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CINEMATOGRAPHER
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Canadian Society of Cinematographers
Geoff Boyle fbks
Leads the CSC
3D Workshop
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Facing Ali
DOP Ian Kerr csc
Inside Disaster
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$4 April 2010 www.csc.ca
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DOP Tony Wannamaker csc
Shooters Honours the Canadian Army Film and Photo Unit
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.
FEATURES – volume 2, No. 1 APRIL 2010
James O’Regan’s Shooters by Don Angus
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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Facing Ali: An Up-Close-and-Personal Documentary about Those
Who Fought “The Greatest”By Ian Kerr csc
Inside Disaster: The Haitian Earthquake of 2010
Columns & Departments
2 From the President
5 2010 CSC Awards Nominees
6 The CSC 3D Workshop
21 Camera Classified
22 CSC Members
24 Production Notes / Calendar
Cover: Geoff Boyle FBKS Photo by Joan Hutton csc
18
By Tony Wannamaker csc
Canadian Cinematographer
April 2010 Vol. 2, No. 1
EDITOR-IN-CHIEF
Joan Hutton csc
CO-EDITOR-IN-CHIEF
George Willis csc, sasc
EDITOR EMERITUS
Donald Angus
EXECUTIVE DIRECTOR
From
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B
y the time you read this, the 2010 CSC Awards Gala will have taken place in
Toronto and a full report will be published along with photos of all the winners
and presenters in the next issue of Canadian Cinematographer. As Don Angus
reports in this issue, a brand new CSC Award made its debut this year. The Focus Award
acknowledges the work of an individual or group in producing an exceptional film that
is recommended by the Awards jury. The inaugural award went to James O’Regan for
his efforts to preserve the memory of the heroic members of the Canadian Army Film
and Photo Unit (CFPU) who filmed the contribution of the Canadian armed forces in
the Second World War. The story of the founding of the CFPU is told in the 49-minute
documentary entitled Shooters, which O’Regan wrote, produced and directed.
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.
In this issue Lance Carlson gives us a full account of the CSC’s first and highly
successful 3D workshop that took place in Toronto in February and was led by the noted
British DOP Geoff Boyle FBKS (Dark Country 3D). The three-day workshop was full
to capacity with attendees from right across Canada and as far away as Hong Kong
and Malaysia. The workshop was held at Sheridan College’s new Digital Media Research
and Training Centre, located in the Toronto Pinewood Studios.
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2 • Canadian Cinematographer - April 2010
Also in this issue, Ian Kerr csc recounts the filming of Pete McCormack’s Facing Ali, a
feature-length documentary about the boxers who went toe-to-toe and glove-to-glove
with Muhammed “I am the greatest” Ali, considered by many to be the best heavyweight
boxer of all time – certainly the most famous. The documentary was chosen as the most
popular film at the 2009 Vancouver International Film Festival and was short-listed
for an Oscar nomination. Inside Disaster, DOP Tony Wannamaker csc, is the tragic
story of the recent, devastating earthquake in Haiti that was filmed by a Canadian crew
for the International Federation of the Red Cross and FACT (First Assessment and
Co-ordination Team).
In conclusion, we would like to acknowledge the passing of our good friend Alice
Ferrier. The wife of Glen Ferrier, founder and long-time president of Panavision
Canada, she died on January 5 after a brief and courageous battle with cancer. She was
an accomplished production coordinator who was a founding member and the
inaugural president of the International Alliance of Theatrical Stage Employees, Moving
Picture Technicians, Artists and Allied Crafts, Local 411. She was 72 and will be missed
by the CSC membership.
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2010 CSC AWARDS
GALA NOMINATIONS
THE ROY TASH AWARD FOR SPOT NEWS CINEMATOGRAPHY
Jim Lenton, Car Fire, CHBC News Kelowna; Christophe Terrade & Albert Groulx, Police Brutality Demonstrations, CTV News.
THE STAN CLINTON AWARD FOR NEWS ESSAY CINEMATOGRAPHY
Kirk Neff, A Single Rose, 16:9 The Bigger Picture, Global; Peter Szperling, De Jong Guitars, CTV Ottawa; Kelly Wolfert, Good
Morning America Weekend Window: “Jasper,” ABC.
CAMERA ASSISTANT AWARD OF MERIT
Sean Harding; Larry Portmann.
CORPORATE/EDUCATIONAL CINEMATOGRAPHY
Sarorn Sim, The Jaipur Foot Story; Kelly Wolfert, Tourism B.C. Summer 2009 Promo.
STUDENT CINEMATOGRAPHY, Sponsored by Panavision Canada
Sarah Blevins, Doppelganger,York University; Tyson Burger, Our Future Is Bright,York; Stu Marks, The Golden Pin,York; Scott
McIntyre, Solace, Sheridan College; Bradley Stuckel, The Graveyard Shift, SAIT Polytechnic.
LIFESTYLE/REALITY CINEMATOGRAPHY
Peter Rowe csc, Angry Planet: “Hurricane Triple Threat”; Tony Wannamaker csc, Re-Vamped; Richard Wilmot, Holmes in New
Orleans: “Going Home.”
DOCUDRAMA CINEMATOGRAPHY, Sponsored by Sim Video Productions
Jeremy Benning csc, Manson; Dylan Macleod csc, Nureyev; Michael Savoie csc, Hangman’s Graveyard.
ROBERT BROOKS AWARD FOR DOCUMENTARY CINEMATOGRAPHY
Damir Chytil csc, The Antarctic Challenge: A Global Warning; Matthew R. Phillips csc, A Cruel Wind Blows;
John Minh Tran, Waterlife.
MUSIC VIDEO
Jeremy Benning csc, Jean Grant “You’ll Go Far”; Christophe Collette, Monogrenade “Ce Soir”; Brendan Stacey csc,
Julian Plenti “Game for Days.”
DRAMATIC SHORT CINEMATOGRAPHY
Gregory Bennett, Re-Wire; Nicolas Bolduc csc, Next Floor.
FRITZ SPIESS AWARD FOR COMMERCIAL CINEMATOGRAPHY
Nicolas Bolduc csc, Air Canada “Hong Kong”; Gamal El-Boushi, No More War; Christopher Sargent, RBC “Flame.”
TV DRAMA CINEMATOGRAPHY
David Greene csc, Turn the Beat Around; Rene Ohashi csc, asc, Jesse Stone:Thin Ice; Attila Szalay csc, hsc, Iron Road.
TV SERIES CINEMATOGRAPHY, Sponsored by Technicolor Toronto
David Greene csc, Lost Girl “Episode 7”; Pierre Jodoin csc, The Phantom “Night One”; Davaid Moxness csc,
Fringe “Earthling”; Ousama Rawi csc, bsc, The Tudors “Episode 303”; Glen Winter csc, Smallville “Savior.”
