Get PDF - Canadian Society of Cinematographers

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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.
CONTENTS
We facilitate the dissemination and exchange of
technical information, and endeavour 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 esc
Vice-President: Lance Carlson
Secretary: Lisa Bodnarchuk
Treasurer: Duncan MacFarlane esc
Membership: Jim Mercer esc
Public Relations: Kenneth Post esc
Education: John Lindsay
Awards Chairman: Jim Mercer esc
Membership inquiries: (905) 271-4684
VOL. 13,NQ 6
Sharp Shooter: An Interview with Ludek Bogner esc
by Natalie Edwards ... page 3
Part Two: Super 16 Symposium ... page I0
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Joan Hutton esc: Side by Side Compar ison Tests of
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EDITORIAL & CSC OFFICE
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CSC NEWS is a publication of the Canadian
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COVER: DOP Ludek Bogner esc on location in Mexico
while shooting Tarzan series.
FEBRUARY 1994
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by Nat a lie Edwards
harp Shooter ... An
Interview with Ludek Bogner esc
Cinematographer Ludek Bogner esc is fast, accurate and inventive, and
knows when not to cross the lion.
Bogner: Whatever you do that's your life.
If you decide to be cinematographer, that's
a lifetime project. You never will finish that.
You will be working as long as you can
physically and logically work on. We work
as long as we can.
Edwards: Have you done some interesting
experiments in your work?
Bogner: I think if you experiment, you have
to have a little knowledge of what you're
going to be doing. Because if you work on
a production and you have 70 people waiting
for you, you better be sure. So I would say
you should experiment in your spare time.
What I do, I shoot a lot of photographs, still
pictures. Whatisthefilm? Filmisalotofstill
photographs put together and you've got
motion. So that photography is photography;
the composition, the lighting.
Edwards: Tell me about when you first started.
Bogner: I was interested about art. I like to
paint. I try to paint. I do paint at home. So
I'm quite familiar with modern art,
contemporary art and I love the old art, like
Baroque, Renaissance and I love the
Impressionists. And if you study, if you go to
the gallery or you have books and you look
at those paintings, those people are masters,
they will tell you, to help you make your
imagery, what kind of light they are actually
painting, what kind of light they are looking
at. You can see it and you can interpret the
master paintings. There is composition and
all kinds of lights falling on people there.
Edwards: Would you say this is more of a
European method?
Bogner: I think so . I'm a European. So, of
course, in Europe you get much more
exposed to that kind of art than here, because
unfortunately this country is so young.
Edwards: What was your background then?
Bogner: I was born in Czechoslovakia in a
little town in Moravia close to Brno. It's a
very picturesque country there.
Edwards: What made you want to be trained
in film?
Bogner: My interest was really still
photography because my father was very, he
wasn'tprofessional photographer I still have
his photographs here today, but he was very
good. And he used to photograph on glass
plates, so his stuff was extremely in focus and
everything was sharp. I always wanted to
study art, painting. Iwanted to go to Academy
of National Arts in Prague and study painting
but it never happened. I went to the army
and after the army, I left the country. I came
to Canada in 1966.
Edwards: Had you not studied film by then?
Bogner: I started. But I didn't finish. What
I studied at that time was just completely
different. I don't think I can use anything
from that. What I could use [was the]
approach from those people: what they
taught us was how to see. The rest, it's up
to you, how you develop. The rest is how
much you are interested, what you want to
see on that screen because that screen will
be your canvas.
Edwards: Did you have always a talent that was
technical as well?
Bogner: Not really. Suddenly somebody
shows you a Panavision camera. You know
it's a camera, but technically you don't know
really how to work it. That's somebody
else's problem. I have an assistant for it. He
knows how to work it.
Edwards: But were you not an assistant once?
Bogner: I've never been an assistant.
Whatever I did, I did everything myself. You
start with 16mm camera like everybody else.
It's very simple. It's very basic. There's not
much to it.
Edwards: You made your own films?
Bogner: Yeah, I made my nature films.
That's where I started, with nature films . I
used to do little fillers for television for CBC.
