Richard A. Stringer csc - Canadian Society of Cinematographers

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September 2007 Volume 27, No. 1
Richard A. Stringer csc
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The Canadian Society of Cinematographers was
founded in 1957 by a group of Toronto, Montreal and
Ottawa cameramen. Since then over 800 cinematographers and persons in associated occupations have
joined the organization.
Our members now represent the film and video
community in all ten provinces. Our aim continues to
be to promote and foster the cause of cinematography and the interests of the Canadian film and video
community.
We facilitate the dissemination and exchange of
technical information, and endeavor to advance the
knowledge and status of our members within the
industry. As an organization dedicated to furthering
technical assistance , we maintain contact with nonpartisan groups in our industry, but have no political
or union affiliation.
CSC EXECUTIVE
President: Joan Hutton csc
Vice-President: George Willis csc sasc
Treasurer: Joseph Sunday phd
Secretary: Antonin Lhotsky
Membership: Philip Earnshaw csc
Publicity: Nikos Evdemon csc
Education: Ernie Kestler
Editor Emeritus: Don Angus
Membership inquiries: 416-266-0591
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CSC Office
Canadian Society of Cinematographers
Executive Director: Susan Saranchuk
3007 Kingston Road Suite 131
Toronto, Ontario M1M 1P1
Tel 416-266-0591 Fax 416-266-3996
email: [email protected]
Editor: Lee Rickwood (416) 260-8859
email: [email protected]
Editor-in-Chief: Joan Hutton csc
Co-Editor-in-Chief: George Willis csc sasc
CSC NEWS is a publication of the Canadian
Society of Cinematographers. CSC NEWS is
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10
4
CONTENTs
14
v o l u m e
2 7 ,
N o .
1
Se p te m b e r 2 0 0 7
2 - President’s Report
4 - Remembering
Richard A. Stringer
8 - The bishop who ate his boots
An Inspirational Story, A Labour of Love
10 - On Set
Women Behind The Camera
12 - Education
CSC and Humber College
14 - Industry News
More Cameras, More Funding, More Commercials
18 - CSC FULL AND LIFE MEMBERS
20 - Classifieds
21 - PRODUCTION DATES
On The Cover Richard A. Stringer with a Bolex in the 1970s.
President’s Report
T
he sometimes fleeting and fragile
nature of our life and our relationships hit close to home recently, with
the sad news about Richard Stringer csc.
As you know, Richard passed away in
late July, following his spirited battle with
cancer. He was 62.
He was also just here. Although Richard
and his family had moved to Victoria weeks
before his death, before he left, we held an
informal BBQ for Richard and some of
his closest CSC friends and colleagues. We
all met at Susan Saranchuk’s house here in
Toronto, and enjoyed a wonderful Saturday
afternoon together.
We laughed, we reminisced, we discussed
plans for the future and we had a warm and
wonderful time together. Then, seemingly
moments afterwards, the news from B.C.
came, that Richard was gone.
It’s almost impossible to conceive of such
a thing! Richard was an integral part of the
CSC; a member for some 20 years, and as
you know, most recently he served as our
Vice-President, holding that important position from 1998 to April of this year.
But much more than just a position,
Richard filled a crucial role for us. He epitomized the generous, sharing, mentoring attitude that helps build a community and an
industry. He shared his knowledge and his
experience without reservation, and he literally built some of the tools we all have used
to build our own careers.
(For more information about Richard
and his amazing career in cinematogra-
phy, please refer to a profile we did back
in 1994, which can be found online at
www.stringercam.com/pdf/stringer
CSCarticle.pdf. More archived material
about Richard can be found at www.csc.
ca/news/default.asp?aID=925.)
It’s more than hard for me to summarize what he meant to me, and to all
of us. So I hope you will read the stirring
memorial and sidebar story appearing
in this issue, written by Don Angus, the
CSC’s Editor Emeritus and a long-time
friend of Richard’s. We also thank and
acknowledge the memorial messages received from you all, and the memorial
message created by Kodak Canada.
There’s hardly anyone reading this who
wasn’t a long-time friend of Richard’s; we
have heard from many of you, and you
have called or written in to share your
sense of loss. Thank you.
• • • • •
F
or anyone still wishing to do so, condolence cards and personal messages to the
Stringer Family can be sent to: Carol Stringer
or Matthew Stringer, 540 Dunedin Street,
Victoria, B.C. V8T 2L6.
As well, the Stringer Family has also conveyed information concerning donations In
Memory of Richard Stringer.
I am so proud that the CSC is helping in
this regards, and is working with the family
to establish the Matthew Stringer Education
Fund. Donations can be sent in care of the CSC
office in Toronto.
As well, donations can be made in
Richard’s name to the B.C. and Yukon Offices
of the Canadian Red Cross, and/or the Victoria Hospice & Palliative Care Foundation.
Those addresses, and additional
information about memorial services to
be held in both Toronto and Victoria for
Richard, will be posted on the CSC website
(www.csc.ca).
Richard A. Stringer csc and Joan Hutton csc
2 • CSC News - September 2007
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Remembering
Richard A. Stringer csc: Quiet Man, Strong Man 1944-2007
By Don Angus Editor Emeritus
R
ichard Stringer csc was a man of few words, and they were
always right to the point.
But he did most of his talking with his camera, framing hundreds of powerful images in over 40 years as an awardwinning director of photography and documentary cinematographer.
Next to his family, Richard’s life was making movies, starting
when he was just a teenager in hometown Winnipeg. He was
with his family, wife Carol and son Matthew, 16, when he died
in Victoria, B.C., on July 27, finally succumbing at age 62 to the
cancer he had quietly and gracefully battled for so long. The three
of them had moved to Victoria only weeks before, and had not
yet moved into a new house they bought for Richard’s retirement,
and maybe six more months
to a year of life together.
He left one major work
unfinished, and that was
about family: the documentary story of his grandfather, Anglican Bishop Isaac
Stringer and his intrepid
wife, Sadie, whose missionary work in the Canadian
Arctic was the stuff of legend.
Before Richard and
Carol left Toronto, the executive of the CSC said
goodbye at a barbecue dinner hosted by Executive
Director Susan Saranchuk.