THEATRICAL FEATURE CINEMATOGRAPHY, Sponsored by Deluxe
Bernard Couture csc, Cadavres; David Greene csc, Defendor; Trent Opaloch, District 9.
SPECIAL HONOUREES AT 2010 CSC AWARDS
Bill Hilson Award: Evertz Microsystems, “for outstanding service contributing to the development of
the motion picture industry in Canada.”
President’s Award: David J. Woods, “for outstanding service to the Canadian Society of Cinematographers.”
Kodak New Century Award: Vic Sarin csc, “for outstanding contribution to the art of cinematography.”
Focus Award: James O’Regan for Shooters. The CSC Focus Award acknowledges the work of an individual
or group in producing an exceptional film that is recommended by the jury.
CSC Combat Camera Award: Canadian Army Film & Photo Unit. The CSC Combat Camera Award is a special,
once-only presentation in honour and remembrance of the courageous cameramen of the Second World War.
Canadian Cinematographer - April 2010 •
5
3d WORKSHOP
The CSC
WORKSHOP
By Lance Carlson
doing well by it. So it was a bit of a geeks paradise, to strive for
competence in this new field of dreams and avoid the minefields
as we embark into the new 3D paradigm shift.
The workshop was held at Sheridan’s new Digital Media
Research and Training Centre at Pinewood Toronto Studios,
with an added space next door provided by Pinewood Studios.
Ernie Kestler, the CSC’s education chair, and Dylan MacLeod csc
offered brief introductions. DOP Geoff Boyle FBKS, the featured
presenter, jumped right in and set the tone for the workshop
by stating his own preference for 3D as a new tool to enhance
dramatic storytelling and that he wasn’t here to tell anyone “how
to do it” but to join in an exploration and try things, even if they
aren’t supposed to work, and hopefully arrive at interesting and
enlightening results.
Geoff Boyle FBKS
T
he much-anticipated first-of-its-kind CSC 3D Workshop, held in Toronto from February 5 to 8, began with
a full complement of attendees from Ontario, Quebec,
Manitoba, Saskatchewan, British Columbia, Hong Kong and
Malaysia, as well as support personnel and a huge assortment
of gear. Anyone on the planning committee who was concerned
about selling out the spaces need not have worried, as in the end
there was a waiting list to get in. 3D is, after all, the new HD with
everyone trying to jump on the bandwagon and get to the front
of the leading-edge pack.
Arranging the equipment for the workshop was a logistical and
managerial challenge, not for the lack of cooperation but for
the fact that 3D production has already invaded the workplace
and much of the local gear was out on paying jobs. Those who
are attempting to establish Toronto as a prime location, for 3D
production seem to have correctly anticipated a trend and are
6 • Canadian Cinematographer - April 2010
Boyle, who is well known for his good-natured hyperbole,
described himself as an unapologetic heretic and launched into
his first presentation by expressing his own preferences while
welcoming other views. It was quickly apparent that other views
would be well represented with the attendance of instructor Paul
Taylor, stereographer (Rescue 3D, Kylie Minogue 3D concert
video), observers Phil Streather, 3D producer and consultant, and
Jonathan Barker (executive producer, Bugs! 3D), all well versed in
the development of either large-format or high-profile 3D feature
films. Boyle was not afraid to express his views but also lived up
to his reputation (by those who know him) as a bit of a teddy
bear and by the end of the workshop his fan club and friend base
had grown to include everyone in attendance. Technical issues
aside, there were actually several producers (some contributing,
some questioning and absorbing) present, attempting to get their
heads around how to best use and present stories in 3D.
One of Boyle’s pet peeves is to appeal to stereographers and
cinematographers to make nice and try their best to avoid
creating separate camps. This sounds perfectly reasonable,
but there are stories, including his own experience on the 3D
feature Dark Country, where this became an issue and affected the
outcome of the project. An example of large-format rules that
he felt could be broken involved movement and dust (as in a car
speeding by). He made and proved his case on Dark Country,
which was screened at the AMC Theatres, Yonge and Dundas
Street East using Real D digital projection.
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3D is the new HD with everyone trying to jump on the bandwagon and get to the front of the leading-edge pack.
Clearly one of the challenges for cinematographers is to
first and foremost become knowledgeable and then to exert
themselves as the DOP/department head. Problems can arise when
an experienced stereographer with a high profile or Imax
experience is brought in to advise and may consider himself
not only expert in 3D but a competent DOP in his own right.
The other main challenge for DOPs is to become sufficiently
knowledgeable in the new technology to establish a dialog with
and further help educate producers and directors. Currently there
are few directors and producers with sufficient experience to be
able to make knowledgeable decisions even with technical input,
not to mention the implications of esthetics and delivery. What
Boyle was saying repeatedly is that in drama you should be able
to engage the audience in a 3D environment, not continually hit
them over the head with 3D moments because you can.
Another of Boyle’s mantras is to not make things more
complicated than they are. There are technical challenges,
but ACs and DOPs are smart people and dealing with focus,
aperture and focal lengths is standard procedure and they can
adapt to dealing with interocular and convergence settings
as well. But of course, they are dealing with not one but two
camera/lens systems that have to be perfectly matched and
aligned, not to mention the rather sizable rigs that add to
logistical challenges. While some of his comments on working
with stereographers may appear a bit confrontational, all he was
saying is let’s use some common sense. He has no argument with
large-format stereography, but feels that it’s a different medium.
The one thing he feels they don’t understand is the need for speed
in dramatic production, a reality that drama shooters know all
too well. Hence the importance of shooting tests to determine an
approach and stick with that for production to roll out smoothly
and efficiently. His advice to directors is that it’s better to choose
a good DOP and ask him/her to learn 3D than a mediocre DOP
who knows a lot about 3D. Since this is an era when almost
everyone is still learning, such a statement should offend no one.
So-called 3D moments are achieved by adjusting convergence
points and interocular distances, which impact the effect and
8 • Canadian Cinematographer - April 2010
result in positive and negative parallax, as in whether the subject
in question is in front of or behind the screen. Fortunately these
effects can be observed in tests (and on monitors), so it’s clear
that DOPs and ACs need to shoot tests in pre-production to
demonstrate the effects to the director and to enable them to
explore the priorities of the film and arrive at the best way to get
there. As Boyle indicated, the objectives of the workshop was
not to show people how to do it but to do and see and judge the
result of trying things that may be wrong (and experience what
the audience sees) so that we gained a better understanding of
how to approach a given project.
