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CINEMATOGRAPHER
Canadian
Canadian Society of Cinematographers
$4 September 09 www.csc.ca
D. Gregor Hagey csc
Shoots Vampires in Suck
Paul Sarossy csc, bsc
and Atom Egoyan
Together Again on Chloe
A Tribute to Allan King H John Banovich csc Uncovers Sacred Secrets
CINEMATOGRAPHER
Canadian
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.
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FEATURES – volume 1, No. 4 SEPTEMBER 2009
3
Paul Sarossy csc, bsc and Atom Egoyan:Together Again on Chloe
By Don Angus
6
Cutting through the Red Bull: D. Gregor Hagey csc Talks about
Shooting Suck with Director Rob Stefaniuk
By Micol Marotti
Sacred Secrets: My Secret Adventure
10
By John Banovich csc
Allan King 1930 – 2009
14
By Wyndham Wise
Columns & Departments
2 From the President
18 Industry News
21 Calendar & Production Notes
22 CSC Members
24 Camera Classifieds
Cover: Jessica Paré in Rob Stefaniuk’s Suck, DOP D. Gregor Hagey csc
Canadian Cinematographer
September 2009 Vol. 1, No. 4
EDITOR-IN-CHIEF
Joan Hutton csc
CO-EDITOR-IN-CHIEF
George Willis csc, sasc
EDITOR EMERITUS
Donald Angus
EXECUTIVE DIRECTOR
From
The
PRESIDENT
Susan Saranchuk
[email protected]
EDITOR
Wyndham Wise mfa
[email protected]
ART DIRECTION
Berkeley Stat House
I
n this day and age of instantaneous electronic communication, it is very rare that
anyone takes the time to sit down and actually write a letter. But we, at Canadian
Cinematographer, were very fortunate to receive such a missive in reaction to our
name change and my April editorial, and I would like to share it with you.
COPY EDITOR
Donald Angus
Dear Joan,
PROOFREADER
Paul Townend
WEBSITE CONSULTANT
Nikos Evdemon csc
It was with great interest I read your “What’s in a Name?” editorial [Canadian
Cinematographer, Vol. 1 No. 1] on the evolution of the CSC magazine. I was
especially touched you used the 1989 cover featuring my yesteryear “exploits.”
www.csc.ca
ADVERTISING SALES
Donald Angus
[email protected]
CSC OFFICE / MEMBERSHIP
131–3007 Kingston Road
Toronto, Canada M1M 1P1
Tel: 416-266-0591; Fax: 416-266-3996
Email: [email protected]
CSC Subscription Dept.
I approve the new name, typeface and layout of the magazine. The CSC membership is justly proud of their long and eventful history and look to the future, confident
that their CSC magazine will be on hand to record their adventures, keep them
abreast of new technology and promote self-esteem in their chosen profession.
The magazine will assist in uniting our Canada-wide membership, encourage new
endeavours and promote a motion picture industry of the highest caliber.
Kelly Duncan csc
PO Box 181
283 Danforth Avenue
Toronto, Canada M4K 1N2
Email: [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.
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Commercial Print and is published 10 times a year.
One-year subscriptions are available in Canada for
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No. 40013776
2 • Canadian Cinematographer - September 2009
Thank you, Kelly. That was
very kind of you.
Paul Sarossy csc, bsc and Atom Egoyan
together again on
Chloe By Don Angus
S
ome of the dynamic duos in film history have included
Batman and Robin, Butch and Sundance, Roy and
Trigger, Lewis and Martin, Lanny and Vince … Lanny
and Vince? Oh yeah, they were the hapless and murderous
comedy team (Kevin Bacon and Colin Firth) in the 2005
feature Where the Truth Lies. You can add to this list, if you
wish, the names of Atom Egoyan and Paul Sarossy csc, bsc,
the director and director of photography respectively of Where
the Truth Lies.
By now, the pair would have earned their nominations to
the Collaboration Hall of Fame, if there were such a thing,
because the newest Egoyan film to premiere at the 2009
Toronto International Film Festival again credits Sarossy for
the cinematography. Chloe, an erotic mystery, is the 10th
feature film on which Sarossy and Egoyan have worked
together.
“It’s kind of like an old marriage,” says Sarossy. “It’s remarkable how little discussion ultimately occurs; we share a shorthand about many things.” Not that the filmmaking of these
two professionals has become stagnant. “Experimentation
and exploration has always been a pleasure of an Atom shoot,
but there are so many things that continue from the other
films we’ve done together; we fall into an old rhythm.”
Amanda Seyfried as Chloe
Sarossy, who operates the A-camera as well as lights the scenes,
says he sometimes gets “this odd sensation that I’m watching
an Atom Egoyan movie. At the beginning of a shoot, I’ll be
in the middle of some slow dolly shot and I begin to hear
(composer) Mychael Danna’s score. It’s like being the first
member of the audience to see this film.” (Danna has written
the music for six of Egoyan’s features.)
Canadian Cinematographer - September 2009 •
3
The location “incorporated huge floor-to-ceiling picture windows facing a backyard that led down to a ravine. That meant that in any given interior scene,
whether day or night, we had an enormous exterior view to contend with at all times.” Paul Sarossy csc, bsc
Chloe is an Egoyan film with a difference. It’s produced by
Hollywood comedy purveyor Ivan Reitman (Meatballs, Stripes,
Ghostbusters) and is bankrolled in large part by StudioCanal of
France. Chloe is the first time Egoyan has not written the screenplay and, although the movie is set in Toronto (playing itself for a
change), there is no Canadian funding. That’s also a first for Egoyan.
Written by Erin Cressida Wilson, it’s a remake of the 2003 French
film Nathalie, which starred Fanny Ardant, Emmanuelle Béart
and Gérard Depardieu.
Earlier this year, Brian D. Johnson wrote in Maclean’s magazine
that Reitman and Egoyan “couldn’t come from more far-flung
extremes of cinema. Reitman is Hollywood’s erstwhile king
of comedy … [while] Egoyan is Canadian cinema’s resident
architect of angst.” After hiring Egoyan, Johnson wrote, Reitman
had “long philosophical discussions” with the director about
how they (Egoyan’s movies) could have been more accessible to a
broader range of cinema audiences.
Sarossy, a director himself (Mr. In-Between, U.K. 2001),
confirms that Chloe is “an outright effort by Atom to make
an intentionally commercial film. It’s his first film based on
someone else’s screenplay and a story told chronologically
4 • Canadian Cinematographer - September 2009
– from beginning to end. He’s always wanted to experience
the process of making a Hollywood film, and this seemed to
be the best opportunity. He was looking toward conventional
approaches to a story, and his producers were looking for
something a bit unconventional. Hopefully the offspring of this
happy marriage is a commercial film.”