It was a light-hearted occasion, even though everyone
knew it would probably be
the last time any of them
would see Richard. He had
only recently resigned as
vice-president of the CSC,
and at the CSC Awards in
March he was presented with the Fujifilm Award for extraordinary contributions to the Society.
“We were thrilled to present the Fujifilm Award to Richard
this year, gratefully acknowledging his many years of outstanding
service to the Canadian Society of Cinematographers,” President
Joan Hutton said. “It was our special 50th anniversary awards
gala, and it was more than fitting that Richard’s creativity and
dedication were recognized as part of such an important occasion.
“Our condolences and sincerest sympathies go out to
Richard's family,” she said. “This is a tremendous loss for all of
us. Richard was a great cinematographer, a tremendous force in
the industry, and a great friend to us all. We will all miss him
dearly.”
Richard was born in Winnipeg on Dec. 30, 1944. When he
was just 13, in 1957, he received an 8mm film camera for Christmas “because I was interested in the National Film Board documentaries. I just knew that's what I wanted to do. The first little
film I did in 8mm was a tour of Winnipeg. I was on my bicycle
and I'd ride from one end of town to the other to keep the sequence going right. Nowadays everybody's doing videos at that
age, but it was real odd for a kid to be doing that back then.”
The budding cinematographer attended Ryerson in Toronto
from 1964 to 1967, “although it was mostly a stills course then
with only a little (motion picture) film training. I got to play with
the gear, although I was basically self-taught.”
Right out of Ryerson, Richard filmed a drama for the University of Manitoba, and “while I was finishing up a film on the PanAm Paraplegic Games in Winnipeg, editing it in Toronto, I got
to do the news for CHCHTV (Hamilton) for a year.”
Then, as a freelance, he commuted between Toronto and
Winnipeg, eventually setting
up a production company in
the Manitoba capital, “where
I did the bulk of my (early)
commercial work.”
Along with his keen eye
for light, composition and
framing, Richard was always a
technical whiz at inventing or
adapting film gear for special
and often unique situations.
For example, he designed a
three-camera mount for the
35mm movie shown in the
Canadian pavilion at Expo
’88 in Brisbane, Australia. It
was a 15-minute, five-screen
show, which was adapted for
Seville's Expo ’92.
He designed his Target
resolution chart system in
1997, and later he used the
same name for his Target multi-format framing chart. For a 2002
documentary of interviews with movie-goers, Richard designed
the Stringerscope, an adapted TelePrompter which allowed the
interview subjects to look right into the camera, rather than off
to one side.
Richard was constantly on the leading edge of digital video
technology. He was a “film guy” who embraced the inevitable
transition to video in television news, documentary and lowbudget episodic productions. He kept up to date with the rapid
changes in video cameras, regularly testing the latest models, big
and small, and writing frankly about his findings for the CSC
News and other publications. If a button was in an awkward
place, or if he liked a certain feature, he would say so. Keep it
simple was his credo.
CSC News - September 2007 •
5
He was the first cinematographer to
claim a Gemini Award for visuals shot
with mini-DV professional camcorders.
He won the 2000 Best Photography in a
Documentary Program or Series for the
episode “Double Jeopardy” on the series
Exhibit A: Secrets of Forensic Science. The
same year he won the CSC Documentary Award for the Exhibit A episode “Evil
Lives Here.” In 2003, he won the CSC Industrial Cinematography Award for Question Everything (Mount Sinai). There were
several other Gemini, CSC and Manitoba
Blizzard award nominations.
His long list of credits included a
theatrical feature, seven MOWs, nine
series, numerous documentaries and specials, and over 400 commercials. He was
a frequent speaker at various showcases
and panel discussions, such as the CSC
Super 16 symposium at York University
last winter, which, as CSC vice-president,
he produced and directed. Richard was a
member of the CSC for some 20 years.
He served as vice-president from 1998 to
April, 2007.
Although quiet and unassuming,
Richard could recount many humorous
stories about his extensive trans-Canada
and global travels. He once recalled that
“one time we were shooting a night exterior on flat Saskatchewan prairie during
the shortest night of the year. There were
6 • CSC News - September 2007
reports that people thought a UFO had
landed.”
He added: “What I do have from all
my travels is an international Coke bottle
collection of about 40 bottles, and a collection of pictures of toilets from around
the world. I have a little gallery in my
bathroom.”
Photos from page 4
• Beginning in the early days…1959
• With actress Shelley Duvall for PBS’
Spacewatch Club
• On location in Bolivia, 1973
• Richard was feted by his CSC friends during
an informal BBQ held this past summer
• With his unique three-camera mount
CSC News - September 2007 •
x
The Bishop Who Ate His Boots
Described as “a labour of love”, The Bishop Who Ate His Boots documents both Canadian history and that of the Stringer family. The film was a very important
personal project for Richard Stringer csc. Inset: Isaac Stringer, c 1925. Next Page: Bishop Stringer
8 • CSC News - September2007
J
ournalist Solange De Santis, a contributor to the CSC News and a parttime writer for the Anglican Journal,
first met Richard Stringer at the 2005 CSC
Awards dinner. During table conversation,
they found a common interest in the Anglican Church.
The result was a March, 2006 story in
the CSC News (still online at www.csc.ca/
news), and another in the May Anglican
Journal, about Richard’s 16-year quest to
finance, write and shoot a film about his famous grandfather, Bishop Isaac Stringer.
Having learned of Richard’s death, De
Santis also wrote an obituary for the Journal and an update on the unfinished film.
With permission, here is an excerpt from her
piece:
Called The Bishop Who Ate His Boots,
the movie details an important part of Canadian Anglican history. Bishop Stringer
was the first missionary in the western
Arctic in the early years of the 20th century,
serving as bishop of the Yukon from 1905
to 1930. His diary and films now stand as
a record of a now-vanished Inuit way of
life. The title of the film came from an incident that occurred when Bishop Stringer
was lost in the wilderness and boiled a pair
of sealskin boots to make a thin, proteinbased survival soup.
The film is “near completion,” said
Richard’s widow, Carol, in an interview.
“It needs a final edit. Richard was working
with a film editor who lives in Ontario,”
she said. Stringer lugged equipment to the
Arctic, filmed interviews (including one
with Pierre Berton) and shot rugged scenery while coping with his cancer diagnosis
and treatment. “It was really a labour of
love,” Carol added.