A small efficiency (if it can be called that), which may help
simplify things for the director and crew, is the fact that
3D (drama) does not require as many shots nor as many
varieties of lenses. Coincident with this is the phenomena that
3D lends well to larger DOF rather than the convention of shallow
focus and out-of-focus backgrounds. As a matter of fact, this
actually detracts from 3D viewing and can be confirmed by the
fact that the biggest film in the world (Avatar), by the biggest
filmmaker (James Cameron) was shot on modified F900s and so
the implications are huge. Film cameras don’t work particularly
well for this and even the 35-mm sized chips as in Red, D-21,
F-35, Genesis et al may be less than ideal. Talk about a paradigm
shift. Little wonder Boyle refers to traditional 3D technicians
as dinosaurs (in a loving way of course) as some insist in
retaining established equipment/practices. Add to this that he
recommend that DOPs light for an environment rather than
shot by shot and our paradigm is quickly becoming a bit of a
cinematic Gordian Knot. Oh yes, zoom lenses (an invention of the
devil), fuggedaboudit; use only if you insist on making your life
hell. Since there are slight variances in most (some say all) prime
lenses, there are more than enough problems in matching them.
On day one, a large prep area enabled ACs to build two rigs each
with Reds while the general presentations were going on and by
the afternoon they were up and running. There was a large screen
3D monitor on which to watch the shots (with glasses of course)
as they were captured. As indicated, there was no plan to try to
make every shot perfect because this would in fact not prove
much. The two rigs were the Tango from 3D Camera Company
and the Element Technica Quasar from David J. Woods, as well
as the smaller ET Neutron rig brought by Boyle and adapted
for Steadicam (with two SI-2K cameras). In subsequent days the
camera rigs were mounted on a crane with remote head.
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An attractive living room set, designed and created by Brian
Verhoog and his crew, offered an appropriate studio-drama
feel to the proceedings with two performers at the disposal of
the crews to walk the walk, but not the talk as that would have
actually been counterproductive here. The event was stage
managed masterfully by production manager Sarah Moffat and
her team of PAs who even maintained a ‘green practice’ approach
with well-organized refuse collection and recyclable plates,
cutlery etc. to mention only a few.
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Day four, when all the camera and rigs had been wrapped out of
the studio, screening sessions were scheduled at Creative Post in
two sessions, one for ACs and one for DOPs. This session was
hosted by Creative Post president Ken McNeil, Jim Hardie and
editor Andrew Exworth. Data from the tests was processed and
cleaned up sufficiently to enable a review of the good, the bad and
the ugly, and to see first hand some of the eye-brain/mind-bends
that viewers can experience and served as intended to make a
better prepared group of 3D image-capture artists.
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That evening Dark Country, the 3D film noir thriller shot by
Geoff Boyle in New Mexico released last year, was screened at one
of the new AMC theatres on Dundas Square. Boyle conducted a
Q&A session and explained among other things the challenges
and restrictions in dealing with the fact that car interior green
screen work was shot on Reds, while the night exteriors were
shot on SI-2K. He felt that the look of the film would have been
better served if he were able to stick with the SIs. The evening was
capped by a short walk to the historic Library Lounge above the
Imperial Pub on Dundas Street East where new and old friends
mingled, networked, planned and toasted their roles in the new
3D era.
The CSC would like to thank the following for making the 3D
workshop possible: Instructors & Presenters: Geoff Boyle FBKS,
Chris Chung, Brian Gedge, Marcel Janisse, Sebastien Laffoux,
Ken McNeil, Jeff Packer, Demetri Portelli, Brent Robinson,
James Stewart and Paul Taylor. Crew & Support: Mark Bone,
Jason Campbell, Luke Gallo, Ben Gervais, Morning Glory,
Jim Hardie, John Helliker, Joan Hutton csc, Matt Kennedy,
Sydney Kondruss, Ian McLaren, Bob McAdam, Jack Mosor, Steve
Purvis, Michael Rintoul, Alex Sikorsky, Brian Verhoog, Jason
Vieira, Brian White and Kennedy Zielke. Supporting Companies:
3D Camera Company, AMC Theatres, Creative Post, David J.
Woods, Element Technica, Pinewood Toronto Studios, Precision
Camera, PS Production Services, Sim Video, Sheridan College,
Sony Canada, Sony Pictures, Tango, Videoscope and William F.
White. And last but not least, the CSC 3D Committee: Jeremy
Benning csc, Ray Dumas csc, Ernie Kestler, Dylan Macleod csc,
Sarah Moffat, D. Gregor Hagey csc and CSC executive director
Susan Saranchuk.
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Canadian Cinematographer - April 2010 •
9
The Inaugural CSC Focus Award Goes to
James O’Regan, Writer, Producer and Director of
Shooters
By Don Angus
The Focus Award was followed by the CSC Combat Camera
Award, a special presentation in honour and remembrance of
the courageous cameramen of the Second World War. The
Combat Camera Award was accepted by Charles (Chuck) Ross of
Edmonton, one of the last six surviving members of the CFPU
1941-1946. He was escorted by two current members of
Canadian Forces Combat Camera based in Gatineau, Que.,
Sergeant Bruno Turcotte and Warrant Officer Carole Morissette.
A copy of the award will be displayed at the Defence Public Affairs
Learning Centre in Gatineau.
Ross got to take the original plaque home, on behalf of all his
comrades in the CFPU. He was a driver for the CFPU in early
1940, and picked up some good tips on photography from his
passengers, especially George Cooper of Ottawa, who had an
extra camera, which he taught Ross how to use. Many of the other
drivers were trained this way.
Ross was stationed in France, Belgium, Holland, Germany, and in
Czechoslovakia. He was also on hand to capture footage of Kurt
Meyer, a German Officer accused of murdering Canadian soldiers
during the war. Meyer was the first war criminal sentenced to
death by a Canadian court.
Sgt. Robert Sleigh of the Canadian Army Film and Photo Unit.
A
new CSC award made its debut at the CSC Awards gala
on March 27. The Focus Award acknowledges the work
of an individual or group in producing an exceptional film
that is recommended by the awards jury.
The award is tangible recognition of James O’Regan’s efforts
to preserve the visual reality of those intrepid cameramen of
the Canadian Army Film and Photo Unit, who captured the
heroic contribution of Canadian soldiers in the Second World
War. Their story is told in the 49-minute documentary Shooters,
which O’Regan wrote, produced and directed.
10 • Canadian Cinematographer - April 2009
After the war, Ross continued in photography. He worked for
the Alberta Film and Photo Unit and was instrumental in the
support of provincial film producers to establish the Alberta Film
Industry Association. He is the recipient of several awards; the
1975 Distinguished Service Award, the Queens Silver Jubilee
Award, the Alberta Feature Film Award, the Information Film
Production Award, and a Canadian Film Award in 1 973 for Best
Sports Film.
Shooters tells a remarkable, compelling story that we’ve only seen
or heard before in various bits and pieces. The documentary is
the full, start-to-finish story of the amazing Second World War
adventures and world-beating accomplishments of the CFPU.
