Get PDF - Canadian Society of Cinematographers

Transcription

CANADIAN SOCIETY OF CINEMATOGRAPHERS
$4 November 2015 www.csc.ca
The Romeo Section
BRENDAN UEGAMA csc
Martin Wojtunik: Unusually Thicke
Vistek’s New Tech
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 7, NO. 6 NOVEMBER 2015
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 digital professionals,
from the aspiring student and camera
assistant to the news veteran and
senior director of photography.
8
Credit: Cate Cameron
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.
The Romeo Section: Brendan Uegama csc Gets Infused with Vancouver Noir
By Katja De Bock, Special to Canadian Cinematographer
Unusually Thicke is Business as Usual for Martin Wojtunik
14
By Fanen Chiahemen
Credit: Woodrow Walden
AC Lighting Inc.
All Axis Remote Camera Systems
Arri Canada Ltd.
Canon Canada Inc.
Clairmont Camera
Codes Pro Media
Dazmo Camera
Deluxe Toronto
FUJIFILM North America Corporation
FUJIFILM, Optical Devices Division
Fusion Cine
HangLoose Media
Henry’s Camera
HD Source
Inspired Image Picture Company
Kino Flo
Kodak Canada Inc.
Lee Filters
Miller Camera Support Equipment
Mole-Richardson
Nikon Canada Inc.
PS Production Services
Panasonic Canada
Panavision Canada
REDLABdigital
Rosco Canada
S1 Studios Toronto
SIM Digital
Sony of Canada Ltd.
Technicolor
The Source Shop
Vistek Camera Ltd.
Whites Digital Sales & Service
William F. White International Inc.
ZGC Inc.
ZTV
Credit: Zoe Alexopoulos
CORPORATE SPONSORS
Vistek Showcases New Tech with Hands-on Event
By Ian Harvey
COLUMNS & DEPARTMENTS
2
4
20
22
29
31
32
From the President
In the News
Tech Column
A Technicolor Century
CSC Member Spotlight - Phil Earnshaw csc
Classifieds
Productions Notes / Calendar
Cover: Brendan Uegama csc on the set of The Romeo Section.
Credit: Cate Cameron
26
Canadian Cinematographer
November 2015 Vol. 7, No. 6
CSC BOARD MEMBERS
PRESIDENT
George Willis csc, sasc, [email protected]
PAST PRESIDENT, ADVISOR
Joan Hutton csc, [email protected]
VICE PRESIDENTS
Ron Stannett csc, [email protected]
Carlos Esteves csc, [email protected]
TREASURER
FROM
THE
PRESIDENT
George A. Willis csc, sasc
Joseph Sunday phd
[email protected]
SECRETARY
Antonin Lhotsky csc, [email protected]
MEMBERSHIP CHAIR
Phil Earnshaw csc, [email protected]
EDUCATION CO-CHAIRS
D. Gregor Hagey csc, [email protected]
Dylan Macleod csc, [email protected]
PUBLIC RELATIONS CHAIR
Bruce Marshall, [email protected]
DIRECTORS EX-OFFICIO
Jeremy Benning csc, [email protected]
Bruno Philip csc, [email protected]
Brendan Steacy csc, [email protected]
Carolyn Wong, [email protected]
EDITOR-IN-CHIEF George Willis csc, sasc
EDITOR EMERITUS Donald Angus
EXECUTIVE OFFICER
Susan Saranchuk, [email protected]
EDITOR Fanen Chiahemen, [email protected]
COPY EDITOR Karen Longland
ART DIRECTION Berkeley Stat House
WEBSITE www.csc.ca
ADVERTISING SALES
Guido Kondruss, [email protected]
OFFICE / MEMBERSHIP / SUBSCRIPTIONS
131–3007 Kingston Road
Toronto, Canada M1M 1P1
Tel: 416-266-0591; Fax: 416-266-3996
Email: [email protected], [email protected]
Canadian Cinematographer makes every effort to ensure
the accuracy of the information it publishes; however, it
cannot be held responsible for any consequences arising
from errors or omissions. The contents of this publication
may not be reproduced in whole or in part without the
express written consent of the publisher. The opinions
expressed within the magazine are those of the authors
and not necessarily of the publisher. Upon publication, Canadian Cinematographer acquires Canadian Serial Rights;
copyright reverts to the writer after publication.
Canadian Cinematographer is printed by Winnipeg Sun
Commercial Print and is published 10 times a year.
One-year subscriptions are available in Canada for $40.00
for individuals and $80.00 for institutions,
including HST. In U.S. rates are $45.00 and $90.00
for institutions in U.S. funds. International subscriptions
are $50.00 for individuals and $100.00 for institutions.
Subscribe online at www.csc.ca.
ISSN 1918-8781 Canadian Mail Product Sales
Agreement No. 40013776
Return undeliverable Canadian addresses
131–3007 Kingston Road Toronto M1M 1P1
2 • Canadian Cinematographer - November 2015
G
rab the camera, frame the shot (instinctively) and release the shutter! Press the “play” button and... But wait, there’s no button like that
because this is not digital, this is a film camera.
The very thought seems archaic yet whenever I hold a film camera there’s
a feeling and a thought process that is hard to define. Maybe because the
instant gratification is missing. With digital technology, whether using
a cell phone, tablet or other digital image capturing device, there is an
immediacy attached to the action of triggering the shutter.
But does this really matter in the digital realm? If I relate the answer to
many recent conversations regarding photography, then no, it is of little or
no importance.
I find this rather disappointing because it seems that there is little regard
for the thought processes that govern creative thinking, especially when it
comes to photography.
If one was to analyze the action of taking a photograph in its simplest
form, it consists of the following: choose the subject, frame the shot, press
the shutter release, and then stop! That single shot is what has defined the
thought process as well as the action of capturing the image associated with
the thought. In other words, we make, or should make, conscious decisions
when taking a picture.
Today’s trigger-happy society seems to have taken a turn and created
something of a different approach to what was considered the norm in photography. The fact is that today, a digital card is capable of storing hundreds
of images as opposed to a roll of film, which has either 24 or 36 exposures.
I have no doubt that most of us who have captured images in the past
when using a film camera, had entertained certain ideas and observations
regarding taking a specific picture. But today, capturing an image has taken
on a different significance, or maybe a lack thereof.
I remember when growing up that the camera was taken out by my parents when something significant needed to be recorded, such as a birthday
see President page 30
STILL
+
MOTION
TORONTO
MONTREAL
STUDIO
+
LOCATION
S1 Studios Toronto: Van Packages,
Camera Support & Para Reflectors
Shooting in Toronto, Montreal or Halifax? Look no further than S1.
With a full suite of still and motion services, we meet the specialty equipment and van services needs of smaller productions both in
studio and on location. A range of van services for simple deliveries or more complex location packages is available, and our facilities
are strategically located on the east side of downtown Toronto.
Our clients include: ABC Disney, A&E, Alliance Atlantis Broadcasting, BBC America, Bell Media, CTV, Fox Searchlight,
FX Channel, MTV Canada, NBC Universal, Paramount Pictures, SyFy Channel.
EQUIPMENT | EXPENDABLES | VAN SERVICES | PRODUCTION RENTALS | STUDIOS
S1 Studios Toronto 416.466.3024 [email protected] www.s1group.ca
Credit: Jean-Guy Thibodeau
IN THE NEWS
Richard Ciupka csc Wins Gémeaux Award
In September, Richard Ciupka csc won a Prix Gémeaux for cinematography in the best TV drama series category for
Nouvelle Adresse 2. An English version of the series is being shot for the CBC.
P
Credit: Alex Moscall
Industry Vet Michael
Drabot Appointed to
General Manager, Whites
Winnipeg/National
VP Client Services
Michael Drabot
aul Bronfman, chairman/CEO of
Comweb Corp. and equipment
provider, William F. White International,
recently announced the appointment of
Michael Drabot to the position of national
VP, client services/general manager,
Whites Winnipeg, effective immediately.
Reporting to Executive Vice President &
Chief Operating Officer Paul Roscorla and
working closely with Comweb/Whites’
Chairman/CEO, Drabot will be based in
Manitoba at the Whites Winnipeg location.