Chloe is the story of a woman (Julianne Moore) who hires a
hooker (Amanda Seyfried) to test the fidelity of her husband
(Liam Neeson). The production took full advantage of the
world-class film infrastructure available in Toronto. It was the
first Canadian feature to shoot on the mega stage at the new
Filmport studio on the waterfront (now known as the Pinewood
Toronto Studios). The camera crew (J.P. Locherer csc was 2nd
unit operator) was equipped with Panaflex Platinum and GII
(three-perf ) cameras for Digital Intermediate at Deluxe (a first
for an Egoyan film), using Primo prime lenses and an 11:1 zoom.
Film stock was Kodak Vision3 5219, which the DOP used for all
situations – day/night, interior/exterior.
“Chloe, like all of Atom’s films, involved a healthy amount of
prep,” Sarossy says. “Most scenes were fairly straightforward
and a handful required a lot of preparation. The film’s climactic
sequence involved an elaborate visual effect to accomplish
the film’s most complex shot. Weeks of discussion, planning,
pre-visualizing and consultation with visual effects people were
necessary to figure out how to shoot basically this one shot.
This all begins with something in Atom’s mind’s eye and then
mutates into a shot, having enjoyed and suffered the input of
many people. When it comes to the day-to-day shots of any
scene, it becomes a more intimate dialogue between him and me.
That said, there’s a huge involvement of the actors, who also have
issues to incorporate into the process.
figure out which is more problematic – making a difficult
location work or build it as a set in the studio.” His first feature
was Egoyan’s Speaking Parts in 1989, and since then he has
worked with Denys Arcand, Patricia Rozema, the American Paul
Schrader (Affliction, 1997) and on big-budget fare such as X-Men.
To date, he has won five Genie Awards, three for his work with
Egoyan, and four CSC theatrical-feature awards.
“In the case of Chloe, working with Julianne Moore and Liam
Neeson, the procedure of preparing for scenes must be flexible
enough to respect their input … [and] after a few days shooting, we had their trust and they were happy to fit into our plans.
Very often Atom will have an idea, but I will suggest an alternate
approach as it will take better advantage of the time of day –
sunlight – or exploit some visual pleasure on the set. Atom will
occasionally ask for my perspective on performance or how
effective a shot’s value might be for storytelling.”
The cinematographer continues, “Very often Atom’s plan for a
scene will involve great cinematographic risk, such as a lengthy
dramatic scene in a location where natural sunlight is difficult
to control for continuity, but he is one of the rare directors with
whom one can plunge forward without worry. He is extremely
sympathetic to the needs of the camera and will accommodate
the plan that gives the photography every advantage. He also
hates video assist and he locates himself as close to the camera as
possible to watch the actors – even riding the dolly. When he’s
happy with the performance, he asks me how it was for camera,
which is a trust that is rare these days.”
What was the biggest visual challenge of Chloe Sarossy was
asked? “The marriage of a tricky location – the main characters’
house – with a matching set in the studio,” he replies. “The story
needed an upscale modern home, and the one we found served
the majority of our storytelling needs. It featured an open-plan
design that incorporated huge floor-to-ceiling picture windows
facing the backyard that led down to a ravine. That meant that
in any given interior scene, whether day or night, we had an
enormous exterior view to contend with at all times.
Late last year Paul Sarossy csc shot Act of
Dishonour for Nelofer Pazira (co-director of Return
to Kandahar, 2003), produced by Daniel Iron, in
Tajikistan, about 20 minutes north from the Afghan
“For example, a simple close-up of Julianne at night, facing the
window, required maximum resources to light the ravine view
– which included extra manpower, a huge pre-light with additional lighting equipment, cabling, generators and a huge LRX
lighting crane with six remote-controlled 12Ks. Every time
the camera turned to face that window was quite an expensive
choice. Our location did not have a good bedroom that
incorporated the virtues of this view, so production designer
Phillip Barker built a third floor in the studio. To recreate
the view, a massive backdrop was constructed from location
photos. As these are rather expensive items, it was decided to
make only a daytime view, and we’d make do with a smaller,
more portable nighttime backdrop for night scenes.
border. The film deals with the contentious issue of
“It would be an educational exercise,” Sarossy ponders, “to
to Town in North Bay, Ontario.
honour killings in Afghanistan, and Sarossy called it
an amazing experience. “We discovered an old
Soviet film studio and rented equipment (tracks,
cranes, etc.) that hadn’t been used in 30 years.
It was an adventure.” In August of this year he shot
the Kids in the Hall reunion special Death Comes
Canadian Cinematographer - September 2009 •
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ince hitting the scene in August 2007, the Red
One camera market has been bullish with its
promise of matching 35-mm resolution without the huge budget. Cinematographers have
enthusiastically worked through Red’s kinks along
the way in the hopes of fulfilling that promise – and
probably no one more than D. Gregor Hagey csc.
Considered the ‘King of the Red,’ he has not only
worked its quirks but on his latest feature Suck,
a vampire, rock-band comedy written and directed by
Rob Stefaniuk (of Phil the Alien fame), Hagey has
pushed one of the camera’s main shortcomings to
generate a never-before-seen technique that may
convert others to Red’s charge.
“One of the technical weaknesses of the Red is that
when heavy NDs are used the shadow areas can take
on a magenta hue because of the sensor’s sensitivity to
IR. When I was testing with the Red, I noticed that
under infrared light colours would alter and textures
changed dramatically. When Rob approached me
that he had written a scene in the film where the lead
actor is ‘tripping out’ on a bad Ecstasy trip, I thought
of exploiting Red’s sensitivity IR and pushing it even
farther by shooting the scene completely in infrared
lighting. I used a neutral density filter to block out the
visible light and then put a 10K full spot on him. I
also used 5Ks and 2Ks at full spot,” explains Hagey.
6 • Canadian Cinematographer - September 2009
“Rob wanted his vampire rock-band film to be an homage
to other great films like Nosferatu, which used shadows
and light to enhance the story, and used old-fashioned
special effects that you can’t achieve with CGI.”
D. Gregor Hagey csc, pictured above.
Canadian Cinematographer - September 2009 •
7
Immediately above, Alice Cooper gesturing to Rob
Stefaniuk. To the right, Iggy Pop. To the far right,
Malcolm McDowell. On the facing page, director
Stefaniuk.
The visual trick that Hagey achieves is that the skin tones are
smooth in texture and there is almost a luminous glow to the
skin. To understand the effect better, he likens it to camping
memories of pressing a flashlight close to your skin so that it
becomes almost wax-like in appearance. Hagey then punctuated
the drama by using an HMI light to sweep the room so that
flashes of normal colour are visible in the scene.
that I had to depend on the monitors to actually see what I was
shooting. In this case I used the Panasonic’s 1700 HD field
monitor with true 720p, but you never really know the full effect
until the 2K DI,” he says.