The unit, established in 1941 with only four members, grew
to 59 cameramen by the time it was disbanded in 1946. Unit
members were the first in scooping the world on the major events
Members of the original Canadian Army Film and Photo Unit pose for the camera during the Second World War.
in Europe: the invasion of Sicily; the D-Day invasion; the
liberation of Paris; the Elbe River linkup of the Allied armies;
the first feature documentary shot while under fire; and the only
footage shot of action leading to a Victoria Cross.
O’Regan, also the film’s narrator, has dedicated the work to his
late father, Brian O’Regan (1924-1999), a dispatch rider and
Jeep driver for the unit who went ashore with his motorcycle at
Normandy in 1944.
Shooters features intriguing interviews (shot in March of 2001)
with four men who helped capture the war on film: Charles (Bud)
Roos, the first Allied cameraman ashore on D-Day; Al Calder,
who parachuted over the Rhine; Lew Weekes, who shot the
liberation of Paris; and Michael Spencer, the unit’s first editor and
one of the original four members, who later helped found the
Canadian Film Development Corp. (Telefilm Canada).
Calder and Weekes, who have since died, both talked about their
intensive camera training at Pinewood Studios in London and
the admonition they received to “always use a tripod,” despite
the daunting weight of the old metal and wooden contraptions.
Weekes said the Canadians persevered because “the tripod stuff
took preference” over hand-held footage back in London.
The interviews are interspersed with archival CFPU footage,
much of it displaying dramatically the line-of-fire risks these
courageous cameramen, armed with their Eyemos, took. They
often were allowed to get ahead of advancing Canadian troops,
and one film unit actually “liberated” Dieppe in France, driving
in first mere hours after the Germans had retreated.
Brian O’Regan was a member of that unit. Earlier, at Normandy,
he had found a film can on the beach marked “Grant No. 1,”
and the contents turned out to be the iconic footage by Bill
Grant of Canadians landing at Bernieres-sur-mer, the first
images of D-Day the world saw. Later, Brian was the subject of a
world scoop photo at the Elbe River linkup between the U.S. and
Soviet armies.
Shooters recounts that several cameramen died in action and many
more were wounded in various campaigns. One was filming from
a reconnaissance plane when he was shot by a German fighter.
The camera keeps running as it falls to the floor of the cockpit.
The documentary also reveals that CFPU production from 194146 totalled 75,000 still photos and 1.5 million feet of motion
picture film.
Shooters may be ordered at www.customflix.com/206927.
Canadian Cinematographer - April 2009 •
11
H H H H H H H H H H H
Facing Ali
An Up-Close-and-Personal Documentary
about Those Who Fought “The Greatest”
H H H H H H H H H By Ian Kerr csc H H H H H H H H H
12 • Canadian Cinematographer - April 2010
M
oments ago this man was smiling and joking with me.
Now he’s a monster. Larry Holmes snaps out his famous
left jab – the same scarred, meaty fist that defeated
Muhammad Ali in 1980. I grip the camera tighter, flinching
when he grazes my hand.
It’s embarrassing, but my first thought when approached to shoot
the feature documentary Facing Ali was: “Really? Muhammad
Ali? Again?” I had seen Ali (2001) the dramatic feature starring
Will Smith and the stunning documentary When We Were Kings
(1996). Wasn’t Ali’s story well told? Was it just going over old
ground? I was lucky enough to be sitting in Derik Murray’s office
in Vancouver, so I kept quiet, nodded at what I hoped were the
right times, and at the end of the meeting had the job as DOP.
HHH Prep
The next meeting I had with Murray, and I walked into the
middle of an intense discussion. A Very Excited Man was crouched
in his chair, fists up, describing a fight. Suddenly, he hurled his
hand into the air declaring the end of another Ali battle. He spat
out dates, names, cities – statistics tumbling over each other.
He was about 40, good looking and seemly a bit unhinged. I
was nervous. Another producer? An über-researcher? Ali’s man?
“Meet Pete McCormack, our director,” said Murray.
It was McCormack’s intense passion for this film, his need to
keep up the pressure, pushing it forward – I can still see him
containing it in his hands like a ball of plasma – that inspired us.
He corrected the boxers on their own stories. He knew the dates,
times and stats better than they remembered their own lives. He
really loved these guys and wanted the film to respect and honour
what they had experienced.
Sitting in the desk across from McCormanck was Murray,
formerly a star stills photographer and commercial director and
now a producer with a number of blue-chip sports documentaries
behind him. Facing Ali was his new feature and, together with
executive producer Paul Gertz, he had pulled together the team
and financing and most impressively, the backing of Ali himself. Murray is also fluent in DOP-speak, and I love a producer
who can articulate why he hates hair-lights. He knows what he
likes and it could be boiled down to this: “Thin depth of field, a
subject in a pool of soft light, moody backgrounds.” With this
directive, I launched out of that first production meeting in
search of a lightweight camera and lighting package that would
shoot 10 interviews over the eight months in three countries.
The first requirement was a cine-style camera. These men were
warriors and survivors. By isolating the focus to thin slices of
their faces, we could show the stories behind the scars that boxing
and life had left on them. This look is difficult to achieve with
standard 2/3-inch chip documentary cameras. It’s a high-end
“film-look” better suited to a larger film gate or chip size.
The interviews were expected to last at least two hours each, and
ideally we would be shooting with multiple cameras. Film was
out due to the budget. We were looking for a big chip. The Red
camera was waiting in the wings and Murray had already shown
a strong interest in the camera. I had been tracking its development and managed to get my hands on a new camera body with
the help of DOP/owner Vince Arvidson. It wasn’t the camera of
today – firmware build 17 hadn’t even been released – and audio
recording was a novelty when we started testing.
HHH The Contender
The Red punched well against the lightweight 2/3-inch sensor
cameras and held it’s own against a Sony F23 but I wanted to
compare against a heavyweight – the premium full-sensor cine
camera of 2008. When I attempted to arrange a match against
the champ, the rental house denied us the opportunity with a
vague dismissal of the Red as not being worthy of a comparative
test. This was a strange, unprecedented situation for me. Tests in
prep are how cinematographers improve their craft and advise
production. Was our camera a bum or a contender? Was Don
King involved?
While disappointing and unusual, this situation essentially
answered our questions about the comparison and we moved
forward with our challenger the Red. Under a low ceiling and
between bottled-lined walls in the basement of the Astoria Hotel
is a gritty boxing club. Here we set up the Red and the first shots
of Facing Ali as part of complete systems test. More than a camera
test, this was a dry run for our shoot and a test of our lighting,
sound, camera and on-set work flow in the same environment we
would encounter during the rest of the film.
Following the shoot, post-supervisor Todd Giroux and
Vancouver’s Digital Film Central pushed the footage through a
custom designed post pipeline. When we saw the results projected in 2K, we were sold. After some deep thought and somewhat
of a gamble on Murray’s part, the Red became our camera, or
rather cameras. With the reduced cost of the rental we could take
three camera bodies instead of the single heavyweight camera.
