Eric Cayla csc`s - Canadian Society of Cinematographers

Canadian Society of Cinematographers
+
Eric Cayla
$4 December 2013 www.csc.ca
csc’s
HAVEN
SARoRn Sim csc
Corporate Cinematography
Thom Best csc
Played
9-DEC
07
0
56698 94903
9
Kirk Neff: Telling Stories with DSLRs
A publication of the Canadian Society of Cinematographers
The Canadian Society of Cinematographers
(CSC) 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.
FEATURES – volume 5, No. 7 DECember 2013
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Eric Cayla csc’s Haven By Fanen Chiahemen
Sarorn Sim csc and the Future of Corporate Cinematography
By Fanen Chiahemen
Jan Thijs / ©2013 Muse Entertainment/
Back Alley Film Productions
We facilitate the dissemination and
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endeavor to advance the knowledge
and status of our members within the
industry. As an organization dedicated
to furthering technical assistance, we
maintain contact with non-partisan groups
in our industry but have no political or
union affiliation.
Michael Tompkins
The purpose of the CSC is to promote
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in Canada and to provide tangible
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that link film and digital professionals,
from the aspiring student and camera
assistant to the news veteran and
senior director of photography.
Thom Best csc Shoots Played By Fanen Chiahemen
Columns & Departments
2
3
16
20
23
24
From the President
In the News
Kirk Neff: Telling Stories with DSLRs
Tech Column
Camera Classified
Productions Notes / Calendar
Cover: A scene from Haven Season 4, now airing on Showcase in Canada.
Photo: Michael Tompkins
14
Canadian Cinematographer
December 2013 Vol. 5, No. 7
EDITOR-IN-CHIEF
Joan Hutton csc
EDITOR EMERITUS
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EXECUTIVE DIRECTOR
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EDITOR
From
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PRESIDENT
Joan Hutton csc
Fanen Chiahemen
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COPY EDITOR
Karen Longland
ART DIRECTION
Berkeley Stat House
WEBSITE
A
lfonso Cuarón’s Gravity is a must-see for any cinematographer. The
space drama is significant, not only for its ground-breaking high-tech
production innovations, but also for the new territory into which the
film’s DP, Emmanuel “Chivo” Lubezki ASC, AMC has pushed cinematography
and the role of the cinematographer.
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2 • Canadian Cinematographer - December 2013
Gravity is a hybrid of live action – roughly 30 per cent of the film, with CG
comprising the remaining 70 per cent. The conundrum for these filmmakers
was to integrate these two disciplines into one seamless movie, all in 3D, that
looked and felt like the real deal for the audience. The key for Lubezki lay in
the melding of the lighting between the live set and the virtual world of CG.
Lubezki ‘s fingerprints are all over Gravity, starting in previsualization, where
he and Cuarón produced an animated movie to act as a template of sorts, while
they figured out how to shoot the film. For the live action, Lubezki conceived
and constructed a light box, approximately 3 by 7 meters in size, with inward
facing LED panels. The cube contained over 1,800,000 lights that could be programmed individually with background scenes from the previs, which worked
in concert with an ARRI ALEXA’s weightlessness. The actor was essentially stationary, and as the lighting changed, the camera angle changed around them to
simulate movement. A very complicated but ingenious set.
Bulky 3D rigs were not an option because of the confines of the light box, and
it was decided that post-convergence was a more practical route. Once the live
action was converted into stereo, the 3D image was sent to CG where it became
another element in a virtual environment rendered in 3D, with the previs acting as a benchmark. Postproduction is somewhat of a moot point for Gravity
since the live action, 3D convergence and CG took place as a continuous and
simultaneous workflow. On top of this it was an open edit, meaning that files
would move back and forth between the production stages to accommodate creative changes by Cuarón. Sound complicated? Well, it was, but the live action
and CG matched to create a final product that is simply astonishing. The use
of 3D in Gravity has no semblance of gimmickry. 3D is such an integral part of
the movie that it almost becomes a third character, cinematically defining and
heightening the sheer terror of infinite space.
The boundaries between cinematography and VFX are becoming increasingly
blurred as the use of virtual environments become more common in high-tech
productions. However, a movie such as Gravity, with a strong CG element, still
needs a person with an eye and the technical dexterity to frame and light each
shot for a seamless integration. As Lubezki’s work illustrates, who’s better skilled
to do this than the cinematographer?
P
inewood Toronto Studios in October unveiled three new
state-of-the-art sound stages, part of a $40-million expansion plan. The expansion project is part of ongoing efforts
to establish a cultural hub for film, television and digital media in
Toronto’s Port Lands. Pinewood Toronto Studios has developed a
Film Studio District Evolution Plan, a blueprint for how the approximately 30 acres of land within the Film Studio District will
act as a catalyst for investment and transform the area. The three
new sound stages are 10,800 square feet each, and an additional
100,000 square feet of new office space is expected to be complete in 2015. In total, Pinewood Toronto Studios will feature
almost 400,000 square feet of modern, purpose-built production facilities for film and television. Pinewood Toronto Studios
is located just outside the downtown core in the Port Lands, an
area along Toronto’s eastern waterfront that will soon experience
major investment and revitalization. The studios will anchor an
emerging waterfront neighbourhood, the Film Studio District.
fleet. The unit is delivered with a full inventory of mounting and
rigging hardware so it can be customized on set. The fully electric cart offers multiple configurations, including for Steadicam
work, rigging remote heads and mounting multiple cameras and
jib arms. It also features four-wheel drive, independent and airbag suspension.
New 800 W ARRI M8 Fixture Rounds
Out HMI M-Series
ARRI early this fall unveiled the M8, the latest and smallest lighting fixture in ARRI’s M-Series of HMI lamp heads. Like the rest
of the M-Series, the M8 is equipped with MAX Technology, a
reflector design that unifies the advantages of a Fresnel and a PAR
fixture. With the M8 at one end and the ARRIMAX 18/12 at the
other, the M-Series is a comprehensive daylight toolset, comprising five lamp heads that between them offer a range of nine evenly-staggered wattage options from 800 W up to 18,000 W.
In The News
Pinewood Unveils Three
New Sound Stages
New Sprinter Genny, EXO Camera
Cart at PS Toronto
PS Toronto recently announced its custom-built generator unit
is now available to service productions in Toronto. The low emissions Perkins Tier III 500 AMP generator is disguised inside a
Sprinter Van, which measures less than 8’ in height and 19’ in
length. Along with the power plant being green, the generator
operates with very little noise at less than 50 dB at 50’. It also
comes equipped with magnetic decal covers to place over the PS
logos so that crews can place it
in a scene to blend in as “just
another delivery van.” PS also
announced that it has added the
EXO Electric Powered Camera
Cart to its specialty equipment
New 800 W ARRI M8 Fixture
Rounds Out HMI M-Series Courtesy of ARRI
New Sprinter Genny,
EXO Camera Cart at
PS Toronto Courtesy of PS Toronto
Canadian Cinematographer - December 2013 •
3
yFy channel’s drama series Haven centres on a fictional
town where people with supernatural afflictions, known
as “troubles,” seek refuge. Each episode sees a new trouble
realize itself – a character may be able to change the weather or poison all of the town’s food, for example – a premise
that presents a new visual challenge each week, according to director of photography Eric Cayla csc, who has
shot three seasons of the series. Cayla describes reading the
script for one episode in which one of the characters has
the power to cause anything that comes near him to implode, including people. “When you’re reading the script
for that you say, ‘How are we going to do this?’” Cayla says. “Everybody is
challenged, from the art department to the props. And for us, visually, how
are we going to shoot it? They’re all unbelievable stories; the big challenge is
to make it work and be believable. Also, we don’t have much time to prep and
we don’t know months ahead what we’re going to face.”
Shot in Chester, Nova Scotia, with multiple directors, Haven is one of the few
television series shooting in Canada being captured on film, and for Cayla
the distinct texture and lighting that film produces is where the visual style
of the show lies.
When he signed on to shoot the first season, Cayla found visual inspiration in
the work of American painters Winslow Homer and Andre Wyeth. “Homer
for his vivid, strong textures and contrasty images – he did a lot of paintings
in Maine where the series is set – and Wyeth for his strong, neat composition,
the way he places people. It really fits the world of Haven,” Cayla observes.
For a project with a supernatural premise, creating strong visuals seems to
go a long way to suspending viewers’ disbelief, Cayla maintains. He and his
team use tableau-style compositions, particularly in wide shots, and in closeups endow the characters with a mysticism by creating painterly images with
soft light. Naturally, they put the picturesque Nova Scotia landscape at the
forefront. “Part of the success of the show is the visuals,” Cayla says. “People
really like watching it. We create a very painterly, mythical, beautiful place.”