Drabot assumes the role previously held by
Steve Morrisson, former Whites Winnipeg
GM, who has remained at the helm for over
16 years and recently moved to Toronto
to spearhead Whites Live Events, a new
national department specifically dedicated
to servicing live events across Canada. The
newly-launched department will coordinate
and utilize all of Whites’ comprehensive
live event gear, which includes offerings
from their specialty equipment department
along with sister companies Whites
Location Equipment Supply Inc. (Whites
LES) and Whites Telescopic Camera
Cranes Ltd. (Whites TCC). Whites Live
Events caters to live sporting events,
concerts, festivals and award shows across
Canada.
The CSC congratulates
the following members
who worked on films
that picked up awards
at the 2015 Toronto
International Film
Festival
Bobby Shore csc,
Closet Monster
(dir. Stephen Dunn)
Canada Goose Award for
Best Canadian Feature
James Klopko,
Sleeping Giant
(dir. Andrew Cividino)
City of Toronto Award
for Best Canadian First Feature Film
Jonathon Cliff csc
Ian Kerr csc, Hurt (dir. Alan Zweig)
Toronto Platform Prize
Canada’s oldest imaging provider is going
Deeper Into Motion.
From film students to serious filmmakers, we sell and rent
everything you need for professional productions.
[email protected] | henrys.com
IN THE NEWS
SIM Group Signs Lease
for New Production
Centre at Former
Eastman Kodak Site
The SIM Group announced in September that it has entered into a longterm lease for a 65,000-square-foot
space at the historic Eastman Kodak
building off Las Palmas in Hollywood.
The company will undertake a multimillion dollar build-out of the facility,
currently known as Hollywood Office
Campus, to house the Los Angeles
operations of its companies Chainsaw,
SIM Digital and Bling Digital. Construction is expected to be complete by
May 2016. The site is in the Hollywood
Media District and in close proximity to
many other large media and entertainment companies, including the recently
announced new headquarters of Netflix. The three SIM Group companies
will share a self-standing, three-story
building at the former site of Eastman
Kodak Company. SIM Digital will occupy the first floor. Chainsaw and Bling
Digital will share the second and third
floors. The new SIM Digital facility will
feature state-of-the-art prep bays and
engineering workspace for cameras and
post production, as well as customer
service space and loading docks. Bling
Digital will feature dailies processing
and other production support services.
Dashwood, recently released the downloadable public beta of its new product
360VR Toolbox, which can preview
360-degree spherical footage in the Oculus Rift while playing from an edited
sequence in Apple Final Cut Pro, Adobe Premiere Pro or Adobe After Effects.
The latest patent-pending features have
now been revealed in the public beta of
360VR Toolbox. These include full stereoscopic 3D support, reorientation of
equirectangular “LatLong” panoramic
footage, output of “pan and scan” mono
or stereoscopic video, placement of 2D
elements inside spherical footage, support for equirectangular, stereographic
or cubic projections, and “seamless”
360 degree filters like blur, sharpen,
glow and noise reduction.
Panavision Opens
Satellite Facility at
Pinewood Atlanta
Studios
Panavision opened a satellite office at
Pinewood Atlanta Studios in September, featuring a full range of filmmaking
equipment with a large area for prep
and testing, and access to the company’s specialists in production solutions.
Pinewood Atlanta Studios opened
in February 2014, and consists of 11
sound stages, more than 500 acres of
back lots, offices and other amenities.
Dashwood 360VR
Toolbox Latest Features
Introduced in Downloadable Public Beta
Sony Expands Large
Sensor Camera Family
With New 4k Compact
Super 35 Camcorder
Dashwood Cinema Solutions, founded by associate CSC member Tim
Sony recently expanded its line of
large-sensor 4K technologies with the
PXW-FS5 compact Super 35 mm camcorder. The new model aims to fill an
important niche between cameras like
Sony’s PXW-FS7 and the NEX-FS700.
As a companion camera or on its own,
the PXW-FS5 fits a range of applications, including documentary and independent filmmaking, online content
creation and student film projects. The
PXW-FS5 is ergonomically designed
for handheld shooting, and its features
include a lightweight body and a onetouch rotatable grip. Users can attach
the 3.5-inch type LCD panel to different positions on the handle or the
compact camera body, to further support handheld operation and customized shooting. The camera’s interfaces
include 3G-SDI, 4K HDMI output,
MI shoe, dual SD card slots, Wi-Fi and
wired LAN terminal, supporting various system configurations. The PXWFS5 is planned to be available this
month.
RED Digital Cinema
Announces RED RAVEN
In late September, RED Digital Cinema unveiled the latest addition to its
line of professional cameras, RED RAVEN. RED RAVEN is equipped with a
4K RED DRAGON sensor, and is capable of recording REDCODE RAW
(R3D) in 4K at up to 120 fps and in 2K
at up to 240 fps. It is also capable of recording REDCODE RAW and Apple
ProRes simultaneously, and weighs
3.5 pounds. With pricing starting at
$5,950 for the camera BRAIN®, and
complete packages under $10,000, RED
RAVEN will begin shipping in February
2016.
Write to Us
www.csc.ca
Connect online with the CSC
Canadian Cinematographer welcomes feedback, comments and questions about
the magazine and its contents. Please send your letters to [email protected].
Letters may be edited for clarity and space.
@csc_CDN
Canadian Cinematographer - October 2015 •
23
The Romeo Section
Brendan
By KATJA DE BOCK, SPECIAL TO CANADIAN CINEMATOGRAPHER
Photos by CATE CAMERON
Brendan Uegama csc on the set of The Romeo Section.
P
rolific cinematographer
Brendan Uegama csc
faced a new challenge
in his career, lensing all
10 episodes of screenwriter and producer Chris Haddock’s latest show The Romeo Section, which premiered in October.
The Romeo Section is an hour-long
serialized CBC drama about spymaster Professor Wolfgang McGee,
an academic who secretly manages a
roster of espionage assets. These undercover informants, referred to as
Romeo or Juliet spies, are engaged in
intimate relations with intelligence
targets. Wolfgang himself (Andrew
Airlie) is a semi-retired Romeo operator, having worked his way up in
an officially deniable “service” under the umbrella of Canada’s intelligence community. Their location:
was impressed by Henry’s Glasses, a
short that Uegama wrote, directed
and shot “on his own nickel.”
“When I met him, I was struck by
his personality,” Haddock says. “He
is really obviously so eager to go the
full distance to try to get the job and
I can tell by his character that he had
the drive and the ambition, wanting
to make it the best thing he possibly
can.”
At that time, Uegama hadn’t seen
Intelligence yet, he says, but he
caught up on the series and was also
hooked by the intriguing, cool script
of The Romeo Section, which moves
in the suspenseful sphere of Chinese
triads, the secret service and the fictional Pacific Spirit University.
A newbie in the Haddock family,
Uegama managed to get along from
the get go with Haddock, whose
Uegama csc
Gets Infused with Vancouver Noir
constant availability he admires. “I
don’t know how he sleeps, when he
sleeps; he somehow manages to be
on set almost all the time and write
episode after episode and be involved in everything.”
Uegama describes the look of the
series as “Vancouver noir,” a term
that Haddock had used on his previous shows. It does not only refer
to Vancouver’s often-overcast skies,
but also to the heightened anxiety
of the characters living in a modern
post-war era. “Post war,” because
nowadays there’s always a war going on somewhere, Haddock says.
Needless to say, the perfect, rainless summer of 2015 was closer to a
“California noir.”
“We initially were influenced by
film noir, based on the subject mat-
"
Cinematography
should almost be
invisible. You’re not
supposed to think
about camera work
or lighting to be
"
the seemingly serene cosmopolitan
city of Vancouver, whose underside
acts as a haven for drug barons, fugitives and covert financiers. The series
has Haddock reunited with fellow executive producer Laura Lightbown;
directors Stephen Surjik, David Frazee
csc and Anne Wheeler, producer Arvi
Liimatainen; and writer/co-executive
producer Jesse McKeown.
Most
crewmembers
worked
on Haddock’s former Vancouverbased series Da Vinci’s Inquest
(1998-2005), Da Vinci’s City Hall
(2005-2006) and Intelligence (20052007), including Haddock’s initial
DP David Frazee, now an established director.
Haddock says he was looking for
“a young David Frazee,” when he
watched Uegama’s demo reel and
influenced by it.
Canadian Cinematographer - November 2015 •
9
The crew shoots an interior scene.
ter of espionage,” says Uegama, who wanted to create a look
different from what you normally see on television, with
more cinematic storytelling rather than relying on dialogue.