“It looks terrifying, because the flashes of normal colour are on
the bright red, blood-stained mouths of the band members while
the rest of their face and body have an ethereal quality about
them – so that the audience has this jarring visual cue that all’s
not well with the band, at the same time as the lead actor realizes
they have become vampires,” he says.
And what did Stefaniuk think about shooting some of the
biggest music celebs in the world in the dark? “I trust Gregor, he’s
really the king of the Red. When we worked together on Phil the
Alien [Hagey was the DOP] we learned a lot about each other’s
styles and how to stretch our budget and still make it look good.
But you know, on a tight shooting schedule and when we have
limited time with people like Moby, Iggy Pop and Alice Cooper,
yeah, it’s a bit of a risk because no one’s ever done this, and we
didn’t have too much time to experiment,” says Stefaniuk.
Hagey admits that shooting in infrared not only heightened the
drama on camera, but on set too. “For the scene our B camera
was two stops less sensitive to infrared light, so that was a bit
of an issue. And monitoring with the Red also remains a bit of
challenge in normal conditions, but shooting in infrared meant
To convince the skeptics, Hagey and Stefaniuk decided to shoot
an elaborate test. “Knowing that 40 per cent of the film would be
shot essentially in the dark, we decided together to shoot a short
film in similar conditions to show the producers what it could
look like and what we could achieve,“ comments Stefaniuk.
8 • Canadian Cinematographer - September 2009
“Rob’s films are never conventional,” says Hagey. “Rob and I had been talking
about Suck for four years and it looked like we could only afford to shoot on HD,
but when my brother’s Red camera arrived in 2007 we decided to shoot a short
film [Feel My Pain] to test this new format to see if it could work for us. Rob
wanted his vampire rock-band film to be an homage to other great films like
Nosferatu, which used shadows and light to enhance the story, and used oldfashioned special effects that you can’t achieve with CGI. The test looked great
and a year later everything finally came together for Suck, and we were happily
shooting it on Red.”
Stefaniuk achieved some of his special effects with the help of Neil Burns (Edison
and Leo) whose stop-action animation and models added another challenge for
Hagey. “Neil’s animation definitely added another layer to the production. We
worked very closely on matching the lighting so we could transition smoothly
between the animated map sequences, and the stop-motion action as the
band travels from town to town in the story,” explains Hagey.
Smooth transitions are a trademark of Hagey’s. Starting his career 16 years
ago as a PA on the feature film Searching for Bobby Fischer (1993), he
was so impressed by Conrad Hall’s work on the film that he decided to
take up cinematography instead of a career as a director. He has since
completed more than 200 projects as a DOP in documentaries, feature
films, shorts and television series. He has garnered numerous awards and
nominations including four CSC Award nominations – two just this
year for his work on the series Mayday: Fatal Distraction (Discovery
Channel) and a music video for the Randy Rogers Band.
“I guess my career has had a unique trajectory, but with every project
for me, it’s been ultimately about finding a film where, through my
cinematography, I can create visual unity with the story so that the
characters and the mood are enhanced by the shooting,” he says.
“Gregor goes above and beyond what a normal guy should be able
to do with lighting,” laughs Stefaniuk. “Suck looks like a more
expensive movie than its $3-million budget. Gregor gave me the
option to add so much more to the film because I don’t have to worry
about the look of the film. I know it sounds cliché, but films for me are
a collaborative effort and it just wouldn’t work out if we didn’t respect
each other.”
After pushing the Red’s limits on Suck, what is Hagey’s verdict on
the outcome? “I like this camera a lot; 35-mm film is still the gold
standard, but the Red compares quite favourably. The reality of our
times is that our industry is always looking for more cost-effective
ways of shooting. This is a beautiful looking format that can offer
filmmakers a more affordable option. And the mobility of the Red is
hard to beat too,” he concludes.
Next up for the busy cinematographer is completing two comedies
for director Dan Eisen, Child Wild, written by and starring Harland
Williams, and Shark City starring Vivica A. Fox and Corey Haim,
as well as shooting second unit on the series Flashpoint (which
shoots on 35-mm Panavision cameras) and on select episodes of
The Border (which shoots on S16 with the Arriflex SR3).
Suck, starring Malcolm McDowell, Jessica Paré, Dave Foley and
Rob Stefaniuk, is scheduled for an October 30 release by Capri
Releasing.
Canadian Cinematographer - September 2009 •
9
Sacred Secrets: My Secret Adventure
By John Banovich csc
I
t’s 5:00 p.m.… the following evening after I left Vancouver.
After several touchdowns and connecting flights, I am finally
in Croatia. But where was most of my luggage? And look at
the state my tripod case is in. Cracked and split. After the twoplus hours it took to file my claim, and some many coffees later,
I’m awake again and pretty much ready to hit the road… except
that my local contact has not showed up. This is going to be an
adventure.
I found myself climbing up hillsides, mountains, old fortresses,
castles and through massive cathedrals for my most recent
project. Over a five-week period, I travelled from Croatia
to Greece, including some of the islands, and finally Italy, via
planes, trains, ferries, buses, cars, quads and even a donkey. I
encountered mountain goats and wild boars. Every country
presented its unique challenges along the way. For instance,
even with the appropriate permission, I still had difficulties
at a number of the archeological sites in Greece. On one
mountain top directly across from the Parthenon, a security
guard and two municipal police officers approached me, asking
me to leave the park with my broadcast camera, citing it was not
allowed. On the way down I tried to explain that I had followed
procedures and had authorization to shoot there. The two police
officers departed shortly afterward and at that point, the security
person informed me he would be kind enough to let me go back
and continue… for 50 Euro. Needless to say, this was not my first
nor last such encounter of this nature.
Another challenge was the process to gain access to several sites
in Italy, even more so Rome. A local bureaucrat I met along the
way noted that Italy is a country were everyone is very important,
as I found out for myself first hand. Most officials I approached
had an opinion on what was the right way of doing things. The
situation evolved into a bigger problem once two or more of these
authorities gathered to discuss who was more correct. Something I
recommend you avoid should you find yourself in such a scenario.
All of this was for a documentary, Sacred Secrets, I was shooting,
the focus of which was on the archeological and historical
significance of these locations throughout southern Europe. From
the time of the Egyptians in the centuries before Christ right up
to present day, these lands have changed hands dozens of times.
Borders have moved, people have migrated and many battles have
been fought. Even more momentous is how religion played a
very big part in the development and evolution there. Great walls
were built to protect the people. Immense churches and temples
constructed for worship and guidance. Massive mansions built
for emperors, kings and rulers. More importantly, is how this
history has affected and shaped our modern society, and the
benefits we presently enjoy.
