and
110v power supply $2,000; Contact Jim Mercer,
416-930-3485 or [email protected]
FOR SALE: Used equipment. Arri SR package,
w/10-100 Zeiss, w/Arri Shade & Accs, 2 mags &
case,15,000; Arri “S” package, VS motor, primes,
cable, battery, 2,500; Panasonic DVX 100P DV
Camera, w/standard accs., 3,400; Ang. 12-240,
12-120 Arri “B” mount, call for price;Ang. 5.9mm
(Arri S), Ang. 10-150 (Éclair), Ang. 12-120 (CP), call
for price; Century lenses, 25-250 zoom, 500mm w/
2X, 230mm, 300mm, call for price; Bolex packages, Rex 3's, Rex 5's, EBM's, other Crystal
motors, call for price; Filters and more used gear:
Check our web site www.llsr.com; Phone: (604)
298-3224 Fax: (604) 298-2023; Looking for used
film or video, email [email protected]
FOR SALE: From Leather Design Tech, the Hot
Fleece Dickey for film crews, construction workers, outdoor sports enthusiasts, children and the
elderly. This soft fleece neck warmer comes with
a hot pack for only $23. Be warm while its cold
outside! The Hot Fleece Dickey keeps your back
muscles warm and helps reduce stress. And, for
$12 you can have a small leather tissue holder
that velcros inside your car. Call to order: Lori 416452-9247, 905-895-3807,[email protected]. Web
site: www.leatherdesigntech.ca
Camera Classifieds is a FREE service to CSC members. If you have items
you’d like to buy or sell, please e-mail your list to [email protected]
12 • CSC News
/
April 2005
© Kodak Canada Inc., 2005. The Genie Award statuette was designed by Sorel Etrog.
The 25th annual
Genie Award
winner for
Achievement in
Cinematography
A proud sponsor of the Genie Awards
They’re Light Years Ahead Of
The Competition. And For Many
Important Reasons...
Convenient 120v AC Power!
Ever y now and then we like
to remind cinematographers,
directors and producers
about the advantages of using
Clairmont strobes. For
capturing dynamic action
shots, highlighting motion
and working with food...our
exclusive compact design,
cool strobes are the answer.
Proven Time After Time
But don’t just take our word for it. Noted
Director of Photography Gary Manske says, “I
have used Clairmont strobes on dozens of
commercials in a variety of ways. This has
included capturing extreme action in toy spots,
to enhancing the beauty of liquid on food shots.
I most recently used them for an ice cream
commercial which featured small candies being
dropped on top of a scoop. The Clairmont
strobes not only captured the beautiful details,
they gave me a low temperature light source to
keep the ice cream cold. And on a practical note,
the Clairmont strobes are also very reliable and
easy to set up. This is always a plus in today’s fast
paced commercial world!”
One important reason why Clairmont strobes are
so versatile and easy-to-use is that they require only a
standard household 120v AC power source. This lets
you shoot in virtually any location, and not be limited
to using sets on a 220v sound stage or industrial
environment.
Works With Most Cameras
Another key factor is that Clairmont strobes can
be used with virtually any modern camera; Aaton,
Arriflex, Fries/Mitchell, Moviecam —even Panavision.
And they can be synchronized with any speed from
4 to 150 fps.
No Special Technicians
Best of all, standard crews can handle the strobes.
You don’t need any special technicians. The compact
17" wide by 7" tall heads are easily positioned by the
cinematographer, with the lighting effect previewed
through the camera. Not only does this save money,
but you won’t have to listen to some guy tell you how
to do your job!
Save Up To 30% More!
In addition to not needing to hire a “specialist” to
operate lighting, there are other economic advantages
to using Clairmont strobes. Like not needing special
high speed cameras that “eat” film to sharpen action,
and being able to rent Clairmont strobes at very
competitive prices. What’s more, we’ve found a threehead Clairmont package to be renting for about 30%
less than the competition.
Lightweight And Powerful
Control The Light
Each Clairmont strobe puts out 100 foot-candles
at 4 feet. If you need more lighting, the compact
17" x 7" heads can easily be gaffer-taped together.
A 400-foot-candle source measures only 34" x 14"
(or you can configure it 28" x 17"). Using tape to link
heads —or attach gels— is no problem, since the
strobes run cool. What’s more, each head weighs
only 10 lbs., so a 4-head bank is only 40 lbs. That’s
substantially lighter than any competitor’s package.
Using Clairmont’s Preview Box you
can check your setups without running
the camera. It’s set at 61 fps so the strobe
flashYes will almost look like regular AC light. You
can set the heads to get the desired lighting effect. And
there’s a Low Power switch on each strobe Powerpack that
reduces output one stop. Color Temperature is 7000° K.
Control The Temperature
If you’re shooting food, you need strobes.