There was a lady, Rina Kragwana , marvellous
lady and she always was a good friend .
Remember Insight Productions? I did some
stuff with them, I did two little films. John
Watson and Pen Densham were ve ry good
friends of mine.
February 1994 • CSC NE.WS •
3
Edwards: But were you supporting yourself on
that?
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Bogner: That time I was working in a place
that made aircraft parts. But that's not
important because you've got to start
somewhere. But soon as I had some money,
I bought a movie camera. I bought an
ArriflexS. ThebasicArriflexSandthe Bolex
EBM, that was an electric camera, quite
advanced for that time. The Arriflex was
second hand. The Bolex was new and I got
another Bolex, springwound, because when
you go into the woods sometimes you may
run out of power so you have got to be very
versatile, you've got to be prepared. You
may [even] forget battery at home right? It
may happen. I met with a very energetic
fellow, Henry Less, and we started doing
films together. We started with sports films
and we did industrial films, we did corporate
films and the first feature Henry did.
Edwards: Did you have a company?
Bogner: It was Henry Less & Associates.
Edwards: And you were the assodates?
YOUR BEST CHOICE.
THE SOURCE OF
EXCELLENCE
Bogner: Yeah. Most important for me was
that break. You need that break. You need
somebody. And Henry was excellent. I
learned a lot from him. That would be 1974/
75. When I met Henry we did industrial films
and we did corporate films and we did the
slide shows, multi-media slide shows, like 70
projectors everything shot in 2-1/4 with
Hasselblads. Everything single shot with
Hasselblad and reduced down to 2x2 and
projected in 70 carousels on five screens.
The show needed 4,500 photographs!
Edwards: Where was this for?
Camera
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Bogner: That was done for Great Toronto
Adventure. That show was installed in the
Colonnade Theatre and ran about nine times
per day. It was all computerized, very modern
technology. I shot maybe 25,000
transparencies. I shot some things sometimes
with three Hasselblads.
Edwards: You owned them?
Bogner: I owned one and two were Henry's.
I still own a Hasselblad. I still do Hasselblad
photography. I like large format photography.
I do 4x5 and 8x I0. It's very important to
shoot photography.
Edwards.: F' a/ y Henrt and you did a feature?
IBo,gner:: Aft:.e r abo ut four or fiv e years we
: da'f:ea recalled DoodlJ. e. Ma•rio Azz.opardi
' recr,ed it. Thd!twas s'ho•t o 35 . I wa.s th e
4 • CSC NEWS • February
1994
operator on that. I was just operator. Fred
Guthe was the DOP. But you know, that film
actually got a lot of people a break, a lot of
people learned a lot of important things on
that.
You have now done how many
feature films?
Edwards:
Bogner: I think 16.
Edwards: And you've done countless television
shows, the Tarzan seriesBogner: Yeah, that was about 70 half hour
episodes. And I worked on Night Heat and
Diamonds and Counterstrike and The Twilight
Zone.
Edwards: You've kept very busy. And all ofthe
features were in the last decade?
Bogner: Within I0 years.
Edwards: Do you shoot everything for these
television series on film or is any of it video?
Bogner: Everything is shot on film for
television. Some companies, even today,
they shoot on film and they edit on film. They
still do work prints. You still go to Film
House and you see it on a big screen, you see
it how you're supposed to see it, except
sometimes instead you see it on a little
television screen transferred to some kind
of video transfer, but if you know, you don't
question those things because you know in
the end it's going to be okay, it's going to be
fine.
But even video camera can produce nice
images. I did a couple of commercials in
Montreal with a video camera, Plumbicon.
This piece of equipment is older equipment
which is still tubes, like it used to be in old
radios. Even today, my stereo system is
tubes. I believe this camera has a very film
look image. The disadvantage of the
Plumbicon was that if you had a very strong
light somewhere you may burn the tube, you
may burn the valve and that tube is gone. So
fqr the news cameraman, this camera wasn't
very practical. But the new cameras now,
like the Sony CCD Beta cam, are very practical
because you can do practically anything with
them. I can't imagine the Olympics without
those cameras. I can't imagine our lives
without those cameras.