John Banovich csc in Athens, Greece. Photo credit: Melissa Isaac
10 • Canadian Cinematographer - September 2009
As well, when possible, I was gathering material for Tiny
Travels, a series pilot Chris Oben, Stanka Banosova and I are
producing. I functioned as the director and cinematographer,
and in most cases the field producer as well. I took my Panasonic
HPX300, purchased through Kris at Vidcom only days before my
departure. Appropriate to its lightweight functionality and true
1080p capturing, it was the logical choice. I was very pleased
with the versatility and performance of the unit. It’s a great
progression from the HPX500, HVX200 and HPX170 series,
as the menus and features have evolved considerably yet still
have a familiarity. Having said this, there were a few features and
functions I found to be disappointing and difficult.
Due to the nature of the project and the need to travel light
with minimal gear, I had to make specific choices on what was
essential to bring. I used a small, Vocas 2 stage clip-on matte box
along with a Schnieder 4 x 4 linear polarizer/81ef. I also had a
standard Tiffen pola and an 812, 80A, Black Pro Mist ½ & ¼
with a series of soft grad ND filters to round out my kit. Paul and
the gang at MVCC were instrumental in providing lightweight
mounting support and onboard audio solutions.
memorize them. For example, variable frame rates are still
only available in 720p; interval recording is only available in
1080/60i; the DRS is not available in 1080/30p or 1080/24p;
and 1/6, 1/15 and 1/30 shutter do not allow the use of DRS
in 1080i mode.
The toe-plate adapter was another unexpected surprise.
Although it has the appearance of a standard three-screw
configuration, once removed I was shocked to find the two rear
holes are two or three millimetres off from most other Panasonic
cameras. A standard quick release plate (SHAM-700) works fine,
but accessories such as the Chrosziel 401-89 toe-plate adapters no
longer mounted. I have two of these toe-plate adapters that I have
used on the 27F, HDX900, HPX3000 and even the HPX500.
Upon a little investigation, I was informed that a new toe-plate
adapter would have to be purchased just for the HPX300.
All in all, an amazingly powerful camera, especially for the price
and another great adventure I got to experience in life.
I chose to use a Pro-X Intellicom 130A Lithium Ion (Anton Bauer
gold mount) battery over my Dionic 90s for several reasons. First,
the weight is the same but the running time on the Pro-X 130A is
considerably longer. Due to the low-power consumption demands
of the HPX300, I was able to get up to four days on a single
battery before needing to charge. Another great feature of the
130A is the built-in display light, which came in really handy
in those remote locations after the sun went down. This LCD
display provided very accurate readings of remaining power along
with the LED indicator on the side. This display doubled as a
charging indicator, showing the remaining charge time as well.
I brought along my three-stage Sachtler 15SB, again a
lightweight choice. Unfortunately, as I mentioned earlier, I
found the protective tube in a serious state of destruction on the
carrousel at the airport. A roll of gaffer tape along with some
strategically placed surgical tape, and I was back in business.
Other than the lightweight and ergonomically-balanced design of
the camera, I really enjoyed the reorganizing of the menus into
a more logical arrangement. The DRS (Dynamic Range Stretch)
option was a very valuable feature when dealing with extreme
exposure ranges within a composition. The availability of the
AVC-intra 100 codec was a welcome addition, offering superior
imaging quality. Getting access to and navigating through the
thumbnail menus got a whole lot easier and more powerful. The
playback controls are similar to other cinema/broadcast cameras
and reminded of me 27F and HDX900. A huge plus is the amazing
sharpness of the hi-res display and as a result, Panasonic was able to
offer an accurate waveform monitor and vector-scope features.
Some of my disappointments included the EVF (electronic viewfinder), which had amazing resolution but only offered a tally
switch control externally. I was forced to manipulate the EVF
image through the menus, which made it especially difficult
for quick adjusts on the fly. Another frustration I encountered
was accessing certain features that are only available in specific
modes, which gets very confusing unless you are able to
Santorini, Greece. Photo credit: John Banovich csc
Canadian Cinematographer - September 2009 •
11
Allan King 1930 – 2009
By Wyndham Wise
Allan King, Bill Brayne and Richard Leiterman csc
14 • Canadian Cinematographer - September 2009
O
ur country has lost one of its greatest and most
innovative independent filmmakers with the death
of Allan King. His startlingly realistic documentaries
brought new attention to this genre, which has since continued
to grow in popularity. His extensive body of work has left an
indelible mark on Canadian filmmakers past, present and future.”
Honourable James Moore, Minister of Canadian Heritage and
Official Languages
“
“There are few filmmakers whose impact has been central to the
medium, but Allan King is unquestionably one of them.” Piers
Handling, Co-Director Toronto International Film Festival
“I make films to ask the question, ‘Why?’” Allan King
By Way of the Stars and Lazlo George csc on Kung Fu: The Legend
Continues.
Allan King was a founding member of the Directors Guild of
Canada and its president from 1989–99, an officer of the Order
of Canada, and one of Canada’s most honoured and respected
filmmakers. The following is a quote from the tribute held in
Toronto, June 22, 2009: “My only interest in filmmaking is
capturing the character of the individual being filmed. Though
ideas, politics and social questions interest me, I have a strong
distrust of intellectual analysis, yet cannot leave it alone. All
positions seem vulnerable and therefore unacceptable as positions
to be taken up in any firm way… it is not possible to know the
truth unless you know the whole reality and that is not humanly
possible. Yet one wishes to pursue the truth.” Allan King
A director of both documentary and fiction who blurred the
distinction between the two, Allan Winton King was a giant of
Canadian cinema and one of the most significant innovators of
cinéma-vérité. He passed away in Toronto, Monday, June 15
surrounded by his family after a battle with brain cancer at the
age of 79.
King was educated at the University of British Columbia and
pursued his interest in cinema at the Vancouver Film Society.
He joined the Vancouver film unit of the CBC in 1954 as an
assistant editor. In 1956 he made Skid Row, the first of many
documentaries that gained him international acclaim. He moved
on in the early 1960s to a six-year stint working abroad in
England and Spain.
On his returned to Canada in 1967, he established Allan King
Associates Toronto. During this time he directed three genre
busting, ethically unsettling, fly-on-the-wall observational films
he called ‘actuality dramas’: Warrendale (one of the most famous
films ever made in this country and winner of three Canadian
Film Awards, including film of the year), A Married Couple and
Come on Children. He described them as “drama of everyday life,
as it happens, spontaneously without direction, interviews or
narrative.”
“Allan King was there throughout my cinematography career. He
was on an Ontario Arts Council committee that gave me a grant
to produce and direct my first film in 1972, and while I worked
at the CBC as an assistant and as a DOP our careers crossed
many times as we shot various films together. Later we worked
together on a few of episodes of Alfred Hitchcock Presents, and I
was the DOP on his feature Termini Station (1989).