Haven comprises many day-exterior scenes, playing out on beaches, rural
streets, forests and fields, and that was one of the driving forces behind the
decision to shoot on film. “Film captures natural light, in my mind, more
organically, more naturally,” Cayla remarks. “It has a more earthy texture,
whereas digital is very harsh. Film for me is more like oil painting and digital
is more like hyperrealism paintings, and that doesn’t fit the story of Haven. I
mean, we could make it work, but with film the texture is just there. It’s not
as sharp, not as crisp, and the highlights are softer and more subtle. Now, we
all know digital is fantastic in the dark, but since we’re outside a lot, we’re
dealing with a lot of highlights and skies and water. It has a very nice soft
response to that kind of light.” • see page 6
DP Eric Cayla csc
By Fanen Chiahemen
4 • Canadian Cinematographer - December 2013
Haven
Eddy McInnis: First AC
Winner: CSC Camera Assistant
Award of Merit, 2013
What is unique for you about working on Haven?
It has to be that we’re still shooting 35 mm. Because I know
how rare it is now to hear film run through the gate. It’s such a
tangible thing. All that mechanical, tangible stuff is very much
noticeable. It really sets it apart from other shows. A lot of us
learned on film and went to the HD world, so it’s
see page 9
Canadian Cinematographer - December 2013 •
5
Darryl Duzak
Eric Cayla csc’s
Michael Tompkins
Above: Emily Rose and Colin Ferguson in a
scene from Season 4 of Haven.
Next page clockwise from top left: Lucas Bryant
(right) as Nathan, and Adam Copeland
as Dwight star in Haven, filmed on Nova
Scotia’s south shore.
Eric Cayla csc in action on the set of Haven.
Eric Balfour as Duke, and Emma Lahana as
Jennifer in a scene from Haven Season 4,
filmed on Nova Scotia’s south shore.
The show employs the Panavision Panaflex – three 2-perf bodies
and one 3-perf – with Panavision primo lenses and zooms. “Panavision gives us a great deal,” Cayla notes. “And Kodak has great
stocks, like 5219 500 tungsten and 5213 200 tungsten,” he adds.
Cayla also finds the workflow of film shooting suitable for him
6 • Canadian Cinematographer - December 2013
and the production. “It’s so fast it’s unbelievable,” he says. “Because you’re not trying to watch the monitors, you’re not dealing
with a DI. You observe what’s in front of you, you light, you
expose and you shoot. Some directors are surprised how fast it
goes. But you’ve got to know film sensitivity because it’s a very instinctive way of shooting. You have to have good instincts when
CSC Wisdom Lecture Series
By Professionals, For Professionals
Guest Lecturer: Cinematographer,
Luc Montpellier csc
“The most successful cinematography, no
matter how bold it is, becomes seamless.”
directors such as Sarah Polley (Away From Her, Take This
Waltz), Ruba Nadda (Cairo Time, Inescapable), Clement
Virgo (Poor Boy’s Game), and avant garde filmmakers Guy
Luc Montpellier is one of Canada’s most esteemed and
prolific cinematographers. Known for his distinctive and Maddin (Saddest Music in the World) and Michael Snow
creative use of light to give a project its visual language, (Preludes). Montpellier’s DOP talents have garnered him
Canadian Society of Cinematography and Genie awards,
Montpellier has over 54 credits as DOP, which range
and the Haskell Wexler Award from the Woodstock
from theatrical feature releases, short films, television
Film Festival.
series and music videos.
Montpellier’s long list of collaborations include auteur
Don’t miss this opportunity to learn by listening
to Montpellier talk of his experiences as a top
DOP while showing selected clips from some of
his most notable films; (The Right Kind of Wrong),
(Cottage Country), (Take This Waltz), (Away From Her),
(Cairo Time), (Inescapable), (Poor Boy’s Game),
(Saddest Music in the World), and (Cell 213).
A Q&A session with the audience
will follow Montpellier’s presentation.
Wednesday, December 4, 2013, 7:00 pm
Refreshments courtesy of:
Hosted by:
424 Adelaide Street East, Toronto
Moderator: Sarah Moffat, Associate csc Member
Seating is limited and priority will be given to participants
who pre-register. Lecture begins at 7pm sharp.
Tickets: CSC Members in good standing: Free
(please bring membership card)
Non Members: $10 (cash only)
Students with ID: Free
Registration: Please send your name and guest names
to [email protected] Using subject line: Wisdom
Lecture Series – Montpellier by November 29, 2013.
Photos: Michael Tompkins
trying to fight it. “If there’s a huge highlight in the water I won’t go against it. I’ll
go with it. I’ll try to capture it, try to see
how far the film can go,” he explains. “Or
I use what’s there to compose. So if the
sun is kicking on a car, I’ll try to keep it
as much as I can, and if it really affects the
lenses or the flare I’ll reduce it. But I try to
work with all kinds of different highlights
and everything that’s presented in the environment of Chester and the ocean.”
When shooting outside, Cayla does not use too many lights, and
he employs them primarily for faces. “For the rest, it’s a matter of
filtering, time of day, trying to work out the schedule so the sun
is at a specific angle to camera,” he says. “I control the light with
frames, for instance, a black frame to cut the light on one side
and then a white frame on another side to throw a nice soft white
light on a face instead of light sources per se. The beauty of film
is that it captures more accurately what you’re seeing; it has a nice
sensitivity to what we’re seeing when it comes to exterior days.”
But Cayla is quick to point out that he
would not be able to pull it off without
the efficiency of his camera crew, which
includes A camera operator and second
unit DP Christopher Ball csc; first AC
Eddy McInnis (see sidebar); B camera
operator Patrick Doyle; B camera first AC
Gareth Roberts; B camera second AC Mike Snider; and A camera
second AC Andrew Stretch. “We have an almost automatic way
of working,” Cayla says of his team. “Usually when I light a scene
I tell them very quickly what I’m looking for, and I’m involved
in the composition, as it influences the lighting setup. Then very
quickly we choose a lens together, talk about low and high – and
as soon as we say low and high we know what we’re talking about:
we want to see more ceiling, more floor. If we’re outside I want
to be low because I may want to catch something in the background. Then after that they deal with the setup, I can deal with
lighting, the light measurement and the filters I’m gonna use. So
everything goes out pretty fast and pretty smoothly.”
Although Cayla says working on a show that shoots on film is
“fantastic” for a cinematographer, he admits that the Haven shoot
is gruelling. “After the first episode of the season I have no prep
time. I’m shooting while they’re preparing the next episode with
another director. I don’t get to see the locations or anything.”
Cayla therefore quickly devised an approach that involves working with whatever the environment throws at him rather than
Ball’s unique combination of doing A camera and second unit
came about after the first season because Cayla needed a second
unit shooter who had experience shooting film and with a close
connection to the main unit. “The second unit, referred by all of
us as “action unit,” has become a consistent weekly shoot, and
we often take on quite large scenes, effects and stunts, as well as
the usual inserts,” Ball says. “There have been occasions when
you’re exposing and making a decision because you’re not seeing
what you’re shooting, really.”
8 • Canadian Cinematographer - December 2013
From page 5
What has helped you develop your craft?
Who have been your mentors?
It’s all been on the set. Everything I’ve learned has been
observation of people who’ve done it in the past. There’s no
formal school for focus pullers, so you develop it through
time and experience. I’ve been in film since ’96 and became
a focus puller around 2004. Eric [Cayla csc] is someone I look
up to for sure. He’s definitely one of the most respected people I’ve ever worked with. He has an ability to be so focused
at the job but can also slide a little joke in at the appropriate
time. And there are other focus pullers that have been doing
it way longer than me that I respect. Like Paul Mitcheltree and
Forbes MacDonald, not just as focus pullers per se but as
Atlantic Canadian guys that were in the industry 20, 25 years
ago when there wasn’t really an industry here, they were kind
of the trailblazers for the rest of the assistants. Because the
rest of the guys would probably have been from Toronto, but
those two were local guys. They started it for the rest of us
here in Halifax.
How would you characterize the
industry in Atlantic Canada?
I enjoy working here and living here. I can’t speak for everyone, but I’ve personally worked a lot. The industry is a
close-knit group. It’s a smaller place. There are probably
four main local producers, probably three or four real quality
crews. But the skill level and the quality of the technicians is
comparable to anywhere, in my opinion. I believe Halifax has
been fourth in production –after the three major centres of
production, Toronto, Montreal, Vancouver – many times. Now
we compete with Calgary and Winnipeg. When I won the
CSC Award it was more about putting Halifax on the map and
the technicians here and the quality of the people. But we’re
in dire need of a studio for sure. It would help the industry
so bigger pictures could come here. That’s easy to say but
the action unit is bigger than the main unit. Recently, we started
to give a day, or a half day, of prep to Eric while I take over the
main unit set as DP, which has worked well with Eric as he has
little time to prep normally.”
Although the show is demanding for the team, Ball appreciates
being able to learn from Cayla. “He has a way of keeping things
Michael Tompkins
a way of going back to those roots. We have mags and all
this extra equipment. I do enjoy the loading of cameras, even
though it’s tougher for seconds, for trainees. But I believe it’s
more pure. Some of the newer assistants use the monitors
to pull focus. With film you have to pull with measuring tapes
and with your eyes. You have to rely on the operator, who has
an optical viewfinder. Some of the digital images are so clear
and so crisp a lot of people are tempted to look at monitors
now. And there’s nothing wrong with looking at them to help,
but as a first assistant I do like the old way with measuring
tape and your eyes.