“On some level, the show is about lies and fighting to see the
truth. So we have embraced the idea of ‘fighting to see’ and
used it in our photography at times with reflections and odd
frames that cause the audience to watch a little harder.”
When shooting the pilot, directed by Stephen Surjik, the
team decided to avoid frequent cuts and keep things going in
one take as often as possible to bring the viewers in.
Uegama is hesitant to delve into technical aspects: “Cinematography should almost be invisible. You’re not supposed
to think about camera work or lighting to be influenced by it.
As you watch it, you should just feel something and it should
be subtle. If people stop listening to words and they’re like,
‘Oh, that shot was cool, or the lighting was this...’ that kind of
thing, we’ve lost them all of a sudden. You’re suddenly taking
them away from the story, and story is everything; it all starts
with the script.”
The technical approach is fairly simple, he adds. “We don’t
use cranes, drones or many specialty lenses. Nor do we do
handheld (since a couple of scenes in Episode 1), as we like
to keep it solid, grounded and controlled. We consistently
shoot two cameras and they are both on dollies or sometimes
Steadicam. With lighting, we generally stay moody and on
the dark side of things which keeps with the philosophy of
‘fighting to see.’ Certain characters and locations call for specific colours in the lighting, and other areas play a bit more
mono. Overall the look of The Romeo Section is a ‘Vancouver
noir’ that is constantly being evolved.”
Haddock says The Romeo Section is his first television series
shot on digital. His last show, Martin Scorsese’s Boardwalk
Empire, was predominantly shot on Super 35 mm. The Romeo Section, on the other hand, rented two RED DRAGONS
from Clairmont Camera and Black Tree Pictures. Every now
and then a third camera would be used on a splinter day.
Uegama used ARRI Ultra Primes and an Angénieux Optimo
24-290 cinema lens. Sometimes the cinematographer would
choose Master Primes for an extra stop of light, for example
for harbour scenes at night. “We want to feel the city as much
as you can, so every stop or half a stop of light helps and
counts,” he says.
The cameras were operated by Chris Banting (A cam and
Steadicam) and George Campell (B cam). George Majoros
and Duncan Vogel were focus pullers. Uegama speaks highly
of his gaffer Mark Murphy and key grip Randy Stamhuis,
who also worked with him on Ungodly Acts and helped him
prepare future sets. “They are good at helping me keep things
ahead of the game,” Uegama says. “They’ve been great collaborators for me.”
The partnership with a good gaffer proved crucial, as the
most challenging aspect of the show was shooting a continu-
Get Closer With Anamorphic
By Design
NEW
Cooke
Anamorphic
65mm Macro
No Compromises.
The new Cooke Anamorphic/i 65mm, T2.6 Macro
Close focus to 5.5 inches
4:1 magnification
True front anamorphic
And the Cooke Look, of course
All in one purpose designed lens. No workarounds.
Add this new lens to your set of Cooke Anamorphic/i focal lengths,
25, 32, 40, 50, 65mm macro, 75, 100 and 135mm.
CookeOpticsLimited
British Optical Innovation and Quality Since 1893.
cookeoptics.com
T: +44 (0)116 264 0700
Canada, South America, USA:
T: +1-973-335-4460
Stephen Surjik, executive producer/director of Episode 101 of
The Romeo Section talks with DP Brendan Uegama csc.
ous four-month production, Uegama says. “I have to do my
prep on the weekends and at night at the end of the shoot.
Luckily, we make it work. Between key grip Randy Stamhuis,
gaffer Mark Murphy and myself, we got a really good workflow going and it’s ever-evolving and getting better and better
episode by episode,” he says.
Another challenge consisted of frequent locations moves,
sometimes up to four times a day, due to single-episode
shooting and storylines which include multiple locations.
The team made those moves fluid by scaling back trucks.
It was producer Arvi Liimatainen’s wish to utilize smaller
trucks to minimize the impact on locations and facilitate
easier moves. Even most of the camera gear was reloaded into
Uegama with screenwriter
and producer Chris Haddock.
a slush van instead of the camera truck to make the moves
quicker. Luckily, the main sets (Wolfgang’s university office,
his love interest Lily’s office and the Pacific Rim Centre), as
well as the character Wing Lei’s restaurant and a prison cell
were built in a studio, located in the old Canada Post building
in Vancouver’s downtown.
Uegama says he is not influenced by Intelligence because the
look of The Romeo Section is its own style. “They did even
more moves, but they were more raw, more handheld,” he
says. “To me, handheld should only be used for very specific
reasons. I believe that you shouldn’t draw attention to the
cameraman. If you’re handheld, running around, you know
that there is someone behind the camera, whereas when
you’re fluently moving through a scene, you don’t notice the
camera work as much.”
Most remarkable about this production was so see the entire team strive to excel, Uegama says. “It’s surprising what
you can accomplish when you have a team that really wants
to do something good. It all starts at the top, really. Chris is
extremely passionate, such a nice guy, everyone likes him because you get along with him so well,” he adds. “Everyone
knows we want to make a show we can all be proud of, and
that is extremely rewarding.”
“Brendan jumped right in and we’ve been really thrilled
with everything,” Haddock counters. “He is just a very dedicated guy, despite the long hours we work, he’s always willing
to get out on his spare time and go to locations, research stuff,
do tests, spend time in the lab checking stuff. He should be
proud of it.”
And Uegama is taking newcomers under his wing, as well.
With Black Tree Pictures, the company he founded with
actor-producer Nicole G. Leier, Uegama is engaged in the
Vancouver Short Film Festival. They sponsor a prize for
Best Cinematography, consisting of a camera package deal,
as well as dinner with Uegama in which aspiring filmmakers
can pick the cinematographer’s brain.
Unusually Thicke
is Business as Usual for
Martin Wojtunik
By FANEN CHIAHEMEN
M
Canadian Cinematographer: What are some
of the unique aspects of coming up with a
visual language for a reality show that has a
story producer?
Martin Wojtunik: By and large there is a story arc for each
MW: Trying to stay a step ahead of the game is always a challenge on a show like this. Because we’re following the puck,
appointments change, people cancel and life happens. This
meant that we always not only had to be ready for the scene
we were doing, but had to have the gear or mentality that we
were going to sub in another scene last minute. So all of a
Credit: Nick Matthews
ore than 20 years after
episode so there are very geretiring from his role
neric notes about what should
as the father in the
be happening, and from those
popular American sitcom Growmoments real moments happen
ing Pains, actor Alan Thicke is
and we go with them. Luciano
back on television playing anCasimiri, our story producer,
other dad, but this time around
really knew how to tie in all of
he has no set to drive to and
the family’s real events into a
no lines to learn – he’s playing
cohesive structure for each epihimself. After seven seasons in Martin Wojtunik gets a shot by the ocean.
sode. All the moments that are
his first incarnation as a televihappening are genuine. And
sion dad, the recognition the actor attained evolved into an what separates our show from other lifestyle shows is that
iconic status and today he lives on a sprawling 7-acre estate in the producers wanted the look and feel of a narrative sitcom
Santa Barbara County, California, with his actress/producer but done through the lens of a lifestyle/reality show. So it
wife Tanya Callau and their teenage son, Carter. So it seems was important that the show not only looked polished and
almost natural that Thicke would join the roster of celebri- glossy, but the camera work had to feel raw in the style of a
ties allowing camera crews into their homes for the world to traditional lifestyle show. It was a challenge with our budget,
witness their daily adventures, which is where associate CSC but the challenge is what made it fun.
Martin Wojtunik comes in. As series DP on Unusually Thicke
– billed as a reality show with a story producer – Wojtunik is CC: What are the difficulties of shooting this
there to capture all the action and unexpected surprises.
way?
sudden a kitchen interior scene would become, “All right
we’re heading to Malibu!”
CC: How did you organize your shooting
schedule then?
MW: This show is a bit different compared to conventional
shows in that we didn’t have the typical six to 12 days per
episode. We had six months to complete 13 episodes. That
was in large part due to commitments on the family’s part
or to celebrity accessibility. For example, if we had a special
appearance by, let’s say, Wayne Brady or Gilbert Gottfried,
our schedule had to be amorphous and change. Some days
we shot eight hours. Sometimes we worked as long as 13 or
14 hours. So we could shoot Episode 1 four days in a row,
and then we’d switch to Episode 13 in the next few days because of somebody’s availability. So we had to be very well
prepared and we had to be very organized in order to switch
back and forth through episodes. The schedule was absolutely the hardest challenge. But we had such great people
on the team that there was a palpable excitement day to day
despite the erratic schedule. It was like, “What kind of mess
are we going to get into today? How many things are we going to get done today?”