He struggled to complete The Bishop
Who Ate His Boots on a minimal budget.
Further information about the film’s progress is available from Carol Stringer, 540
Dunedin Street, Victoria, BC V8T 2L6.
Richard Stringer, csc
1944 - 2007
Whose spirit lives on in his films.
CSC News - September 2007 •
9
On Set
Women Behind the Camera
Upfront About Challenges, Opportunities
Ellen Kuras asc (Eternal Sunshine of the Spotless Mind) appears in the film, and she also
worked as DOP on the production.
schedules called for it to run at Universal Studios in Hollywood as part of the
festivities, held September 7 – 9.
The film presents an intimate and
revealing portrait of camerawomen
who survive the odds in Hollywood,
Bollywood, Afghanistan, Canada, China, England, France, Germany, India,
Iran, Japan, Mexico, Russia, Senegal,
the U.S. and other countries. Alexis Krasilovsky directed Women Behind the
Among those women featured in
Camera a new documentary called, “a film for every- the documentary are Canadians Joan
one who collaborates on motion pictures and all who Hutton csc and Zoe Dirse csc. watch them.”
Alexis Krasilovsky is the film’s
writer/director/producer. It has already
received the Accolade Competition’s
Award for Excellence for Contemporary
t took some six years to successfully
document an issue that cinematogra- Issues/Awareness-Raising and the Insight
phers and camera operators have al- Award for Excellence for Documentary
ways - and will always – face: the role of Editing. The film is based on her book,
also entitled Women Behind the Camera
women in the industry.
Women Behind the Camera, the first (Praeger 1997). Of the many topics covered in the
feature-length documentary to examine
the lives, work and challenges of camera- film, the role of women as “nurturing on
women around the globe, has been chosen the set” is discussed (and possibly triggered
as an official selection of the Moondance by Hutton’s comments). There is a tradiInternational Film Festival. Screening tional view of the feminine side of camera
I
10 • CSC News - September 2007
assisting, described in the book as being
subservient to the person being assisted.
Cleaning the camera is "housework"; pulling focus is acting as the "yin" of being
"the passive recipient of images." But
the film also compares that to the "yang",
being representative of the dominant, aggressive force – in this case, the one who
lights, the one who makes light and image
happen.
Other camerawomen in the film range
from pioneers like African-American
camerawoman Jessie Maple Patton (who
sued the union and television networks
to get work) to Shu Shi Jun (who traveled
throughout China as the cinematographer
for Chairman Mao) to Rozette Ghaderi
who documented chemical warfare in
Kurdistani Iraq, as one of the first camerawomen in Iran. Hutton, President of the CSC, and
Dirse, also a teacher and film instructor
in Toronto, were among the first camerawomen filmed and interviewed for the
project back in May 2001, Krasilovsky
recalls fondly.
“The NFB put me in touch with them,
and then Joan and Zoe each recommended other Canadian camerawomen whom I
also contacted,” she describes. “A brief interview with Naomi Wise also appears as
part of our Special Edition Two-Disc Set. It was my first time in Toronto, and I realized that my father was right when he told
me, decades ago, that I should have moved
to Toronto. Canada has a track record for
equality in its support of male and female
filmmakers; even my mentor from Yale
(where I studied film), multi-media artists
Michael Snow and his wife Joyce Wieland
recognized this fact and moved on it. And
Toronto's as beautiful as -- and probably
less stressful than -- New York. But you
know twenty-somethings: not ready to listen to fatherly advice!”
Krasilovsky did listen to other advice,
fortunately: while much of the production was “done on a shoestring, with over
$100,000 of in-kind contributions”, she
did receive invaluable support from the
Office of Research and Sponsored Projects,
California State University, Northridge
(where she is screenwriting and film professor). Completion funds came from the
Women in Film Finishing Fund and the
Fledgling Fund in New York.
The film also shows how education
and training are crucial to women and
minorities hoping to break into the business. There is a need for mentorship programs, and better ways to get reels in front
of the producers. Krasilovsky says “the
union needs to take a pro-active stand to
help make this happen. NYWIFT is hoping to get actively involved in supporting
New York's ICG camerawomen. Perhaps
Toronto's WIFT can be persuaded to help
camerawomen in Toronto in the same
ways.”
“
“I think women were trained
as helpmates. We like to help
people. We like to aid. So
we’re perfect for working with
a director, because we want
to help him get his vision,”
Joan Hutton csc says in a new
documentary.
WIFT-T recently announced details of
another of its initiatives, a mentorship and
incubator program for companies in the
industry. See Page 14 for more information.
In the meantime, Krasilovsky is
using online networking tools and links
in support of camerawomen. The film’s
website, www.womenbehindthecamera.com,
also has a section for young women considering going into camerawork.
Women Behind the Camera is produced through Rafael Film, Krasilovsky’s
company. It is distributed by Breakthrough
Distribution.
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CSC News - September 2007 •
11
Education
CSC and Humber College
Turn School into Circus
Acting students and production crew members are
ready to roll as classes of the Acting for Film and
Television program at Humber College are videotaped during an intensive, two-week ‘simulation’.
“
By Lee Rickwood
here’s nothing like being on a real
set with the accompanying pressures of time and money. When
the ‘circus’ is fired up … the pressure and
expectations are extremely demanding.
[T]here are 35-50 crew people, producers, writers and directors hanging on your
every word and gesture, gazing intently
at the video monitor. [It’s] not an actor
friendly environment.”
And it is not the typical classroom setting.
But, as actor John Bourgeois (he’s also
Program Coordinator, Acting for Film &
TV (AFTV) at Humber College’s School
for the Creative & Performing Arts) explains, one of the goals of the program is
“to simulate real on-set working conditions and expose students to the pressures
of time, the variety of lighting and equip-
T
12 • CSC News - September 2007
ment considerations as they affect the
actor and the necessity of managing the
one's energy during the down times.”
Who better to help create a real set
than working cinematographers? With
the support and participation of the CSC
head office staff, education committee
and CSC members (including Susan Saranchuk, Ernie Kestler and George Willis, George Hosek and Alwyn Kumst),
Humber recently conducted two weeks of
real-world production activities, filming
students in action on set, as they delivered
and performed a script Bourgeois wrote
especially for the project.