From left, DP Eric Cayla csc with first AC Eddy McInnis and A camera
operator/second unit DP Christopher Ball csc.
a little harder to find the $40 million, or whatever it costs, to
build one. A lot of the shows that come to Halifax come for
the water, like The Shipping News or K-19. So a wave tank or
studio space could only help us.
How does being far from the main
rental houses affect your work?
We do have PS and Whites and Panavision and Sim. But in
my prep I can’t go, “I don’t like that matte box,” and then
have 80 of them in front of me to pick from. When I prep,
everything’s a day away. If I need a filter, let’s say, we can’t
just send transport. That’s part of being a camera assistant
here. If you’re shooting film you’ve got to plan for film stock.
You’ve got be a little more organized.
What advice would you give to camera
assistants coming up in the Atlantic?
If I could tell them one thing it would be about respect and
etiquette. I find the young camera assistants sometimes have
an entitlement like they’ve been doing it forever and don’t
have that respect level that we all had coming up with the
person in the position above you. That would be my advice, to maybe learn more about the actual position and the
etiquette, and to be a professional on the set. Because when
people leave here, DPs, producers, anybody, the way we are
as people, people take that back wherever they’re going. So
it affects the whole industry.
simple, efficient and structured while still allowing for creativity
and freedom,” Ball notes. “He is a strong yet quiet presence on
the set and keeps the day moving efficiently. He really strives for
high quality work, and expects that from all of us, so this is not a
set that you can get lazy or perfunctory on. His lighting and composition is very considered and thoughtful, but he is not afraid to
push boundaries and take some risks.”
Canadian Cinematographer - December 2013 •
9
Sarorn Sim csc
and the future of
C
o
rp
o
rat
e
Cinematography
By Fanen Chiahemen
Photos by Dan Denardo*
W
ith its saturated colours, shallow depth of field, soft
lens and soothing piano soundtrack, the three-minute video “Sonata” is hardly recognizable as a corporate tool. The slick and evocative piece looks more like a classical
music video or short film. And shooting the CSC Award-winning video for Dow Chemical Company was “pretty elaborate,”
says cinematographer Sarorn Sim csc. “It was shot with an ARRI
ALEXA. There were so many lights and big setups.” The idea
behind it was “drawing a parallel between music and chemistry
to explain that, like the combination of notes in music, the combination of elements in chemistry is infinite, and both result in
the creation of beautiful things,” Sim explains.
Because corporate videos have long been internal communications tools for businesses, their production value has typically
been low. “They are usually produced using a three-point lighting setup; you cut it, add a lower third with names and titles, and
it’s done. Well, it’s gone beyond that,” Sim says.
Sim, who is represented by AVI-SPL, is the producer and director of photography at Dow. In his role, he has travelled to more
than 40 countries shooting corporate videos for the Fortune 500
Company, handling anything intended for external circulation,
including marketing videos and commercials.
“A lot of companies don’t have the in-house capability to produce the kinds of pieces that I do,” Sim says. “Most companies
have departments that produce the head-and-shoulder shots, the
training videos, the safety videos, just basic videos.” But he believes there is an ever more substantial role for cinematographers
in corporate settings.
“It’s a very rare skill set to have in a big corporation like this,”
Sim offers. “But in terms of numbers, it’s a cost savings to the
company. Hiring a DP or an agency costs a lot more. So having
me here in-house is a huge benefit for them.”
It was a role he initially expected to be merely transitional.
This page: Sim shooting a mini documentary for Dow in Ghana.
Next page 1: Standing in the midst of one of the world’s most dangerous
slums in Cité Soleil, Port au Prince, Haiti. 2: In the desert of Dubai, United
Arab Emirates. 3: Sim on an urban shoot. 4: Sim on a shoot in South Africa.
10 • Canadian Cinematographer - December 2013
A Day in the
Life of a
Corporate
Cinematographer
By Sarorn Sim csc
There are some people who wake
up at 3 a.m. and wonder, “Why
am I up?” And then there are
people like me, who wake up at
3 a.m. and can’t wait to jump out
of bed. I’m sure five-year-olds
feel the same way when they’re
waking up to go to Disneyland.
1
“I was doing a lot of news-type shoots back
then; a lot of projects in foreign places like
Afghanistan and Pakistan,” Sim says. “I wanted
to do something more corporate and agencystyle, so I applied for the job, and I got it. I
didn’t think I would be here very long because I
didn’t think they would need my skill level here.
I was thinking of being here for six months.”
2
3
addressing some of the world’s most pressing
problems, including clean water, housing and
sanitation.
“The focus isn’t on shooting with the cheapest camera anymore,” he explains. “I have to
decide whether to shoot with the ALEXA or
whether to use the F55 or the Canon. I decide
4
“The focus isn’t on shooting with the cheapest camera anymore. I have to decide whether to shoot with the ALEXA
or whether to use the F55 or the Canon. I decide which lenses to use, which lighting package to use. So it’s much
more like a commercial production,” Sim says.
However, the role ended up fulfilling a need
for both Sim and Dow. “They embraced it,
and I’m still here. They were very open to embracing that concept. Their instruction to me
was, ‘Ron, we want to raise the bar in terms
of what we do in corporate video.’ I said, ‘If
you want to raise the bar you should look at
corporate videos in a different light than just
training videos and instructional videos,’” Sim
recalls. “The corporate video has to step up
a notch; it can look like a commercial or a
movie. It all depends on how you craft the
message.”
Sim’s latest assignment for Dow took him to
Ghana to document Dow employees’ engagement with non-profits in developing countries
Today is shoot day. And after
months of prep, we’re finally
ready to transfer vision into video.
Working on a corporate film is
like being in court. You spend
days and months cross examining every aspect of your argument as you try to win the hearts
which lenses to use, which lighting package to
use. So it’s much more like a commercial production.”
There seems to be a correlation between
the progression of corporate video production and the streamlining of technology, Sim
observes. “It’s becoming more affordable for
the average cinematographer to achieve that
commercial look and feel. You don’t need to
spend half a million dollars anymore. You can
spend $10,000 or $50,000, and achieve similar
results. If you look at an HMI par, it used to
cost $10,000. But now you can get something
equivalent for $3,000. The technology and
resources required for these shoots are more
attainable than ever.”
and minds of those who hold the
key to your inevitable fate. You
not only have to think technically, but just as important, think
strategically, legally, and sometimes, even covertly. Meetings
in fancy boardrooms equipped
with advanced teleconferencing
gadgets fill up most of my pretrial/production days. And instead
of wearing jeans and a t-shirt
like normal cinematographers do,
sometimes I’m in a suit!
Finally, when all parties are
smiling and charts and graphs
and PowerPoint’s are aligned, it’s
show time! Sporting my favourite
pair of Levi’s and an “I am Canadian” t-shirt that I got for free in a
Canadian Cinematographer - December 2013 •
11
box of Molson, I’m ready to lock
’n load my cine-camera of choice.
There’s nothing more exhilarating
than jumping out of bed at 3 a.m.
to be on the set of a corporate film. This morning, we’re
capturing the sun rising over the
Philadelphia skyline. A Sony F55
with a Canon 30-300 cine lens
and a 30-foot jib awaits me.
Oh, and the fun part will be
launching 300 helium balloons
into the city.
1
2
0400: It’s amazing how empty
the streets of Philadelphia can be
at 4 a.m. Passing by early morning newspaper couriers and half
asleep security guards, I arrive
at the entrance of our location,
Belmont Plateau, a historical park
overlooking the City of Brotherly
Love. Like a put-put generator,
my producer Alan Friedlander
has the set already humming
with activity. Crews are busy
setting up a 30-foot jib, HMI pars,
screens and silks. My assistant
camera Anthony Sergi is prepping
my F55, hooked up to a Flanders
Scientific monitor for preview.
Scanning my set, I see no one in
suits walking around. Perfect!
0500: For this concept, we’re
using helium balloons with a
message tied to their strings to
symbolize the reach and impact
that Dow has on the everyday
citizen. It’s almost like the “message in a bottle” concept but with
balloons. We’re releasing 300
helium balloons in four takes. For
this task, we’ve hired a balloon
artist and sculptor to help with
the setup. After talking to the
balloon staff, I take a big sip of
helium and run off to check on
grip.
0545: The sun is up! The sun
is up!
5
*Alan Friedlander
0330: After a frantic shower and
a brief check of my pulse, I leave
my hotel room.
Clockwise from top left: 1. Working
with AC Scott Morhman on “
A New Day,” a commercial for
Dow’s Solar Shingles in Saginaw.
2. On top of a mountain
in Honduras.
3. Making friends in hostile
territory.
4. Camping out on the lava
fields of Samoa.
5. Sim shoots the CSC Awardwinning corporate video
“Sonata.”