Regular “hot” lights will most assuredly wilt lettuce,
melt ice cream and have an effect on steam,
condensation, etc. With strobes, conditions are
easier to control.
24 Frame Strobe Sequencer
With nine available channels, you can hook up
many strobe power packs —and more than one
strobe head on each channel by connecting power
packs. There are 24 DIP switches per channel, which
control the flash per frame. Flash on one or multiple
frames per second.
In Sync
The Sync Box automatically relays
timing signals from the camera. You can
capture input from multiple cameras and
synchronize them with the strobe pack(s).
Rapid Pulse And Recycle
Clairmont strobes have an exposure time of
1/50,000th –substantially less time than the shutter is
open. This pulse flash, along with your T-stop, set the
exposure. You can maintain the same T-stop and exposure
level while varying camera speeds because Clairmont strobes
have a very rapid flash recycle time. P Speeds of up to 150
frames-per-second are fine.
It All Adds Up
We believe there’s not a more compact, reliable, easy-touse and more controllable strobe unit on the market. You
won’t find a more versatile package and better value than
renting Clairmont strobes.
HOLLYWOOD
TORONTO
VANCOUVER
818-761-4440
416-467-1700
604-984-4563
visit our web site: www.clairmont.com
news clips
HANDS-ON VANCOUVER
A SUCCESS
PERA Expo Exceeds
Expectations
Lorne Lapham of Lorne Lapham Sales and Rentals talks to a prospective client at Hands-On Vancouver
about the new, compact Sony HVR-Z1U camcorder.
port and audio equipment, such as the
Steadicam flyer, for smaller, more
affordable digital cameras.
Karl Herrmann, IATSE 669's director
of photography representative, organized and taught at the lighting workshop sessions which he patterned after
the workshops conducted by IATSE 600
in Los Angeles. He said, “These sessions
are so important. Not only do we as
DPs get to share with and learn from
each other, but we are teaching the
next generation of Canadian filmmakers. Everyone, and I mean everyone,
felt it was a worthwhile experience.”
Other lighting workshop teachers
included CSC members Attila Szalay
csc, Jan Kiesser csc asc and Philip
Linzey csc, who shared some of their
secrets to the overflow crowds.
Production professionals from
British Columbia and the rest of
Western Canada - including DOPs, 1st
and 2nd assistants, gaffers, grips, production managers and more - were
thrilled to see the latest technological
advances in production equipment.
One 2nd assistant currently working in
Calgary made the trip. She said, “I've
seen the equipment that will solve so
many of our shooting issues right here.
[This equipment] will not only make
our production look better, it will save
us money.”
Clare said he chose Vancouver for
this edition of the Hands-On program
because “Vancouver is a complete production destination. By that I mean,
they do it all: features, episodic, MOWs,
commercials, etc. Vancouver production professionals deserve to see the
equipment that will make their jobs
easier.”
PERA is an international association
Photo: Shane Harvey
The Production Equipment Rental
Association's Hands-On Vancouver
exposition, at Stage 3 of Lions Gate
Studio in North Vancouver March 4-5,
“exceeded all expectations,” Ed Clare,
president and executive director of
PERA, said.
Highlights of the two-day up-closeand-personal exhibits included the
Canadian premiere of Panavision's
Genesis digital imaging system, whose
presentation by Panavision's John Galt
was to standing-room audiences both
days. Part of Galt's presentation was the
screening of a 35mm side-by-side comparison of footage shot by Alan Daviau
asc in both 35mm and the Genesis digital format.
Standing-room audiences also
attended Denny Clairmont's presentation of Clairmont Camera's modified
Sony and Panasonic cameras, which
were new to Vancouver. The busy
schedule also included Panasonic's indepth look at its Varicam digital imaging device and the comparative characteristics of both film and digital HD.
Rounding out the presentations was
Lorne Lapham's presentation of sup-
Jimmy Fisher of J.L.Fisher (left) chats with Diane Woods of D.J. Woods
Productions Inc. and Ed Clare, PERA president. “Hands-On Vancouver is
wonderful opportunity to meet and talk with the users of our equipment,”
Fisher said. Clare called the show “a resounding success.”
16 • CSC News
/
April 2005
DOP Michael Balfry csc says Season 4 of the HDTV series Dead Zone “is
humming along at a very rapid pace” in Vancouver, and this photo provides an indication of how fast things can get on location. “Yet another
way to get a quick low-angle shot,” says Balfry, is this camera-rigged
ATV, with steadi-op Lou Gruzelier out in front, dolly grip Craig Munroe at
the wheel and grip Wally Nygren in the rear.
of professional production equipment
rental companies and manufacturers. It
was founded as a commitment to provide excellent equipment and service
to moving image production throughout the world. PERA's Hands-On shows
bring the latest technology in motion
picture production to regional markets.