The character driven dialog (some 120
pages of it) was based on some improv videos the second year students had already
worked on – as well as real characters and
dramatic situations from campus life.
But the real-world production conditions were the domain of DOP George
Hosek csc; he was the ‘circus master’-- in
charge of the shooting side of the school
project, managing the crew and setting up
the gear.
With video tech Ian McLaren, he
worked with a small but suitable kit
(Lowel Rifa-Lite 55s; Kino-Flo Diva Lite
400s and so on), as well as two of the
latest Panasonic DVCPRO cameras (recording a full 16 x 9 HD signal at 50 Mbps) to record the student performance and document
the teaching process. Well-known production industry providers and CSC supporters
such as Cinequip/White; Tapeworks; David
J. Woods Productions; Ryder and others were
generous supporters of the project, a first for
the newly-instituted program.
The four semester, two-year training
program is unlike any elsewhere in Canada. With comprehensive instruction from
established industry professionals (Bourgeois, for example, comes to Humber
with over 25 years experience as an actor,
director and teacher), it’s a unique combination of education and networking. The
‘screening room’ approach to in-class work
means that every student has a chance to
perform on camera, and then to analyze
and evaluate the performance with teachers, students and industry peers.
“The conditions we created for the acting showcase were more in keeping with
those of an indie film,” described Bourgeois. “Under those circumstances, people
are generally more relaxed and time isn't as
pressing as it is on, say, series television.”
But, after a series of 14 to 16 hour
days, relaxed may be a relative term. Graduating student Kostas Tourlentes said he
was trying to figure out “how to maintain
my energy reserve” with the videotaped
performances on top of his regular school
work. “There’s so much to learn, and we
have so many questions. This is a great experience!”
Jocelyn Pigott agrees completely, saying “I’ve got the bug thanks to this. I am
really into production, but my passion is
acting.”
It shows.
Her scene is scripted as a powerful
shouting match with a fellow student, an
emotional confrontation with a partner.
Delivering the lines, over and over again.
Hitting the mark, over and over again.
Being attuned to the actor opposite, being
aware of the camera – and the cinematographer behind it.
Hosek’s role was as much instructor as
DOP. He describes it as “teaching-on-thego”, and he emphasizes the importance of
“instilling in the students an appreciation
for play and acting to the camera, while
still maintaining good character relationships and suitable body postures. It’s important they know how to cheat eyelines
and properly shift body weight, while
moving to camera and hitting the mark.”
Throughout the shoot, Hosek would
not allow the students to “dirty or destroy
the shot” by being in the wrong place at
the wrong time. He regularly would share
valuable tips on just how that could be accomplished.
As Bourgeois described it, and as the
students all echoed, “George in particular
made it possible for all this to happen. His
European charm, his expertise, along with
his dedication to the work and his tireless
pursuit of excellence provided the perfect
model of professionalism and artistic passion to the students. Our program could
not have asked for a better teacher, mentor
RULY
TANDING
OGRAPHER
RIENCE...
and collaborator.”
(Nor can it really ask for much better
results, it seems. A number of successful
student placements have already taken
place out of the AFTV program: grad
Dwain Murphy, for example, landed a
starring spot in Steps, a film that caused
considerable buzz at Sundance, and for
which distribution rights were later bought
by Paramount for $3.4 million!)
“The performance project galvanized
the entire faculty and student bodies,”
Instructor John Bourgeois (left), DOP George
Hasek csc and video technician Ian McLaren (right)
discuss camera placement and framing during a
taping break.
concludes Bourgeois. “We ended the year
on a real high. At the closing day screening, we showed outtakes from the shoot
and everyone agreed that it both looked
and sounded fantastic.”
Next up: a screening for actor’s agents,
talent scouts and casting directors.
A TRULY OUTSTANDING
CINEMATOGRAPHER EXPERIENCE...
TORONTO
(416) 585-9995
CSC News - September 2007 •
13
www.technicolor.com
MONTREAL VANCOUVER
(514) 939-5060
(604) 689-1090
Industry News
Panavision Gets More
Camera Assets
P
anavision has entered into an exclusive Letter of Intent to purchase the
camera inventory of Joe Dunton &
Company (JDC).
The purchase includes all film camera
equipment owned by JDC, along with a
wide assortment of spherical and anamorphic lenses and camera accessories.
Joe Dunton and Lester Dunton will
join Panavision’s executive ranks upon
completion of the transaction, the companies announced. JDC has rental facilities in London and Wilmington, North
Carolina.
“With the acquisition of these assets,
Panavision will expand its inventory of
high-end film cameras and lenses to support its growing worldwide business,” said
Bob Beitcher, President and CEO, Panavision, Inc. “It is another step forward in our
strategy to acquire valuable assets on a selective basis and to attract entrepreneurial
industry leaders to our executive team.”
“I’m personally very pleased to be reuniting with Panavision, a company at the
very top of our industry,” said Joe Dunton. “It’s an incredibly exciting platform
for me and Lester to continue our innovative approach to solving the issues faced
by filmmakers on the set every day. We
couldn’t be joining a better team!”
ASC Calls for TV Entries in
Annual Awards Competition
The American Society of Cinematographers (ASC) has issued a call for entries
in the two television categories—episodic
and movie/miniseries/pilot—of the organization’s annual awards competition.
The deadline for submissions is noon on
November 1. The winners will be revealed
during the 22nd Annual ASC Outstanding Achievement Awards celebration on
January 26, 2008.
Cinematographers can submit programs which have a U.S. premiere broadcast date until October 31, 2007. There
are generally five nominees in each category, who are chosen by peers groups of
ASC members.
“This annual celebration is an opportunity for our members to express their
admiration for the artistic achievements
14 • CSC News - September 2007
of their peers,” says ASC President Daryn
Okada. “It is also a forum where we hope
to inspire cinematographers around the
world to follow their dreams in their pursuit of creative visual storytelling.”
“We believe that it is extremely important for peers to judge artistic achievements in cinematography, because it is
generally designed to be non-obtrusive
and transparent to audiences,” says Russ
Alsobrook, ASC, chairman of the organization’s Awards Committee. “Many creative lighting and composition variables
augment the actors’ performances and affect the emotional tones of stories.”