4
Still he feels there is work to be done in changing the mindset of corporations. Doing so
would mean better videos for them, as well as
more cinematographers in secure jobs (the statistics are foggy on how many corporations hire
in-house cinematographers). “My question for
corporations is, with the new technology that’s
available at reasonable prices, why are they still
producing corporate videos using outdated
methods and equipment? If cinematographers
can step up and prove that the images in these
productions can look amazing and that companies don’t need to settle for the status quo when
shooting corporate stories, there is nothing that
should stop us.”
Sim points out that cinematographers working
in corporate settings may need to adjust their
communication because creative people talk
differently than business people. “You need to
understand how to communicate with people
in a corporation because it’s not a movie set;
12 • Canadian Cinematographer - December 2013
you are working with executives and VPs. They
are analytical and are more comfortable when
they are working with numbers, spreadsheets
and PowerPoint presentations. But I am comfortable with colour palettes, lights and angles,”
he says. “So it’s important to grasp communicating on a corporate level. You can’t walk into
a corporation and communicate the way you
would on set. Initially, the most difficult part
was helping executives understand my creative
vision. I’ve learned to use a lot of examples for
every shoot. I once used a scene from the movie
Up to help them relate.”
Sim is hopeful about the direction corporate
cinematography is going. “I really do hope that
it keeps getting better. I challenge everybody
in corporate cinematography to help raise the
bar,” he says. “Tell a story instead of purely
communicating a message. As a storyteller, take
that message and turn it into something more
intriguing.”
3
0549: You know that Sheryl Crow song “The First Cut is The Deepest”? Well, for me, the First
Take is The Deepest! You know you’ll roll again, but man, that first take of the day puts butterflies
in my stomach and makes my hands tremble like Hiroshima. Thank God for tripods!
0630: After two successful takes, my mind is slowly coming to terms and I start thinking,
“Wow, this idea is actually going to work.”
0645: Shit! The balloons we launched in the first two takes didn’t have any red balloons in the
mix. How can we not have any red balloons? Red is Dow’s trademark colour. I walk over to the
balloon department, take a huge sip of helium and give them my two cents and a lesson on
corporate identity branding 101.
0700: Third and fourth balloon launches are a success! Wide establishing shots of the launch
are done. Now it’s time to set up for close-ups and cutaways. With the sun climbing fast and
daylight changing colour, my key grip Eric Murphy and his team click into full gear.
0900: The scene is wrapped. But working for a multi-national corporation the size of Dow
means your day isn’t done – it’s only beginning. With offices in 137 countries spanning every
time zone imaginable, I quickly jump on my iPhone to check email, reply to requests from half a
world away and prep for upcoming assignments. Today, as we’re filming in Philadelphia, I’ll be
working out of our Philly head office. Going directly from set, I walk in wearing jeans a t-shirt.
People in suits and ties look at me strangely. I smile and flash my “I am Canadian” t-shirt like
it’s a shield of honour!
Sarorn Sim csc is a four-time winner of the Canadian Society of Cinematographers Award. His clients have included Discovery Channel, National
Geographic, BBC and Fox News. He is a graduate of Sheridan’s Media Arts program in Toronto. His mentors include cinematographers Richard
Leiterman csc (Stephen King’s IT) and Rodney Charters csc, asc (Charlies Angels, 24). He currently resides in the United States.
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technicolor.com/toronto
Canadian Cinematographer - December 2013 •
13
Thom Best csc Shoots
Photos: Jan Thijs / ©2013 Muse Entertainment/Back Alley Film Productions
Front row, left to right: First assistant director Michael Johnson,
director of photography Thom Best csc, director Jerry Ciccoritti and
script supervisor Winnifred Jong behind the monitors on the set of
Played. Opposite page: Lisa Marcos as Maria undercover in Played.
C
TV’s original cop drama Played, which premiered in October, follows a group of agents who are part of an elite,
Toronto-based undercover police unit created to infiltrate organized gangs. The agents use surveillance, false identities,
character play and skill to gain access to wanted criminals. Director of photography Thom Best csc talks to Canadian Cinematographer about how to shoot an unconventional police procedural
that keeps character front and centre.
Canadian Cinematographer: What sets Played apart
from other cop shows?
Thom Best: What makes this series unique is that it shows
how the agents must use their own lives as part of their cover and
how it takes a toll on their personal lives. The connection to the
characters themselves makes it different. It’s more focused on the
lives of the cops. This was an opportunity to push the visual language of the ubiquitous cop show and not do the status quo, to
try and bring new things to it, new visuals. Every episode, Adrienne Mitchell [series co-producer and co-director] and I wanted
to approach as a feature. I know that’s kind of a lofty ambition,
but that was the challenge. And it was incumbent upon every
director to come at it with that mindset.
CC: How would you describe the visual language of the show?
TB: We went after a kind of tobacco-stained look. We went for
14 • Canadian Cinematographer - December 2013
warmth and an amber colour. The show’s creative team – including
[executive producer] Greg Nelson and Adrienne – were very clear
about what they wanted, something that invited the viewer in, that
wasn’t off-putting or cold, something that was welcoming. Adrienne
put together a look book that she showed to the department heads,
and the images were bold and graphic and they had a warmth and
intimacy at the same time. Some of our influences were British TV
series, a couple of them in particular, Luther and Wallander, because
their style really worked for cops undercover. Wallander especially
used a lot of swing and tilt lenses, almost every image in that show
was swing and tilt. It was something that hasn’t been done a lot on
American or Canadian television. And we really wanted to push the
visuals in that way. It was kind of an experiment to see how far you
can push a cop show and still get network approval.
CC: Can you talk about the decisions behind some of the
equipment you were using?
TB: We used the ARRI ALEXA, and we usually had three cameras [provided by PS]. I also ended up using a lot of DSLR shots
too because of the surveillance element of the show. We were able
to put a Nikon D800 in areas of cars that you’re not normally
able to access, like down in the wheel well, or we were able to get
in very small cars and do over-the-shoulder shots. So that was a
nice little thing to be able to do.
Something that became a real go-to item was the new Kino Flo
Celebs. They revolutionised the way I light, I would say. They’re
just an incredible handy tool because they’re both tungsten and
daylight. You can dim them without losing colour temperature.
They’re small profile; you can put grids on them and double up
the grids to really become a focused source, and you can hide
them and do away with a lot of the grip tools. It’s an awesome
tool. I use them outside for a little bit of fill, and they’re a great
way to get a little bit of highlighting. They’re great for small locations, great for night. I’m looking forward to the larger units, the
400 that’s coming out soon.
CC: Being a show about the criminal underworld there are
inevitably some interesting night scenes. Can you talk about
lighting the scene in the pilot in a nightclub which had these
huge ball-shaped installations for lighting?
viewer work, as it were. So that was definitely something that ran
through the series. Also, not only do you have to cover the scene,
but you have to cover it from multiple angles because there are
multiple team members on a play and they always have a different viewpoint. So you have to cover their point of view. You’re
almost doing reverse masters on a lot of setups, so it keeps us on
our toes.
CC: What kind of locations were you shooting in?
TB: Half the time we were in the headquarters, which was a
massive two-storey set. Because I was seeing the ceiling, we went
for really wide low angles, a little more cinematic for a TV show.
So I couldn’t really hang any movie lights, so there are a lot of
practical lights in there. I typically work from the floor. Your best
TB: That’s the wonderful thing about the ALEXA. I rated the
camera at ISO 800 and just left it – I never changed it day or
night, interior or exterior, and the camera just allows you to shoot
with a lot of available light. That was an example of a well-chosen
location. That location actually had a place where I could bounce
some light, but in a wide shot I could just use those balls of light,
and the deep blue LED lights on the right-hand side, it just made
everything come together. I didn’t have to augment too much. I
did have a few of the Celebs outside because there was so much
glass you really had to be selective in the angles.
CC: How did you create the colours and tones you wanted?
TB: For the first episode we had a DMT– Jasper Vrakking –
come in, and we set up looks for each of the sets. He emulated,
or built, a set of antique filters and we ended up applying that
to everything in the show in varying degrees. It really enhances
the warmth, and it’s great for skin tones. It also really warms the
shadows and the highlights. I also used a set of glimmer glass
filters, relatively new filters that just soften highlights.
CC: How did you create distortion?
TB: Swing and tilts were used on close-ups, and they’re great in
medium or wide shots. In close-ups it’s tricky because eyes are
the important part of the face. There’s a wonderful scene in the
Danforth Music Hall – some wonderful close-ups that are very
deep but the focus is really specific. And it was great to do that.
You don’t always get that opportunity on TV shows.
In the unit headquarters we also built some large louvered glass
panels that you could articulate and we shot some stuff through
that. Within a 2x5 foot frame there are 10 louvered glass panels
that you can rotate. As you rotate them, the images refract through
them. If you move laterally through them you get some wonderful
images. On longer lenses it’s a great way to refract the images.
CC: Surveillance is a huge element on the show, as you mentioed. How did that affect the way you shot?