In 1976, King directed and produced Who Has Seen the Wind,
his first dramatic feature. It proved to be a popular and commercial success, winning the Golden Reel Award for the top-grossing
film in Canada in 1977 and was nominated for 10 CFAs. His
drama One Night Stand, based on a play by Carol Bolt, won the
CFA for best TV drama in 1978. During the 1980s, he directed
mostly for episodic television on series such as Road to Avonlea
and Danger Bay, before returning to his documentary roots with
The Dragon’s Egg in 1999 and Dying at Grace in 2003.
“He was an intellectual filmmaker who worked very hard to find
his talent. He would say, ‘Always edit the film and its consequences
in your head before shooting.’ I remember filming one of the
Hitchcock episodes. We were setting up the shots on a very
narrowly built set with not much room to pan the camera
without shooting off the set. One of the rehearsing actors
walked out of camera range, and I told Allan, ‘I’m sorry, I can’t
follow him.’ Allan replied, ‘Then pan the camera with him.’ Of
course, when I smiled at him, he realized what he’d said, and we
re-blocked the scene.
Over the years, Allan King worked with many CSC members,
most notably Richard Leiterman csc in the early years of
vérité and on Who Has Seen the Wind. Leiterman’s contribution to
the making of A Married Couple was so indispensable that King
insisted that he be given an “associate director” credit. King also
worked withVic Sarin csc on The Last Season, Rene Ohashi csc,
asc on Philip Marlowe, Private Eye, Brian Hebb csc on Temini
Station, Philip Linzey csc on Danger Bay, Manfred Guthe csc on
“On another film we were aiming for a documentary ‘raw’ look
of handheld shooting and wide-aperture, minimum-focus shots.
When the rushes came back, I noticed my focus puller had
missed a few critical focus pulls on a difficult sequence. I asked
Allan if we could re-shoot the sequence as we were in the same
location with the same actors that night. Well, Allan’s passion flew
at me as he told me that he was going to stay with the problem
because [it was the] documentary-look we were after. That was
Canadian Cinematographer - September 2009 •
15
“I had the opportunity to work with Allan King on Who Has
Seen the Wind in the lighting department. It was a fantastic
opportunity to work with one of the best filmmakers in Canada
at the time. King was a rare artist who cared about the people he
worked with and the work itself. It was a pleasure to have known
him over the years.”
Charles Konowal csc
“I first met Allan on a feature film in the 1980s starring Ellen
Burstyn and Tom Skerrit, shot in Northern Ontario, northwest
of Thunder Bay [Silence of the North]. I was the camera assistant
on the second unit. Lots of money was spent and fools were in
charge. I remember Allan confiding in me – and who was I but a
lowly camera assistant on second unit – that he would never work
on big-budget features again. Later, as my career evolved and
my love for documentaries led me to the NFB, whenever I met
Allan we would discuss the differences and our passions for
telling stories that moved us. He was an inspiration and driving
force in the landscape of Canadian film.”
Zoe Dirse csc
“It was a pleasure to work with this great Canadian storyteller,
who brought the possibility of the documentary vision to the
broadcasters. The film Warrendale was the reason that I wanted to
be part of making films. I had the pleasure of working with Mr.
King several times, while assisting Doug Keifer csc. Mr. King,
always a gentleman, always listening and always respectful of the
actors and crew. He also cooked up a great after-show dinner for
the crew at his home.”
Cathryn Robertson, CSC associate member
until he actually saw how bad the problem was, and he
immediately apologized. We re-shot the sequence.
“Allan could be a very funny man off the set, and we enjoyed
some great times together. Thank you Allan for allowing me to
be a small part of your life.”
Brian R. R. Hebb csc
“I had the honor and pleasure of working with Allan on quite a
number of films during the 1970s and 1980s. He was certainly
one of my favorite directors. The set was relaxed every day Allan
was in charge. It was always a pleasant and learning experience.
He had great respect for everyone on the set, in front and behind
the camera. A fine man and a talented director, Allan will be
greatly missed in the Canadian film industry.”
Kenneth W. Gregg csc “He asked me to shoot his last film, but because he couldn’t
get the Ontario tax credit on my labour, it didn’t work out.
It would have been very nice to work with him. He was a kind
and gentle man.”
John Walker csc
16 • Canadian Cinematographer - September 2009
“As a film student, Warrendale impressed me greatly. I appreciated
the direct-cinema style of Allan King. Above all, his approach in
allowing the subjects to be themselves allowed his films to stand
out. His films will continue to inspire filmmakers for generations.
Mr. King’s legacy lives on through the National Film Board and
documentarians like Joan Hutton csc.”
Roy Marques, CSC associate member
“I had the opportunity to meet Allan King when we did an
interview of him for an in-class project at Sheridan College with
Richard Leiterman csc. He had a wonderful place to live, at the
top of a hotel on Bay Street near Bloor Street West and had an
office beside his living quarters. He was a man among a handful
of people at the top of the Canadian film industry and his death
will probably be a milestone. Sad to hear of his passing away.”
Tom Gatenby, CSC associate member
“His reputation and his work, those things are huge. Warrendale
was such a seminal film. And all of his work, and I’m speaking
mostly from the documentary perspective, has had an enormous
impact on the form in general, and documentary filmmakers
around the world and I’m one of them.”
Jennifer Baichwal (Manufactured Landscapes, Act of God)
“In addition to his epic talent, Allan was a great friend and
mentor. He was unfailingly generous with his time, and thoughtful with his advice and support. We will all miss him dearly.”
Chris McDonald, Executive Director Hot Docs
Location, Location
Warrendale
Technicolor Toronto
Your downtown
laboratory and
post facility
Grace Carnale-Davis
Director of Sales
[email protected]
ALLAN KING, A SELECTED FILMOGRAPHY
Skid Row 1956 (TV); Where Will They Go 1959 (TV); Close Up 1959–60 (series);
Rickshaw 1960 (TV); Dreams 1961 (TV); A Matter of Pride 1961 (TV); Joshua: A
Nigerian Portrait 1963 (TV); The Field Day 1963 (TV); Running Away Backwards
1964 (TV); Warrendale 1967; A Married Couple 1969; Come on Children 1973; A Bird
in the House 1973 (TV); Six Years War 1975 (TV); Red Emma 1976 (TV); Theatre
in Canada 1976 (TV); Maria 1977 (TV); Who Has Seen the Wind 1977; One Night
Stand 1978 (TV); Silence of the North 1981; Ready for Slaughter 1982 (TV); Who’s in
Charge? 1983 (TV); Alfred Hitchcock Presents 1985–8 (series); The Last Season 1986;
Philip Marlowe, Private Eye 1986 (TV); Danger Bay 1986–90 (series); Termini Station
1989; All the King’s Men 1991 (TV); Road to Avonlea 1991–2 (series); By Way of the
Stars 1992 (TV); Leonardo: A Dream of Flight 1998 (TV); The Dragon’s Egg: Making
Peace on the Wreckage of the Twentieth Century 1999 (TV); Dying at Grace 2003 (TV);
Memory for Max, Claire, Ida and Company 2005 (TV); EMPz 4 Life 2006.