You Focus
On The Shot
We’ll Focus
On The Rest
CC: What was your camera and lens package?
MW: Because it had to look like a sitcom but feel like a
lifestyle show, we needed the camera package to be light.
Also, we couldn’t be switching lenses all the time and we
had to shoot 4K as a mandate for a network archival medium. This ruled out a lot of cameras like the Sony F800, F7,
Canon C300 and the Panasonic cameras that are traditionally used in today’s lifestyle shows. So we put our attention
to the RED EPIC. I rated the ISO at 640 for daytime, and
1280 for most of the night-time photography. Two cameras
were used the whole way through and were outfitted with
Fujinon Cabrio 19-90 mm lenses. We also had a Fujinon
85-300 mm Cabrio in our back pocket whenever we had the
distance available to us. GoPros were used for in-car situations, as well as 5Ds, and on some special days we went upwards of four to five cameras that included a RED Dragon
and a couple of 5D Mark IIIs. Brandon Cooper, Triton Hall
and Trevor Huys at Dazmo Camera were so incredibly instrumental in providing the majority of the equipment and
getting us comfortably outfitted for a six-month show.
CC: How did you achieve the fly-on-the-wall
effect?
Unparalleled Optics.
Optimized Camera Systems.
Inspired Engineering.
World Wide Service.
www.panavision.com
MW: There was usually a meeting with the director to
talk about what’s going to take place in the scene, and for
15
CC: How did you approach and design the
lighting?
Shooting Alan Thicke’s wife Tanya Callau on a drive.
example we’d know roughly that Alan is preparing a breakfast meal. So I’d light the kitchen in broad strokes and then
when the family would come in, they’d have a conversation
with the director, and I’d usually stay out of it so that when
the action happens I wouldn’t be directly behind the eight
ball. We’d usually start farther back with a long lens to make
it feel like we were spying on them, and then as the scene
progressed we’d move in closer. What was even more challenging was choosing the show’s B cam operator. The show
demanded they have the instincts of a reality operator but
have the framing aesthetic of someone who’s done a lot of
narrative work. It was hard to get one person because of
scheduling, but with the help of Jeff Taylor, John Hoare and
[CSC associate] Ian Macmillan I was able to sell the look I
was going for.
MW: The lighting was quite a challenge because I didn’t
know where the cast was going to go. That mixed with low
ceilings and everything open concept meant our lighting design had to be done in fairly broad strokes. So we used a lot
of sources outside pushing into the Thickes’ house, which
was one of the main locations and is their actual home and
not a set. Also, the California sun is pretty unforgiving and
when you’re doing a fast-paced, “follow the puck” style show,
windows become your friend and at the same time a bit of
an enemy. Especially while trying to retain highlights when
interiors are so dim. Our package was sparse but effective – it
was a couple of HMIs, a couple of Joker bugs and a few Kinos. We also had a couple of 300s and 650s for interior/night
stuff we were doing. But if given the opportunity to lock any
lights down, I’d relish it and put in a nice special light or hair
light up.
CC: What about the direct-to-camera
testimonial segments?
MW: Those were very important because they were often
times the button on the end of a joke. So they needed to
feel familiar, safe but also bright and gorgeous and show the
glamorous lifestyle they have, whether it was Tanya’s dress
or Alan’s suit. My key light was an M18 that I used as a book
light that pushed through a 6x6 full grid. This gave me a nice
fat stop so that I can hold all three family members in focus
and they can play freely amongst themselves on the couch. A
short 4 Kino with 251 was used to backlight, and depending
on their wardrobe it was either a bit of negative or Clay Coat
bounce.
Actor Alan Thicke, left, with comedian Jon Dore.
MW: All the locations were real. So whenever we did go off
location, we wanted to show the Southern California lifestyle, or the glamour of it, so the background was just as important as the foreground. These are big California homes,
designed with lighting in mind, so we were very fortunate
that they didn’t need that much augmentation of light to begin with. We kept our travel package even lighter – it was just
a 1200, an 800, a Kino and a couple of bounces. All those
location moves would eat up a big part of the day so it was
important to stay light on our feet. When winter came it was
Credit: Martin Wojtunik
CC: Some of the action takes place outside
the Thickes’ home, for example, at a doctor’s
office, a restaurant or someone else’s home.
How do you approach lighting and composition
in those locations where things could be a bit
more unpredictable?
13
another challenge because if anything was daylight dependent, we only had the sun until 4 p.m. before it started dropping out of the air. So we had to move fast because we didn’t
have the luxury of time when we did location moves. Darren
Bryenton, one of our producers, was instrumental in giving
us a heads-up during this process. He was very meticulous
with locations and times, which gave me the ability to make a
decision to send some gear ahead on several locations.
CC: How did you watch dailies on this show?
MW: My camera assistant, Nick Matthews, put us onto a
company called The Matrx, which he heads up with Brad
Neweduk. The Matrx is a dailies company based in Toronto,
Vancouver, L.A. and New York that specializes in large volume transfers and storage along with many other services.
Because of the amount of footage we were shooting on the
show, this was the only real answer for us. At the end of any
given shooting week the footage would be driven out to L.A.,
uploaded to their server, transferred overnight and processed
to Avid DNxHD 115. And thus ready to cut for our team at
Peacock Alley Entertainment the following business day. I
was given a login code and was able to stream anywhere that
I had Internet service. This was an invaluable tool as we were
shooting 13 episodes across six months. Having The Matrx
available with dailies also helped out tremendously to keep
all of our continuity in order as well as our T’s crossed and
I’s dotted.
MW: At first, there is this feeling of, “Oh, my gosh, I’m quite
literally living the dream; it’s actually happening.” But then
when you get behind the lens and behind the camera it’s business as usual. All that nonsense about Tinseltown and Hollywood go out the window, and you remind yourself you’re
there to do the best job you can do. You’re lighting scenes,
you’re framing shots, you’re working together to get a story.
But at the end of the day it’s nice because you hear the ocean
in the background, and if you end early enough you can go
and take a dip in it. The whole reason that you got into it is
the process – you just fall in love with framing and lighting.
So going in every day was a real treat, thinking, “How am I
going to solve today’s problem? What can I do to make today
stronger in order to make the story better?”
CC: What was most memorable during the
shoot – either because it was logistically
challenging, particularly fun or had an
outcome that surprised you?
CC: But you’re also hanging out on a sprawling
ranch in California with the Thicke family and
their celebrity friends. Some people might
see that as living the dream.
MW: Someone gets married on the show, so that particular
episode happened to be the most challenging and most fun.
It was a week worth of planning while we were in the midst
of also shooting the show. When you shoot a wedding you
don’t get a second chance. That’s the reality aspect. So we
had to shoot continuously from the morning, with the guests
coming into the ceremony, right up to magic hour, and then
the party taking place at night at the Thicke family ranch. So
I had to be pre-lit for all three times of day, not have anything
in the shot, obviously, and be unobtrusive to the wedding
guests. So logistically it was a nightmare but it was a wonderful challenge that I think we pulled of marvellously.
Top: Shooting a game of golf. Middle: During the wedding,
Wojtunik and crew had to shoot continuously from the
morning until the party at night. Bottom: A wedding scene
from Unusually Thicke.
Canadian Cinematographer - October 2015 •
15
TECH COLUMN
Oculus
Puts a New Spin on the Crane Cam
D
igital gimbal-based camera
platforms are essential tools in
cinematography, but did you
know it’s a concept that dates back more
than 2,000 years to ancient Greece with
the first mechanical gimbal described
by Philo of Byzantium?
The most common gimbals – like
those found on ships’ compasses – are
three-axis gimbals. Which brings us
forward thousands of years to SpaceCam’s Stabilized Imaging Technologies’ new Oculus 2.0 that goes one better with a four-axis gimbal.
Unlike SpaceCam’s other systems,
which are designed for aerial use to
be mounted on helicopters and fixedwing aircraft, the Oculus is for a crane
or vehicle mount. The four-axis design
means it offers an unrestricted field of
capture and the carbon fibre housing is
lightweight and makes it easily maneuverable during setup and tear down.