TB: We used a lot of reflections. Reflections help hide what’s
going on. We’re always shooting into mirrors. They really make a
lights are always on the edge of frame, as Vilmos Zsigmond once
said, so I was working to the very edge. That was definitely a
challenge of that location. Our exteriors were everywhere in the
city of Toronto. Basically the downtown core. There’s a life there
you can’t fake. And I think we captured that urban life both night
and day. In terms of the night light, I really like to embrace the
sodium vapour light that’s in the city. I’m able to use a lot of
that. I don’t do any big backlights. We worked fairly tight and
contained, and that’s the magic of the ALEXA – it allows you to
see deep into the background. It’s wonderful to be able to play
with the existing light.
CC: You shot 13 episodes, seven days per episode. What was
your process in prep?
TB: I don’t get a lot of prep, other than the pilot and second
episode. But prep was at a premium because I’m not alternating
with anybody. I had to trust my gaffer and key grips to really prep
well. And they always did a great job so I could trust them. For
the pilot, I was in prep for three weeks. Adrienne has an interesting way of prepping, she’ll take her own little video camera and
she’ll go through the entire scene with some stand-ins and block
the scene. So that was a real advantage that you don’t get with
most television directors. That’s what’s great about working with
Adrienne. She’s an amazing creative, infectious energy and she
imbued the entire show with that.
Canadian Cinematographer - December 2013 •
15
Kirk Neff
I
n 2003, Barrie, Ont., electrical lineman Dave Gillham was installing new
power wires when he was electrocuted
arm to arm by 16,000 volts. The accident resulted in the amputation of both
Gillham’s arms, but it didn’t stop him
from doing what he loved most: playing
hockey. The inspirational story was the
subject of a 2011 16x9 episode, but while
shooting the interview with Gillham,
cameraman Kirk Neff felt the poignancy
of the man’s story was not coming
through.
“I just felt we weren’t really getting the
emotion. This was a 40-year-old man,
still passionate about playing hockey.
I felt this guy really wanted to talk,”
Neff, who earlier this year won the CSC
Award for News Magazine Cinematography, says. Like most investigative news
shows, 16x9 at that time employed a
three-camera shooting style, with two
cameras trained on the interview subject
and one on the news correspondent. In
16 • Canadian Cinematographer - December 2013
those setups the subject looks off-frame
toward the correspondent. But a friend
had recently turned Neff onto the Nikon
D7000, a successor to the manufacturer’s
prosumer D90, and Neff had an idea.
“I went back and simply had Dave look
right into the camera. I put one Kino Flo
Diva-Light on him with daylight bulbs
and just crushed the background with the
shallow depth of field, and I centred him
up and just said, ‘Tell me your story,’”
Neff recalls. The result was a more emotionally impactful testimony. “He just
talked. It was almost like therapy to him.
I didn’t even have to ask him any more
questions. That’s where we get our emotions from. Just talking to no one and
looking into the camera.”
Neff ’s instinct was that not only would
the interview subject talk more freely
when speaking direct to camera, but that
the DSLR itself would make the subject
more comfortable. “The cameras are so
Telling
Stories
with
DSLRs
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Kirk Neff with the DSLR To Go Kirk Neff Edition. The signature
came about after Neff developed a relationship with SHAPE.
small they’re less intrusive,” he says. “And
they give a shallow depth of field, making
the background so soft that the viewer
can connect with the character. It’s almost
like having a conversation with somebody,
and I felt that’s what this story needed.”
Moreover, the picture captured with the
DSLR was “phenomenal,” Neff says. “I
showed it to my producer that night,
and she freaked and said it was amazing
and that we had to do that all the time.”
Indeed, he believes DSLRs have a future
in news documentary shooting.
DSLRs are not typically the camera
of choice on investigative news shows,
which tend to be fast-paced. “With the
big ENG cameras you’ve got everything
on there: four audio channels; a wireless;
your iris, which you can adjust as you
go manually; a zoom, and everything’s
compatible on the camera. With a DSLR
you have to really think about what your
next shot is or what your lighting is like
in the next shot,” Neff explains.
“Also, when we’re recording in DSLR,
18 • Canadian Cinematographer - December 2013
it’s compressed,” he continues. “When
we put it into the edit suite it takes some
time for editors to uncompress it and
ingest it into the computer itself. With
ENG it’s in the camera, you pull it out
and away we go. So it takes a bit of time
to get pictures out of DSLRs.”
With that in mind, Neff knew bringing
a DSLR on board was taking a chance.
“I bring in this little DSLR that has no
XLR inputs like a regular ENG camera
does,” so at first he used his XD camera,
with the wireless receiver mic built in,
for audio source, he says. (He later was
able to detach the wireless from his XD
and added a battery to it, so I didn’t have
to carry the XD.) “It was a huge change
in workflow for everybody on the show.
Now we’re handing in two different SD
cards, one being audio and one being
the video card, and you have to sync the
audio. And in news sometimes you don’t
have a lot of time to do that.”
Nevertheless, rather than shy away
from using the camera for fear of losing
time, Neff found a way to work with it.
“Anything can be done,” he says. “We
can find a workflow to deal with it and
it can happen.” And the technology is
constantly being adapted to streamline
the workflow, he adds.
Specifically, with the Nikon, Neff says,
“you can do a time-lapse where it actually
converts it to an MOV file for you right
in the camera itself. You don’t have to
compile all those photographs together.
The camera actually does it in camera for
you. It also has adaptable lenses which
can really help you on the pictures that
you’re looking for.”
Part of Neff ’s motivation for integrating DSLRs into news shooting was to
distinguish 16x9 from other investigative
and documentary TV series. “There are
many of them, W5, The Fifth Estate… So
how do you make your show different to
compete with them?” he says. “For 16x9,
I wanted that cinematic feel; I wanted
every story to be like it’s a film, not a
news story. These are people’s stories. I’m
recording people’s history, and I’m very
passionate about that.” And DSLRs, he
discovered, could be a big part of passionate storytelling. “People will respond
better to that little camera than they do
to big cameras because immediately when
you come in with a big camera they think
news. With the little camera they go,
‘Wow that’s cool,’ and then they forget
I’m there. I can put a little monopod on
it and go around and film without being
in people’s faces.”
Furthermore, DSLRs give him more
creative control when applying a style to
a shot, Neff says. For example, he is able
to use Lensbaby lenses for selective focus
in a frame, an idea he got from using
Nikon’s tilt shift lenses. “That’s creative,”
he says. “Instead of going back to the
station and saying to the editor, ‘Can you
just focus on this, or soften the edges?’
Well, maybe the editor doesn’t have time
or is busy doing something else. Now
I can be creative and do everything in
camera. And when I give it to the editor
it’s already done for him.”
DSLRs are also more forgiving when it
comes to shooting documents, which
are a staple on investigative news shows.
“Documents have always been a hard
thing to shoot,” Neff says. “You can’t really get the angle you want. I’ve done lots
of documents now using different lenses
with these cameras. I can actually defocus
everything I want and only focus on what
I want the viewer to look at. And you’d
never be able to do that with a regular
HD camera.”
The cameras added benefit is their shallow depth of field, Neff says. “When
we go to do interviews, we’re basically
going into people’s houses and making it
a studio. We’re working with what they
already have set up. With a regular HD
camera, you interview the subject, but
everything in the background is going
to be almost in focus because I can’t get
that shallow depth of field because I
either have to be farther away or have to
gain up because it’s dark in the house,”
Neff explains. “If I bring in my DSLR
I can stay in one spot and I can just use
my different lenses. And I can crush the
background and soften out the background so it’s not as distracting as a white
wall or a tree. I can focus on the subject’s
answers.”
When he wants to make a shoot look
like a “huge production,” he can do so
by simply putting his DSLR on a slider
and doing vertical or horizontal pans or
tilts, he says. “Basically, if I had my big
camera I wouldn’t be able to do it because
I’d have to have a long rail or a heavy rail.
And with a slider I carry it in my luggage and it comes with me everywhere,”
Neff continues. It is worth noting that
Neff has a signature camera rig with the
Montreal-based camera equipment company SHAPE. After cultivating a relationship with the company over a two-year
period, Neff helped test early prototypes
of a small DSLR rig the company was
developing. “Once I met them in
Montreal, we were looking at the rig
again and, jokingly, I said my name
would look good on the top, and next
thing I know I was in the boardroom
talking about it,” Neff recalls.
When it comes to lighting, Neff leans
heavily on available light. “I mean, nobody
is brighter than God,” he says, laughing.
“A lot of the time, when I go into a room
and people see windows they say, ‘We
can’t shoot in here because there are windows.’ I immediately speak up and say,
‘You know what? I can work with these
windows.’ Because in film those whites are
soft. I can make them soft. When you’re
shooting in HD they’re harsh, peaking.
I think just the natural available light is
beautiful. I don’t even have a sun gun on
my cameras. I shoot outside with available
light all the time. Indoors I’ll also use
LED Filoni, Diva lights and I like to use
a lot of daylight bulbs. It really brings out
the person’s features. It’s beautiful.”
Neff – who has since upgraded to Nikon’s
D800 and D600 “because they’re fullframe cameras, which gives a bit more
depth of field” – has spoken at newsrooms and photography shows across
Canada about what an asset the DSLR
can be in creative news stories.