I think video camera, that's the future.
AI most everybody has a videocamera,
everybody is a cameraman. So everybody is
very familiar w ith that technique and how
vid eo wo rks because it's very practical.
You've got your children's pictures, your
grandparents, anything taped but you've got
it plus sound. That's a big advantage.
But the movie cameras, the task of the
movie cameras is really to produce high
fidelity pictures like you see them, almost.
I've worked on a couple of IMAX's, and it's
amazing how the film can capture that image.
It's beautiful. To me film has a dimension.
Edwards: What did you shoot on /MAX?
Bogner: I did some shooting for IMAX called
Niagara Myths and Legend which is showing in
Niagara Falls. I shot the section where the
boat goes through the Niagara Gorge. It's
called Three Sisters, there's a big rapids and
the boat goes through that and they lost a
chimney. It's supposed to be a true story.
Edwards: They lost a chimney?
Bogner: The boat went through the heavy
rapids and the chimney fell down. Which I
didn't see when I was shooting. When I saw
the film, I said gee, my god, because the image
is so big, then you see the real power in that.
Edwards: You didn't operate though?
Bogner: I did, yeah. The IMAX camera, you
know the big box with the big magazine on
the top and everything is heavy, [but] it's
exactly the same shooting like you do with
any film, you just have to be sure you're going
to get that shot because you have only one
chance. Otherwise, it's a little bit square
framing, it's not composition like I :85 or
I:66 you know, it's more square. But I was
used to square because I shoot a lot of
Hasselblad pictures. So automatically I
compose for that.
Edwards: Which are some of the favourite
features that you shot and why?
Bogner: My favourite ones were the latest
ones, especially working with actors. I worked
with Hume Cronyn and Vincent Gardinia
and Christopher Plummer and now Linda
Koslowski and Rod Steiger. Those are the
very exciting parts of your life actually because
I used to read about those people only and
I used to see them in a magazine, used to see
them on the screens and those people were
directed by big directors like David Lean
who directed Rod Steiger, Christopher
Plummer was directed by the great Sergei
Bondarchuk. Those people who gave the
world a lot to remember in acting and in
personalities.
you as the DOP and them?
Bogner: As a DOP I feel
that they have to
somehow like you
because you need their
cooperation in the end.
You need them to make
your work easier.
Edwards: And they need
you/
Bogner: They may not
say that. They may not
say that because in the
end they are the stars,
right.
I'm just the
(L to R): Wolf Larson, Ludek Bogner esc and Lydie Denier
worker. They did have
on Tarzan set. Ludek has shot over two million feet of
respect for me and I was
Agfa XT320 - on 70 plus episodes ofTarzan and
actually quite amazed at
on three feature films.
what beautiful people
they are really, you know, and with Rod
Marquand asked for me to direct Hearts of
Steiger, that was a beautiful experience.
Fire and when he said, "Hello, how are you,
Every one of them, we became almost friends
do you know why you're here?" I said "To do
on the set, you know. Vincent Gardinia and
this work?" and he said "No, because I like
Hume Cronyn made the film called A Month
your stuff'.
of Sundays which was called Old Age Friends. It
And that was my big break, and he died
has been shown many times on television.
six months later. But that was my big break.
Vincent and Hume got two Emmy's, Hume
Edwards: What a shame. Have you worked
got best actor and Vincent best supporting
with
Michael Kennedy?
actor.
Bogner: I did three pictures with Michael.
Edwards: And the one with Rod, of course, is
He's
a dear friend of mine. Eric and Caribe and
Neighbours?
The Swordsman, the last one. He tells me
Bogner: Neighbour. Yeah. And those people
what he wants and he says what would you
are all respected in the film industry, those
like to do and so now we team it up with
actors.
ideas, and we come to the conclusion that
Edwards: Have you had a favourite director
that's probably the best way and that's the
you've worked with?
fastest way and safest way and simplest way.
The simplest way I feel is always the best.