HHH The Camera
I’ve described the Red in colourful terms on occasion, but my best
analogy is that it is like working with a supermodel. She arrives
on set and is gorgeous; everything looks beautiful in her presence.
Producers, DOPs and directors are charmed. Sure, she needs some
time to come out of the trailer (60 seconds to turn the camera
on), but everything looks so good you work around her quirks.
Then one day she goes on a bender. She doesn’t show up. You find
her huddled in a corner, kicking, screaming and foaming at the
mouth. You’re shocked. Once you’ve seen it a few times you calm
down and work through things with her and everything is okay. It
usually involves a cold restart and a call to Red support.
Admittedly, the analogy falls apart, but even with her quirks and
growing pains, the Red gave us a beautiful look we could not
have achieved on this documentary budget. It’s also fun to feel
Canadian Cinematographer - April 2010 •
13
like you’re on the edge a bit. Occasionally scary (three cameras
collapsed simultaneously in Texas), but we never lost a shot.
Red and Vancouver’s Inspired Cinema strongly supported us
throughout the shoot, and the reassuring noises coming from
James Tocher and Curtis Staples at Digital Film Central allowed
me to sleep well on the road. One man who didn’t sleep well was
our lone assistant cameraman and digital intermediary technician,
Aaron Haelser. Between managing the gear, downloading and
verifying the drive and AC-ing, he had less shut-eye than anyone.
Haelser has been seduced by the dark side and often got sucked
into the television-series world for months, but he was my first
call after landing the job and I was lucky that he accepted. He’s
20-something, as nice as they come, drives a cooler car than I,
and also operated the A-camera during the interviews. He’s also a
fanatical drummer and McCormack wanted to adopt him.
During camera prep, a shipment of brand-spanking new S4
lenses arrived directly from the Cooke Factory via Fed Ex into
the slightly nervous hands of Haelser. They even smelled new.
We shot the interviews primarily with the 85 mm, 100 mm
and 135 mm, and occasionally a 16 mm or 25 mm on the
C-camera mounted on a sandbag or clamped into a lollipop.
Almost everything in the show was eye-focused at T2.
Our “lightweight” package worked out to 21 cases of gear
including a survival light and grip kit, portable jib arm,
computers, backups, nine lenses and all the comforts of a studio
shoot but without the studio crew. Haelser proved not only to
be a great AC but also a solid freight manger and (other than the
Line Producer Marcelle Pavan) the only one who could manage
TomTom, the GPS.
Line Producers don’t often get mentioned in DP reports but most
don’t travel the world charming grumpy boxers and tired crew while
managing to stickhandle foreign customs and immigration, book
bodies and locations from the drivers seat of a rental car and still
maintain a beatific composure. Pavan was our big sister on the road,
and I’m sure her master’s degree in psychology came in handy.
HHH The Shoot
Following our prep and a test shoot at a boxing club in
Vancouver, our crew of five hopped a plane for the U.K. Landing
in London with a thump and impressive carbon footprint, we
set off to the London Country Club for our first interviewee –
Sir Henry Cooper, British and Commonwealth heavyweight
champion in 1970.
We began each interview setup by framing a frontal shot with the
A-camera. The B-camera would be positioned to capture a profile
shot and was mounted on a jib arm atop a wheeled spreader to
allow for subtle movement and the ability to quietly reframe during questions. The B-camera’s lens was either a 100 mm or 135
mm and the shot could be described as a “screamer”– very tight.
Knowing that the A-camera always had the meat of the inter-
14 • Canadian Cinematographer - April 2010
view freed B-camera to make gravy. I floated about looking for
the little moments that I loved to catch – the sideways glance
from Joe Frazier or the slow exhale from George Chuvalo. This is
the real benefit of the second camera. Liberated from the fear of
missing a crucial line, the B-camera can go looking for gold and it
gave McCormack and Jesse Miller (the film’s editor) another layer
to work with in the cut.
To see this footage used in the film is a joy for me. Listening
and feeling the speakers’ cadence and rhythm is crucial or you
screw up the shot. But when I nailed the timing, framing and
focus (about two-inch thick), I wanted to break out into song
in the middle of the interview. Another benefit to working with
the long lenses and thin depth of field was that the inevitable
dull, compromised background on B-camera could be dressed
up with sliced cardboard, spare furniture or even light stands.
Out of focus with a bit of sidelight, these items became a soft,
impressionistic canvas behind the boxer.
HHH The Lighting
The face lighting for the show was a Medium Chimera attached
to a Barger Baglight with CTB (the Red has a native “daylight”
sensor) and no fill. This was the same for almost every interview.
The Chimera was set very close to the subject and gave a beautiful
wrap and fall-off. Even moving the lamp two or three feet further
away negated this effect and the lamp’s position was very specific.
We took five minutes to light the face, but then we spent hours
set decorating and lighting the backgrounds. McCormack would
often glare in mock exasperation as Murray and I gazed into the
monitor contemplating the position of a minute puff in the deep
background. A fear of mine throughout the project was that
the number of talking heads would be difficult to keep visually
interesting. During the shoot, we created a gallery of frame grabs
from each interview and referred to them as we selected and
setup each new interview location. By alternating the eye line and
creating a unique background for each boxer, we hoped to give
each interview a “look” that would help the audience keep the
stories and characters in order. I used a light warm, cool or
magenta gel on the key light so that I could push the parts or all
of the backgrounds cool, warm or green respectively in colour
correction. This, along with Murray’s art direction, helped to set
a unique visual signature for each boxer.
Suddenly, in walks Sir Henry Cooper and we’re on. And
he’s great. We reset to shoot a quick B-roll sequence after the
interview. In classic documentary fashion, Cooper drops some
of his best lines on us while we shoot the bits. Thank God for
quick-witted sound guys. We got the line about his grandmother
brawling in the streets of London. And then we’re off.
HHH Travel
Guided by the TomTom across the U.K. to Liverpool, we meet
Ernie Shavers. I had no idea who this massive, shy man was but
HHH George Chuvalo HHH
HHH George Foreman HHH
HHH Joe Frazier HHH
Canadian Cinematographer - April 2010 •
15
Facing Ali: Ron Lyle punching Ian Kerr csc. Images courtesy of the filmmakers.
when I later watched the tapes of his fights I couldn’t believe the
punishment he inflicted during his career. (Ali credited Shavers
as the hardest puncher he had ever faced.) “I wasn’t a boxer, but
I was a good puncher,” he said with a huge grin. Shavers was
generous with his time, and we filmed several sequences with him
around Liverpool before ending in the community gym where he
helped coach. We were soon on the plane back home, but not for
long, as we had a date with Ron Lyle in Denver.