Canadian Cinematographer - September 2009 •
17
Vancouver
604-689-1090
Toronto
416-585-9995
Montreal
514-939-5060
www.technicolor.com
Industry News
Gregroy Middleton csc with Stephen Goldblatt asc, bsc on the right.
An Evening with Stephen
Goldblatt asc, bsc at
Deluxe Vancouver
The movie about to be screened “is not
exactly a pleasant picture,” DOP
Stephen Goldblatt asc, bsc told a group
Photo credit: Katie Yu
The inaugural film in the series, shown
at Deluxe Vancouver’s theatre in May
with DOP John Bailey asc on hand for
discussion, was Brief Interviews with
Hideous Men, a Grand Jury Prize nominee
at the 2009 Sundance film festival. It was
directed by first-timer John Krasinski.
of filmmakers at Deluxe Vancouver
on July 19. Director Mike Nichols’s
gritty 2004 romance drama Closer was
the second feature in Deluxe’s Cinematographer Screening Series. Goldblatt
said he tried to make the film, about
love and deceit, look real, with minimal
lighting.
In introducing Closer, Goldblatt said it
was “made quite quickly, about 43 days,
and for comparatively little money, about
$28 million, which for this cast is nothing.
It was made by a wonderful director, Mike
Nichols. The film was preceded in New
York by three weeks of rehearsals, which
is very unusual, and I was not only invited
to attend, I was expected to attend. These
rehearsals with Mike were so interesting
because you really see how performance
develops, and just watching and being
involved helped me work.”
He added that everyone then dispersed
and met again to begin shooting about a
month to six weeks later. He said Nichols
called it “‘a period of fermentation.’”
Talking with Q&A host Greg Middleton
csc after the screening, Goldblatt emphasized that on this picture, and others
he has shot, he often found that less is
more.“When you get an idea (for a shot)
… the thing you can really do very easily is
to destroy it by lighting it. Just stick with
the idea and trust that the film will have
the latitude to hold it, and it does. Every
time I don’t trust the film, I blow it. If I
just leave it alone it’ll be great.”
Variety wrote that Closer, starring Julia
Roberts, Jude Law, Natalie Portman and
Clive Owen, softened the caustic wit
and brute force of Patrick Marber’s play
(Marber also wrote the screenplay). “The
pic’s one-dimensionality is paradoxically
exposed by the medium’s inherent realism,
with its close-ups and real locations.”
Goldblatt was born in South Africa but
raised and educated in England. He attended
art school and an art film college before he
joined the Times Newspaper Group as a still
photographer. His early motion picture film
work included both 16mm documentaries
and television commercials. His first feature
as DOP was Breaking Glass in 1980.
Since then, his impressive list of credits
18 • Canadian Cinematographer - September 2009
has included two Oscar nominations, for
The Prince of Tides in 1992 and Batman
Forever in 1996, for which he was also
nominated for ASC awards. He received
ASC and Emmy Award nominations for
the television series Angels in America
in 2004 and there were also Emmy
nominations for Conspiracy in 2001 and
Path to War in 2002. He was presented
with a Lifetime Achievement Award by
Camerimage in 2007.
Goldblatt was in Vancouver shooting Percy
Jackson & the Olympians: The Lightning
Thief. Earlier this summer, Julie & Julia, on
which he was DOP, was released. Suzanne
Thompson, director of sales and marketing at Deluxe Vancouver, told Canadian
Cinematographer that “we decided that
since we have so many Canadian and international cinematographers working in the
Vancouver area, (a series of screenings with
guest DOPs) would be a great opportunity to create an event that would include
our filmmaking community – to connect,
watch a film, discuss the approach taken
from the cinematographer’s point of view
and allow for a great social function.”
For advance information, register for
updates at www.cookeoptics.com
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In May, Deluxe Vancouver invited
Bailey (Groundhog Day, He’s Just Not That
in to You) to host the first of its Cinematographers’ Screening Series. “Deluxe had
previously worked very closely with the
DOP, in feature films and television,” said
Thompson. “Many of us are working hard
on projects, and don’t have a lot of opportunities to connect with our fellow filmmakers. If there was any appropriate way
for Deluxe Vancouver to lead in our local
community, this one definitely has been
received in a very positive way.
PMW-EX1
Demonstrations available
In stock
“IATSE 669, DGC, CSC, MPPIA and
Women in Film & Video Vancouver all
assisted in getting the invitations out
to their respective memberships …and
the 150-seat theatre was full. We have
had positive feedback from the DOPs,
directors and others who attended.”
Louise Baker-Griffiths of IA669 said,
“Deluxe is offering such a significant and
rare opportunity to the Vancouver film
community in hosting this series. To hear
people like Stephen Goldblatt and John
Bailey discuss their work is an invaluable
experience.”
Toronto
Halifax
www.pci-canada.com
Canadian Cinematographer - September 2009 •
19
01Final
The Centre will facilitate world-class
research on digital imaging technologies
serving the screen-based industries. The
long-term objective is to help create a
system for creative collaboration across
different screen-based platforms where
the input of highly skilled craftspeople
and administrators can be effectively
communicated from end-to-end with the
flow of information traveling seamlessly.
02/25/09
10:32 AM
In addition to its research focus, the
Digital Media Centre will also house an
educational component. The Centre’s
educational programming will serve as the
outreach arm of the research and technology activities but will also build on
the extensive industry educational and
training programs already established by
Sheridan Institute’s post-graduate program in Advanced Television and Film.
C a n y o n D e s i g n G ro u p :
2/25/09
The Sheridan Institute of Technology and
Advanced Learning, located in Oakville,
Ontario, has been awarded a $2.3million grant from the Natural Sciences
and Engineering Research Council to
establish
a new research centre for screenPage
1
based industries. The Digital Media
Centre for Real-Time Production will be
located at the Pinewood Toronto Studios
(formerly Filmport) and serve as a research
and development hub for the investigation
of collaborative digital media practices.