Alsobrook adds that the rapid evolution of quality home theaters and highdefinition broadcast channels around the
world is providing a larger, more compelling canvas for visual storytelling on television.
For more information regarding rules,
and/or to download entry forms, visit
the ASC website at www.theasc.com.
Clairmont Adds ‘A Winner’ –
The CineAlta F23
you have a versatile unit that can be used
in studio, handheld or Steadicam modes.
It’s a winner!”
The Sony F23 is an all-new camera
system designed to meet the highest production demands of the television, commercial and cinema markets. The system
offers full bandwidth 4:4:4 capture with
in-camera variable frame rates from one to
60 fps at 1080p recorded on-board to the
SRW-1 deck.
Clairmont says he expects to soon increase the F23 inventory.
The new Sony F23 is offered for
sale by Sony and through its CineAlta Premiere reseller, Band Pro Film
& Digital, a leading supplier of highend digital production technology.
Telefilm Canada
Call for Applications
The 2007 Telefilm Canada Executive
Management Program is open, and making a Call for Applications, Women in
Film and Television - Toronto (WIFT-T)
reports.
This national initiative provides up
to 10 MICRO and SME television production companies, with a maximum of
two senior management representatives
per company, the opportunity to develop
their management team through an intensive five-day workshop, based on the
successful Incubator model. The program
Band Pro Film & Digital has delivered to Clairmont Camera its first six new
Sony F23 CineAlta cameras. With offices
in Hollywood, Toronto and Vancouver,
Clairmont is one of the most well-respected rental houses in the industry, and is renowned for its extensive range of cameras,
lenses, and accessories.
According to owner Denny Clairmont,
“Until the F23 came
along, cameras in the
2/3-inch chip world
were designed very
much like ENG digital
cameras. The Sony F23
has been designed like
a film camera. It is very
operator friendly. And
all the test footage I’ve
seen looks remarkable.
Even with the gain set
at 12 dB, the equivalent
of ASA 2000, it was virtually noiseless. Add to
that the ability to dock
a recorder on the top or Now in stock at Clairmont Camera, the Sony F23 CineAlta is “a winner”
rear of the camera, and says owner Denny Clairmont
continues with a six-month mentorship
matching industry leaders with Incubator
participants.
“This is an excellent opportunity for
producers to sharpen their business skills
so that they can succeed both financially
and creatively in the global marketplace,”
says Sue Sheridan, Executive Director of
WIFT-T. “We are delighted to collaborate
again this year with Telefilm Canada and
all our partners who are committed to the
growth and development of the Canadian
entertainment industry.”
The production companies will converge in Toronto in October at a leading
entertainment law firm for five intensive
days of workshops, case studies, and oneon-one consultations with industry leaders and innovators. Each company will be
paired with experts who will offer ongoing
advice and assistance during the six-month
mentorship stage of the program.
Fully completed application packages
must be submitted by October 1, 2007.
Applications will be reviewed by a selection committee composed of industry
representatives. For more information,
visit www.wift.com or www.canadianfilmmaker.com.
raphy camera designed from the ground up
to capture every detail needed for brilliant,
uncompromised, uncompressed output.
With three 9.2 million pixel frame transfer
CCDs capturing 1920 x 1080 resolution,
the Viper FilmStream camera system delivers an RGB 4:4:4 10-bit log output—
uncompromised by electronic camera signal processing—to a field recorder. Part of
the Grass Valley FilmStream workflow, the
Viper FilmStream camera delivers its output directly into the post production
process for finishing.
SIM modifications include a
heavier more durable handle, and a
toe piece for lightweight rod system
and handheld or Steadicam shooting;
the introduction of an on-board battery, and dockable accessory power
port; a ‘quick release system for the
Venom Flash pack; and a copper or
fibre optic cable option.
• see page 16
TOP: SIM Video’s camera prep technician
Minh Dao demonstrates the SIModified Viper
Crowds mingle and check out the modified
Viper at SIM Video’s Cine Gear booth.
SIM Video Adds
Viper Cameras
SIM Video has purchased three Grass
Valley Viper FilmStream digital cinematography cameras from Thomson – and
they have significantly modified each one.
“The Grass Valley Viper FilmStream
digital cinematography camera is making
quite a name for itself among the feature
film and television production communities in the U.S., Canada and beyond”, says
Rob Sim. “When it came down to modifying our Viper cameras, we incorporated
a number of standard modifications as
well as other custom modifications, based
on feedback from our clients. As it stands
now, there are six major ‘mods’ including
those we’ve made to accommodate the
Grass Valley Venom Flash systems that
were purchased for each of the camera systems.”
Sim Video unveiled their modifications at Cine Gear 2007 in Los Angeles,
where local and international cinematographers alike showed great interest while
testing the camera first hand.
The Viper FilmStream Camera System
is described as the only digital cinematogCSC News - September 2007 •
15
• from page 15
SIM Video maintains offices and full
service departments in Toronto, Vancouver and Halifax and in Los Angeles and
San Francisco in the U.S. SIM Video Productions is a pioneer in the video production field, having offered high definition
(HD) cameras and equipment in its inventory since 1998.
Celebrating Film and
Music in Manitoba
Manitoba is calling for anecdotes,
stories, pictures, and videos to help commemorate the achievements, commitment, and development that its film and
music industry have enjoyed for some 20
years.
Three of Manitoba’s most prominent
arts organizations are celebrating 20 years
of support and development for the province’s cultural sector this fall.
It has been 20 years since Manitoba
Film & Sound, the Manitoba Audio Recording Industry Association (MARIA),
and the Manitoba Motion Picture Industry Association (MMPIA) were established. Manitoba Film & Sound (www.
mbfilmsound.mb.ca) is a statutory corporation funded by the Province of Manitoba through the Department of Culture,
Heritage and Tourism.
Through its programs and services,
MARIA (www.manitobamusic.com) helps
people in the music industry find their
community and build sustainable careers.
MMPIA (www.mmpia.ca) membership includes filmmakers, producers, writers, directors, production crew, broadcasters, educators, organizations, and suppliers
of the industry. Collectively, the members
of MMPIA work to create opportunities
for the production, promotion and appreciation of Manitoba's dynamic film and
video community.
The three organizations have been
instrumental in the continued success of
the arts industry on the provincial, national, and international fronts, and their
achievements will be marked in Winnipeg;
submissions in support of the celebrations
can be made by contacting [email protected].