Lyle was a killer. Literally. He learned to fight in prison while
serving seven-and-a-half years for second-degree murder. Meeting
him was a bit like meeting Lou Gossett Jr. He was a guy who still
made a mustache look dangerous and downright murderous in the
1970s. I hope he never reads the line about his mustache. He was
polite and happy to see us until the interview started. Fittingly, he
was positioned in the middle of a boxing ring. Suddenly belligerent
and arrogant, the years dropped away. He would often answer a
question with a question or just a glare – probing McCormack for
weak spots. There were a few tense moments when we all thought
he might throw a punch. It was magic on camera, and Lyle later
became one of the keystones of the documentary.
The pattern became familiar. Fly into a city the day before the
interview, rapidly scout for a location with the assistance of an
online locations library or Google Earth, lock down the location,
and send a list of additional lighting and grip that evening to the
local crew. On shoot day we’d arrive at the location several hours
early, pre-light and art direct until the last minute, and then roll
hours of interview with our boxer. Following the interview we’d
jump in the ring with the boxer, and they’d shadow box into
the lens while McCormack would tease out old memories from
famous fights. It was a great mix of rough, hand-held, run-andgun and carefully setup interviews. We had a lot of fun.
16 • Canadian Cinematographer - April 2010
Larry Holmes’s interview was hilarious and although many of
his raunchier stories never made it into the film, his honesty and
hospitality was impressive. We did find a limit however.
Following the interview, Holmes hopped into his luxury sedan
with a couple friends and invited us to join him for a drink
at a nearby Holiday Inn. Struggling to keep up with him, we
screamed into the parking lot, jumped out, camera rolling, only
to be stopped at the door by his burly companions. “No cameras.
Have a drink….” Behind his bodyguard the huge former world
heavyweight champion was on a tiny dance floor surrounded by
40-year-old white women. All of them line dancing to country
music. And we weren’t allowed to film it.
We went on to interview Joe Frazier, who choked up with
emotion talking about Ali, Ernie Terrell, who sang for us, and
George Chuvalo, who broke our hearts with the story of loosing
three members of his family. Our last interview was with George
Foreman at his church’s gym in Austin Texas where we hung a
massive Texan flag behind him. Forman was the shortest interview
but every word was gold. He was a master, performing in front of
the camera. I went out and bought one of his grills afterwards.
It’s tough to walk away from a project after shooting it. So often
the results are disappointing when one sees the final cut.
McCormack disappeared for months into editing with Miller and
came out with magic. Colorist Andrea Chelebak put on a final
finish after the Digital Film Group added the archive footage and
then conformed and output the film to a print. The film has been
well received – it was named Best Documentary at the 2009
Vancouver Film Festival and was short listed for an Academy
Award for best documentary. It seems there was room for at least
one more film about the great Muhammed Ali, and I’m very
happy to be part of the team that brought it to the screen.
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Canadian Cinematographer is a glossy
magazine devoted to the art and the
craft of cinematography. It is published
10 times a year by the Canadian Society
of Cinematographers (CSC), a nonprofit
organization established in 1957.
Canadian Cinematographer covers the
full spectrum of cinematography - film,
television, HD and digital-production
techniques. Each issue contains feature
articles, interviews, industry news and
latest equipment updates.
The Haitian Earthquake of 2010
I
t was a little after 6:00 p.m. on January 12 when my
mother came running into our Belleville kitchen to tell us that
a 7.0 magnitude earthquake had just hit Haiti. My wife took a
concerned look at me as she ran into the bedroom to filter more
information. I slowly poked at my spaghetti dinner, knowing
my world was about to change. “It happened near the capital,”
Rhonda said with a knowing look. I’d been to Port-au-Prince 15
years earlier and knew it was an overcrowded capital city of two
million. It was very poor and very desperate. I knew right then and
there I would be leaving for Haiti. Within two hours, I had driven
to my office in Toronto and finalized my preparation to go.
I had been waiting since September of 2009 to fly to a
natural disaster site that would initiate the International
Federation of the Red Cross (IFRC) to mobilize its FACT team
(First Assessment and Co-ordination Team). Little did I
know that this would turn out to be the biggest volunteer
mobilization of the Red Cross in a single country in its entire
history. I was hired early in the production to DOP this unique
documentary, directed and co-produced by Nadine Pequeneza
and executive produced by Andrea Nemtin and Ian Dunbar of
PTV, to be initially broadcast on TVO. The three-hour documentary is entitled Inside Disaster. We had unprecedented
permission to embed ourselves with the IFRC and stay close to the
Canadian Red Cross. We planned to follow this organization
and chronicle how it operates in some of the most difficult and
horrendous situations.
There were six of us who travelled to Haiti. The A-team was myself, Pequeneza, sound technician Paul Adlaf and web producer
Nico Jolliett, and we were the first team to travel to Haiti. The
B-team was DOP Stephan Randstrom and sound technician
Simon Paine, who were the second to follow. I had my bags
packed and camera equipment documented and at the ready to
go for four months. I argued at our early meetings to use the
Sony XD-700 camera with the 24p card. I had shot a CBC
Nature of Things documentary in northern B.C. a few years ago
chronicling great forest fires. The older XD 530 was the perfect
choice in an environment of airborne contaminates. The 2/3-inch
chip 700 XD camera (Mpeg 422) with the 24p card and 1080p
resolution and the ability to quickly thumbnail a scene was the
perfect choice for documenting a disaster. I had no idea of how
right I was until I was in Haiti.
18 • Canadian Cinematographer - April 2010
By Tony Wannamaker csc
I took my initial allotment of 30 doubled-sided XD discs (PFD50), which allowed me to bang for 95 minutes at the highest
resolution. Not knowing what infrastructure I would have to
deal with, I took the following camera equipment: 12 charged
batteries; four chargers; gel cell; car battery charger; one new
Honda generator (no fuel); one Cartoni tripod with carbon
fibre legs; soft case and hard case for transport; rain cover; two
lenses (4.5 wide and 7.8 long); polarizer filter; matt box; easy
rig; lens-cleaning cloth, papers, liquid and brush; and software and cables to output and screen rushes on Pequeneza’s
laptop. We figured we’d needed to prepare for the worst for a
duration of three days, maybe five days if it was really bad. We
didn’t know we would be in survival mode and shooting the
documentary for 15 days.
In addition to the detailed preparation and multiple purposed
use of our equipment, we had to prepare ourselves for the
camping trip of a lifetime. We carried the requisite camping
supplies and then some. We left with our mosquito nets,
leatherman tools, small diesel cook stove, flashlights, bedrolls,
toilet paper, first aid kits, personal hypodermic needles and a
lifetime of inoculations and MRE (meals ready to eat) rations
to cover the first week. The MREs saved our hides, but I’m
tired of eating them cold. My wife had picked them up at a local
military supply store in Kingston, Ontario. Upon my return,
friends inquired why was it that we needed food and
bottled water when we were embedded with the Red
Cross. The deal was that we needed to be able to look
after ourselves and not become a liability for the Red Cross
as they planned to save tens of thousands of Haitian lives.