CSC News — J1904
1904 CSC News 2.09 01F:1
Sheridan College’s
Digital Media Centre
for Real-Time Production
Deluxe
Deluxe will be sponsoring these
events in their other North American
locations (Toronto, New York and Los
Angeles). At press time, the postproduction company was aiming for
the next one in Toronto in late August,
with DOP Bill Pope asc (The
Matrix and its sequels, Spider-Man 2 &
3 The Spirit).
20 • Canadian Cinematographer - September 2009
Calendar
September
5–6, Vancouver Latin American Film
Festival, Vancouver, vlaff.org
9–17, Antimatter: Underground Film
Festival, Victoria, B.C., antimatter.ws
10–20, Toronto International Film
Festival, Toronto, tiffg.ca
14–18, Ottawa International Animation
Festival, Ottawa, animationfestival.ca
17–26, Atlantic Film Festival, Halifax,
atlanticfilm.com
19–27, Cinéfest International Film
Festival, Sudbury, ON, cinefest.com
25–Oct. 3, Edmonton International Film
Festival, Edmonton, edmontonfilmfest.com
25–Oct. 4, Calgary International Film
Festival, Calgary, calgaryfilm.com
October
1–15, Vancouver International Film
Festival, Vancouver, viff.org
5–9, MIPCOM, Cannes, France,
mipcom.com
7–18, Festival du nouveau cinéma,
Montreal, nouveaucinema.ca
10–24, St. John’s International Women’s
Film Festival, St. John’s, NL,
womensfilmfestival.com
21–25, Planet in Focus: International
Environmental Film & Video Festival,
Toronto, planetinfocus.org
PRODUCTION NOTES
CALENDAR & PRODUCTION
Partnerships have already been established
with individual companies and industry
associations including the Canadian Society of Cinematographers, Side Effects
Software, C.O.R.E. Digital, Panavision
Canada, Autodesk Media and Entertainment, Directors Guild of Canada Ontario and FilmOntario. The Centre will
help establish a technology clubhouse and
resource for the unions, guilds and associations that can ensure that members
are state of the art in their knowledge of
digital-imaging technologies.
Dufaux csc; to November 6, Montreal.
Murdoch Mysteries III (series); DOP
Cabotins (feature); DOP Yves Bélanger
James Jeffrey csc; OP Mark Hroch; to
csc; to October 2, Montreal.
November 17, Toronto.
Caprica (series); DOP Stephen McNutt
Pillars of the Earth (miniseries); DOP
csc; OP Tim Spencer; to February 2010,
Attila Szalay csc; to November 21, Montreal.
Vancouver.
Psych IV (series); DOP Michael
Copper (series); DOP David Perrault csc;
McMurray; OP Marco Ciccone; to
OP Mark Willis; to December 1, Toronto. October 29, North Vancouver.
Crash and Burn (series); DOP Milan
Red Rope (TV movie); DOP Daniel
Podsedly csc; OP Rod Crombie; to
Villeneuve csc; to September 25, Montreal.
December 10, Mississauga, ON.
Republic of Doyle (series); DOP
Dino Dan II (series); DOP George Lajtai
Michael Storey csc; OP Brian Gedge;
csc; to October 9, Toronto.
to December 4, St. John’s, NL.
Being Erica II (series); DOP Luc
Smallville IX (series); DOP Glen Winter
Montpellier csc; OP Sean Jensen; to
csc (odd); Barry Donlevy (even); OP
October 16, Toronto.
Brian Whittred csc (odd); Neil Seale (even);
The Border III (series); DOP Gavin Smith to April 2010, Burnaby, BC.
csc; OP Kaelin McCowan; to October
Supernatural V (series); DOP Serge
15, Toronto.
Ladouceur csc; OP Brad Creasser;
Degrassi: The Next Generation IX (series);
to March 2010, Burnaby, BC.
DOP Jim Westenbrink csc; OP David
Trauma (series); DOP Jérôme Sabourin
Towers; to October 21, Toronto.
csc; to October 16, Montreal.
18 to Life (series); DOP Marc Charlebois
The Troop (series); DOP Michael Wale
csc; to September 11, Montreal.
csc; OP Brian Johnson; to September 15,
Filière 13 (feature); DOP Bernard
Maple Ridge, BC.
Couture csc; to October 16, Montreal.
Turn the Beat Around (TV movie); DOP
Kids in the Hall: Death Comes to Town
David Greene csc; to Sept. 10, Toronto.
(special); DOP Paul Sarossy csc, bsc; OP J.P. Yamaska (series); DOP Daniel Vincelette
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Canadian Cinematographer - September 2009 •
21
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Sony logos are the property of Sony Corporation of Japan. All rights reserved.
CSC Members
CSC FULL MEMBERS
Jim Aquila csc
Eduardo Arregui csc
John Badcock csc
Michael Balfry csc
Christopher Ball csc
John Banovich csc
John Stanley Bartley csc, asc
Stan Barua csc
Yves Bèlanger csc
Peter Benison csc
John Berrie csc
Thom Best csc
Michel Bisson csc
Michael Boland csc
Raymond A. Brounstein csc
Thomas Burstyn csc, frsa, nzcs
Barry Casson csc
Eric Cayla csc
Henry Chan csc
Marc Charlebois csc
Rodney Charters csc, asc
Damir I. Chytil csc
Arthur E. Cooper csc
Walter Corbett csc
Steve Cosens csc
Bernard Couture csc
Richard P. Crudo csc, asc
Dean Cundey csc, asc
Franáois Dagenais csc
Steve Danyluk csc
David A. De Volpi csc
Kamal Derkaoui csc
Kim Derko csc
Serge Desrosiers csc
Jean-Yves Dion csc
Zoe Dirse csc
Mark Dobrescu csc
Wes Doyle csc
Guy Dufaux csc
Ray Dumas csc
Albert Dunk csc, asc
Philip Earnshaw csc
Michael Ellis csc
Carlos A. 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
John B. Griffin csc
Michael Grippo csc
Manfred Guthe csc
D. Gregor Hagey csc
Thomas M. Harting csc
Peter Hartmann csc
Pauline R. Heaton csc
Brian Hebb csc
David Herrington csc
Karl Herrmann csc
Kenneth A. Hewlett
Robert Holmes csc
John Holosko csc
George Hosek csc
Colin Hoult csc
Donald Hunter csc
Joan Hutton 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
Les Krizsan csc
Alwyn J. Kumst csc
Jean-Claude Labrecque csc
Serge Ladouceur csc
George Lajtai csc
Marc Lalibertè Else csc
Barry Lank csc
Henry Lebo csc
John Lesavage csc
Henry Less csc
Pierre Letarte csc
Antonin Lhotsky csc
Philip Linzey csc
J.P. Locherer csc
Peter C. Luxford 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
Alastair Meux csc
Gregory D. Middleton csc
C. Kim Miles csc
Gordon Miller csc
Robin S. Miller csc
Paul Mitchnick csc
Luc Montpellier csc
George Morita csc
Rhett Morita csc
David Moxness csc
22 • Canadian Cinematographer - September 2009
Douglas Munro csc
Kent Nason csc
Mitchell T. Ness csc
Robert C. New 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
Bruno Philip csc
Matthew R. Phillips csc
Andrè Pienaar csc, sasc
Zbigniew (Ed) Pietrzkiewicz csc
Randal G. Platt csc
Milan Podsedly csc
Hang Sang Poon csc
Andreas Poulsson csc
Don Purser csc
Ousama Rawi csc, bsc
William Walker Reeve csc
Stephen Reizes csc