The gimbal itself weights about 50
lbs. (22.6 kgs) and will take another 20
lbs. in camera and lenses. It measures
23.5” W by 8” H and 28.5” long, with a
360-degree continuous pan, tilt and roll
in all axes with a pan and tilt speed up
to 260° per second.
Oculus won the Best Engineering
Award at Cine Gear Expo last June,
and there’s talk of a 2016 Academy
of Motion Picture Arts and Sciences
Technical Award. It’s a far cry from the
rudimentary heads SpaceCam founder
Ron Goodman started out with, and he
couldn’t be happier.
There’s also a strong Canadian back
story to the Oculus, starting with
Goodman who was born in Ontario,
and with his first experience with a
gimbal platform, the forerunner of the
Wescam, which was initially created as a military tool
by the Canadian subsidiary of Westinghouse and
later spun off as a company
called Istec Inc.
Goodman went to Ryerson Institute, as it was
known then, and then
Humber College, studying
engineering and cinematography in the 1960s before getting frustrated at the
pace of the classes and finding work with William F.
White. He started working
as an electrician on industrial and government-sponsored shoots and found
himself suddenly bumped
up to camera operator. “As
an electrician, I nearly electrocuted myself in a rain
storm shooting at an iron
mine,” he laughs. “We were
working with the prototype
version of the Wescam and
then I got an opportunity
to go to Norway to shoot
there.”
Over 14 years working
in Scandinavia, Goodman
tweaked the Wescam into
a smaller unit dubbed the
X mount, shooting aerial
scenes for productions like
Superman, Superman II,
Supergirl and The Cassandra Crossing. He was also
involved in the infamous
eight-minute single continuous shot in the 1975 Professione: Reporter (released
SpaceCam founder Ron Goodman with the Oculus.
as The Passenger in English) directed
by Michelangelo Antonioni with Jack
Nicholson and Maria Schneider.
By 1985 with more credits like The
Empire Strikes Back and Return of the
Jedi, Goodman found his aerial expertise so much in demand he had to return to California. “We went back to
the U.S. and started working on SpaceCam,” he said.
By 1987 he came up with
the concept, and two years
later it was in prototype and
in market by 1990. He also
started working with IMAX
format cameras.
Unfortunately, Goodman
had a major setback on the
set of Far and Away in 1991
when a freak 150-foot wave
crashed into the chopper he
was filming in. Though he
and the pilot survived, the
SpaceCam unit, the only one
in existence, was destroyed.
“We had to rebuild and
start again,” he said, and it’s
clear there are some residual
issues. “I tell you what I
learned from that, is that you
should get not just a certificate of insurance, but proof of
insurance.”
SpaceCam II came along
two years later, and Goodman has been making incremental improvements ever
since.
“Oculus started as a project
called Aurora, which was an
aerial mount and then we
were asked to make a crane
mount and so we took the
core of Aurora to make Oculus,” he said.
While servomotors have
been around for a while, it’s
the advent of ever smaller
digital motors with direct
drives at more affordable
prices that is opening up gimbal design. The trend towards
large format – something Goodman
has worked with in 65 mm 15-perf film
cameras – is also driving demand for
vibration-free platforms.
“At 6K or 8K when you project, the
slightest vibration will send it out
of register and lose resolution,” he
said. “So you have to have the camera
head vibration free and that’s what we
get with the direct drives and digital
motors.”
It hasn’t always been as smooth a ride
as he’d like for the business side, and
he admits SpaceCam didn’t spend as
much time staying ahead of the market,
allowing competitors to release products that cut into his market share. “We
made the fatal mistake of resting on our
laurels,” he said, noting he’s got a few
more surprises in the pipeline.
Further complicating things, he’s now
embroiled in a lawsuit with the distributor who approached him about building Oculus. As a result, there’s limited
numbers of Oculus for rent at All Axis
Systems in Richmond, B.C.
All Axis owner Peter Panago said a
relationship with Goodman led to him
getting the Oculus , and so far it’s been
creating quite a buzz.
“It’s been out on Star Trek and some
other productions here,” he said, noting
it’s renting at below $2,000 a day as an
introductory rate. “There’s been a lot of
excitement and a lot of talk. People are
amazed by the ability and speed of this
machine.”
Raise
the
Roof
Admission is free*.
The experience is priceless.
Metro Toronto Convention Centre
(North Building)
Wednesday, November 11, 12 P.M.–8 P.M.
Thursday, November 12, 9 A.M.–5 P.M.
*Online registration is free or $10 at the door.
Ian Harvey is a Toronto-based journalist
who writes for a variety of publications
and covers the technology sector. He
welcomes feedback and eagerly solicits
ideas at [email protected]
Presented by
Get your FREE ticket here:
www.profusionexpo.com
“Lab on Wheels”,
Technicolor’s first lab
circa 1916, was inside a
Pullman railway car, so
it could be rolled close
to the set of “The Gulf
Between”, Technicolor’s
first film being shot in
Jacksonville Florida.
A Technicolor
Century
By GUIDO KONDRUSS
A
Above: A diagram of the prism and film
advance assembly in the venerable
Technicolor Three Strip Camera. Right: DP
Douglas Koch csc with Technicolor three strip
camera DF 22, Technoparc, Montreal, 2011
s I sat in a darkened theatre, my anticipation was palpable. I was about to
watch the classic 1952 song and dance
movie Singin’ in the Rain. That in itself was not
unusual, because I had seen the film before on
television, and even as a 16 mm print back in
my long gone university days. However, this
showing was promising to be much different
since the film was going to be projected from
a restored 35 mm Technicolor print. I was not
disappointed. Soon after the vibrant images
splashed across the screen, I realized that I was
not simply viewing a film, but experiencing
it as it was meant to be experienced through
its plush and intoxicating colour. Singin’ in
the Rain was one of several Technicolor films
screened in its original form this past summer
at Toronto’s Bell Lightbox to commemorate
the storied company’s centenary. In fact, it
was exactly this month – on November 19 –
in 1915 that The Technicolor Motion Picture
Corporation was established in Boston.
“Technicolor grew out of the engineering research company founded by Herbert Kalmus,
Daniel Comstock and W. Burton Westcott,”
Robert Hoffman, vice president, marketing
and public relations, Technicolor Hollywood,
Left: Still from “Breakfast at
Tiffany’s”, 1961, Colour by
Technicolor
says. “Kalmus and Comstock were MIT engineering grads who did their doctoral degrees in
Europe returning with PhDs in chemical and
electrical engineering. Westcott was a self-taught
mechanical engineering savant who had the reputation of being able to build anything.”
Technicolor’s first foray into colour science for
film was an additive process that used a beam
splitter to record red and green images simultaneously to highlight skin tone and foliage. The images were then recombined using a special projector
with two apertures and filters. While the process
worked wonderfully in the lab, it proved to be
too cumbersome and difficult for projectionists
and did not gain wide acceptance. Still, it showed
potential and kept investors interested, allowing
Technicolor to hone its process over the next 25
years, which culminated in two very important
inventions that would have a major impact on
colour cinema and define the look of Hollywood’s
Golden Age.
The first innovation was a photo chemical technique called imbibition-blank, introduced in
1926. It was a form of dye transfer process where
any number of colours could be applied to one
side of a film base, giving film prints rich colour
tones and hues. The second innovation was the
development of the three-strip camera in 1932
that allowed Technicolor to do what it always intended to do – record the full colour spectrum.
“With two separate movements, one bi-pack for
the red and blue records, and one single strip for
the green record, linked by an ultra-high precision beam splitter, the camera really was a marvel,”
says DP Douglas Koch csc, who has studied the
23
Images: Courtesy or Technicolor except camera diagram, courtesy: The American WideScreen Museum
& Douglas Koch with three strip camera: courtesy Douglas Koch csc.
Right: “Wizard of Oz”, 1939.
have been very different films
and in turn the motion picture
industry would have probably
taken a lesser path in its develdesign of Technicolor’s three-strip cam- opment.
Technicolor retired its threeera. “In every aspect it was machined
and aligned with great precision. The strip camera in 1954 as cheaper
two film movements had excellent reg- film formats gained prominence
istration accuracy,” Koch adds. “The in the industry, but its proprialignment of the two optical paths with etary imbibition-blank process
the beam splitter were a monumental continued for decades, being
design and construction feat. I under- adapted to other film stocks for
stand the handling of the beam splitter the Technicolor treatment.
was taken as seriously as if it were made “There were wonderful films
being produced in the U.S.
of plutonium!”
