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Canadian Society of Cinematographers
10-MAR
10
0
56698 94903
9
$4 March 2012 www.csc.ca
A Congolese
Tale in Incredible
Colour
By Nicolas Bolduc csc
Matthew Lloyd csc • Sony F3 in S-Log
THE CANADIAN SOCIETY
O F C I N E M AT O G R A P H E R S
THE
TH
ANNUAL
C S C AWA R D S
GALA
MARCH 31 2012
Westin Harbour Castle, Downtown Toronto
Cocktail Reception 5:30 pm | Dinner and Awards 7:30 pm
For tickets Contact the CSC ofﬁce: 416-266-0591
or www.csc.ca
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.
The purpose of the CSC is to promote
the art and craft of cinematography
in Canada and to provide tangible
recognition of the common bonds
that link film and video professionals,
from the aspiring student and camera
assistant to the news veteran and
senior director of photography.
We facilitate the dissemination and
exchange of technical information and
endeavor to advance the knowledge
and status of our members within the
industry. As an organization dedicated
to furthering technical assistance, we
maintain contact with non-partisan groups
in our industry but have no political or
union affiliation.
FEATURES – volume 3, No. 10 March 2012
Rebelle: A Congolese Tale in Incredible Colour
12
CORPORATE SPONSORS
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6
A Retro 1960s Aesthetic is the Right Look for Rooney’s
“Holdin’ On”
By David Heuring
18
Behind the Scenes with Makeup Artist Teryl Crombie
By Fanen Chiahemen
Columns & Departments
2 From the President
4 In the News
20 Tech Column
21 Camera Classified
24 Productions Notes / Calendar
Cover: Lead actress Rachel Mwanza in a still from Kim Nguyen’s latest feature Rebelle.
Courtesy of Item 7
Canadian Cinematographer
March 2012 Vol. 3, No. 10
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
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Fanen Chiahemen
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ART DIRECTION
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it cannot be held responsible for any consequences
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2 • Canadian Cinematographer - March 2012
T
he CSC through its membership is a vast storehouse of cinematic knowledge. I figure with some 500 plus members the CSC embodies over a
thousand years worth of technical know-how. Imparting this knowledge
and experience to others in our industry and to younger generations of cinematographers is a duty-bound obligation that the CSC takes very seriously. It is a
part of our credo “to foster and promote the art of cinematography.”
Education co-chairs Ernie Kestler and Dylan Macleod csc have developed an
ambitious program of courses and workshops. Offering virtually one a month
throughout the year, they include: digital camera assistant courses; various levels
of lighting workshops from beginners to master classes; workshops for 3D and
special effects cinematography; plus a workshop designed specifically for camera
operators. Our courses are hands-on for the participants and are held in various industry locations around Toronto. With an eye to the future and slightly
further afield, the CSC is planning to develop various other workshops such as
cinematography for directors, producers, actors and perhaps even a workshop
that deals specifically with cinematography in relation to lighting and make-up.
The teaching talent for our workshops and courses are drawn from the CSC’s
membership. Participants must apply, and their entrance is dependent on their
qualifications in relation to their industry background and work experience.
Essentially, CSC courses and workshops are “by professionals for professionals.”
Our industry is constantly evolving with technological advancements moving at
blinding speeds. The CSC’s educational initiatives strive to keep our profession
vibrant and thriving in tandem with the evolution of our industry. I would like
to thank Ernie and Dylan for all their hard work and guidance in keeping our
educational program relevant and moving forward.
At the beginning of February, the CSC held its Annual General Meeting at
Technicolor in Toronto. I would like to thank Technicolor for not only providing the space for our AGM, but also for the excellent refreshments and food. The
reports from our executive can be found in this month’s issue of the magazine. I
would like to thank the CSC executives for their due diligence throughout the
year and to all our members who attended the AGM. See everyone next year!
The juries have been held, the nominees and winners have been chosen and
we’re just a few weeks away from The 55th CSC Annual Awards Gala. The highlight of our calendar year takes place March 31 at Westin Harbour Castle in
downtown Toronto. For more information and tickets please see our advertisement in this month’s magazine, or call our office at 416-266-0591, or head to
our website at www.csc.ca. See you there!
To all our readers of Canadian Cinematographer: Good shooting!
Michael Condon, SOC
VP Digital Division
Andree Martin
VP Technical Services
CREATIVITY!
Your Mind, Our Tools!
Let us help you pick the right tools for your job. Film or
digital, we’re here for you. You can choose from a vast
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coupled with the industry’s widest selection of lenses and
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lenses, including the new Vantage Hawk V-lites in
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In The News
Fellag in Monsieur Lazhar. Courtesy of eOne Films.
CSC Members’ Films Nominated
for Genie Awards
Films shot by CSC members are among the nominees for the
2012 Genie Awards: Ronald Plante csc is nominated for
Monsieur Lazhar in the Achievement in Cinematography category.
Monsieur Lazhar is also nominated for Best Motion Picture, as
is Starbuck, which was lensed by Pierre Gill csc. The Genie
Awards ceremony will take place on March 8 in Toronto.
FUJIFILM Marks
78th Anniversary
FUJIFILM in January celebrated its 78th anniversary since it was
established in Japan in 1934. The company’s initial goal was to
produce photographic films. In the 1940s and ‘50s, it manufactured film products such as motion picture, X-ray and camera
film. From the 1960s through the 1980s, business expanded to
include colour paper, recording media, photo finishing equipment, graphic arts materials and diagnostic X-ray imaging. In
1988, FUJIFILM opened its manufacturing plant in Greenwood, South Carolina. In the late 1990s and into the 2000s,
the digital imaging transition began. The company now has a
diverse portfolio, ranging from imaging to medical systems to
biopharmaceutical manufacturing.
HD Source Named
as Products Dealer
HD Source Inc. and Sony of Canada, Professional Solutions
Group recently announced the appointment of HD Source as
an Authorized Professional Products Dealer. HD Source will be
servicing the corporate communication, educational and medical
imaging markets in and around the Greater Toronto Area. Under
the agreement, HD Source will work closely with Sony Canada
to develop the target markets, providing solutions for today’s
requirements using the new technologies developed by Sony.
Illumination Dynamics Adds
Charlotte Camera and Camera
Dolly Departments to Website
U.S. rental company Illumination Dynamics, part of the ARRI
Group, has added the Charlotte Camera and Dolly data to its
website. In an effort to make company information more easily
accessible, visitors to the Motion Pictures, TV and Commercials
area of the website will find the Charlotte departments listed in
the left-side menu. The new section features technical data, product descriptions and manufacturer information for the cameras
and dollies.
Encore Expands Postproduction
services to New York
Encore, a Deluxe Entertainment Services Group company,
announced in January its expansion into New York, building on
its West Coast network of postproduction facilities for television.
Encore’s New York location is based out of Deluxe and offers
television post and visual effects.
Staff Announcements at Whites,
Sim Video
William F. White International has promoted Cherylene Merlo
to manager of Whites Interactive. Merlo will be in charge of rentals of interactive equipment, especially Viral Vans for on-the-go
digital filmmaking. She will report to Rick Perotto, VP of business development for Comweb Corp. and WFW. Meanwhile,
Sim Video has hired Marty Meyer to replace Cliff Hsui as the
camera department manager in its Los Angeles office.
Canadian Cinematographer - March 2012 •
5
Rebelle
DOP NOTES
A Congolese Tale
in Incredible Colour
In the spring of 2011, Nicolas Bolduc
csc travelled from Montreal to the
Democratic Republic of the Congo
to shoot Kim Nguyen’s latest feature
Rebelle, a drama about teenagers
fighting with a rebel army. Bolduc
had worked with Nguyen before,
lensing his 2010 film La cité.
Other films Bolduc has shot include
Le banquet (2008) and Denis
Villeneuve’s short film Next Floor.
7
THE APPROACH
The Congolese way of life has an energy that director Kim Nguyen wanted to capture. He had visited Kenya, Burundi, Cameroon and Rwanda before choosing the Democratic Republic
of the Congo. From Montreal I couldn’t quite understand the
choice from a cinematographer’s standpoint. The pictures Kim
had showed me after finding the first locations were so alien to
me that I couldn’t even imagine shooting in a country so vast,
chaotic and unfriendly. I couldn’t see the film. But Kim had felt
something over there and it was difficult for him to explain what
it was. Realism was the most important part of our work on the
film, and the challenge was trying to capture the magic that transcends everyday life there.
KINSHASA
As the plane approached the capital, Kinshasa, I could see thousands of grey metal rooftops stretched out as far as the eye can see,
all scattered between trees like sprouts of broccoli. Abandoned,
rust-coloured planes -- some no more than 10 years old -- sat on
the runway, looted and gutted. I stepped out of the airport to a
bustling crowd of taxi drivers, Congolese families, and people
who were obvious airport pickpockets. It all was very chaotic and
made me a bit uneasy. There was the smell of dust, smoke and
burning plastic in the air,
and the humidity mixed
everything up into a salty
tropical cocktail. Even accompanied by a security officer, the stories I had heard
of corruption, violence
and war obviously came to
mind as we walked through
the dark open-air parking.