HD Airpack Unveiled
at Image Central
Following months of planning and
discussion, Image Pacific Broadcast Rentals (IPBR) and Image Central Broadcast
Rentals (ICBR) is now in flight with its
new four-camera H D Airpack. The high
definition mobile video production system
was recently on display at Image Central’s
facilities in Toronto.
National Operations Manager Dale
Rechner says he’s extremely enthusiastic
about the new acquisition. “We looked at
a lot of different options but decided on
the Sony HDC-1550 Multi-format HD
camera with the triax option as the camera
of choice. Fujinon HD glass was a must.
The FOR-A HANABI HVS-1000 switcher was the obvious choice due to its size
and power. We will also be running four
Sony HDW-1800 VTRs and we can offer
the option of a 4-channel EVS XT(2) HD
Broadcast Server,” Rechner described.
Tony Lewis, Manager, Systems Integration Group, Broadcast & Communication Solutions Group, Sony of Canada
worked with the IPBR and ICBR team to
oversee engineering for the project. “[We}
couldn’t think of a better engineer for the
task,” Rechner added. “To have Sony of
Canada build this first class HD Airpack
means clients will have a professionally
built system that is tested and certified by
Sony of Canada.
“Our plans are for another fourcamera HD Airpack in 2008 and a full
HD Production Mobile in 2009. We
want to be able to offer our clients in
Toronto -- and elsewhere in Canada
Multiple preview and program monitors show HD
feeds coming from cameras in the new HD Airpack,
shown at Image Central in Toronto.
16 • CSC News - September 2007
-- top notch HD facilities,” he added, noting that the company plans to
take delivery of a second flight pack in
2008, and an HD mobile truck in 2009
that will carry between eight and 10 Sony
HD cameras.
Image Pacific has also already received
a request from abroad to make its equipment available for the 2012 Olympic
Games in London, England.
The company has over 45 HD, XD,
Digital Betacam, BetacamSP, DVCAM,
HDV, and DV cameras available, along
with its multi-camera mobile control
room and new air packs.
“Our first client was thrilled with the
shoot and impressed with the choices we
and Sony made on the technical equipment,” said Roger Williams, president
of Image Pacific. “We had the technical
staff to build the flight pack ourselves if
we really wanted, but I liked the idea of
having a Sony-certified flight pack and
having Sony work closely with us on the
design, implementation and build. We
can now tell customers we have a package
that Sony helped us put together and it’s
as solid as Sony is.”
Pin-Registered Film Scanner
Built for Speed
The Director, described as the fastest
pin-registered scanner in the industry, is
now available from Lasergraphics, Inc.
Scanning HD and 1.85 images at nine
frames-per-second (fps), full frame 2K at
six fps, and standard definition at 12 fps,
The Director supports television production and is compatible with Digital Intermediate workflows and motion picture
film recorders, the manufacturer reports.
The Director features a low noise
CCD area array and continuously calibrated LED light. A built-in Keykode
reader allows for frame-accurate scanning
and for the embedding of both Keykodes
and time-codes into DPX output files. A
Positive Air Pressure System with a HEPA
filter prevents dirt from entering the system during scanning. A modular design
aids quick interchangeability between
35mm and 16mm. Cinema Advertising Coverage
Coast to Coast
Cinema advertising programs now
reach an estimated 90% of Canada’s movie-going public, following announcement
of a new agreement between Cineplex
Entertainment and Empire Theatres Ltd.
Effective September 1st, on screen
35MM full motion, digital pre-show and
backlit posters will appear on Empire's
25 Atlantic region theatres, adding to
Empire's 27 theatres located in Ontario
through British Columbia, already represented by Cineplex.
Cineplex Media's total Empire theatre representation now stretches to 382
screens across Canada. The addition of
Empire's Atlantic Canada screens brings
Cineplex Media's total representation to
2,225 screens, described as the country’s
only national coast-to-coast cinema sales
representation.
Empire Theatres Limited is a 100%
owned subsidiary of Empire Company
Limited; headquarters are in Stellarton,
NS. Empire Theatres owns and operates
52 theatres (including one IMAX Theatre
in Halifax NS) from Newfoundland to
British Columbia.
Headquartered in Toronto, Cineplex
Entertainment is the largest motion picture exhibitor in Canada operating the
following brands: Cineplex Odeon, Galaxy, Famous Players (including Coliseum,
Colossus, SilverCity), Cinema City and
Scotiabank Theatres.
Press releases, industry announcements and notices of interest and relevance to
cinematographers and filmmakers in Canada will be considered for publication in
CSC NEWS. Please forward your announcement to: [email protected].
The Canadian Society of Cinematographers online DEMO REEL service is now available!
FULL and ASSOCIATE CSC members can have Demo Reels added to the site, and available
around the world via streaming video.
For more information, contact the CSC Office, or e-mail [email protected].
Digital Projectors Behind
Theatrical Debut
Crossing, the controversial Canadian
thriller from debut filmmakers Roger
Larry and Sandra Tomc, had its theatrical debut in Toronto and Vancouver using digital projectors provided by Sanyo
Canada. Sanyo’s PLC-XF46N projector
utilizes three 1.8 inch, 1024 x 768 pixel
LCDs to produce up to 12,000 lumens,
with four low power UHP lamps producing 300 watts each. The movie tells the story of a gangster who discovers the thrills and perils of
cross-dressing. It has already been sold to
more than 21 countries worldwide and
won Silver at top U.S. fest Cinequest for
best first feature film.
Kamal Derkaoui csc, a relative newcomer to the Vancouver film scene, was
the DOP. A graduate of the Moscow Institute of Cinematography, he’s shot some
thirteen features and received several international awards for his cinematography on such films as Saad Chraibi's film
Femme... et Femmes and Soif.