Bogner: It's hard, you know, not really,
because whatever I did, it was only one time,
then I never saw him again. Director Richard
Edwards: Tell me a little bit about shooting the
Tarzan series.
Edwards: Is there much interaction between
February 1994 • CSC NEWS •
5
Bogner: First, you cannot be afraid of lion
because he's there all the t ime! He's a good
guy. He's a pussycat that lion. He's a good
actor I think. The people are very nice on
Tarzan, the actors, the production and the
directors. I always look forward to going
there. The directors are Australians, some
British and Americans.
Edwards: You've shot most ofthem in Mexico?
Bogner: Yeah. First, we are good friends
and our work is a lot easier because we are
talking to each other like friends. With
friends, I can tell you something which I can't
tell you as a co-worker. Sometimes you say
something which is stronger, but it's honest.
Edwards: And you've done 70 ofthem and they
wanted you to keep on doing them?
Bogner: If they will go again, I will do them
because I meet a lot of friends again.
Edwards: But didn't you get tired of Mexico?
Bogner: Let's put it this way. It's a different
environment, Mexico. It's not Canada.
Canada is the best country in the world to
me. I am a foreigner and I have travelled to
a lot of countries, but Canada is number one
to me . Whatever is in Canada, you won 't
fi nd it anywhere in the world.
Edwards: Tell me how you got started with
Tarzan?
Bogner: Well actually when I got started I
was working on a picture and somebody told
me there was a call from Los Angeles. They
told me they needed a cameraman to fin ish
th e Tarzan series because Mario Dil eo, the
cinematographer who was shooting that is
now shooting The Untouchables, very classic
stuff. And so I had four days more to go on
th is picture and I would have four months on
the se ries , and I had nothing happening at the
mo ment. I decided to do the series.
Edwards: Who recommended you?
!Bogner: Who actually recommended me
for the series was Les George, a very talented
·n e matographer who mostly works in
ancou ver. He said he knew the guy, actually
he re.commended me for two jobs so far. I
id one big job with David Mackay which was
D ?O mm. David Mackay, very ta lented
gend eman , put together three !MAX films
a d he put me on this proj ect whi ch was
m 3D which was something complete.l y
, r'eren t from what I was doing.
Edwards: And on the basis of what did he
Edwards: That's one ofthe great thrills, isn't it,
seeing your work up there.
Bogner: Yeah you put your 3D glasses on to
look at that and it's a huge screen. There's
only one site in Pasadena they can show at
because you have to screen with two
projectors. The disadvantage of this beautiful
project is that you can't show it anywhere.
You can only show one eye. The two
projectors have to be synchronized. They
have one in Sudbury at Science North, but
it's a small one. This one in Pasadena was
huge.
Edwuds·: So now, what are you doing?
Bo g~n e r~
re
Now at lhe mo m e nt,
pera'tin,g: fro , y injury.
Ed wa.rcts:·
or that?
6 • CSC NEWS • February
e
Bogner: Well, I had done little films with him
prior to that. He knew me personally and he
gave me an opportunity which was amazing
and I got this kind of experience shooting 3D
movie which was shooting with 70mm
StereoSpace camera, you know two cameras
into the mirror. Everything came from
United Artist Communications with an
assistant because nobody understood that
camera here. The proper aligning of the
cameras took about two hours, so the
assistant came with it and had to do all the
work for me. It was for Ontario Government
for Expo '86 in Vancouver. You know the
flyi ng geese in 3D? Yeah it was quite amazing.
It was absolutely spectacular. When we
went to see rushes in Pasadena, we went to
California and they showed it the first time
and, wow, it was just absolutely amazing.
1994
am
your leg, in New Zealand, while in pre-production.
Bogner: I was going to work on White Fang,
a very nice production and non-violent.
Edwards: Would you like to direct?
Bogner: Yeah I would like to start directing.
Edwards: Would you like to write?
Bogner: Yeah, I wrote some stuff already.
Eventually I would like to produce a movie
myself. I think I would be a better director
than writer.