We drove for more than
an hour toward the city on
a six-lane boulevard with
no street lamps, in a black
cloud of dust and burning
diesel. In the smog the slow
traffic was lit only by the
car headlights, and there
were thousands of people
everywhere. Some children
were selling the traditional
plastic bags of water to motorists. Others sold car carpets, cloths,
toys or anything they could find to make a dollar. It seemed like
a hell of a mess. The chauffeur leaned over and locked my door
as I was texting my girlfriend about what I saw. The light of the
phone in the dark could be seen from far away, he said. A minute
later, a kid appeared from nowhere and fiddled at the door latch
to go for the phone.
Not even an hour in Congo and my idea of the film we were going to shoot wasn’t clear, but I crossed off any classic storytelling,
moody lighting and over-organized schedules serving complex
camera work and machinery! All that was completely out of the
question. Kim’s approach seemed perfect for this place.
SHOOTING
When I was prepping La cité with Kim in 2008, we flirted with
the idea of shooting it digital. In Tunisia, shooting in the desert
with the dust-filled air, the washed out skies, and knowing that
we were going to shoot with a lot of available light, including
torches, well, there just was no compromise. Nothing could beat
35 mm. For Rebelle, we were going in a similar direction, lots of
handheld with tons of natural light, but it was a more realistic
tale that had to feel almost like a documentary. On top of that,
there were some night scenes, and I didn’t want any of that classic
“moon lighting” or any lighting, for that matter, that could feel
artificial. So I didn’t even try to avoid digital, and just thinking of
getting film in and out of the Congo was a logistical nightmare!
I tested the many digital formats available before the shoot, and I
fell in love with the ALEXA in a flash. It was light, versatile, and
I could pick it up with one hand and throw it on my shoulder for
an improvised shot. The cards held 14 minutes of footage, and
some takes would actually fill up the card. Sometimes during a
very long take, so as not to break the actors’ bubble, I would drop
the camera on a thigh and my assistant would quietly reload in
10 seconds in the midst
of the action. What an
evolution! And the digital eyepiece was so bright
and so precise that I
could adjust the aperture
by eye on the fly. It even
gave any milky sky contrasted with dark black
skin the depth I could
filter and colour time as
easily as with film.
There is no “culture” as
we know it in Kinshasa.
No theatre, no cinemas,
no museums. But there
are thousands of artists
waiting to be pushed in
the right direction. They
don’t have the means to
create, but the raw talent is quite remarkable. The kids Kim cast
for the film lived on the streets. They had no parents and no
education. They couldn’t even read or write, but their energy was
astounding and genuine. Since they couldn’t read the script, the
dialogue was improvised, and given that they weren’t trained actors, we shot the film in continuity to give them a sense of the
complete story. Page one was day one of principal photography,
and Kim took it one day at a time, feeding them information
gradually. They were living the film as we went through the pages, and so was I. I woke up every morning without knowing what
was to come, or how to shoot it. How rare is that in this business?
On set we would discuss the plan of action, and I would usually give myself a 300-degree radius workspace so I could pan
and hop around the actors with Eric Bensoussan my first AC,
and François Péloquin the boom operator. The set was always
prepped to be shot from any angle. We would never rehearse because I feared we would miss the best action, and Kim wanted to
keep the spontaneity in the acting. If we had to shoot something
more than once, I became self-conscious, and the camera work
didn’t feel as natural, as improvised, as documentary. If I knew
too much what was going to happen, the feeling was lost. If we
were loosing spontaneity, I would quickly tell Kim that I’d do
something different in the next take. I would change the framing
dramatically, back up quickly or get really close in the action.
This was a game I loved to play with Eric the focus puller, who
never got a chance to take a single mark on the whole film! When
I would improvise suddenly, he was fantastic at picking up the
pace and – I don’t know how – never got crosschecked. Except
one time, on the second day of shooting, in a village plagued by
cholera in real life, Eric was running madly at my side, and we
were zigzagging between fake rebels shooting their way through
a village. I felt him trip and fall and roll in a heap of garbage and
torn metal. He got up dazed and unharmed, but he admitted
that his judo years had come back to save his ass. The shot was in
focus till he dropped. That’s a truly devoted professional.
LIGHTING
On La cité the desert light had a soft, round texture, almost too
perfect for photography. The February skies brought tons of dust
and sand-pumped clouds that would reflect the sun like the biggest unbleached bounce I could ever dream of. Sometimes when
the sun was out, I only had a difference of a single stop on the light
meter between shadow and light. It was quite incredible. Kinshasa,
on the other hand, is south of the equator, and July is their winter.
During the two months I was there, the clouds were very low and
thin and they felt wet. My Western instinct was constantly telling
me it was going to rain, but it never did in two months. Not a
single drop. The skies were milky, soft and terribly polluted. Three
hours before the sun would set, it became an orange orb in the sky,
as if it were setting. There was something very apocalyptic about it.
The city itself has 8 million people packed in a cloud of diesel and
humidity with open-air sewers and burning waste on the street.
To go as natural as possible, the simpler I built a lighting and
camera package the more liberty I had and the more I could be in
the actors’ physical bubble. Kim and I always wanted to be close
to Rachel Mwanza – who plays the lead Komona – with a 32 or
a 40 mm, and this was quite challenging from the start because if
there’s something insane to non-actors it’s those three bumbling
fools who are jumping around them every time they hear, “Action!” The actors had to get used to me and accept my presence,
and they could never be intimidated by me, never wait for me,
never redo a take because of me and never think I was anything
other than part of what they had to do.
For the lenses, I opted for the Ultra-Primes because they’re sharp
as hell, but also because they’re lighter than the Cookes for hand-
Previous page: Still from Rebelle. Above: Alain Lino Mic Eli
Bastien (left) and Serge Kanyinda in scene from Rebelle. Next
page, Serge Kanyinda, Rachel Mwanza and Karim Bamaraki.
9
Photos Courtesy of Item 7
buildings and ponds - where he would throw unwanted guests in
the basin with the crocodiles - were now an abandoned concrete
ruin, inhabited by thousands of bats. Our rebel camp, set in the
old crocodile basin, was the biggest set of the film. The night scene
was a victorious rebel party thrown by the leader to congratulate
the soldiers on a successful assault. On the menu: an improvised
soccer game, musicians, dancing, food grills on wood fires, the
works. Rebel sentinels surveyed the camp, and actors roamed the
scene participating in the celebration.
held. Furthermore, in wide-open mode the Ultras don’t have that
strange circular flare effect like the Cookes do. Then I got the
new Shape handheld grips that are made in Montreal, and they
made an incredible difference for the camera work. While framing, I could adjust the handles with a quick click of a button
and modify the configuration of my hands to almost anywhere
around the lenses and follow focus. This was truly a major step
for holding longer takes.
For the lighting package, while intentionally shooting in a 300-degree radius, large bleached bounces were often of no use, and HMI
lights during the day were out of the question. In the jungle, there’s
nothing I hate more than feeling the shadow of an HMI, bounced
or not. I didn’t want to “feel” any light, and I was often so close
with a 40 mm that I would have had problems with shadows anyways. But mostly – since I got so close to the actors, and their
skin is so dark – I avoided the square bounce effect in the eyes of
the actors. That felt phony and staged. Black actors have fantastic
reflective skin to film, and the light, be it natural or artificial, just
envelops their faces elegantly. Trying to light them artificially so
that it seems natural isn’t as simple as with Caucasians, I find.
The only times we lit with HMI were for those rare day interior
scenes, and I used the 1.8 Arris that are very powerful and that
can be plugged into a wall. I would then bounce the light on
an existing surface so the eye of the actor would reflect the set
and not a white artificial surface. We also had a couple of small
tungsten lights in the truck, some 650s, 300s and peppers that
we used for the night shots, but I rarely used them, preferring
normal sockets with bulbs that I could actually put in the shot or
just throw on the ground like they would have done in real life.
NIGHT SCENES
One scene in the film that I’m quite fond of is the rebel camp
scene at night. We were shooting at an old palace that Mobutu
Sese Seko – the crazy dictator that ruled the country for more than
30 years - had built in the 1980s. The palace was inspired by a visit
he made to China where he had been so fascinated by the Imperial Palace that he flew in 200 Chinese architects and painters and
built a Chinese palace with a view on the Congo River. The insane
I was thinking if real rebels were having a party in this exact spot,
how would they have lit the place with the little they had? So
to remain authentic to our approach, I wanted to light the set,
not the actors, and still be able to shoot 300 degrees. I asked our
incredible set designer Emmanuel Fréchette to hang bare neons
on the walls here and there and have a couple of wooden stands
lying around on the set where I could suspend some clear household bulbs. We also built real wood fires everywhere, and I had
the art department get the rebel vehicles’ headlights pointing in
the direction of the soccer game. That way, the camera was always
getting a light in the frame at any moment or a violent flare.