In 1939, Gone with the Wind was the in the 1970s that were finfirst full-length feature in Technicolor ished with Technicolor IB dye
to be given an Academy Award for transfer prints,” Hoffman says.
colour cinematography. In the same “Francis Coppola’s four films in A Technicolor advertisement from Moving
year, Technicolor was awarded a spe- that decade were Technicolor Picture World February 2, 1924.
cial Oscar for bringing true-life colour projects.”
Seeing industry potential in Canada,
During this era, Technicolor had
to the big screen. In the ensuing years,
Technicolor shot many of Hollywood’s morphed into a world-leading film Technicolor set up shop in Montreal
most influential films and received processing company, developing 16, in 1999, followed by facilities in Vanthe Academy’s Science and Technical 35 and 70 mm prints in virtually any couver and Toronto in 2004. Although
Award for its motion picture innova- anamorphic format. But as new tech- Technicolor has a global footprint, Manologies emerged, shifting the indus- jor says they are also very in tune with
tions no less than 24 times.
Technicolor may not have invented try away from film, Technicolor never regional production, giving everyone
colour, but it did prove without a doubt seemed to miss a beat, embracing the the best of both worlds.
“We’re a big brand, but still very
that colour was an artistic endeavour digital world, reinventing itself as a
and very much a part of the filmmak- global postproduction powerhouse. It boutique-ish here in Canada,” Major
ing narrative. It shaped people’s per- remained innovative, daring and rec- continued. “We take care of local filmceptions and expectations of colour ognizable, so much so that when the makers and studios alike. It doesn’t
in movies. Without the Technicolor French electronics giant Thompson matter if you’re Sony, Universal or an
touch, silver screen classics Gone with Multimedia acquired Technicolor in independent, we have a pipeline that
the Wind, The Wizard of Oz and Dis- 2001, it re-branded itself five years ago works, a backbone that supports whatney’s Fantasia, to name a few, would after its subsidiary as Technicolor SA. ever needs to be done regionally or
A move that, according to Louis worldwide.”
Major, vice president, Technicolor With colour science as its cornerstone, Technicolor continues to push
Canada, was logical.
“We have to define where we’re new boundaries for the next generation
going. To make it clear to the mar- audio and visual experience from its
ket and to the industry about who research into new technology such as
we are,” Major says. “It’s about our HDR (High Dynamic Range), virtual
core business which is postpro- reality and immersive sound systems to
duction through creative imagery, name just a few. As Technicolor steps
picture and sound finishing, work into its second century, its pioneering
Still from Robin Hood: On the set of “The
flow, visual effects, dailies, and past shines brightly as a beacon in guidAdventures of Robin Hood”, 1938. Large
digital distribution, so what better ing its pioneering future.
square box in the upper right corner is a
For more on Technicolor’s services
brand is there than Technicolor,
Technicolor Three Strip Camera inside a
because it’s all of those services and products please visit its website:
sound blimp.
technicolor.com
and more.”
Realize your cinematic visions and create smooth, richly superior 1080/60p, full
HD video footage with the full frame Nikon D810. The readout method of the
image sensor has been optimised to deliver high-definition video with effectively
minimised moiré and false colour. For cinematographers and camera operators,
the D810 will ignite your creativity and become one of the most versatile and
important tools in your arsenal. Made for Generation Image.
13
nikon.ca
Vistek
Showcas
New Tech with Hands-on
By IAN HARVEY
Photos by WOODROW WALDEN
ses
Event
V
istek pulled out the stops to host a
hands-on event featuring the new
Sony a7RII, Ronin stabilizers, DJI’s
newest Inspire 1 and Phantom 3 drones,
as well as the new 4K Atomos Ninja Assassin recorder in September.
“It was a bit of a forerunner of ProFusion in November (11th and 12th),” Brian
Young, Vistek’s guru on all things video,
said. While ProFusion is a two-day showcase and celebration of technology and
the talent within the pro imaging industry, September’s event was an upfront
and personal opportunity to test-drive
the gear – including a stint flying a drone
in the parking lot at the Queen St. West
store in Toronto.
“This is the biggest of this type we’ve
done,” Young said, noting the store does
BBQs and other events throughout the
year. “We had 150 people register and
about 400 people have been through
over the day and half. It’s been busy but
Clockwise from top left: Vistek Pro Video
Product Manager Brian Young operates
a drone. The 4K Atomos Ninja Assassin recorder. The DJI S900 Hexacopter.
The Sony a7RII. DJI Ronin and Ronin M
gimbals. The Ronin and the Atomos Ninja
Assassin. Sony’s Patrick Chan discusses
the aR7II and lenses. Vistek’s Richard
Basca with the Ronin.
27
it’s been great, especially for the ‘copters, with people having that real pilot experience to get a feel for actually
flying one.”
Off the top, the big buzz was around
the Ninja Assassin. Modelled on its big
brother, the Shogun, the Ninja Assassin is a somewhat smaller, lighter and
less featured version with a much lower
price of $1,699 compared to $2,399 but
offers 4K capture.
“It does not have SDI or handle RAW
but it’s designed for those using DSLR,
mirrorless and video cinema cameras,”
Peter Leitmann of Vistek said. The
unit is pretty impressive, with 325ppi
monitoring functionality, 7” screen
size, 1920x1080 resolution and 10-bit
4:2:2 professional recording for Apple,
AVID, and Adobe workflows.
It’s a good match, coincidentally, for
the Sony a7RII which is also now at
Vistek. It’s a mirrorless unit which is
small yet rugged enough with its magnesium alloy body protecting a massive
42.4 MP CMOS back-lit sensor. For
video the upshot is onboard 4K capture,
an ISO range up to 25,600 (102,400 for
stills) and the result is incredible detail
with those Carl Zeiss Batis lenses.
For still shooters, the silent shutter
means capturing continuity, and publicity on set is made easier while there
are always sensitive situations where
being the fly on the wall is the best
option to make the picture. The small
framed camera body also has a lens
mount makeover to make it less prone
to gap with big glass and the finish is
more scratch resistant.
Also on show were DJI’s latest ‘copters, the Phantom 3 and Inspire 1, the
latter being the higher-end platform at
$4,599, which includes two controls,
one for flight the other for 4K camera.
It’s an important development because
as these machines get bigger and more
capable, safety is always the concern. As
Young noted, the industry has to adopt
an upfront safety first attitude and act
responsibly before authorities start to
impose sanctions which will hamper
the natural growth and creativity these
machines bring to production.
Thus, having a camera operator who
isn’t distracted by trying to position the
device is a much safer setup.
The Inspire 1 features a carbon fibre
design for strength and weight reduction, four motors with about 22 minutes flight time in perfect condition.
With the battery on board it’s just shy of
3 kilograms, capable of reaching 4,500
metres. The onboard X3, FC350 cam
has 12.7M pixels for a 4000 by 3000 image shooting 100 -3200 in video mode
and up to 1600 in photo.
The Phantom 3 comes in three modes
– standard, professional and advanced
– with prices from about $1,000 (the
dollar makes pricing tricky in this economy). The entry-level shoots 2.7K with
720p monitoring and offers about 23
minutes of flight time with a single control. It also offers some upgraded autopilot features. The Phantom 3 advanced
offers 1080p capture while the professional model offers 4K.
These events are important for pros
and enthusiasts alike to get their hands
on the technology and get a feel for
it, Vistek President Ron Silverstein
said, noting some of the items on view
weren’t even considered pro video gear
just a few short years ago. “Sometimes
you don’t even know what’s a sector in
this industry until it jumps up and bites
you on the butt,” he said. “Look at GoPro. People ignored them. Now they’re
everyone’s crash camera on sets. It’s the
same with the ‘copters and even the
gimbals.”
CSC MEMBER SPOTLIGHT
Credit: Stephen Scott
Phil Earnshaw
csc
What films or other works of art
have made the biggest impression
on you?
Probably every film that has made an
impression on me has had great cinematography, whether it’s plain beautiful like The Last Emperor or noir like
Citizen Cane or raw like City of God or
innovatively combined with CGI like
Birdman. It’s an obvious thing to say,
but the great paintings of the world are
terrific fodder for us cinematographers.