KODAK AND CINEPLEX GALAXY
Bring Digital Pre-Show to Canada
Eastman Kodak has announced
that Cineplex Galaxy, a leading
exhibitor of motion pictures, is purchasing more than 200 Kodak Digital
Cinema systems to launch the
Cineplex Galaxy digital advertising
network in their Toronto extended
market area theatres.
Cineplex Galaxy will use the systems with Christie projectors to present their unique 20-minute digital
pre-show, called “Reel Entertainment”
to audiences in their growing theatre
network.
Cineplex Galaxy is the first
Canadian exhibitor using the Kodak
system. In the past year, Kodak has
installed its Digital Cinema pre-show
systems in more than 700 screens in
the United States, with an equal additional number under contract.
Working with its advertising packager
partners, Kodak currently prepares
and delivers pre-show programming
that's seen by more than 30 million
movie-goers a year.
As of April 1, Kodak systems were
Ian Vatcher
operational on 215 screens in 21 theatres in the greater Toronto area.
IAN VATCHER
New Head of Panasonic Canada
Yoshi Yamada, chairman and CEO
of Panasonic North America, has
announced the appointment of Ian
Vatcher as president of
Panasonic Canada Inc. Former
president Eddie Esaki returns
to Japan in a new assignment
with Matsushita.
Vatcher was previously
senior vice-president of
Panasonic Canada. He has
been with Panasonic for 23
years, serving in various
senior management positions in the company, including vice-president of its communications and digital systems division and general
manager, consumer products
sales. He is a graduate of the
University of Waterloo.
Panasonic Canada is a
principal Canadian subsidiary of Matsushita Electric
Industrial Co. Ltd. of Japan, one of the
world's largest producers of electronic
and electric products for consumer,
business, and industrial use.
KODAK UNVEILS HD FILM SYSTEM
For Television Production
Kodak has unveiled a Super 16mm
film system designed for cost-effective
production of content in either standard- or high-definition television format at the annual National Association
of Broadcasters conference in Las Vegas.
The Kodak VISION2 HD System packages a new type of film with advanced
hybrid motion imaging processing
technology utilizing proprietary Kodak
colour science.
“Our scientists designed this system
to leverage breakthroughs in emulsion
and film scanning technologies,” said
Robert Mayson, general manager of
Image Capture and vice-president of
Kodak's
Entertainment
Imaging
Division. “It enables cinematographers
to maximize the unique production
values and superior quality of a film
look with the flexibility of using
• see page 18
CSC News / April 2005 •
17
X-EFFECTS
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And then there’s the camera.
PRODUCTION RENTALS • SERVICE & LEASING • HARDWARE SALES • RECORDING MEDIA • EVENT STAGING • SYSTEMS INTEGRATION
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As a premier dealer for the SONY Communication and Information Solutions Group we have
a full line of cameras and all necessary ancillary equipment to ensure the success of your
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18 • CSC News
/
April 2005
35
years
• from page 17
16mm cameras. The hybrid system
allows filmmakers to maximize the
efficiency of the motion picture workflow with today's advanced technologies from pre- to post-production.”
The new system combines VISION2
HD colour scan film 7299 used in conjunction with a VISION2 HD Digital
Processor. The latter is a new post-production tool used to adjust digital files
of scanned film to emulate the imaging characteristics of any current
Kodak negative, including grain, contrast and colours.
Cinematographers can choose to rate
the scan-only film for an exposure index
(E.I.) of either 500 or 320. The new film
offers an extended dynamic range and
broader exposure latitude coupled with
the sharpness and fine grain imaging
characteristics similar to the 500-speed
VISION2 5218/7218 colour negative
film. In addition to mimicking the imaging characteristics of different emulsions, the system compensates for
under- and overexposure, as well as for
variations in colour temperatures.
FILM TAX CREDITS INCREASED
N.S., Manitoba Announce Hikes
Nova Scotia has announced a 10year extension to the province's film
tax credit, while also increasing the
credit from 30 to 35 per cent for productions in downtown Halifax Regional
Municipality and from 35 to 40 per
cent for areas 30 kilometres or more
from the city core. In addition, a frequent-film bonus of five per cent is
being introduced for companies that
shoot two projects in the province over
a two-year period.
The government also announced an
additional $600,000 for the Nova Scotia
Film Development Corporation to use
toward existing programming in 200506. The province's film industry has
generated more than $100 million of
production activity in each of the last
six years and consistently employs
about 2,000 Nova Scotians.
Meanwhile, the Manitoba government has increased its film and television tax credit to 45 from 35 per cent.