Even the main palace building in the background was lit simply
with a double 4-foot neon thrown on the ground. The effect was
amazing and the ALEXA was getting it all with so little light.
We threw in a little smoke to get some silhouettes, and I put the
camera on my shoulder. We did two improvised 14-minute takes
of the whole scene without any rehearsals. I jumped around the
kids playing soccer, I ran between them to catch some of the actors in the melee, I shot the sentinels guarding the citadel, I got
wide shots and close-ups of the musicians, others eating, dancing,
laughing, whatever I saw that could be cool. In two long takes,
the scene could never be more natural. No one knew where I
would be going next, and it kept the actors and extras in the moment and the team on their toes. In this case, the realism of the
lighting was more important than the classic physical beauty of
it. And it came out great.
Films are not shot in Kinshasa, or anywhere in the Congo, for
that matter. The reasons are of course political, and that is why
hundreds of United Nations trucks patrol the city. The armed
rebels are outside the city, thank God, but when the sun sets in
Kinshasa, it’s to each his own. The under-lit streets are very dangerous and no one goes out at night without a chauffeur, locked
inside an SUV. Gangs of kids – the chégué - are hidden in shadows. These are just street kids with no families, trying to make
a dollar. They have no guns because they’re too expensive, but
knives and machetes are common.
In the script, there were a lot of night scenes, but they were almost all changed to day scenes because of the dangers of shooting
night. We needed more guards and more police protection, but
because of the corruption we couldn’t even trust the police.
This is why this film for me was not just a film; it had much more
meaning than anything I’ve shot. Upon my return, my impressions of Kinshasa are a never-ending palette of colours, lights and
shadows that stayed printed on my retina for months. Just can’t
wait to shoot like that again.
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4
Retro 1960s Aesthetic
is the Right Look for Rooney’s “Holdin’ On”
By David Heuring
Special to Canadian Cinematographer
The decision to shoot film on the Rooney clip was the first step.
“Marcus and I have done jobs on every format imaginable, digital or film,” says Lloyd. “I came up shooting film, and I find
the effects I can accomplish in camera are infinitely more diverse
and interesting than what I can emulate digitally. Obviously, each
format has its advantages, but for jobs where I really need to nail
a particular effect, I want to do it on film. In this case it was
simply a matter of understanding how our reference films had
been shot.”
T
he 1965 Beatles film Help!, directed by Richard Lester
and photographed by David Watkin bsc is now seen as an
antecedent to MTV and today’s vibrant, inventive world
of music videos. Director Marcus Herring and cinematographer
Matthew Lloyd csc hearkened back to this film, and other 1960s
music-related short films, in designing their approach to their latest project, a clip for a track by the band Rooney titled “Holdin’
On.” In preparation, Herring printed and studied hundreds of
images from the Beatles film.
Herring and Lloyd had previously teamed on several music videos. “Marcus has a really interesting process of image-making,”
says Lloyd. “His aesthetic comes from an almost impossibly deep
library of images. He is into the craziest stuff. His references are so
precise and manicured, it’s almost unbelievable. He is very much
interested in recreating the look and feeling of things gone by.
One day it’s an obscure Rita Pavone video, and the next it’s a Russian punk performance or a ‘70s B-movie you’ve never heard of.”
Lloyd’s challenge on projects with Herring is often to find technical ways to recreate the looks of these references. He says that
Herring provides an environment in which his collaborators can
find their way to the right solutions. “It’s a wonderful process,
because there’s no psychology involved,” says Lloyd. “Everything
is very clear and I am liberated to go off and try new things.”
Devising the right approach to the Rooney clip required a very
specific process. “These images had such a clear aesthetic that I
couldn’t help but try to emulate,” says Lloyd. “Almost every shot
in this video, save a few random ideas, is a direct reference of
that film. It was very important to Marcus to try and recreate the
energy he felt in the original film. I was tasked with figuring out
how to get this look.”
Lloyd’s research showed him that most of the films Herring
referred to were shot on 16 mm colour film, printed to positive stock, edited on film, and then released to television, which
transferred images from the print rather than the negative. Since
the advent of the telecine in the early 1970s, transferring from
the negative has been standard procedure.
“There’s a certain quality to print film that simply cannot be duplicated in telecine,” says Lloyd. “It’s an analog system. We had
extensive conversations, but it was clear that the best approach
was to mimic the original process – shoot the whole job on 16
mm colour film, print everything to a positive and then telecine
from the print.”
The choice of stock – KODAK VISION3 200T Color Negative
Film 7213 – depended on a number of factors, all aimed at recreating the older look. “I find that shooting low-speed tungstenbalanced stocks uncorrected, outside, and timing the images back
later yields a more subdued, de-saturated palette that works a
little better for me,” says Lloyd. “I knew going into the project
that we would print all the footage before transferring it, so I
decided to pull process the negative throughout. I often employ
pull process on the 7213 stock. When I shoot it outside, I rate it
at 100 ISO, which has a tendency to soften the blacks and reduce
chroma saturation, which I like.”
The lower contrast that the 200-speed film delivered when
“pulled” dovetailed with the printing process to deliver the look
Herring envisioned. “When you go to print, you can end up with
a full contrast image and very hard blacks,” Lloyd explains. “You
have to be very precise with exposure and where things lie on
the curve. I tend to want to expose by eye, but my first assistant,
David Edsall, always keeps a close watch on where black and
white are in relation to the stop on the lens.”
Previous page: Matthew Lloyd csc. Above: Rooney
Lloyd used an ARRI SR3 High Speed camera from Panavision
Hollywood, with a Canon 10-110 mm lens, which was chosen
in part for its flexibility and range, and because zooms and nonstandard frame rates are part of the aesthetic the filmmakers were
after. “The SR3 is such a well-built and hassle-free machine, that
I haven’t really ever been interested in any newer 16 mm systems,” says Lloyd. “We needed the high speed capability for the
slow motion work. All the slow motion sequences were shot at
150 frames per second.”
until we got to the telecine,” says
Lloyd. “Shooting on film keeps you
on edge. You really have to think
about the effects you want and how
to achieve them. All of the most innovative and compelling looks are done on
film for the simple reason that it keeps you
aware and affords you the flexibility to try new
things.”
The “Holdin’ On” clip was photographed in one day at a national
forest in the Antelope Valley in Southern California. The location was chosen because it provided a wide variety of geography,
and because the light would be right. Lloyd used essentially no
additional lighting. He controlled and redirected sunlight using
bounce and diffusion. “Marcus and I really have a no-fuss approach when we work together,” he says.
Lloyd recently shot second unit on Oliver Stone’s feature film Savages. Main unit director of photography
Dan Mindel asc, bsc says the production used “every
film format known to man” in order to provide Stone
with a wide range of options in the editing room.
The film was developed at FotoKem in Burbank, where the
negative was pull-processed one stop and printed to KODAK
VISION Color Print Film 3383. That print was transferred via
telecine to ProRes 4444 QuickTime files. After editing, Lloyd did
the final colour timing on a Da Vinci Resolve system.
“By the time the images had gone through the photochemical
process we designed, there really wasn’t much to be done in final
colour correction,” says Lloyd. “The pull-print combination really yielded the perfect look, and shooting uncorrected knocked
enough colour out of the images. In the end, I think we really
did justice to the original reference material. Both the band and
Marcus were very pleased with the results.
“I will admit that I was nervous the whole way through shooting
Lloyd also recently photographed Robot and
Frank, a feature film starring Frank Langella
and Susan Sarandon that premiered at the
2012 Sundance Film Festival. The film is
the feature debut of well-known commercial production house Park Pictures.
“I always saw cinematography as the real language of cinema, and
when I read about or
watched skilled cinematographers at work, I felt such a
deep sense of connection with the
art of filmmaking,” Lloyd says. “It is
truly the most fascinating occupation one
could ever hope to be involved in.”
13
Photo Credit: Guido Kondruss
AGM Reports
Left to Right standing: Karen Longland, Robert Bocking csc, Carlos Esteves csc, Mitch Ness csc, John Hodgson, Fanen Chiahemen, Alwyn Kumst csc,
Carolyn Wong, Bentley Miller, Sarah Moffat, Pasha Patriki csc, Joe Sunday phd, Ernie Kestler, John Tarver csc, George Hosek csc, D. Gregor Hagey csc,
Antonin Lhotsky csc. Left to Right sitting: Phil Earnshaw csc, Peter Benison csc, Michael Jari Davidson, Joan Hutton csc, Susan Saranchuk
President’s Report
F
ollowing our call for nominations of elected officers this
past year, no nominations were received for the Board of
Directors with Office, and the current executive has agreed
to serve for another year. Our auditors for this year are Bob
Bocking csc and John Hodgson.