I always head to the Rembrandts, Carvaggios, Turners, Vermeers, Hoppers
and so many others who studied and
painted light. Even abstract painters
like Picasso, Miro and Kandinsky teach
us so much about composition, colour
and balance.
How did you get started in the
business?
After graduation and before I got my
first real job (news cameraman at Global TV), I had yet to get a job. Being a
cinematographer was just a concept
and a hope. One day the phone rang
and the woman on the line explained to
me that she had been an extra in a scene
I had shot as a student and she liked
how I worked and wanted to know if I
would shoot her documentary for her.
So it turned out my very first paying
cinematography job was also to be my
most fortuitous job. Although it paid
only $50 for three day’s work (plus $8
for gas to get to Collingwood and back),
it led directly to the central core of my
career. That producer’s name was Linda
Schuyler (she was a teacher at the time)
and she went on to create Degrassi. She
gave me my start as a dramatic DP and
as a director. I shot over 100 episodes of
the Degrassi series and just directed the
500th episode of Degrassi this summer.
It’s been an amazing journey.
Who have been your mentors or
teachers? What makes someone a mentor is
when that person looks at you and sees
something in you and they nurture it.
They believe in you, inspire you, support you, and show you the way. Jim
Beveridge was head of the film department at York University when I went
there, and I have yet to hear anyone
speak as eloquently, as knowledgably
or as enthusiastically about film as
he did. Also at York, Professor Fusé
showed me the rich tradition of Japanese cinema. Every week we watched
Kurosawa, Kobayashi, Osu and others.
(He also kindly introduced our whole
class to the delights of sushi at a time
when Toronto was a pre-sushi town!)
Allison Feltes, Brian Dennis, Seaton
MacLean from Alliance Atlantis, and
Ivor Sharpe, a commercial director,
all helped me immensely. My biggest
29
mentor has been, and still is, Linda
Schuyler. She saw something in me
right from the start that gave me the
confidence to believe in myself and do
my best work.
moment of being quick-witted, halfjokingly I said, “No I should do two, in
case I screw the first one up.” Amazingly, she made sure I got two episodes to
direct the next year! Thank you, Sandie!
When egos get in the way of collaboration
and people don’t connect. The usual
heartbreaks of this industry – Fraterdays, sacrificing personal family time,
missing out on that great job.
What cinematographers inspire you?
Name some of your professional
highlights.
What do you think has been the
greatest invention (related to
your craft)?
There are so many! Right here in Canada
people like Rene Ohashi csc, asc and
Mark Irwin csc, asc inspired me from
the start. Going back to the early days of
film, Greg Toland (Citizen Kane), James
Wong Howe and Freddie Young (Lawrence of Arabia) were incredible. Storaro, Hall, Deakins, Lubezki, Wexler, Almendros, Nykvist, Zsigmond, Surtees,
Frakar, Chapman, Deschanel, Seale,
Richardson, Willis… The list goes on
and on and continues to grow.
What is one of your most
memorable moments on set?
When I was sitting on an apple box on a
hot August day on the set of Traders. It
had been a long season, and I was daydreaming about maybe directing one
day. Sandie Pereira one of the producers (and another mentor) walked by
and said, “Hey, Phil. Maybe you should
direct one of these next year.” In a rare
President from page 2
or some other event that represented
a milestone in life. And of course, at
times there were the family photos
depicting life’s occurrences.
I also recall that my dad owned a 35
mm Kodak Retina 1b stills camera
and that a roll of Kodachrome could
hibernate in that camera for a year or
two before being processed. Anticipation never was a part of his philosophy;
when the counter reached 36, it was
time for the film to be processed and
to reveal whatever seemed important
at the time the picture had been taken.
Recently, a film student asked how he
could learn to analyze as well as appre-
Landing the job shooting news at Global.
(Got to shoot at least 400 feet of film every day and learned to think on my feet.)
Leaving Global after three years and going freelance. Shooting all the early Degrassi years. Joining IATSE 667. Making
a living as a director of photography for
25 years. Becoming a director. Making
a living as a director for 15 years. Winning a CSC Award, having a Peabody on
my mantle for my Degrassi contribution.
Looking back and thinking, “Holy Crap!
It worked out pretty well!”
What do you like best about what
you do?
The collaboration. Working with topnotch crews who bring their A game to
work every day.
It used to be video assist. When I started operating, it was a rarity. Having to
remember and explain every detail of
every take to everyone involved was
exhausting! Now the best thing is the
iPhone! It may prove to be a mixed
blessing for real cinematographers,
but 4K video in your pocket, amazing!
Cinematography within reach! Looking back to the days when they used
to shoot indoors with 16 ASA film and
needed to have hundreds of foot-candles just to get an exposure, it blows my
mind. We’ve come a long way thanks
to stocks and sensors with 14 stops of
dynamic range. LED lighting is pretty
cool too.
How can people follow your work?
What do you like least about what
you do?
philearnshaw.com
vimeo.com/philearnshaw
ciate images that he had photographed.
He referenced the “immediacy” of capturing images and felt that a part of the
process was missing. I suggested that
he set an exercise for himself as a possible means to address this and use it as
a learning curve.
The exercise consisted of the following criteria: choose a subject matter
and then pretend that the camera contained film. The camera had to be in
manual mode. Ideally, the picture had
to be framed instinctively, via a viewfinder (as opposed to a viewing screen)
and after each shot was taken, no viewing or playback was allowed. Only 36
images could be gathered, after which
time the camera had to be put away for
at least two days for “processing” the
images.
The intention was to create anticipation so that when the images were
viewed, there would be an opportunity
to evaluate the original thought process and approach without the benefit
of the immediacy of digital, from both
a practical as well as technical standpoint, and hopefully learn from the
experience.
I personally, have done this many
times and find that I definitely have
more appreciation and understanding
for my photographic endeavours. Give
it a try sometime. Happy shooting!
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.
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, 604-229-0861 or
[email protected].
EQUIPMENT FOR SALE
FOR SALE : Preston FI+Z (RF) remote follow focus package.
Includes: MDR1, 2X DM1 motors(Jerry Hill style),
Microforce zoom control, Iris controller, hand unit, speed
booster (12v-24v)+ fast charger.
Panavison, RED, Arri power cables/run cables. + brackets/
various lens gears/marking discs.
ASKING $9,000 for more info and a detailed spec list
please contact: Greg Biskup (647) 405-8644, greg@
biskupcine.com
Cooke Speed Panchro 18mm 1.7/T2. “C” Mount, Nice
condition. From United Kingdom #572079, asking $1,800.00
Barry Casson csc Office: 250-721-2113
[email protected]
Canon Wide angle Lens J11A X 4.5 B4 IRSD and Canon
Servo Zoom Control ZSD-300 Value 27 000$ Asking only
3 000$ Elmo Suv-Cam SD ELSC5C and accessories New
Value 1 200$ Asking only 100$, Anton Bauer UltraLight &
Ul Soft Box Asking only 150$, Frezzi HMI Sun Gun & Frezzi
Soft Box Value 1 700$ Asking only 400$, Porta Brace
Rain Slicker for Pro Camcorder RS-55 like New Asking
only 150$, Script Boy Wireless T.C. System needs minor
repair Asking only 100$, Shure Mixer FP33 & Porta Brace
audio mixer case Asking only 450$, Sony Monitor SD
PVM-14N1U new Asking only 50$, 2 Camera Canon Dig
Rebel 10Mp XTi, Sigma 70-300 F4-5.6 Super C-AF, 4 Canon
Batteries and accessories Asking only 550$, Porta Brace
monitor Case for Panasonic BT-LH910 like new Asking
only 100$ [email protected] or call 514 831-8347 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]
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 SpotmeterF(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 AmphibicoEVO-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]
Transvideo Titan HD Transmitter and Re¬ceiver 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 1Tamron 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
Contact: [email protected]
Panasonic 3D Professional Full HD Video Camera
(AG-3DA1)
The AG-3DA1 is the world’s first professional, fullyintegrated 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. Asking price: $17,500 (includes tax). Will ship out of province.
To view photos/questions email
[email protected] or call 416-916-9010.
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.
Asking Price: $2,000 (includes tax)
To view photos/questions email
[email protected] or call 416-916-9010.
Sony PMW-F3 with S-log firmware. Low hours, Excellent
condition. Kaiser top handle, 32GB high rate card.