There is no change to the five-per-cent
rural bonus and the five-per-cent frequent filming bonus. •
CSC FULL
AND
CSC FULL MEMBERS
Nicholas Allen-Woolfe csc
Jim Aquila csc
Eduardo Arregui csc
Michael Balfry csc
Christopher Ball csc
John Banovich csc
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Yves Bélanger csc
Peter Benison csc
Dean Bennett csc
John Berrie csc
Thom Best csc
Michel Bisson csc
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Robert Bocking csc
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Raymond Brounstein csc
Thomas Burstyn csc
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Marc Gadoury csc
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Laszlo George csc
Len Gilday csc
Pierre Gill csc
John Goldi csc
LIFE MEMBERS
Russ Goozee csc
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Toronto
Vancouver
Tel: (416) 444-7000
Tel: (604) 291-7262
Andrew Watt csc
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FULL LIFE MEMBERS
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CSC News / April 2005 •
19
ACTION PRODUCTION NOTES & CSC CALENDAR
British Columbia, Prairies
THE 4400 (series); DOP: Tony Westman csc; to July
26, North Vancouver (HDTV).
BATTLESTAR GALACTICA (series); DOP: Stephen
McNutt csc; to Dec. 8, Vancouver (HDTV).
DEAD ZONE (series); DOP: Michael Balfry csc; to
Sept. 6, Vancouver (HDTV).
DEVIANT BEHAVIOR (pilot); B-Op: Brad Creasser; to
April 13, North Vancouver.
FINAL DESTINATION 3 (feature); Rob McLachlan csc
asc; to June 13, North Vancouver.
SLITHER (feature); DOP: Gregory Middleton csc; to
April 12, Vancouver.
SMALLVILLE (series); DOP & 2nd-unit DOP: Glen
Winter csc (with Barry Donlevy); to April 13,
Vancouver.
STARGATE ATLANTIS (series); B-1st: Grizz Salzl; to Oct.
17, Burnaby (HDTV).
STARGATE SG-1 (series); DOP: Peter Woeste csc
(with Jim Menard); to Oct. 17, Burnaby (HDTV).
TOMMY DOUGLAS PROJECT (CBC mini-series); DOP:
Pierre Letarte csc; Op: Ken Krawczyk csc; May 10,
Regina.
WRONG ELEMENT (feature); 1st: Larry Portmann; to
June 1, Burnaby.
Ontario, Quebec, Atlantic
AMBITION (MOW); Op: Mark Willis; to April 17,
Toronto.
AU NOM DE LA LOI (serie); DOP: Bernard Couture csc;
18 avril au mi-aout, Montreal (video).
CANADA RUSSIA '72 (mini-series); DOP: James
Jeffrey csc; to May 9, Fredericton, N.B.
COMME EN APPART' (tele-roman); DOP: Daniel
Villeneuve csc (pilote); 16 mars au 31 janvier,
Montreal.
DIVE FROM CLAUSEN'S PIER (MOW); DOP: David
Greene csc; April 2-29, Halifax.
DROWNING (long metrage-film); DOP: Pierre Jodoin
csc; 11 avril au 6 mai, Montreal.
FOUR BROTHERS (feature); 2nd-unit DOP: Glen
Keenan csc; to April 4, Toronto.
GHOSTLY ENCOUNTERS (series); DOP/Op: Gavin Smith
csc; to April 20, Toronto (DigiBeta).
LES INVINCIBLES (serie); DP: Ronald Plante csc; 4
avril-20 aout, Montreal (video).
KEVIN HILL (series); David Moxness csc; 1st:
Chirayouth Jim Saysana; to April 13, Toronto
(HDTV).
KOJAK 1 (series); 2nd: Marcel Janisse; to April 10,
Toronto.
MARTY'S PARTY (series); DOP: Mitchell Ness; to May
6, Toronto.
MURDER IN THE HAMPTONS (MOW); DOP: Michael
Storey csc; May 9 start, Toronto.
1-800-MISSING (series); DOP: David Herrington csc;
April 18-Sept. 15, Toronto.
SIXTEEN BLOCKS (feature); DOP: Glen MacPherson
csc; April 20-June 30; Toronto.
SNOW CAKE (feature); Op: Perry Hoffman; April 4May 13, Toronto.
TAKE THE LEAD (feature); Op: Mark Willis; 2nd:
Marcel Janisse; April 25-June 1, Toronto.
UNTITLED CHARLIE BOHL PROJECT (MOW); Op: Harald
Ortenburger csc; to April 23, Toronto.
Schedule of Meetings and Events of Interest to CSC Members
Check www.csc.ca for the latest information
20 • CSC News
/
April 2005
Now everyone can
see eye to eye.
Powered by KODAK Color Science, the
new KODAK Look Manager System allows
you
to emulate the impact of gels, filters and
postproduction techniques on KODAK Film
stocks—and then share those options with
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team members anywhere. And to ensure
your creative intent is preserved,
KODAK Display Manager System enables
workstations to render the look of projected print film—so that everyone has a
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Everybody go to www.kodak.com/go/kcimotion
©2005 Kodak Canada Inc., Kodak is a trademark.
or talk to your Kodak representative.