The structure of the executive board went under a major change
in 2011. A number of the executive positions have become shared
responsibilities to compensate for the growing demands on
these volunteer jobs. This restructuring also allows for the smooth
transition of duties should a co-chair resign. In that event, the
remaining co-chair will hold down the fort, so to speak, until a
replacement is found. Ron Stannett csc and Carolyn Wong have
undertaken the responsibilities of co-vice presidents of the CSC.
D. Gregor Hagey csc joins Philip Earnshaw csc as membership
co-chair, Dylan Macleod csc shares responsibilities with Ernie
Kestler heading our education department, and Sarah Moffat
joins Nikos Evdemon csc in Public relations. Our new co-chairs
were drawn from our executive where all had been serving as Directors Ex-officio. George Willis resigned as our vice-president
on July 5, 2011. He was a creative forward thinker and great asset
to our society. He will be missed.
Our industry continues to make seismic shifts with new technologies and systems emerging almost daily. This not only affects our profession but it has also had an impact on Canadian
Cinematographer. With the decreasing use of film, one of our
long-time and biggest advertisers, FUJIFILM abruptly pulled its
advertising from the magazine last September citing “the trend
nowadays seems to be leaning to the producers’ final say on what
to shoot with.” This is an analogy with which I and many others
do not agree. Making a medium shooting decision has always
been a collaborative effort between the cinematographer, director
and producer even when it was just film. Back then it was a matter of the best stock on which to shoot a particular production.
The process is no different in today’s digital world.
The CSC continues to adapt to our changing industry and
remains the organization of record for cinematography in
Canada. We have remained relevant and we will continue to
do so as our mandate to foster and promote the art of cinematography dictates.
The 2011 CSC Awards Gala at the Westin Harbour Castle hosted by the funny and talented Melissa DiMarco continues to be
a tremendous success. I would also like to mention that this was
the first year our juries were held in our clubhouse at William
F. White. The only exception was the features category, where
35 mm prints were screened and judged at Technicolor in their
wonderful theatre and the features digital media at the Deluxe
Theatre.
Beyond our Society, CSC members continue to be recognized in
Canada and around the world with a host of nominations and
wins at other awards shows and film festivals. There are far too
many to mention in this report, but every nomination and every
win is a tribute to our organization as well. Sincere and heartfelt
congratulations to all CSC members for their outstanding wins
and nominations.
I had the good fortune last year to attend the first International
Cinematography Summit Conference hosted in Los Angeles by
the American Society of Cinematographers. In attendance were
57 delegates representing 22 cinematography societies from
around the world. The purpose was to open a global dialogue to
tackle issues and challenges that cinematographers face each day
in an industry that is continuously changing in a digital world.
What was quite amazing was how similar our concerns were no
matter where we lived in the world. Probably the most poignant
and vigorously discussed topic was image ownership. In Europe
the concept of co-authorship rights of cinematographers, which
puts their contribution to a production on the same footing as
producers, writers and directors, has taken a toehold in some 15
countries. This is a notion that is not without merit, but so far
unheard of in North America. There was a lot to bite off and
chew at the ICSC, but a mission statement was created and the
groundwork laid for future summits.
Michael Obadia, Steve Robinson, Donna Santos, and BJ Szabicot.
Dylan Macleod csc and Ernie Kestler, Education Co-chairs
The CSC has had a tremendous success with our new bi-monthly
pub nights in Toronto. The first one was held last September and
there were only 13 of us. But the numbers jumped dramatically
after that and seem to be hovering around 30 attendees. The pub
nights are open to the film and television industry in general,
and all are welcome. The CSC is now also holding pub nights in
Montreal, and Vancouver is on the horizon.
Joan Hutton csc, President
The decisions regarding the awards are made by the Awards
Committee who were: Robert Bocking csc, Chair, Bert Dunk csc,
George Hosek csc, John Hodgson and Susan Saranchuk. There
were 146 entries. The juries were held in Toronto at the CSC
Clubhouse, Deluxe and Technicolor. The juries were chaired
by Robert Bocking csc and John Hodgson. John produced and
edited the Awards Gala show tape with David Oliver at Soho Post
and Graphics.
CSC Vice Presidents’ Report
Publicity Report
There were 13 sponsor events attended by CSC members and
one CSC screening during the year 2011. These events include:
Sim Video Technology Open House; Panavision Open House;
Panasonic Canada Inc. Open House; William F. White and
CinequipWhite February Freeze Trade Show; Sony Canada Toronto HDCAM SR Sneak Peak Event; CSC Screening of Oceans
and a Q&A with cinematographer Philippe Ros; Sony product
launch at Vistek; Crew Party at William F. White; ProFusion
trade show and seminars by Vistek; EPIC RED showcase at Sim
Video; Sony of Canada preview of the F65 4K Camera; Free seminars and product demonstrations at Vistek; Canon’s historic announcement of new Cinema EOS System at Paramount Theatre,
California; and the launch of Sony’s 3D Camcorder and F65 4K
Digital Camera at SIRT.
Ron Stannett csc, Vice President and
Carolyn Wong, Vice President
As in previous years, one of the best publicity vehicles available
to the CSC is its website at www.csc.ca. Our entire membership listings, our executive, the CSC history, Canadian Cinematographer, demo reels, award winners and nominees, education
courses, plus any and all information or announcements pertaining to the CSC can all be found on our website. It is essentially
our organization’s window to the world.
EDUCATION REPORT
On November 5 and 6, 2011, the CSC held a Lighting Workshop at the William F. White Centre in Toronto. The course was
extremely well received by the participants who came from Toronto, Bowmanville, Sunderland, Thunder Bay, North Bay and
Winnipeg to attend. The instructors were Joan Hutton csc and
Ernie Kestler, and on day two they were joined by Carlos Esteves
csc, who helped supervise the lighting exercises being done by the
various groups. Tony Smith was the gaffer on both days. Sarah
Moffat was there on both days to lend a hand. Michael Obadia,
one of the participants, produced a DVD showcasing all of the
lighting exercises shot, and each participant received a copy. CSC
members paid $250 to take the workshop, while non-members
paid $350. The workshop generated a modest surplus for the
CSC. The participants were Luther Alexander, Greg Biskup,
Alex Chavez, David Hodge, Robert Howard, Shaun MacLellan,
Arjun Manokaran, Sean Marjoram, Bruce Marshall, Mike Moore,
Awards Report
The 2011 CSC Awards ceremony was held Saturday, April
2, 2011, at the Frontenac Ballroom at the Westin Harbour
Castle in Toronto. The gala event was attended by 296
members, sponsors and friends. The evening was hosted by
Melissa DiMarco, actor, journalist and star of Citytv’s Out There
with Melissa DiMarco.
My main focus has centered on the CSC website, which leaves
very little time for anything else. I am pleased to welcome Sarah
Moffat as Co-Publicity Chair. Sarah will be expanding CSC publicity efforts through social media and networking. We are exploring ideas of a CSC online discussion forum, a VLOG - Video
Log, and lecture series to help our community grow and share
ideas across Canada and from generation to generation.
The CSC website generated nearly 1,252,000 successful requests
in 2011, and that averages out to over 104,000 requests each
month or an average 3,500 successful requests each and every
day. The largest portion of the yearly traffic was for Canadian
Cinematographer at 37%. The website’s busiest month was January with over 136,000 requests, while our slowest month was July
with just over 87,000 successful requests.
We had hoped that most of our full and associate members would
subscribe to CSC Reels for their demos. There are currently 28
full and associate members who subscribe to CSC Reels for their
demos. This figure has dropped from 35 in the previous year.
There are 33 members who have direct links from our website
to their demo reels at other websites, which is down from 45
members in 2010. As well, 185 members have direct links from
their CSC listing to their personal websites, which usually contain their demo reels.
Nikos Evdemon csc, Publicity Chair
15
Treasurer’s Report
For the past few years, CSC executive and staff have focused efforts and activities on the great value provided by the society to
our members and our sponsors, and the past year has produced
the financial fruits of these efforts.
The current financial viability of a non-profit organization like
the CSC is often measured by the accumulated surplus/deficit at
year end. We were last in a surplus position at the end of 2005,
and were then devastated by large deficits in both 2006 and
2007. It has taken us until now to reverse this situation, ending
the year 2011 in an accumulated surplus of $ 9,999.54. This is a
modest surplus relative to the size of our financial commitments,
but it is very welcome.*
This result was made possible by many sponsors who recognize
the significant value they obtain by strategically addressing CSC
members in their funded activities. Use of their own products
and services is greatly influenced when they invite our members
to technology/process events. Our awards gala has become the
annual highlight of cinematographic talents that benefit the
whole creative industry, and our sponsors show how important
that is to them by actively participating and contributing. Content in Canadian Cinematographer is the basis for many decisions
made by our members, and that publication is largely made possible by the advertising purchased by our sponsors. Even as shifts
occur (as they have multiple times throughout our history), the
1
12-01-06
10:23 AM with companies
CSCCSC_Ad_Outlines.pdf
maintains its impartial
stance, working
both in traditional and in emerging technologies to leverage our
members’ vision. Our financial wellbeing depends on this partnership with our sponsors, and we will continue to provide them
great value.