$3500.00. Gemini 4:4:4 Solid State recorder now PRORes
capable, with eSata and Thunderbolt readers, lots of
accessories, case, 512GB and 3x 256GB solid state drives/
cards. Excellent condition. $3000.00 IBE-Optics HDx35 PL to
B4 adapter comes with power cable and soft case. Used on
F3 and Alexa for superb results. $3000.00. Willing to sell
everything as a complete package for $8500.00
Available for everything. 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) 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]
SERVICES
20% Off to all CSC members! Looking for a Green Screen
Studio? Greensuite209 is owned and operated by a CSC
member, and is now offering 20% off our regular studio
and equipment rental rates for all CSC members! We are
a 1750 sq. ft. green screen studio in South Etobicoke just
south of William F Whites. We have a 11’ X 29’ X 14’
Digicomp sloping green screen.
Check us out online at www.gs209.com and contact
us for any further information! email: Booking@
GS209.com.
HD Source is well-known and respected for their excellent
SERVICE department and truly skilled technicians. As an
Authorized Sony Service Depot, HD Source professionally
maintains, repairs, and performs crucial upgrades to a wide
range of equipment, including HD and 4K. HD Source also
proudly services Canon Cinema EOS products and Canon
Broadcast lenses, and boasts an on-staff Canon-trained
and experienced Lens Technician. HD Source understands
how important each piece of equipment is, and will get it
operating and back to you as quickly and as cost-effectively
as possible.
Call Alnoor at 905-890-6905, email him at alnoor.
[email protected], or drop by HD Source
anytime at 1670 Enterprise Rd. (Dixie & 401). HILL’S VIDEO PRODUCTIONS – BURLINGTON
Looking for a unique shooting control room? Rent our 32 ft.
1981 Bus complete with control room and audio.
HDSDI fiber boxes for long runs. Great for keeping warm
on those multi camera shoots.
www.hillsvideo.com Rob Hill – 905.335.1146
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].
31
CLASSIFIEDS
EQUIPMENT WANTED
PRODUCTION NOTES
12 MONKEYS II (series); DP David Greene csc; DP Boris Mojsovski csc; to December 4, Toronto
30 VIES VI (series); DP Marc Gadoury csc; to November 27, 2015
ARROW IV (series); DP Gordon Verheul csc; to April 27, 2016, Vancouver
BEAUTY AND THE BEAST IV (series); DP Bruce Chun csc; DP David Makin csc; B Camera Operator Peter Battistone;
to November 17, Toronto
THE CODE (series); DP Eric Cayla csc; DP Pierre Jodoin csc; to February 5, 2016, Toronto
DC’S LEGENDS OF TOMORROW (series); DP David Geddes csc, ASC; to April 1, 2016, Burnaby
FAIRYLAND (series); DP Gerald Packer csc; to December 11, Toronto
FLASH, THE II (series); DP Kim C. Miles csc; to April 15, Vancouver
FROM HERE TO INFIRMITY (feature); DP Pierre Gill csc; to November 2, Toronto
THE GOOD WITCH II (series); DP John Berrie csc; B Camera Operator Paula Tymchuk; to January 29, 2016, Toronto
HEARTLAND IX (series); csc DP Craig Wrobleski csc; B Camera Operator Jarrett Craig; to December 14, Calgary
IZOMBIE II (series); DP Michael Wale csc; Operator/Steadicam Greg Fox; to December 18, North Vancouver
LOOKINGLASS AKA FRANKENSTEIN (series); B Camera Operator Ian Seabrook csc; to January 25, 2016, Burnaby
LEGENDS OF TOMORROW (series); DP David Geddes csc, ASC; to April 6, 2016, Burnaby
LUCIFER (series); DP Ryan McMaster csc; DP Glen Keenan csc; to November 27, Burnaby
MAKE IT POP (series); DP Mitchell Ness csc; to November 27, Toronto
MAN SEEKING WOMAN II (series); DP Samy Inayeh csc; to November 13, Toronto
MENSONGES III (series); DP Jérôme Sabourin; to December 15, Montreal
MINORITY REPORT (series); DP David Moxness csc, ASC (alternating episodes); to December 18, North Vancouver
MURDOCH MYSTERIES IX (series); DP James E. Jeffrey csc; DP Yuri Yakubiw csc; Camera Operator Brian Gedge; 1st Assistant Kevin Michael Leblanc; to December 10, Toronto
THE NEXT STEP IV (series); DP Kim Derko csc; Camera Operator Brad Hruboska; to December 8, Toronto
QUANTICO (series); 2nd Unit DP Robert Mattigetz csc; to December 15, Montreal
REIGN III (series); DP Michael Storey csc; B Camera/Steadicam Andris Mattis; to February 19, 2016, Toronto
RUN TO ME (MOW): DP Daniel Villeneuve csc; to November 13, Montreal
SAVING HOPE IV (series); DP David Perrault csc; to December 9, Mississauga
SHOOT THE MESSENGER (series); DP Arthur Cooper csc; Camera Operator Keith Murphy; B Camera 1st Assistant Marcel Janisse; to November 25, Toronto
THE STANLEY DYNAMIC II (series); DP Matt Phillips csc; to April 8, 2016, Toronto
SUITS V (series); Camera Operator/Steadicam Michael Soos; B Camera Operator Peter Sweeney; to November 18, Toronto
SUPERNATURAL XI (series); DP Serge Ladouceur csc; Camera Operator Brad Creasser; to April 20, 2016, Burnaby
WHEN CALLS THE HEART III (series); DP Michael Balfry csc; to January 28, 2016, Burnaby
THE WONDERFUL WAYNEYS (series); DP Russ Goozee csc; Cam Operator J.P. Locherer csc; to November 13, Toronto
WYNONNA EARP (series); DP Gavin Smith csc; to February 10, 2016, Calgary
YAMASAKA VII (series); DP Daniel Vincelette csc; to December 11, Montreal
CALENDAR OF EVENTS
NOVEMBER
5-8, Vancouver Asian Film Festival, vaff.org
5-15, Reel Asian International Film Festival, Toronto, reelasian.com
7, CSC Advanced Post Workflow Workshop, Toronto, csc.ca
12-22 Rencontres internationales du documentaire du Montréal, ridm.qc.ca
DECEMBER
2-6, Whistler Film Festival, Whistler, BC, whistlerfilmfestival.com
JANUARY
21-31, Sundance Film Festival, Park City, Utah, sundance.org
31, CSC Awards entry deadline, csc.ca
One-year subscriptions are available in Canada for
$40.00 for individuals and $80.00 for institutions,
including HST. In U.S. rates are $45.00 and $90.00 for
institutions in U.S. funds. International subscriptions are
$50.00 for individuals and $100.00 for institutions.
Subscribe online at www.csc.ca
THE BEST JUST GOT BETTER
EASY PRORES 4K RECORDING | IMPROVED IMAGE QUALITY
NEW COLOR MANAGEMENT | SUPER FLEXIBLE ON-SET MONITORING
POWERFUL NEW MEDIA BAY | FUTURE-PROOF TECHNOLOGY
ARRI ALEXA SXT. TRULY CINEMATIC.
www.arri.com/alexa/sxt
NAB OF THE NORTH
Join us at Canada’s largest pro imaging expo.
Witness the launch of new and exciting products. Talk to the manufacturers face-to-face. Enjoy
product demonstrations on the trade show floor. Cash-in on incredible Show Specials that, alone,
make it worth the trip.
Experience 120,000 sq/ft
of wow!
Situated in the heart of downtown
Toronto – for business and for
reasons of personal interest – this is
one event you can’t afford to miss.
ADMISSION IS FREE*. The experience is priceless.
Wednesday, November 11, 12 P.M.–8 P.M.
Thursday, November 12, 9 A.M.–5 P.M.
METRO TORONTO CONVENTION CENTRE
North Building, 255 Front Street West
*Online registration is free or $10 at the door.
Presented by
The Visual Technology People
Get your FREE ticket here : www.profusionexpo.com

Get PDF - Canadian Society of Cinematographers

Transcription

Similar documents

Carl R. Darnall Army Medical Center (CRDAMC) COL Mark

Preview - Civil Service Commission

CSC1att2 - Marlow Casino Chips

COBRACAM PRO

Cobra XL Accessories - Houston Trikes and Trailers

success story — cortal consors

Keeping You “In the Know…” 3/4/16 CSC is RTA`s “Partner of the

(CSC).