35mm/16mm Services | HD/SD Telecine and Editorial | Digital Intermediates
Laboratory Evans: 416.205.8155 | Laboratory Carlaw: 416.461.8090
Postproduction: 416.364.4321
CSC News - September 2007 •
17
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18 • CSC News - September 2007
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CSC News - September 2007 •
19
CAMERA CLASSIFIEDS
FOR SALE: Meerkat Jib Arm
Mint condition, very little use. Comes with
hard transport case. Full specs online, at:
http://filmairinternational.com/camera_
mounts.asp
The Meerkat is a mini jib made by Filmair International. It can take 35mm camera, lens
and matte box combinations. It has been designed with maximum rigidity and optimum
action for its size and weight, making use of
a quick action sliding counter weight arm for
speedy set-ups. This jib arm fits on top of
standard heavy tripods, bazookas, dollies or
tracking vehicles and accepts any conventional or nodal fluid head. These can be mounted
in either the upright or inverted mode, to the
150 mm bowl or Mitchell plate front offset fitting. The Meerkat is constructed using corrosion proof materials, and is finished in a black
anodizing making it a durable, easy to take
anywhere piece of equipment.
Asking price $ 3800.
Contact Milan Podsedly
T: 416 409-5758
E: [email protected]
FOR SALE: Elmo TransVideo TRV16 16mm Film-to-Video Converter
Color CCD; converts mag or optical film
Frame, Color, Iris, Focus adjustments
Excellent working order. Best Offer Accepted.
Contact Bea
E: [email protected]
Video Equipment for Sale:
Betacam SP D30 camera, PVV3 Recorder Back,
Fujinon 16X, 9-144 Zoom Lens, Six Batteries,
Charger, Power Supply and case, Sony PVM 80Q
71/2” Monitor and case - $5000
Sachtler Panoramic 7X7 Head, lightweight legs,
Spreader, Hi Hat - $3000
Lowel lighting kit, 4 totalights and 1 omni
With umbrellas, accessories and hard case $1200 Call Joan Hutton at 416-693-9776
for Sale: Silver aluminum case containing
pristine Nikon lenses, Schneider.135-35 to 10550-200mm, price to be negotiated, set sold as
complete; case containing audio and video accessories, e.g. Tram lapel mics, meters and tools,
$45; Lunasix 3 Gossen light meter, $25; Minerva
stop watch for film timing, $25; Weston Universal exposure meter, $25; Dichroic filters in wood
box: 1000 quartz, $15; 1 (B. Dunk) changing bag,
$45; 2 Arri chargers, $15 each; 3 aluminum light
stands, $45 each; SMPTE test charts, $10 each;
1 MacBeth colour chart, $25; various grey scale
charts, $5 to $10 each; various new lamps/bulbs:
1000w (120 volt); 300w, 250w, 200w, 42w, $5
each; phone Kay Samuels at 416-636-6113 or email [email protected]
Camera Classifieds: A FREE service to CSC members.
If you have items you’d like to buy or sell, please e-mail your list to [email protected]
Film Equipment for Sale: Arri 35mm
2C camera kit with 3x 400’ magazines and
5 Zeiss 2.2 primes plus 9.8mm Kinoptik
- $7900. Cooke 25-250mm T3.9 zoom $5000. Ronford 2004 fluid tripod (150mm
bowl) with regular and baby legs - $4500.
Nikon 50-300mm F4.5 ED lens with support
for Aaton or still photography - $1500. Arri
S 16mm camera - older body with variable
and constant motors - $1000. Two empty
tube tripod cases. Email: [email protected]
FOR SALE: Padded Barney for Arri SR.
Bright Red...look cool while keeping you
camera hot. $100.00 OBO. Please contact Peter 416-698-4482; 604-730-0860 or
[email protected]
WANTED: One or two 400 ft Mags for Arri
“S” 16mm by member of 669 Please
contact Enrique 604-313-9736 or delrio_
[email protected].
FOR SALE: Sony DSR 570WS with Canon
lens YJ 18X9B4 IRS Head Drum Operating
1364 hours, tape transport 613 hours, total
operating  1877 hours. Package includes:
Porta Brace with rain cover, Circular Polerizer filter, 1/2 Black Promist filter. Some minor
cosmetic wear and tear but in good working
condition. C$15,000. For more info and pictures contact Mike Sorel at (403) 451-4484
ext 273 or [email protected]
FOR SALE: Field and post-production equipment. Cinematographer’s personal Betacam
camera and film sound equipment: Neumann mics, Micron wirelesses, etc. Sony
BVW400 camera, tripod, lights, grip. Full list
at www.saltwater.ca/equipment
FOR SALE: Sony DSR-500WSL DV CAM
camcorder 
hours:
A=1435
B=0776
C=1810 Eng + French manuals. $4,400.
Canon YJ18x9BRS zoom lens  $2,200.
Canon YJ12x6.5B4 zoom lens $4,000.
Sony UVW-100 Betacam SP camcorder,
Fujinon S16X6.7BRM- 18 zoom lens,
Porta Brace soft carrying case $1,250.
Contact Nick de Pencier, Mercury Films 416
516-2661  [email protected].
FOR SALE: Arri SRII camera, excellent condition: SRII camera body (metered); magazine 40 ft.; Zeiss 10-100mm T2.0 II BA-auto;
Zeiss 9.5mm T1.3; right-hand grip on & off
(flat plug); support LS.6 for Zeiss 10-100
& 2x Mutar; clap ring for Zeiss 10-100mm
T2.0 II; guide rails (give lightweight support);
Arri variable speed unit VSU; custom case
(for 16mm camera package). $19,900 plus
taxes. Call 613-255-3200 cell.
FOR SALE: Sony DVW700 Digital Betacam
camera, excellent condition:1 Sony viewfinder; 1 Sony battery case; 1 Sony tripod
adaptor; 1 8x160mm Canon zoom lens.
$19,900 plus taxes. Call 613-255-3200 cell.
FOR SALE: 52 filters 4 x 5.6, Enhancer,
Neutral Density, Black Promist, Ultra
Contrast, Soft FX - 85, 8N3, 6, 9, Regular Fogs, Corals, Sepia, Black Net, Low
Light, Day for Night; 8: 6.6 x 6.6. ND Soft
Grads, Sunset, Twilight, Sky Blue; 5:
4x4 Circle Diffusion; 3:  4 1/2 Round Polas;
3: 138 Round Polas. Contact Bob Saad at
416-481-5429.