Value for our members is also in constant discussion by the CSC
executive and staff. Professional development is truly important
as new processes are added to our options, and doubly important
when our members need to make, explain and support informed
choices; this is a major focus of our education events, our periodic
meetings, and our publication. We have expanded a networking
initiative known as “Pub Night” that is already active in Toronto
and Montreal, and soon in Vancouver; lively discussions among
the members attending are due primarily to shared interests and
creative concepts. The quality of images produced by our members
is now recognized to be so high that it is a personal accolade to have
an entry even nominated in the diverse categories of our annual
awards. Our recent liaison with other cinematographic societies
has generated more international recognition for our members and
potential opportunities for them. For all this and more, the annual
fees for members continue to be extremely low when compared
with other similar organizations.
In past years, I have detailed the relative contribution of a few
CSC programs to the financial results. This year, I would prefer
to indicate simply that all activities are interlinked and important
contributors, even those that might seem to receive a financial
subsidy. We still are conscientious about each area of expense,
reviewing what we can or cannot do within our assessment of the
current economic climate.
Finally, I am proposing a modest increase in some fees for the
year 2013, convinced that the CSC will still remain the best value
for any similar professional society.
Joe Sunday phd, CSC treasurer
Membership Report
The membership committee met once in 2011 to review submissions of those who wished to upgrade to full membership. As
usual we followed the standards laid out in our bylaws and regulations, and the following six cinematographers have earned the
privilege of putting CSC after their names. Hanna (Johnny) Abi
Fares csc; Norm Li csc; Matthew Lloyd csc; Anthony Metchie
csc; Boris Mojsovski csc; and Ali Reggab csc.
C
M
Y
CM
MY
CY
In 2011 our numbers increased again for the third year in a row.
Although we are concentrated mostly in Ontario, British Columbia and Quebec, we have a membership of 475 people spread out
across the country in every province except Prince Edward Island.
CMY
K
We said goodbye to one member in 2011, Peter Luxford csc, who
passed away on July 29 after a short battle with lymphoma. An
obituary was published in the October 2011 issue of Canadian
Cinematographer.
Philip Earnshaw csc, Membership Chair
*Any CSC member who would like a copy of the 2011 Treasurer’s report, financial
summary can email Joseph Sunday, phd at [email protected].
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BEHIND THE SCENES
Teryl Crombie: Makeup Artist
Teryl Crombie, centre
M
styles in that some are there to do their job and only their job,
and some DOPs approach it as a team effort. You can only hope
you get paired up with a DOP on a project that is open to the
collaborative effort being put forward.”
Although some projects, such as films or shows set in contemporary times, require a more straightforward approach to makeup,
for the more stylistically intricate shoots, Crombie appreciates
DOPs who are open to discussion. “Some DPs have different
In addition to being thoroughly knowledgeable about the tools
of her trade, Crombie and her peers must also be relatively well
versed in cinematographers’ tools, and being married to a camera operator (CSC member Rod Crombie), she certainly has
her foot in the door. On set, she says, “I’m always asking what
we’re shooting on. If I feel like I have a good relationship with
the camera operator or DOP, I will ask to look through their
lens too. I always pay attention to what lens they’re on because
then I know how much detail is going to be seen. Like if they’re
going into a longer lens, they’re going to be picking up more
detail and doing tighter shots. Then I know that I definitely
need to step in and make sure that everything is okay for finals
and make sure the talent looks good. If it’s a wider shot, I may
not need to step in. Sometimes we use a slow motion camera,
and things like that I would need to know because every single
detail, depending on how wide or how tight the shot is, you’re
going to see.”
akeup artist Teryl Crombie’s trade has taken her on
projects ranging from independent films, feature films,
corporate shoots, live television, and commercials.
Most recently the Calgary native contributed to the prosthetics
department on the much-anticipated blockbuster Resident Evil:
Retribution. Regardless of the size and scope of the project, open
communication with a director of photography is almost always
integral to her work. “Usually it comes down to the look of the
show or the story that’s being told, and making sure that you’re
speaking the same language as the director of photography in
terms of colours and tones being used, and for the specific look
and finish they’re going for in post,” Crombie says. Albert Dunk
csc -- who lensed the 2000 made-for-television film Children of
Fortune, on which Crombie also worked -- agrees. “It’s really all
about communication,” he says. “The more you can talk about
and agree on how things should look as far as the way folks see it,
that’s what it’s all about.”
This approach, according to Dunk, is Crombie’s strength as a
makeup artist. “It’s her attention to detail. She’s always concerned
that the look of the character is appropriate for the script.” He
adds that he marvels at how makeup artists like Crombie can
make people look more appealing without making them look
made up. “That to me is a real art,” he says.
That art has been Crombie’s saving grace in the age of digital
filmmaking. HD, she says, “weeds out a lot of heavy-handed
makeup. Which is great because you’ve got to be very deliberate
in your choices and very well blended and in tune with the character but making sure that you don’t see the makeup. It creates
edges that you don’t think are there. Sometimes you can’t see it
with your eye. You have to be on top of your game and on top of
good products to be able to change it up. With the skin, if something works one week it may not work the next.”
Still, she doesn’t pine for the days of film shooting. “Why look
back?” she says. “Every style has its pros and cons. We’ve moved on.
It’s just a matter of letting old styles go.” And there are opportunities
every now and then to adapt to shooting different formats. “When
I did the 2010 Canada Walk of Fame, we shot in HD and transmitted standard def. So I had to adjust what I was doing to match the
output. That meant I needed to add a little more makeup and be
really well blended so that you wouldn’t notice it on HD, but to give
enough coverage so that when it went into standard def it would
look like there was enough makeup, so it would still look natural
enough. So there are still times when you need those skills. “
Like cinematographers, Crombie strives to stay abreast of current
techniques and equipment in order to stay marketable. “The last
couple of years, I’ve gone down to LA and done some upgrading. So it’s a matter of making sure your skills are always being
progressed and you’re always working at it. I subscribe to industry
trade magazines and go to trade shows and I do lots of practice
days to make sure that my skills are up to snuff,” she says. “And
always asking questions and being open to learning and aligning
myself with mentors who work bigger budget shows and who are
doing different kinds of projects.”
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19
F3 IN S-Log
By Sarah Moffat
T
he Sony F3 is a lightweight professional HD camera
with a sophisticated Super 35 mm CMOS sensor and PL
mount. The image quality is quite impressive using the
standard REC709 gamma curve at a said eight-stop dynamic
range, though on a scope with a chart it produces a few more.
The in-camera Picture Profile options allow for manipulation to
RGB, contrast and saturation, as well as the Gamma selections
CINE1 to CINE4. Although the camera does very well in low
light, the sensor is actually capable of seeing more.
Wanting more dynamic range and colour depth out of the camera, I sought S-Log. I called John Deboer at Sim Video, and he
had an upgraded F3 brought in from Vistek for some tinkering.
The S-Log upgrade happens to the camera system’s firmware and
costs over $3,500. Note: Some rental houses have yet to upgrade
F3 bodies to do S-Log, so be sure to ask about S-Log capabilities
and costs if this is a format you wish to shoot in.
This upgrade allows the camera to record in what is called a Log.
As John Banovich csc talked about in an interview in the January
issue of Canadian Cinematographer (see John Banovich csc tells The
Honest Truth, January 2012), Log is short for Logarithmic, and allows for more information to be recorded. The expansion of image
information from REC709 to S-Log is about eight times. S-Log, or
Log, is not RAW, though it is an 800% increase of dynamic range,
which allows for capture of everything the sensor can really see.
Let’s try to better understand Log and REC709 for a moment.
The standard curve in most digital cameras is called REC709. It
is a measure for consistency of picture from start to finish. It represents the contrast and colour that the eye generally sees. However, it doesn’t necessarily show everything the camera’s sensor is
capable of. REC709 offers a suitable and nice-looking image for
most broadcast shows, mostly in factual/reality using a fast-paced
workflow for final output on web or TV. Though if looking to
the big screen, where the image is stretched out, or to major networks who have higher broadcast standards, then it would make
sense to seek more dynamic range, faster mb/s speed and greater
colour depth out of the camera. Enter Log.
S (Sony)-Log was specifically designed for the F3 sensor. The first
major benefit to shooting S-Log is an increase in dynamic range,
up to 13.5 stops, from what I could see. The camera no longer
has to compress the image into an .MPG2 onto SxS cards at a
maximum speed of 35mb. Now in 4:4:4, from the DUAL LINK
stream, out to a 10-bit record deck of choice, usually best set to
Apple ProRes, it can write to a speed of 100mb/s. The gamma
curve becomes almost flat, in a way providing more dynamic
range and allowing for much more control in post over the colour
“look” desired. Also the jump from 8-bit to 10-bit may sound
small, but it is four times more colour information. Hence S-Log
truly does provide a lot more.