Furthermore, the numbers of delegates arriving with no
provisions quickly overwhelmed the Red Cross. This statement
might shed some light as to the difficulty operating in Haiti in
the first days, post-earthquake. By January 18, when we had to
move to the new base camp at an abandoned warehouse and
set up in the open aired square, there were two portable toilets
shared by 200 people.
Haiti, as most people are aware, is the poorest country in the
Western Hemisphere. Prior to the earthquake, the infrastructure of Port-au-Prince was spotty at best. I was there 15 years
ago shooting a cultural documentary at the time when President
Clinton was visiting President Aristide. Back then, I saw how
poor its citizens were and knew how violent the place could be.
It was a desperate place with good people who needed a
break. Haiti, the first independent black state in the Western
Hemisphere, has been persecuted from the day it declared independence from the France in 1804. Haitians have had to live under the
kleptocracy governments of Papa Doc Duvalier and his son Baby
Doc for 29 years and then try and deal with the foreign meddling
during Aristide’s administration. Add to this background, a 7.0
magnitude quake in the city centre was incomprehensible to me.
We landed in Santo Domingo, the capital of the Dominican
Republic, which shares the island of Hispaniola with Haiti, in
the evening and planned to depart overland by bus at 4:00 a.m.
It was a 10-hour ride to reach Port-au-Prince. When we arrived
at the Dominican/Haitian border, I thought I had arrived on set
at a George Lucas Star Wars taping. It was madness! In one spot
on an arid plain stood a 20-metre fence and gate that controlled
who gets in and who gets out. Haitians were pleading for passage.
Some fellas would run past the armed guards into the Dominican
with a 50-50 chance of being shot. We rolled on in all of this
confusion. It would be the tenor of the shoot. I knew from my
many years of shooting documentaries that it was important to
move quickly into the most effective positions to record these
fleeting moments of the human condition. I needed to move
precisely and quickly and then to dial down the noise and select
movements that would provide compelling documentation. My
audio partner and I clicked. We would become a great team, and
it was evident from day one. We were the right guys and the
perfect team to bang this chaos into a film.
By the January 14, we were set-up briefly at the Canadian Red
Cross in Peitonville before moving near the seaport to the dusty
and ridiculously hot environment of the abandoned warehouse.
On the 14th we visited our first triage centre. Coming into Portau-Prince, we witnessed the first scattered convoys of bloated
bodies somewhat covered in the back of pickups leaving the city.
We learned quickly to put on charcoal masks, and I always had
a scarf ready to cover my nose. At the triage centre, which was
ostensibly a heavy-equipment depot, badly wounded Haitians,
victims of building collapses and falling debris, were brought
for medical help. At this point, early in the rescue and relief
efforts, there were sparse-to-no medical supplies for the injured.
One overwhelmed doctor assessed the wounded and enlisted
volunteers to care for them.
As the days progressed post-earthquake, we experienced many
horrors and much hope. We witnessed the aftermath execution
style of Haitian police shooting looters. Looters lay in the streets,
some with their hands tied behind their backs and shot in the
head. Others, whether they are looters or casualties of the quake,
lay in the street burning; some lay there burning as protest; some
lay there burning as notice; some lay there burning as protection
from disease. In the 17 days I spent in Haiti, I only experienced
two days that I didn’t see a corpse. Sadly, Adlaf and I learned too
well the smell of decay and could lead you to a corpse faster than
a Toronto canine unit.
In all this pain, agony and fleeting hope, we documented the
Canadian Cinematographer - April 2010 •
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– Tony Wannamarker csc
20• Canadian Cinematographer - April 2010
FACT team and aggregate infusion of Red Cross delegates from
around the world build, as a regiment of soldiers became a
division of men and women. We documented the hardships
the relief workers endured to get food and supplies to people
in need. We witnessed the life saving efforts of the international
community. I documented the dying of many people when I
first arrived. That changed to amputations – the saving of the
person to the saving of limbs. One young girl, we documented in
surgery, will have the use of both of her legs. The risk the Red
Cross delegates took in the form of disease and personal harm;
the security measures they endured to operate were chronicled.
I shot this film from an up-close-and-personal account rather
than on a long lens and from across the street. Paul, Nadine and
I went into the story. We talked to the injured and we talked to
the caregivers. We documented the rescue of people from collapsed buildings, the relief of water, food and shelter and we plan
to return in a timely fashion and record the final phase of a Red
Cross commitment, the reconstruction. How long will it take to
fix Haiti? Who knows. I read all the trade magazines today to get
another perspective on the situation, to get more objectivity.
I still don’t know. But I will say that Haitians will need the world’s
support for a long time and they will need a stable government
for a long time. My hope is that when the great Kino eye of the
world turns to another disaster, people won’t forget the
reconstruction of Haiti. They need help and the pain won’t go
away as fast as the media.
Equipment Wanted
Used Leica Geo System Disto Laser Measurement Devices Attention crew
technicians interested in selling used Leica Disto Laser Measurement devices
for cash to upgrade to newer models, please contact Alan J. Crimi, Panavision
Canada Corp., cell 416-577-3058; shipping, receiving and client services 416-4447000; email: [email protected]; www.panavision.com.
Short-Term Accommodation for Rent
Visiting Vancouver for a shoot? One-bedroom condo in Kitsilano on English
Bay with secure underground parking. $350 per week. Contact: Peter Benison,
604-730-0860, 416-698-4482 or [email protected].
Equipment for Sale
Sony Beta SP DXC-D30WSP/PVV3P, PAL, 262hrs drum time, $ 2,500; Sony
Beta SP DXC-D30WS/PVV3, NTSC, 251hrs drum time, $2,500; Sony BetaCam SX
DNW-7, NTSC, 257hrs drum time, $5,000; and IKEGAMI DV-CAM HL-DV7-AW,
NTSC, mint condition, as new, 61hrs drum time, $7,000. All cameras w/portabrace covers. All owned by me and serviced by Sony Hong Kong. Sony Beta SP/
SX player/recorders, DNW-A25P X2, PAL & NTSC, 500 & 644hrs drum time, $
6,000; Satchler 575 HMI, open-face, mint condition w/spare bulb, $ 2,500 & case.
The lot for $20,000. Contact François Bisson, [email protected].
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 replacement on equipment and ditty bags. Lori Longstaff: 416-452-9247;
[email protected].
NEW PRICE – 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. $8,000, plus taxes. Contact: Michael Ellis: 416-2336378.