20 • CSC News - September 2007
Production notes
British Columbia, Prairies
Aliens in America (Series): DOP: Randal Platt csc; OP/St: Tenzin Lhalungpa; to Oct. 24, Vancouver, BC
Battlestar Galactica Season 4 (Series): DOP: Stephen McNutt csc; OP:
Ryan McMaster; to Mar. 14/08, Vancouver, BC
Bionic Woman Season 1 (Series): Robert McLachlan asc, csc; OP:
Michael Wrinch; to Dec. 12, Vancouver, BC
Corner Gas Season 5 (Series): DOP: Ken Krawczyk csc; OP: Brad D.
Whitlock; to Sept. 21, Regina, SK
Intelligence, Season 2 (Series): DOP: David Frazee csc (Stephen
Reizes, 667, first 5 episodes); OP: Kevin Hall, to Nov. 8, Burnaby, BC
Jpod Season 1 (Series): DOP: Henry Chan csc; OP: Mark Chow, to Oct.
15, Vancouver, BC
Kaya (Series): DOP: David Greene csc (667); OP: Monty Rowan, 667, to
Sept. 14, Richmond, BC
Men in Trees Season 2 (Series): DOP: David Geddes csc; OP: Keith
Thomson, to Apr. 17/08, North Vancouver, BC
Reaper Season 1 (Series): DOP: Attila Szalay csc, hsc; OP/St: Richard
Wilson, to Nov. 30, Burnaby, BC
Smallville Season 7 (Series): DOP: Glen Winter csc, David Moxness csc; OP: John Davidson, John Craik (alternating), to Apr. 30/08,
Burnaby, BC
Supernatural Season 3 (Series): DOP: Serge Ladouceur csc; OP: Brad
Creasser, to Apr. 11/08, Burnaby, BC
Hollis Wood (MOW): DOP: Paul Sarossy csc; OP: Chris Harris, to Aug.
13, Victoria, BC
Dr. Doolittle 5: Goin’ Hollywood (Home Video): DOP: Bert Dunk csc,
asc; OP: Brian Whittred csc, to Aug 28, Vancouver, BC
The Eye (Reshoot): DOP: Brian Pearson csc; OP: Steven Adelson, to
Aug 27, Vancouver, BC
Ontario, Quebec, Atlantic
Dig In (TV series, HGTV USA, HD) DOP: Peter Warren csc; to Sept.
10th, Ottawa, ON. Instant Star 4 (TV Series Super 16 mm): DOP: John Berrie csc; OP:
John Hobson, OP-B: Peter Luxford csc, to Nov 5, East York, ON
Murdoch Mysteries (13 X 1 HD): DOP: David Perrault csc; OP: Tony
Guerin, to Oct 19, Toronto, ON
Degrassi: The Next Generation 7 (TV Series, Super 16mm): DOP: John
Berrie csc; OP: John Hobson, to Dec 14, Toronto, ON
Ma Mére Est Chez Le Coiffeur (Film): DOP: Daniel Jobin csc; to Aug.
31, Montréal, QC
Magique (Film): DOP: Pierre Gill csc; to Oct. 5, Montréal, QC
The Timekeeper (Film): DOP: Guy Dufaux csc; to Aug. 28, Montréal, QC
Black Swarm (Killer Bees) (Video): DOP: Daniel Vincelette csc; to Aug.
21, Verdun, QC
Grave Obsession (Video): DOP Yves Bélanger csc, to Oct. 12,
Montréal, QC
Casino II (Series): DOP: Ronald Plante csc; to Nov. 15, Montréal, QC
Calendar of Events of Interest to CSC Members
Atlantic
Atlantic Film Festival
September 13-22
Halifax, NS
27th Atlantic Film Festival Opens With Shake
Hands With The Devil
www.atlanticfilm.com
Strategic Partners
September 14-16
Halifax, NS
Academy Luncheon Guest Speaker is Peter
Greenaway
www.atlanticfilm.com
New Brunswick Film Industry Summit
October 1-2
Saint John, NB
industry executives
www.pitchexpo.com
2007 TIFF
September 6-15
Toronto
Business & Executive Leadership
Development for Producers
September 23 – 28
Moose Jaw, SK
Make It Short Film Festival
September 14-16
Thunder Bay
British Coloumbia
32nd annual Toronto International Film Festival
www.tiff07.ca
Executive Producer this year is Gemini Award
nominated director Andrew Currie
http://www.2knine.com/pages/make-it-short.php
Director’s Guild of Canada Awards
September 29
Toronto
celebrating 10 years of successful film, television
and new media productions
http://www.nouveau-brunswick.ca/summit/
index.html
Funnyman Peter Keleghan is again host at the
Carlu event theatre
www.dgc.ca
Ontario
Edmonton International
Film Festival
September 28 - October 6
Edmonton, AB
Pitch Expo
September 5
Toronto
Second annual Pitch Expo is a one-day event with
www.edmontonfilmfest.com
Prairies
Business development program for film, television and interactive industry
www.saskfilm.com
VIFF 2007
September 26 - October 12
Vancouver
Vancouver International Film
Festival includes
Film & Television Forum
www.viff.org
HD Demystified
November 3-4
Burnaby
CSC, IATSE 669, IPG and
PERA present
HD technology workshops
and panel discussions
www.csc.ca
Includes 24/One Film Challenge
CSC News - September 2007 •
21
PRODUCER
“I want to make films and television
programs that affect people.
That’s why I got into this business.
I have had the pleasure of working
with amazing cinematographers
who know how to tell stories.
A great cinematographer can
manipulate film and use it to their
advantage. They can integrate
different film formats that almost
become characters in the story.
I never say that people work for me.
They work with me. It’s a team effort.
When you work with talented people,
the images are amazing. With film,
you also have a lot more flexibility to
be creative and to solve problems in
postproduction. That often results in
time and money saved. I’m hoping to
produce my first independent feature
soon, and I plan to shoot it on film.”
Avi Federgreen is a line producer based
in Toronto. He has been a member of
the executive board of the Directors
Guild of Canada for many years.
His credits include the television
programs Northern Town, Heyday!,
It’s Me Gerald and Charms for the
Easy Life, and the feature films
Hollywood Flies, Emotional Arithmetic
and All Hat.
To read the full transcript of
Avi’s interview visit us online
at www.kodak.ca/go/federgreen
To order KODAK Motion Picture Film,
call (800) 621 -FILM (3456).
© Kodak Canada Inc., 2007.
ONFILM
AVI
FEDERGREEN