Here’s a trick for those using a recording device with perhaps one
HD SDI in, and willing to sacrifice a little image to save a few
rental dollars, or time and money in post: you can pull a 422
S-Log image out of the “Monitor SDI Out” BNC on the back
of the camera. That output was intended to be for a director/
DP monitor, however you can cheat it! I did, and it worked
well, out to a Mini-KiPro. But be aware: while in S-Log you have
access to an LUT (lookup table) menu for that Monitor Out.
There are many LUTs you can choose from in the menu, and
if you hook up the camera to a monitor and flip through the
LUTs, you can actually see the image colours change on screen,
as each LUT has its own gamma curve. Though if you shoot with
an LUT selection on, that is the look you will record. Yes you
can still manipulate the image in post somewhat, though not as
much with all LUTs off, and in S-Log only. When you turn the
LUT off, the image on the monitor becomes sort of dull-looking,
that is the “Log.” It is absorbing far more light information than
most monitors can comprehend, as they are also standardized
to REC709. To get around this look on the monitor, you can
convince the director and others that it’s going to look great by
dialling up the colour and contrast knobs on the monitor. Sort
of “faking it,” and also so you don’t hear, “Why does the picture
look all washed out?” for the whole day!
I discovered this in my own test so far and also talked with Dylan
Macloed csc, who has been shooting a ballet story with the National Ballet of Canada. He has been using two F3s and shooting
in S-Log. “We did shoot S-Log. We monitored REC709. I had
the editor apply a slight curve to our dailies. But by shooting SLog we were able to capture as much information in camera as
possible and preserve it for the final transfer,” he says.
I have been testing the F3 in S-Log for an upcoming narrative
and am looking forward to working with a greater dynamic range
and more colour depth. Giving me more than what the camera
has already provided, without the upgrade, is going to be so exciting to see in post!
Sarah Moffat’s camera experience includes motion picture and still photography. She has worked in drama, documentary and live broadcast.
Photo by Sarah Moffat
Tech Column
Review: Sony
Used Leica Geo System Disto Laser Measurement Devices Attention crew technicians interested in selling used Leica Disto Laser Measurement devices for cash to upgrade to newer models. Contact: Alan J. Crimi, Panavision Canada Corp. at 416-258-7239,
shipping, receiving and client services at 416-444-7000 or [email protected].
www.panavision.com.
Wanted: 35mm and 16mm prints. I have recently acquired a 35mm projector and would
like to have a print library on hand. If you have or know of any film prints gathering
dust and in need of a caring home, contact Christopher at 902 644 3604 or cbifilms@
eastlink.ca
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,
416-698-4482 or [email protected].
Looking for a home in the GTA area while shooting a project? Kelly Mason, cinematographer, is renting her fully-furnished home in Mississauga. It is modern, renovated, open
concept, fireplaces (2), hardwood floors. Walking distance to all amenities, Go Train,
restaurants, Metro, Starbucks, Homesense, Dollarama, and more. 2500/mth + utilities;
3 bedroom, 3 bath. 4-6 month lease starting January 5, 2012. No Smokers and no pets
please. Contact Kelly at 647.993.6183; [email protected].
Equipment for Sale
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].
Lighting Kit:
3 - 400/600W. ColorTran Mini Pros c/w stands, scrims, gels, dichroic filters, spare bulbs,
case $ 225.00.
ProSine 1000 inverter. Input: 12V, Output: 120 Vac - True 60 Cycle Sine Wave, will drive
small HMI c/w shipping case $ 200.00.
Monitor Shipping Case c/w Monitor tripod stand $ 60.00
Hard Shell Shipping Case $50.00
Nikon Still Camera - D200
c/w 24-120 mm Zoom Lens
Extra charger & battery
Mint Condition $ 400.00
me and serviced by Sony Hong Kong. Sony Beta SP/SX player/recorders, DNW-A25P
X2, PAL & NTSC, 500 & 644hours drum time, $6,000; Satchler 575 HMI, open-face, mint
condition with spare bulb, $2,500 & case. The lot for $20,000. Contact: François Bisson
at [email protected].
Sony BVW-400a Betacam SP Camcorder camera used by professional cinematographer (one owner), never rented out. Comes complete with Fujinon A15x8BEVM-28 lens,
Petroff matte box with 4x4 and 4x5.6 filter holders, remote zoom and focus control for
lens, six Cadnica NP-1 batteries, Sony BC-1WD battery charger, Porta-Brace fitted cover
with rain jacket (like new) and Sony factory hard shipping case and manuals. Lens and
camera professionally maintained by factory technicians. Usage hours are: A – 1,918
hours; B – 1,489 hours; C – 4,286 hours, $10,000.00 obo. Contact: Craig Wrobleski csc
at 403-995-4202.
Aaton XTR Super 16 package including body, video relay optics, extension eyepiece,
three magazines, Cooke 10.5-mm–60-mm S-16 zoom lens, Zeiss 9.5 prime lens, 4x4
matte box, 4x4 filters (85,85N6, polarizer, ND6, clear), follow focus and cases $12,000.
Nikon 50–300-mm F4-5 E.D. lens with support, $1,000. Kinoptik 9–8-mm 35-mm format
lens c/with sunshade. Contact: [email protected] or [email protected].
New Video Camera Rain Covers. Custom rain covers for sale. New design that fits and
protects most Sony PMW EX3, Canon XHHDV, Panasonic VX200 cameras with the viewfinder extending toward the rear of the camera, $200. Noiseless rain cover for the external camera microphone, $30. Onboard Monitor rain cover, camera assistants can see the
focus during the shot. No more hassles in the rain, $60. Custom Red One camera covers
available upon request. Also can sew various types of heavy-duty material. Repairs and zipper replacement on equipment and ditty bags. Contact: Lori Longstaff at 416-452-9247 or
[email protected].
Camera Classifieds
Equipment Wanted
Betacam SP Camera package including BVP550 Betacam SP camera with BVV5 recorder, complete with Fuijinon 15x8 broadcast zoom lens, “Red Eye” wide-angle adapter,
6 IDX Li-Ion batteries, IDX quick charger with AC adapter, flight case, soft carry case,
Sony monitor and 10 fresh Beta SP tapes ($140 value), $2,500. Contact: Christian at 416459-4895.
Fujinon XA17X7.6 BERM-M48 HD Lens in new condition, bought and mounted but
never used. As new in box (camera is sold), $7,900. Panasonic Digital AV mixer WJ-MX50
(missing a few knobs from the lower right corner on the audio mixer), $400. JVC TN9U 9-inich colour monitor, $60. Photos available for everything. Contact: johnbanovich@
gmail.com or 604-726-5646.
For Sale
Contact Jim Mercer csc: [email protected] (Cell) 416-930-3485
Selling a Super 16 Modified SBM Bolex Camera Body. This Comes with: All original screws; Rewind Crank; Original Leather Strap; Bayonet Mount & Cap; Viewfinder;
Rubber Eyepiece. This body has been super 16 modified, it was a rex-5 body professionally converted to bayonet mount. This body has been professional serviced in the
summer of 2011, professional tightened and oiled. This body has also been professional
re-calibrated for precision 24 f.p.s This viewfinder has been professional re-adjusted for
the comfort of super 16 view. Leather is is pristine condition, has been properly conditioned. This camera is perfect working condition and still the cosmetics still look amazing
for today. Other accessories available (MST, MM Motor, Bolex Battery Pack, Magazines,
H16 non-reflex, etc). To further inquire, e-mail: [email protected]
28-Foot Black Camera Trailer with new brakes and tires, 20-foot awning, dark room,
viewing lounge, two countertops with lots of storage space, heating and air conditioned,
side windows and three access doors. Contact: [email protected].
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].
Sony DXC-D30 3 Camera Live Production Package includes three DXCD30 cameras/camera backs/ CCUs and multicore camera cables; Panasonic WJ-MX70 8 input
switcher; full camera and switcher monitoring package and waveform/vectorscope;
equipment rack for camera monitors & CCUs. Wired and operational. $19,500. Contact
Ted Mitchener at ZTV Broadcast Services for complete list of equipment: 905-290-4430
or [email protected].
Portable Gel Bin great for studio or location use, holds 24 Rosco or Lee colour correction, diffusion, reflective, scrim, etc., rolls outer dimensions measure 17.5x24x 63 inches,
not including wheels and sturdy wooden construction, painted black, bottom and back
wheels, side handles hinged front & top, locks for added safety, handy reference chart,
$300 obo; Darkroom Safety Lights popular Model D type, accepts 10x12 inches safelight filters (possibly included, depending which kind you’re looking for), takes 7½-, 15- or
25-watt bulb, excellent condition, $50 each. Contact: Andrew at [email protected].