Derek Rogers csc
Brad Rushing csc
Branimir Ruzic csc
Jèrùme Sabourin csc
Victor Sarin csc
Paul Sarossy csc, bsc
Michael Patrick Savoie csc
Gavin Smith csc
Christopher Soos csc
Michael Spicer csc
John Spooner csc
Ronald Edward Stannett csc
Pieter Stathis 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
Roger Vernon 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
Bill C.P. Wong csc
Bruce Worrall csc
Craig Wrobleski csc
Yuri Yakubiw csc
Ellie Yonova csc
CSC ASSOCIATE
MEMBERS
Joshua Allen
Don Armstrong
John W. Bailey
Douglas Baird
Kenneth Walter Balys
David Battistella
Gregory Bennett
Jeremy Benning
Jonathan Benny
Andrè Bèriault
Roy Biafore
Christian Bielz
Francois M. Bisson
Nicolas Bolduc
Christophe Bonniere
Scott Brown
Richard Burman
Lance Carlson
Jon Castell
Mark Caswell
Maurice Chabot
Cèsar Charlone
Stephen Chung
David Collard
Renè Jean Collins
Jarrett B. Craig
Rod Crombie
James Crowe
Micha Dahan
Michael Jari Davidson
Nicholas de Pencier
Gareth Dillistone
John Drake
Randy Dreager
John E. Durst
Jay Ferguson
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Ian Scott
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Andrè Paul Therrien
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Y. Robert Tymstra
Frank Vilaca
John Walsh
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Kelly John Wolfert
Dave Woodside
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CSC Affiliate
MEMBERS
Christopher Alexander
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indicates demo reel online, www.csc.ca
HALIFAX
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Canadian Cinematographer - September 2009 •
23
Camera Classifieds
Equipment for Rent
Vancouver-based 35-mm MOS camera
package: Arri 35 III 3rd generation specs.
130fps motor, N35 4 perf movement, CE
high-speed base and accessory box, PL
mount, custom Jurgens optics with color
tap and frameline generator; 2 x 400’ mags;
FF2; 5x6 matte box; two dual 12v batteries
and chargers. All gear ships in four cases.
Well maintained former Clairmont package.
Contact Adam Braverman: 604-418-0241;
[email protected].
replacement on equipment and ditty bags.
Lori Longstaff: 416-452-9247; llong@rogers.
com.
Sony DSR-130 Mini DV/DVCAM Camera.
ENG rig in excellent condition, comes with
soft-shell carrier. Includes DXC-D30 head,
DSR-1 DVCAM VTR, Canon YJ 18x9 KRS
internal-focus 1x/2x lens (servo/manual),
DXF-701WS ENG viewfinder, condenser
mic and Anton Bauer battery. DSR-1 hours:
A:233; B:133; C:327. Recent factory servicing, reports and pictures available. $8,500
obo. Justin Guimond: 604-568-8023, justin.
[email protected].
Equipment for Sale
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, 6 Cadnica NP-1 batteries, Sony
BC-1WD battery charger, Porta-Brace fitted
cover w/ 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 (403) 995-4202
Aaton XTR Super 16 pkg: 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
$22,000; Nikon 50–300 -mm F4-5 E.D. lens
w/support, $1,000; Kinoptik 9–8-mm 35-mm
format lens c/w sunshade $1,400. 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. Price: $200.00. Noiseless rain cover
for the external camera microphone. Price:
$30.00. Onboard Monitor rain cover, camera
assistants can see the focus during the
shot. No more hassles in the rain! $60.00.
Custom Red One camera covers available
upon request. Also can sew various types
of heavy-duty material. Repairs and zipper
24 • Canadian Cinematographer - September 2009
Two Complete Video Villages for Sale
$2,000. At this price, these units will pay
for themselves in less than five weeks on
a normal television series. Cost to create
new would be over $5,000. Plus these very
sharp, robust AC/ DC monitors are no longer
available! Includes four x 9inch Sony AC/DC
monitors, four 12V batteries and chargers,
four A&J hard cases, remote controls and
antenna signal boosters, spare power cords,
connectors, etc. BNC cables in winder, two
stands, dolly carts and doorway boxes with
storage drawers. Contact :Robert McLachlan
: office: 604-926-5253; cell: 604-761-4041;
[email protected].
DVW700WS Digital Betacam with viewfinder and two widescreen zoom lenses.
Canon J1 5x8 B4WRS SX12 and Fujinon
5.5-47. Very low hours on new heads.
$16,000, plus taxes. Contact: Michael Ellis:
416-233-6378.
Betacam SP Camera package. 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. Call Christian: 416-459-4895.
Arri III clear rain cover with carry bag
(Like new, very little use.) $100. Anton Bauer
Lifesaver “Interactive Logic Series” dual
charger in excellent condition, minimal use
with AC power cord and two Proformer batteries (need to be re-celled) $150. Hard-shell
transport case for broadcast or 16 mm, good
condition $40. Petroff 3x3 filter tray, $30.
Photos available. Contact: John Banovich:
604-726-5646 or [email protected].
Elmo TransVideo TRV16 16-mm film-tovideo converter color CCD. Converts mag
or optical film frame, color, iris, focus adjustments. Excellent working order. Best offer
accepted. Contact: Bea: [email protected].
Betacam SP D30 camera, PVV3 Recorder
Back, Fujinon 16X, 9-144 zoom lens, six
batteries, charger, power supply and case,
Sony PVM 80Q 7 1/2inch monitor and case.
$3,500. Contact: Joan Hutton: 416-6939776.
Sony DVW700 Digital Betacam camera.
Excellent condition. One Sony viewfinder,
one Sony battery case, one Sony tripod
adaptor, and one 8x160-mm Canon zoom
lens. $19,900 plus taxes. Call 613-255-3200.
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].
Special Offer
SPONSOR ADVERTISING
OPPORTUNITIES
Advertising in Canadian Cinematographer
is an investment in – and an opportunity
to help stimulate – the Canadian film
industry. There are no longer surcharges
for full colour, and we are offering free
advert-ising on the CSC website
www.csc.ca to all advertisers who commit
to magazine insertions of $1,500 and up
per publication year – September 2009 to
June 2010. Three web months for $1,500
of Canadian Cinematographer ads, six web
months for $3,000 and so on. Web specs
will be available on request. For questions,
more information and to place orders, please
contact Don Angus at Telephone: (416)
699-9149; Email: [email protected].
AS IF DIGITAL CAPTURE DIDN’T
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© Kodak Canada Inc., 2009. Kodak and Vision are trademarks.