“I imagine in the next couple of years
every ENG camera person will have at
least one DSLR in their car shooting
features for news, bumpers, and for creative things as time lapses. I think it’ll be
integrated into news stories,” he says.
Neff films at Tihar Jail in New Delhi and various locations around India.
Canadian Cinematographer - December 2013 •
19
Tech Column
Gadget Roundup
MoVI M10 Photos: Courtesy of Freefly
The
W
hile NAB 2014 is still a few months away, it’s worth
looking back at some of the new products that
debuted at the show this past year since you may
be shopping for yourself this holiday season. While tech geeks
tend to fixate on pixels and lenses, there’s a lot more technology
out there to improve capture whether you’re running a full-sized
camera like an ARRI or RED, a mini like a BlackMagic, or even a
DSLR. More interestingly, a lot of the products announced don’t
actually ship until the end of the year, so a quick recap is even
timelier.
The MoVI M10, a handheld
three-axis, digitally-stabilized
camera gimbal from Freefly.
20 • Canadian Cinematographer - December 2013
With the rollout of the Sony F5/55 the industry was quick to
jump on getting accessories to market. ARRI PCA kits have a
combination of options around an LWS base plate; shoulder
pad; accessory top plate; handle and Sony viewfinder adapter.
Movcam also launched rigs for the Sony F5/55 with a cool
baseplate/shoulder pad set-up.
Adding a little Canadian know-how, Matthews Studio Equipment’s “Lazy Suzy” slider was designed by gaffer/operator Alex
Makalu. The twist is that it’s controlled via a multi-axis jog box
with a joystick hooked wirelessly to a MacBook, iPad or iPhone
running the eSpinO software.
Also announced, but only shipping as of last summer, is the MoVI
M10, a handheld three-axis, digitally-stabilized camera gimbal
from Freefly. What’s unique about it is the size and weight – it’s
superbly compact – and the digital technology baked in. Aside
from the brushless direct drive motors, which create almost no
sound to interfere with audio capture, it uses Bluetooth to allow on-the-fly adjustment to settings, and it is firmware driven,
meaning updates can be instantaneous. It also has GPS-driven
guidance which is useful when shooting aerials from choppers or
when it’s mounted on a car. Ironically, the system will allow you
to “dial in” some shake to give the capture
that authentic feeling of movement when
Matthews Studio Equipment’s “Lazy Suzy” slider.
desired. It’s running at about $15,000, but
there’s also the M5 with fewer features at
half the price. Meanwhile, the versatility
and quality of the DSLR continues to improve and so too does the number of accessories for them.
Credit: Courtesy of Matthews Studio Equipment
MoVI M10
Amyot of Montreal and scored a Digital Video Magazine “Black
Diamond Award” at the show. The $2,800 gadget is an articulated double-swivel platform which will position the camera anywhere within a 25” diameter circle without having to reposition
the dolly, tripod, or car mount rig. MSE says “the camera can
be secured firmly for travelling shots, process trailers, or lock-off
shots with a series of strategically placed tapped holes and will
support camera packages up to 70lbs (30kg).”
MSE also offers a remote control pan-tilt head called the
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Zacuto’s Marauder is a folding rig that can
be deployed in seconds and mates up to the
included Gorilla Plate V2 for quick release.
It’s designed for what Zacuto calls “run n’
gun” shooting and has a shoulder brace for
added stability and support. It’s also configured to give options in using the on-board
viewfinder or an add-on like the Z-Finder
Pro 2.5x. Zacuto, which makes similar recoil rigs for the C300 and RED, also has a
compilation kit for DSLRs which sees a Recoil System mated
to an electronic viewfinder (EVF) Dogbone, a Z-Drive follow
focus with the Tornado grip control, which also acts as a second
handle and gives more stability to limit wobble while shifting
focus during capture. Zacuto says because the rig sits back on the
shoulder it will work with long lenses without getting overly unbalanced and, pushed forward, will work with 18 mm glass too.
Finally, let there be light. The Lowel GL-T Power LED turned
a few heads if only because of its form factor. It looks like a cross
between an 18V drill and a handyman work light, but it pushes
a lot of lumens with 398-foot candles at 5ft (full spot) or 73 foot
candles at 5ft (full flood). What it is, says Lowel, is a handheld
spot which will put the focus of light just where you want it. It
was developed for wedding photography but is being used increasingly in video because it is a what-you-see-is-what-you-get
lighting tool. Lowel says its output is comparable to a 100W
tungsten halogen lamp focused at the same beam angle, and it all
packs onto an 8:1 focal range. It’ll also accept an 82 mm daylight
correction filter and is dimmable.
Ian Harvey is a veteran Toronto-based journalist who writes
for a variety of publications and covers the technology sector.
TORONTO
HALIFAX
He welcomes feedback and eagerly solicits subject matter ideas at
416-444-7000
902-404-3630
[email protected].
416-444-7000
902-404-3630
TORONTO
22 • Canadian Cinematographer - December 2013
HALIFAX
Short-Term Accommodation for Rent
Visiting Vancouver for a shoot? One-bedroom condo in Kitsilano on
English Bay with secure underground parking, $350 per week. Contact:
Peter Benison at
604-229-0861, 604-229-0861or [email protected].
Liberty Village Office Space Approximately 1,250 sq ft of fully
furnished, turn-key office space in prime Liberty Village location available
to established television or new media production company in shared
office setting. Features include glassed boardroom, 2 closed door offices,
internet access, alarm system and shared kitchen. Please reply by email to
[email protected] or call John at 647.891.4027
Equipment for Sale
Canon Wide angle Lens J11A X 4.5 B4 IRSD and Canon Servo Zoom
Control ZSD-300 Value 27 000$ Asking only 3 500$
Sony Camera Handycam HDR-HC7, 2 Sony Batteries NP-FH100, Sony
Wireless Mic ECM-HW1, Tiffen Filter 37mm UV, Century-Precision ,55
WA ADAPTER 55WA37, KATA Rain Cover KARC18 Value 2100$ Asking
only 350$, Elmo Suv-Cam SD ELSC5C and accessories New Value 1
200$ Asking only 200$, Anton Bauer UltraLight & Ul Soft Box Asking
only 150$, Frezzi HMI Sun Gun & Frezzi Soft Box Value 1 700$ Asking only 400$, Porta Brace Rain Slicker for Pro Camcorder RS55 like New Asking only 150$, Script Boy Wireless T.C. System needs
minor repair Asking only 200$, Shure Mixer FP33 & Porta Brace audio
mixer case Asking only 450$, Minolta Lightmetre + Adap.5° 4F Asking
only 250$ , Beachteck passive dual XLR adaptor DXA-5Da like new Value
369$ Asking only 150$, Sony Monitor SD PVM-14N1U new Asking
only 75$, 2 Camera Canon Dig Rebel 10Mp XTi, Sigma 70-300 F4-5.6
Super C-AF, 4 Canon Batteries and accessories Asking only 800$, Porta
Brace monitor Case for Panasonic BT-LH910 like new Asking only
100$ [email protected] or call 514 831-8437
Panasonic AJ-HDX900P 290 drum hours, $7500.00
Canon KJ16ex7.7B IRSE lens, $5000.00
CanonJ11ex4.5B4 WRSD lens, $4500.00
Call Ian 416-725-5349 or [email protected]
Canon Wide angle Lens J11A X 4.5 B4 IRSD and Canon Servo Zoom
Control ZSD-300 Value 27 000$ Asking only 3 500$
Sony Camera XDCAM EX1, 2 Sony Battery BP-U60, 1 Sony Battery BP-U30, 1 Sony Wide Conversion Lens X 0,8 VCL-EX0877, Sony
AC Adaptor / Charger BC-U1, 2 Sony SxS 8Gb, 4 E-Film MxR, Porta
Brace Camera Case PB2700IC All in very good condition Value 10
700$ Asking only 3 200$ Porta Brace Rain Slicker RSEX1, Like new:
125$, Porta Brace Lens Cover LC-M, Chroziel Matt Boxe S1001, Chroziel
Sunshade S1001FF, Chroziel Adaptator S1001158SR, Chroziel Step-down
Ring 80mm S100180, Tiffen Filtre 3X3, FX#1, FX#2, Polariser, Grad
ND9 Value 1 545$ Asking only 400$, Sony Camera Handycam HDRHC7, 2 Sony Batteries NP-FH100, Sony Wireless Mic ECM-HW1, Tiffen
Filter 37mm UV, Century-Precision ,55 WA ADAPTER 55WA37, KATA
Rain Cover KARC18 Value 2100$ Asking only 350$, Elmo SuvCam SD ELSC5C and accessories New Value 1 200$ Asking only
200$, Anton Bauer UltraLight & Ul Soft Box Asking only 150$, Frezzi
HMI Sun Gun & Frezzi Soft Box Value 1 700$ Asking only 400$, Gitzo
Tripod carbon finer legs GI 1380/38/7kit Value 1 200$ Asking only
500$, Porta Brace Rain Slicker for Pro Camcorder RS-55 like New Asking
only 150$, Script Boy Wireless T.C. System needs minor repair Asking
only 200$, 3 x ETC Par Source Four Light with GP TVMP Light Stand
Adaptor Asking only 175$, Eartec TD-904 Pro intercom EATD904 Value
1 050$ Asking only 300$, Shure Mixer FP33 & Porta Brace audio mixer
case Asking only 450$, Minolta Lightmetre + Adap.5° 4F Asking only
250$ , Beachteck passive dual XLR adaptor DXA-5Da like new Value
369$ Asking only 150$, Sony Monitor SD PVM-14N1U new Asking
only 75$, 2 Camera Canon Dig Rebel 10Mp XTi, Sigma 70-300 F4-5.6
Super C-AF, 4 Canon Batteries and accessories Asking only 850$, Porta
Brace monitor Case for Panasonic BT-LH910 like new Asking only
100$ [email protected] or call 514 831-8347
Asahi Pentax spotmeter(just serviced) 425.00
Minolta Colormeter III F 750.00
Spectra Professional IV 250.00
Spectra Professional IV A 300.00
Minolta Spotmeter F(need repair) 100.00
Bernard Couture: [email protected]; 514-486-2749
Professional U/W housing from renowned world leader Amphibico.