Sony Beta SP DXC-D30WSP/PVV3P, PAL, 262hours drum time, $ 2,500; Sony Beta SP
DXC-D30WS/PVV3, NTSC, 251hours drum time, $2,500; Sony BetaCam SX DNW-7, NTSC,
257hours drum time, $5,000; and IKEGAMI DV-CAM HL-DV7-AW, NTSC, mint condition,
as new, 61hours drum time, $7,000. All cameras with porta-brace covers. All owned by
VANCOUVER
CALGARY
604-527-7262
403-246-7267
VANCOUVER
CALGARY
604-527-7262
403-246-7267
TORONTO
416-444-7000
TORONTO
HALIFAX
HALIFAX
902-404-3630
416-444-7000
902-404-3630
21
CSC MEMBERS
CSC FULL
MEMBERS
Johnny Abi Fares csc
Jim Aquila csc
John Badcock csc
Michael Balfry csc
Christopher Ball csc
John Banovich csc
John Stanley Bartley csc, asc
Stan Barua csc
Yves Bélanger csc
Peter Benison csc
Jeremy Benning csc
John Berrie csc
Michel Bisson csc
Michael Boland csc
Nicolas Bolduc csc
Thomas Burstyn csc, frsa, nzcs
Barry Casson csc
Eric Cayla csc
Neil Cervin csc
Henry Chan csc
Marc Charlebois csc
Rodney Charters csc, asc
Damir I. Chytil csc
Jericca Cleland csc
Arthur E. Cooper csc
Walter Corbett csc
Steve Cosens csc
Bernard Couture csc
Richard P. Crudo csc, asc
Dean Cundey csc, asc
Steve Danyluk csc
Kamal Derkaoui csc
Kim Derko csc
Serge Desrosiers csc
Jean-Yves Dion csc
Zoe Dirse csc
Mark Dobrescu csc
Wes Doyle csc
John Drake csc
Guy Dufaux csc
Ray Dumas csc
Albert Dunk csc, asc
Philip Earnshaw csc
Gamal El-Boushi csc, acs
Michael Ellis csc
Carlos Esteves csc
Nikos Evdemon csc
David Frazee csc
Marc Gadoury csc
Antonio Galloro csc
James Gardner csc, sasc
David A Geddes csc
Ivan Gekoff csc
Laszlo George csc, hsc
Pierre Gill csc
Russ Goozee csc
Steve Gordon csc
Barry R. Gravelle csc
David Greene csc
Michael Grippo csc
Manfred Guthe csc
D. Gregor Hagey csc
Thomas M. Harting csc
Pauline R. Heaton csc
Brian Hebb csc
David Herrington csc
Karl Herrmann csc
Kenneth A. Hewlett csc
Robert Holmes csc
John Holosko csc
George Hosek csc
Colin Hoult csc
Donald Hunter csc
Mark Irwin csc, asc
James Jeffrey csc
Pierre Jodoin csc
Martin Julian csc
Norayr Kasper csc
Glen Keenan csc
Ian Kerr csc
Jan E. Kiesser csc, asc
Alar Kivilo csc, asc
Douglas Koch csc
Charles D. Konowal csc
Ken Krawczyk csc
Alwyn J. Kumst csc
Jean-Claude Labrecque csc
Serge Ladouceur csc
George Lajtai csc
Marc Laliberté Else csc
Barry Lank csc
Philippe Lavalette csc
Allan Leader csc
John Lesavage csc
Henry Less csc
Pierre Letarte csc
Antonin Lhotsky csc
Norm Li csc
Philip Linzey csc
Matthew J. Lloyd csc
J.P. Locherer csc
Larry Lynn csc
Dylan Macleod csc
Bernie MacNeil csc
Glen MacPherson csc, asc
Shawn Maher csc
David A. Makin csc
Adam Marsden csc
Donald M. McCuaig csc, asc
Robert B. McLachlan csc, asc
Ryan McMaster csc
Michael McMurray csc
Stephen F. McNutt csc, asc
Simon Mestel csc
Anthony Metchie csc
Alastair Meux csc
Gregory D. Middleton csc
C. Kim Miles csc
Gordon Miller csc
Robin S. Miller csc
Paul Mitchnick csc
Boris Mojsovski csc
Luc Montpellier csc
Rhett Morita csc
David Moxness csc
Douglas Munro csc
Kent Nason csc
Mitchell T. Ness csc
Stefan Nitoslawski csc
Danny Nowak csc
Rene Ohashi csc, asc
Harald K. Ortenburger csc
Gerald Packer csc
Barry Parrell csc
Brian Pearson csc
David Perrault csc
Barry F. Peterson csc
Bruno Philip csc
Matthew R. Phillips csc
André Pienaar csc, sasc
Zbigniew (Ed) Pietrzkiewicz csc
Ronald Plante csc
Milan Podsedly csc
Hang Sang Poon csc
Andreas Poulsson csc
Don Purser csc
Ousama Rawi csc, bsc
William Walker Reeve csc
Ali Reggab csc
Stephen Reizes csc
Derek Rogers csc
Peter Rowe csc
Brad Rushing csc
Branimir Ruzic csc
Jérôme Sabourin csc
Victor Sarin csc
Paul Sarossy csc, bsc
Michael Patrick Savoie csc
Ian Seabrook csc
Gavin Smith csc
Christopher Soos csc
Brenton Spencer csc
Michael Spicer csc
John Spooner csc
Ronald Edward Stannett csc
Pieter Stathis csc
Brendan Steacy csc
Barry Ewart Stone csc
Michael Storey csc
Michael Sweeney csc
Adam Swica csc
Attila Szalay csc, hsc
Jason Tan csc
John P. Tarver csc
Paul Tolton csc
Bert Tougas csc
Chris Triffo csc
Sean Valentini csc
Brett Van Dyke csc
Gordon Verheul csc
Roger Vernon csc
Frank Vilaca csc
Daniel Villeneuve csc
Daniel Vincelette csc
Michael Wale csc
John Walker csc
James Wallace csc
Tony Wannamaker csc
Peter Warren csc
Andrew Watt csc
Jim Westenbrink csc
Tony Westman csc
Kit Whitmore csc, soc
Brian Whittred csc
Ron Williams csc
George A. Willis csc, sasc
Glen Winter csc
Peter Woeste csc
Kelly John Wolfert csc
Bill C.P. Wong csc
Kevin C.W. Wong csc
Bruce Worrall csc
Craig Wrobleski csc
Yuri Yakubiw csc
CSC ASSOCIATE
MEMBERS
Joshua Allen
Don Armstrong
Vince Arvidson
François Aubry
John W. Bailey
Douglas Baird
Maya Bankovic
Gregory Bennett
Guy Bennett
Jonathan Benny
André Bériault
Aaron Bernakevitch
Roy Biafore
Christian Bielz
Thomas Billingsley
Stan Bioksic
François M. Bisson
Martin Brown
Scott Brown
Richard Burman
David J. Cain
Stuart James Cameron
Lance Carlson
Jon Castell
Mark Caswell
Maurice Chabot
Stephen Chung
David Collard
René Jean Collins
Jarrett B. Craig
Rod Crombie
James Crowe
Micha Dahan
Tim Dashwood
Michael Jari Davidson
Russ De Jong
Vincent De Paula
Nicholas de Pencier
Randy Dreager
Duane Empey
Andreas Evdemon
Barry Fontaine
Andrew Forbes
Cathy Robertson
Peter Rosenfeld
Albert Rudnicki
Steve Sanguedolce
Sarmen Sarmazian
Andrew W. Scholotiuk
Ian Scott
Stanislav Shakhov
Wayne Sheldon
Simon Shohet
Rob Sim
Sarorn Ron Sim
Barry E. Springgay
Paul Steinberg
Marc Stone
Michael Strange
Joseph G. Sunday phd
Peter Sweeney
Aaron Szimanski
Peter Szperling
André Paul Therrien
George (Sandy) Thomson
John Thronberg
Ian Toews
Brendan Uegama
John Walsh
Lloyd Walton
Glenn C. Warner
Douglas H. Watson
Roger Williams
Richard Wilmot
Peter Wayne Wiltshire
Carolyn Wong
Dave Woodside
Peter Wunstorf asc
Xiao Chen Yu
Steven Zajaczkiwsky
CSC Affiliate
MEMBERS
JoAnne Alaric
Donald G. Angus
Derek Archibald
Robin Bain
Iain Alexander Baird
Abraham Bankole
Peter Battistone
Russell Bell
Jacques F. Bernier
Greg Biskup
Stuart Blair
Tyson Burger
Gordon A. Burkell
Sean Carson
Arnold Caylakyan
Bernard Chartouni
Fanen Chiahemen
Suzy Cooper
Brent J. Craig
Brad Creasser
Carmelina Crocco
Colin Davis
Dominika Dittwald
Tony Edgar
Zachary Finkelstein
Randy French
Richard Gira
James D. Hardie
Bruce William Harper
John Richard Hergel BA CD
Adam Christopher Hickman
Perry Hoffmann
Robert Howard
Brad Hruboska
Marcel D. Janisse
Nazir Kassam
Rick Kearney
Matthew Casey Kennedy
Guido Kondruss
Boris Kurtzman
Ryan Lalonde
Charles Lenhoff
Tony Lippa
John Lipsz
Lori P. Longstaff
Robert H. Lynn
Megan MacDonald
Jill MacLauchlan Parks
Sean Marjoram
Justin McIntosh
Ian McLaren
Andrew Medicky
Matthew Emil Muszalski
Kar Wai Ng
Andrew Oxley