Panasonic P2 HPX-3700 Varican HD camera & Panasonic HDX 900 DVC camera
with Fuijinon HD long-wide lenses. Full support gear. Panasonic 17-inch monitor,
O’Connor tripod, sound equipment. Triangle Jib 30 feet with hot head. Porta-Jib,
doorway dolly & track, full lighting and grip package. Contact: Michel Bisson csc
at 416-346-3912; [email protected].
Betacam SP Camera package. BVP550 Betacam SP camera with BVV5
recorder, complete with Fuijinon 15x8 broadcast zoom lens, “Red Eye” wideangle 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.
Oxberry Computer Controlled Animation Stand. This stand is in excellent
working condition. Our animation studio is closing, and we are in the process of
selling our equipment. The stand is computer controlled by the famous Kuyper
Control software driving stepper motors connected to different axis of the stand.
Here is a list of what is driven: camera zoom in and out; table – north-south axis,
east-west axis; rotation, 2 pegs (top and bottom); camera – focus, take-up drive
for mag and shutter. The camera comes with interchangeable gates and can be
use for16 mm, super 16 or 35 mm. This kit comes also with 400ft –16-mm mag,
400ft – 35-mm mag, 1,000ft – 35-mm mag and 400ft bi-pack mag. The sidelights
are 650 watts Red Heads with polarised filters. The lights are suspended on
Manfrotto Pole Cats. The table’s backlight is connected to a rheostat with a solar
electric current regulator. This is a great stand for any independent filmmaker
or small effect animation company. Sorry we cannot ship this item. It has to be
picked up. Item is located close to Montreal. Price: $ 4,800.00. Contact: Erik, Tel:
514-637-5077, Email: [email protected].
Panasonic HPX500 (Canadian model with Canadian warranty) with the latest
up dates. Low hours. Perfect condition. 2/3 CCD 1080/720 HD camera with 4 P2
card slots. Comes with Anton mount, all factory accessories (most have never
been opened) & original box. Only camera body and EVF for sale – not lens, base
plate or batteries. Photos available. 604-726-5646; [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: 416-693-9776.
For Sale
16 – 35 mm Film Equipment for sale: Our animation studio is closing, and we
are in the process of selling our equipment, here is a short list of items we have
for sales: Densitometer McBeth Td903 for calculation of film density $300, Split
reel (16 and 35 mm ) various sizes, Moviola Rewinds, 35mm Film synchroniser,
Scan-0-scope converter lens system - Scope lens to “squeeze” and “unsqueeze”
anamorphic $3500, Tilt Plate for heavy cameras $800, and more. Contact: Erik for
complete listing, Tel: 514-637-5077, Email: [email protected].
The Essential Guide to Canadian Film by Wyndham Wise . First published
in 2001, this second edition of The Essential Guide to Canadian Film is now
1,500 entries, completely revised and updated, including 650 biographical
notes with filmographies and 850 film reviews, with credits, of award-winning
Canadian films. Also included are a complete list of winners at the Canadian
Film Awards, Genies, Oscars, TIFF and Cannes, and a detailed chronology of
Canadian film and television history. The Essential Guide to Canadian Film is
an individually numbered, unique publication of encyclopedic proportions ; a
handsome reference text for film and television professionals, students and fans
of Canadian film. Hardcover, 374 pages. $80.00 plus shipping via Canada Post
Express. To order, email [email protected].
Sony BVW-400a Betacam SP Camcorder Camera used by professional
cinematographer (one owner), never rented out. Comes complete with Fujinon
A15x8BEVM-28 lens, Petroff matte box with 4x4 and 4x5.6 filter holders, remote
zoom and focus control for lens, 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
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 editor@
csc.ca.
Canadian Cinematographer - April 2010 •
21
Classifieds
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CSC Members
CSC FULL MEMBERS
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22 • Canadian Cinematographer - April 2010
Harald K. Ortenburger csc
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Daniel Vincelette csc
Michael Wale csc
John Walker csc
James Wallace csc
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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
Kevin C.W. Wong csc
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Craig Wrobleski csc
Yuri Yakubiw csc
Ellie Yonova csc
CSC ASSOCIATE
MEMBERS
Joshua Allen
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indicates demo reel online,
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Canadian Cinematographer - April 2010 •
23
Production Notes
Connor Undercover (feature);
Yuri Yakubiw csc; OP J.P. Locherer csc;
to April 19, Mississauga, ON
Degrassi: The Next Generation X (series);
DOP Alwyn Kumst csc; OP Brad Vos;
To November 4, Toronto
Flashpoint III (series);
DOP Stephen Reizes csc; OP Tony Guerin; to May 28,
Toronto
Gerry Boulet (feature);
DOP Yves Bélanger csc; to May 15, Montreal
John A: The Rivals (television movie):
DOP Michael Storey csc; to May 9, Toronto
The Kennedys (miniseries);
DOP David Moxness csc; to September 24, Toronto
Lance et compte: Le Film (feature);
DOP Bernard Couture csc; to April 30, Montreal
Lost Girl (series);
DOP David Greene csc; OP Gilles Cobeil;
to June 25, Toronto
Shattered (series);
DOP David Frazee csc; OP Mark Chow; to April 23,
Vancouver
She’s the Mayor (series);
DOP Arthur Cooper csc; OP Rod Crombie; to May 31,
Toronto
Smallville IX (series);
DOP Glen Winter csc (odd); Barry Donlevy (even); OP
Brian Whittred csc (odd); Neil Seale (even); to April 13,
Burnaby, BC
Tout la vérité (series);
DOP Marc Charlebois csc; to June 9, Montreal
Upside Down (feature);
DOP Pierre Gill csc; to June 1, Montreal
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 advertising 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].
Warehouse 13 II (series);
DOP Mike McMurray csc; OP David Towers;
to August 5, Toronto
Calendar of Events
April
1–10, Images Festival of Independent Film & Video,
Toronto, imagesfestival.com
7–11, Reel World Film Festival, Toronto,
reelworld.ca
29– May 9, Hot Docs, Toronto, hotdocs.ca
May 5–6, Toronto Documentary Forum, hotdocs.ca
24 • Canadian Cinematographer - April 2010
The Kodak
Totem Award
Designed to emulate the
artistic combination of the art
and science of cinematography,
the Kodak Totem Award
is presented annually to each of
the Genie nominees in the
‘Achievement
'Achievement in
in Cinematography’
Cinematography'
category.
This award symbolizes the ongoing
dedication and commitment
to excellence that the nominees
bring to their craft.
Kodak is a proud sponsor
of the Genie Awards.
Congratulations to the 30th annual Genie Award nominees for
Achievement in Cinematography.
Jonathan Freeman
Ronald Plante csc
Allen Smith
Steve Cosens csc
Pierre Gill csc
Fifty Dead Men
Walking
Grande ourse:
La clé des possibles
The Master Key
Les doigts croche
Sticky Fingers
NURSE.FIGHTER.
BOY
Polytechnique