2006 Sony HVR-A1U camera with 0.7x wide adapter and all accesories.
2006 Amphibico EVO-Pro housing with .55x wide conversion and flat port.
Rare model built in small quantity. Most camera functions accessible.
About 60-70 dives. Complete overhaul and pressure tested by factory in
2010. 3.5’’ LCD Monitor, rebuilt in 2010. 2 compact Discovery 10W HID
lamps by Amphibico with batteries and chargers. Spare o-ring for all. Soft
and hard carry cases. All in good condition. E-mail or call for photos and
more information. 514-941-2555, [email protected]
FOR SALE 4X4 Petroff Mattebox, barely used. Can be used with 15mm rod
support or clip-on.
INCLUDES: Single stage (option to add two more stages); 1X 4X4 tray +
1X 4X5.65 tray; Petroff Eyebrow; Zacuto lens donut; 15 mm rod support
bracket; 85 mm ring adapter. Bought originally for $650 CDN asking $450
(firm). GREG BISKUP p. 647 405-8644. Email: [email protected]
2 Arrilite 2k’s like new very little use with 4 way barn doors,
5 scrims, 4 2k bulbs, 3 1k bulbs and Arri case in very good condition $1100
Call 416 712-1125 or [email protected] Duncan MacFarlane
2- Transvideo Titan HD Transmitter and Receiver kits. $3000ea. 2 for
$5500. Similar in style and operation to the Boxx Meridian.
1- Angenieux 25-250 T3.9 Arri PL mount, std film gears on focus, zoom,
and iris (32 pitch-mod 0.8), lens support and collar, shipping case included
$2900
1- Tamron 300mm F2.8 Arri bayonet mount with PL adapter, std film gear
on focus (32 pitch-mod 0.8), 42mm filters: clear, 2 x 85, shipping case
included $900
1- O’Conner 50 fluid head with Mitchell, Mini-Mitchell, 150mm ball bases
and tie-downs, 2 quick release plates extra hardware (pan module needs
fluid) $400
Contact: [email protected]
1) Panasonic 3D Professional Full HD Video Camera (AG-3DA1)
The AG-3DA1 is the world’s first professional, fully-integrated Full HD 3D
camcorder that records to SD card media. The AG-3DA1 will democratize
3D production by giving professional videographers a more affordable,
flexible, reliable and easier-to-use tool for capturing immersive content as
well as providing a training tool for educators.
At less than 6.6 pounds, the AG-3DA1 is equipped with dual lenses and
two full 1920 x 1080 2.07 megapixel 3-MOS imagers to record 1080/60i,
50i, 30p, 25p and 24p (native) and 720/60p and 50p in AVCHD. Camera is very new. Includes Kata Carrying case, 4 batteries. To view photos/questions email [email protected] or call 416916-9010.
Asking price: $17,500 (includes tax). Will ship out of province.
2) Proline 17 inch Teleprompter
Included is both PC AND Mac versions for our industry leading Flip-Q
teleprompter software. Flip-Q automatically “Flips” the secondary output
on your laptop so both the operator and talent will see perfect reading
left-right text. The ProLine 17 standard LCD panels are the lightest
weight, lowest profile designs in their class. In addition, they offer both
VGA and composite video inputs adaptable with any computer output or
application. They also offer flexible power options including 100-240V AC
or external 12v DC input.
Price includes Tripod attachments and Pelican carrying case. Complete
tool-less set-up.
To view photos/questions email [email protected] or call 416916-9010.
Asking Price: $2,000 (includes tax).
Sony PMW-F3 with S-Log
Excellent conidition with low hours, Optional RGB S-Log upgrade installed,
Kaiser top handle, Optional on-board mic, 32GB SXS card “A series” 100mb/sec, All factory accessories and manual $11, 000.00
Shape Composite F3 Shoulder Mount - NEW
NEW!! Never Used. Still in box.
Can be used with Panasonic AF-100, Sony FS-100, FS-700, HDSLR, Canon
5D, 7D, 60D, Black Magic Cinema, Red MX, Red Scarlet, Red Epic
$800.00 new plus shipping and taxes. Asking only $600.00
GoPro Hero2 camera - Outdoor package
In excellent condition with minimal use 11MP HD HERO2 Camera, Waterproof Housing (197’ / 60m), HD Skeleton Backdoor, Rechargeable Li-ion
Battery, USB Cable, Helmet/Chest Strap, Head Strap, unused Adhesive
Mounts, Three-Way Pivot Arm, Manual/instructions, 4 GB SanDisk SD
card, Original packaging $300
Photos available. Contact John Banovich 604-726-5646 or [email protected]
Nikkor AF-S VR 500mm F 4 IS ED Lens. Super rare and very hard to
find!!!
Serial # 204153 Perfect condition. Not a scratch on it!!! Only one year old.
Included Hard Shell Case, Lens Hood, Lens Strap, Case strap. Come with
Manfrotto
Carbon Fiber tripod, Jobu head and Jobu Mounting Bracket. Asking price
$9000.00
[email protected], 604.566.2235 (Residence), 604.889.9515
(Mobile)
BL III Camera Kit $3750 Or Best Offer [email protected],
604.566.2235
(Residence), 604.889.9515 (Mobile)
ARRIFLEX BL3 BODY WITH PL MOUNT, 4 PERF MOVEMENT, VARIABLE
SHUTTER, FULL 35MM GATE, VIDEO TAP ELBOW, 2 X ARRI 400’ BL
MAGAZINES, 2 X POWER CABLE, CASES FOR CAMERA, MAGS.
BL IV Camera Kit $8,950 Or Best Offer [email protected],
604.566.2235
(Residence), 604.889.9515 (Mobile)
ARRIFLEX BL4 BODY WITH PL MOUNT, 4 PERF MOVEMENT, VARIABLE
SHUTTER, FULL 35MM GATE, ARRIGLOW MODULE AND ARRIGLOW
GROUNDGLASS IN RED, CEI COLOR 4 VIDEO TAP CAMERA AND ELBOW,
CEI ELECTRONIC RETICLE GENERATOR, BL4 VIEWFINDER EXTENSION,
WIDEANGLE EYPIECE WITH HEATED EYECUP, POWERCABLE FOR HEATED
EYEPIECE, ARRIFLEX 4 x 5 SWINGAWAY MATTEBOX, ARRI FF2 FOLLOW
FOCUS WITH EXTENSION, WHIP AND 2 GEARS, 15MM ARRI SLIDING
BASEPLATE SET WITH 2 X 18” AND 2 X 12” STAINLESS STEEL 15MM
RODS, 5 X ARRI 1000’ BL MAGAZINES, 2 X ARRI 400’ BL MAGAZINES, 3
X DOUBLE POWER 12 VOLT BATTERIES, 2 X 12 VOLT CHARGES, POWER
CABLE, CASES FOR CAMERA, MAGS, MATTEBOX, ETC.,FILM TEST HAS
BEEN SHOT.
[email protected], 604.566.2235 (Residence), 604.889.9515 (Cell)
JVC GY-DV300 Broadcast Quality camcorder. 4x3 or 9x16 switchable
750 horizontal lines with several extra batteries and carrying case. Plus
and external Shure VP88 stereo microphone with Rycote bracket and
wind screen with high wind cover and extra mic cables. Asking $ 1200.00.
Contact Robert Bocking csc 416 636-9587 or [email protected] for
more information.
Equipment for sale!! All equipment in excellent shape!!