Gino Papineau
Graeme Parcher
Kalpesh Patel
Greg Petrigo
Craig Pew
Douglas B. Pruss
Lem Ristsoo
David Rumley
Donna Santos
Susan Saranchuk
Chirayouth Jim Saysana
James Scott
Alexey Sikorsky
Brad Smith
Michael Soos
Gillian Stokvis-Hauer
BJ Szabicot
Steven Tsushima
Paula Tymchuk
Anton van Rooyen
Sama Waham
Trevor J. Wiens
Ridvan Yavuz
Christopher Chapman csc, cfe
Robert C. Crone csc, cfc, dg
David A. De Volpi csc
Kelly Duncan csc, dgc
Glen Ferrier
John C. Foster csc
Leonard Gilday csc
John Goldi csc
Kenneth W. Gregg csc
John B. Griffin csc
Edward Higginson csc
Brian Holmes csc
Brian Hosking
Joan Hutton csc
Douglas Kiefer csc
Rudolf Kovanic csc
Les Krizsan csc
Naohiko Kurita csc
Harry Lake csc
Duncan MacFarlane csc
Harry Makin csc
Douglas A. McKay csc
Donald James McMillan csc
Jim Mercer csc
Roger Moride csc
George Morita csc
Wilhelm E. Nassau
Ron Orieux csc
Dean Peterson csc
Roland K. Pirker
Randal G. Platt csc
Norman Quick csc
Roger Racine csc
Robert G. Saad csc
Josef Seckeresh csc
Michael S. Smith
John Stoneman csc
Kirk Tougas
Y. Robert Tymstra
Walter Wasik csc
Ron Wegoda csc
James A. Wright
Keith Young
CSC LIFE
MEMBERS
Herbert Alpert csc, asc
Robert Bocking csc
Raymond A. Brounstein csc
David Carr csc
Marc Champion csc
The following people
were granted CSC
accreditation on
January 12, 2012:
Nicholas de Pencier csc
Pasha Patriki csc
Samy Inayeh csc
CSC HONOURARY
MEMBERS
Roberta Bondar
Vi Crone
Graeme Ferguson
Wilson Markle
Philippe Ros afc
indicates demo reel online,
www.csc.ca
23
CSC MEMBERS
Richard Fox
Kevin A. Fraser
Brian Gedge
Yorgos Giannelis
Rion Gonzales
Dave Gordon
Vladimir Gosaric
Daniel Grant
Jeffrey Hanley
Josh Henderson
Robert Hill
Rory Hinds
David M.J. Hodge
John Hodgson
James D. Holloway
Suave Hupa
George Hupka
David Johns
Jorma Kantola
Ali Kazimi
Ernie Kestler
Ryan Knight
Shannon Kohli
Douglas John Kropla
Charles Lavack
Robin Lawless soc
Byung-Ho Lee
Philip Letourneau
James Lewis
John V. Lindsay
Justin Lovell
Dave Luxton
Robert Macdonald
Mario Anthony Madau
Jeff Maher
Alfonso Maiorana
Yoann Malnati
Roy Marques
Kelly Mason
Andris D. Matiss
Paul McCool
Patrick McLaughlin
Gabriel Medina
Tony Meerakker
Tony Merzetti
Bentley Miller
Paul Mockler
Sarah Moffat
Robin Lee Morgan
Helmfried Muller
Brian Charles Murphy
Keith Murphy
Christopher M. Oben
Eric Oh
Alexandre M. Oktan
Ted Parkes
Deborah Parks
Pavel “Pasha” Patriki
Rick Perotto
Allan Piil
Josh Power
Ryan A. Randall
Michael Rita-Procter
PRODUCTIONS & CALENDAR
Production Notes
Christmas Story II (feature); DOP Jan Kiesser csc, asc; to April 4, Vancouver
The Chronicles of Riddick (feature); DOP David Eggby; to March 23, Montreal
The Colony (feature); DOP Pierre Gill csc; to March 30, Toronto
Copper (series); DOP Steve Cosens csc; OP Mark Willis; to May 28, Toronto
Fairly Legal II (series) DOP Dan Stoloff, 3.03 permit; OP Trig Singer; to March 21, Burnaby
The Firm (series); DOP Miroslaw Baszak; OP J.P. Locherer, csc; to May 18, Mississauga
Flashpoint V (series); DOP Mathias Herndl (669); to June 27, Toronto
Fringe IV (series); DOP David Geddes csc, Michael Wale csc & David Moxness csc; OP Chris Tammaro
(alternating episodes); to April 10, Vancouver
The Haunting III (series); DOP Michael Balfry csc; to May 25, Aldergrove
The Horses of McBride (TV movie); DOP Peter Woeste csc; to March 16, Calgary
Killing II (series); DOP Gregory Middleton csc; OP Marty McInally; to April 20, Burnaby
King II (series); DOP Rudolf Blahacek; OP Dino Laurenza; to March 30, Etobicoke
The Munsters (pilot); DOP Mike Weaver, 3.03 permit; to March 19, Vancouver
Nikita II (series); DOP Glen Keenan csc & Rene Ohashi csc, asc; OP Steven Adelson 669 (alternating
episodes); to April 10, Toronto
Once Upon a Time (series); DOP Stephen Jackson; OP Craig Powell; March 20, Burnaby
Secret Circle (series); Robert McLachlan csc, asc; OP Michael Wrinch; to April 12, Vancouver
Seventh Son (feature); DOP Thomas Sigel, 3.02 Permit; May 2, Burnaby
Still Seas (feature); DOP Guillermo Navarro 600; OP Gilles Corbeil; to April 13, Toronto
Supernatural VII (series); DOP Serge Ladouceur csc; OP Brad Creasser; to April 5, Burnaby
UT Simon Barry Project (series); DOP David Pelletier & Joel Ransom (alternating episodes); OP Ep 1 Peter
Wilke; OP William Waring; to May 7, Vancouver
XII III (series); DOP Eric Cayla csc; OP Andris Matiss; to July 18, Toronto
Calendar of Events
March
April
1-4, Kingston Canadian Film Festival, Kingston, ON,
kingcanfilmfest.com
12-21, Images Festival of Independent Film & Video, Toronto,
imagesfestival.com
8, Genie Awards, Toronto, genieawards.ca
26-May 6, Hot Docs, Toronto, hotdocs.ca
11, Prix Jutra, Montreal, lesjutra.ca
May
15-25, International Film Festival on Art, Montreal,
artfifa.com
2-3, Hot Docs Forum, Toronto
23-Apr. 1, Cinéfranco, Toronto, cinefranco.com
10-13, Banff World Media Festival,
banffmediafestival.com
31, CSC Awards, Westin Harbour Castle Conference Centre,
Toronto, csc.ca
June
TRULY CINEMATIC
Proven ALEXA Image Quality
■ Optical Viewfinder and Mirror Reflex Shutter
■ The Only Digital Camera System with True Anamorphic Capability
■
www.arridigital.com
Extremely Capable Recorders
Avid DNxHD
UNCOMPRESSED 422
UNCOMPRESSED 444
APPLE
The Cinedeck EX has proven to be the industry’s most capable
portable digital recorder, offering unmatched quality, versatility
and performance for the broadest range of acquisition
applications. And, on the heels of its success, comes the Cinedeck
RX – the world’s first rack-mountable, multi-format, multichannel, digital recorder, monitor and playback system designed
for production facilities, broadcast and OB production.
including 3D. And the RX is ideal for on-the-go environments
thanks to its small 4 RU half-rack design, low power draw and
rugged milled aluminum casing.
The Cinedeck RX is designed to meet the challenges of mobile
production and broadcast applications, where having multichannel recording at your fingertips can allow you to meet the
demands of a broad range of HD production requirements –
The Cinedeck RX packs a world of functionality into an extremely
small footprint. Step into Vistek and talk to one of our experts
about Cinedeck innovations today.
From the simple ports and drive bay access on the front to the full
broadcast I/O interface on the back, the Cinedeck RX has been
designed with versatility and accessibility in mind.
CONTACT OUR PRO VIDEO DEPARTMENT TODAY!
TORONTO | Direct: 416-644-8010 • Fax: 416-644-8031 • Toll-Free Direct: 1-866-661-5257 • [email protected] | WWW.VISTEK.CA

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