Panasonic AJHDX900P High Definition Camera, Panasonic Stereo
Microphone, Canon
Zoom Lens 8x160 (J20a x 8B4 IRS), Dionic 90 Anton Bauer Batteries &
charger, Anton
Bauer mini fill light 12 V, Marshall 7” HD-SDI LCD Monitor & accessories,
2 x Porta Brace
camera bags, Sony Digital Betacam (DVW700) and accessories, Sachtler
fluid head VIDEO
20 III & Sachtler tripod legs fibre & fibre case. Call 613-255-3200,
Total $ 25,000.PL mount prime lens set (Sony) 35mm, 50mm 85mm all T2.0. Mint
condition. Used briefly for one shoot $5200.00 John Banovich, csc
604-726-5646
[email protected]
Panasonic BT-S950P 16:9 / 4:3 SD Field Monitor for Sale (Excellent
Condition)
- $100. Portabrace included Please contact Christian at (416) 459-4895 or
email [email protected]
OWN A PIECE OF CINEMA HISTORY: selling a vintage Bell & Howell
2709 camera with mags. THE film camera of the 1920s and ‘30s; assorted
other goodies. Contact:
[email protected].
VIDEO & AUDIO GEAR FOR SALE: (2) HVX-200 Panasonic P2 Camcorders $1,500
each; (1) DSR-1500 Sony DVCAM recorder, $1,500; (1) Sony DSR-1
DVCAM dockable recorder $1,000; (3) Sony PVV-3 Betacam recorders
$500 each; (3) Mitsubishi XL25U video projectors $500 each; (1) Mackie
1604VLZ audio mixer $500; (1) Glidecam
PRO2000 camera stabilizer $200; (1) Glidecam DVPRO RIG camera
stabilizer $300;
(1) Yamaha P2075 amplifier 75W stereo/150W mono $500; (3) HVR-Z1U
Sony HDV camcorders $1,000 each; (1) Sony DSR-300 DVCAM camcorder
$1,500; (1) For-A VPS400D 8 input SDI switcher $2,700; (2) Sony WRT822/WRR861 wireless
transmitter/receiver – no mic - $750 each; (2) Sony BRC-300 remote
control P/T/Z cameras $1,990 each. Call Ted Mitchener at ZTV Broadcast
Services 905-290-4430 or email [email protected].
Services
Flicker-Free HMI & Hi-Speed Cameras available with operator/
gaffer (Toronto)
Includes a new ARRI M18 1800W lensless HMI with Arri 1000Hz FlickerFree Ballast, stand, and lots of head cable. It’s as bright (or brighter) than a
T5 but runs on household AC 120V and draws less than 20Amps. We also
have the Sony FS700 Super-35 CMOS sensor high-speed camcorders with
PL, Nikon, Canon, or Pentax mounts. Great for overcranked product shots
on a budget. 60fps, 120fps or 240fps @ 1080p and 480fps @ 720p. Other
camera/grip/electric & 3D support gear available as well. Contact Tim
at 1-888-580-3274 ext.700 or [email protected]
Need your reel updated? Looking for an editor? I am a CSC associate
member who is also an editor with my own FCP suite. I am willing to trade
my edit suite time in exchange for rental of your gear, or shooting advice,
or both. Please send email to [email protected].
Do you travel between Toronto and Hamilton for production every day?
Need a place to: screen dailies, host your production office that’s close to
both? Hill’s Production Services www.hillsvideo.com. We are a full Service
Production Company with cameras and edit bays for making EPKs. Some
grip gear, if you find yourself in the field, short of one or two items. Hill’s
also has office space and a mobile screening room. Located just off the
QEW in Burlington, check us out 905-335-1146 Ask for Rob Hill. Camera Classified is a free service provided for CSC members. For all
others, there is a one-time $25 (plus GST) insertion fee. Your ad will appear
here and on the CSC’s website, www.csc.ca. If you have items you would
like to buy, sell or rent, please email your information to [email protected].
Canadian Cinematographer - December 2013 •
23
Camera Classifieds
Equipment Wanted
Edmonton Film Cooperative wants your unused Arri 35 mm
camera. Do you have film
cameras languishing on a shelf? Give it a new life, give it to a film coop
and we will give you
a healthy tax credit. Have a 35BL, a 235, a 435 gathering dust because
everyone is Red cam
nuts? Have other great camera accessories? Let us know, let’s make a
deal. Contact Andy @
[email protected] and work a great deal.
CSC Member Production Notes
100 (series); DOP Philip Linzey csc; to January 24, 2014, Langley
Almost Human (series); DOP David Geddes csc & Michael Wale csc (alternating episodes); to December 23, Vancouver
Arrow II (series); DOP Glen Winter csc & Gordon Verheul csc (alternating episodes); to April 17, 2014, Vancouver
Beauty and the Beast II (series); DOP Bruce Chun csc & David Makin csc (alternating episodes); to April 22, 2014, Toronto
Being Human IV (series); DOP Pierre Jodoin csc; to December 11, Montreal
Defiance II (series); DOP Thomas Burstyn csc, frsa, nzcs; to December 17, Toronto
Fargo (series); Matthew Lloyd csc; to April 4, 2014, Calgary
Hannibal II (series); Camera Operator Peter Sweeney; to March 20, 2014, Mississauga
Heartland VII (series); DOP Craig Wrobleski csc; B Cam Operator Jarrett Craig; to December 9, Calgary
Helix (series); DOP Stephen McNutt csc, asc; to December 9, Montreal
Hemlock Grove II (series) B Operator/Steadicam Keith Murphy; to February 25, 2014, Mississauga
Motive II (series); DOP Ryan McMaster csc (alternating episodes); to January 24, 2014, Burnaby
Once Upon a Time in Wonderland (series); DOP Attila Szalay csc, hsc; to February 21, Burnaby
Republic of Doyle V (series); DOP David Herrington csc; to December 3, St. John’s
Reign (series); DOP Paul Sarossy csc, asc, bsc; B Camera Operator/Steadicam Andris Matiss; to December 9, Toronto
Remedy (series); DOP Stephen Reizes csc; to January 23, 2014, Toronto
Seed II (series); DOP Gerald Packer csc; B Camera Operator Alastair Meux csc; to December 4, Dartmouth
Sensitive Skin (series); DOP Douglas Koch csc; to December 5, Toronto
Supernatural IX (series); DOP Serge Ladouceur csc; Camera Operator Brad Creasser; to April 20, 2014, Burnaby
Tomorrow People (series); DOP David Moxness csc; to December 5, North Vancouver
Wayward Pines (series); DOP Gregory Middleton csc; to February 14, Burnaby
Working the Engels (series); DOP Thom Best csc; Camera Operator Peter Battistone; to January 9, 2014, Toronto
Yamaska V (series); DOP Daniel Vincelette csc; to December 6, Montreal
You and Me (series); DOP/Operator Christopher Ball csc; First Assistant Eddy McInnis; to February 26, Halifax
Calendar of Events
4, CSC Wisdom Lecture Series with Luc Montpellier csc,
Toronto, csc.ca
DEC
FEB
4-8, Whistler Film Festival, Whistler, BC, “
whistlerfilmfestival.com
20-30, International Film Festival on Art, Montreal,
artfifa.com
9, CSC Pub Night, Montreal, csc.ca
JAN
FEB
16-25, Sundance Film Festival, Park City, Utah, sundance.org
MAR
31, CSC Awards entry deadline, csc.ca
24 • Canadian Cinematographer - December 2013
22, CSC Awards, Westin Harbour Castle Conference
Centre, Toronto, csc.ca
28-6, Cinéfranco, Toronto, cinefranco.com
7-16, Victoria Film Festival, Victoria BC,
victoriafilmfestival.com
20-1, Rendez-vous du cinéma québécois, Montreal, rvcq.com
27-March 2, Kingston Canadian Film Festival, Kingston,
ON, kingcanfilmfest.com
APR
24-May 4, Hot Docs, Toronto, hotdocs.ca
CUT. SHAPE. FOCUS. TUNE.
ARRI introduces the first LED-based lights to truly match the versatility and homogeneity
of conventional tungsten Fresnels: a new generation of focusable, tuneable lights that offers
complete control, combining breakthrough performance with incredible efficiency.
www.arri.com/l-series
Anova 2 EcoFlood
It’s got Oscar
written all
*
over it
Rotolight introduces the new line of Version 2 ANOVA LED EcoFloods
How do you improve the world’s most advanced LED floodlight? You make it
brighter, enhance colour rendering, decrease power consumption, and improve
control functionality.
Come see the new line of Version 2 ANOVA LED Ecofloods, including singlecolour and bi-colour units available in 110-degree (soft light) or 50-degree
(spotted) models. See them on display at Vistek.
•
Up to 3.5 times brighter
•
Enhanced colour rendering (CRI 98)
•
Bi-Colour, plus 3200K and 5600K versions
•
110° (soft light) and 50° (focused) beam angle models
•
Totally flicker-free output
•
Built-in V-lock battery mount
•
DMX and WiFi with control app for iPhone and iPad
*Rotolight lighting units were used on the set of Tom Hanks’ latest film Captain Philips,
and the latest James Bond flick, Skyfall.
COMMERCIAL PRO VIDEO
Direct: 416-644-8010 • Fax: 416-644-8031 • Toll-Free Direct: 1-866-661-5257 • [email protected]
PHOTO | VIDEO | DIGITAL | SALES | RENTALS | SERVICE
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