Edwards: But produdng, don't you think would
be a big headache, all those bottom line worries?
Bogner: Depends how you are producing.
After so many features and television
productions, I know more about filmmaking
than anybody. Sometimes a producer tells
you there is a scene in a script which will last
three seconds on the screen but it's a big
walking shot that means it requires lighting.
That three seconds of stuff in the movie may
take two hours to light. Let's say we cut it
down to one hour to light, so I say to the
producer is that scene worth one hour or
we may do something else instead or do it
differently.
Edwards: And do they listen to you?
Bogner: Sometimes they do. But sometimes
they don't because in the end they are the
bosses, right. I'm just giving them the idea.
Edwards: Do you find budget controls a lot of
their thinking and does it in~uence what they let
you do?
Bogner: I think their budget control has to
be there . You 've got to control the budget.
On location shooting "Ontario" for Expo
'86 Ontario Pavilion using 70mm 3D
StereoSpace camera.
(Photo opposite): Ludek Bogner and
assistant Steven Anderson filming
glider at Niagara Escarpment.
(Photo left): Filming trained Canada
geese on Lake Skugog.
to do my job there. I try to do my part and
I don't say it's simple, but it's not easy either
in Tarzan because what you deal with in
Mexico is a lot of sunshine. The sun is right
above you so anywhere the boomman puts
his boom there is a shadow. The only good
sun is in the morning and evening, it's magic.
But we don't shoot in those hours.
Edwards: Why do they shoot during high sun?
You can go over-budget very easily.
would also save money.
Edwards: But do you find it hard to work
Bogner: Exactly. You don't have to show
the horror in a horror picture. The horror
is already there.
restricted?
Bogner: I don't think so. There have to be
some borders. There have to be some rules
because otherwise we'd be shooting forever!
And I understand the money is hard to get.
When you get in a production you work on
a production you want to bring that
production in under budget. So that means
if they succeed, I succeed. I think that's very
important. Some places you cannot cut on
budget, some places you can, or you could
with a smart idea, with a smart decision.
Edwards: Can you think ofone that you've done
where you're had a brainwave that saved the
producer a lot of money?
Edwards: Would you like to do more horror
shows?
Bogner: No. No. I am definitely against
violence. But I wouldn't mind to do like a
Dracula picture, even if you go into those
times, the medieval times. It must have been
horrible.
Edwards: What have you done that's Baroque?
Bogner: Baroque would be nice. That's my
dream.
Edwards: So no body's had you do a costume
drama or 18th Century... ?
Bogner: In that three second scene, they
said no, we need that scene, so okay, we're
going to spend one hour lighting that because
it's a big walking corridor in the south, it's
like the SingSing Prison. I did six episodes of
Mariah State and there was a big corridor,
walking with a prisoner to the electric chair.
We needed that scene. But it could have
been done differently. He could walk by the
camera and we just hear the sound, he's
going, he's going, he's going and then he's
gone. I think it would be very effective
because we see him comin~ towards the
camera, he passes camera, we stay on that
scene which is empty and he goes away and
you just hear the sound. But they wanted to
see ail the time his face, his emotion.
Bogner: The demand for films like that I
think would be incredible, but the cost would
be incredible too.
Edwards: So if you had directed the scene, you
would have left more for the imagination and you
Bogner: Let's put it this way. I don't write
the series, I just photograph them and I have
What I would like to do in my films is pay
attention to the details because sometimes
the art director does me a fantastic set and
we shoot everything in close-ups and we
don't show the set. I love filmmakers like
Bernardo Bertolucci. He pays attention to
detail. The camera wanders, meanwhile you
hear the people talking, you know they are
there. You don't have to show them all the
time. You're going to come back to them
later, you know.
Edwards: You don't find the Tarzan series is
degrading to your creative work?
Bogner: You have to meet a schedule. You
have to do I0 pages a day. You have to shoot
a half hour show in three days. You have
seventy days to shoot 25 episodes. Some
episodes you can do faster, you can do one
episode on one day, some you need three
and a half, almost four days, so you have to
juggle that.
Edwards:
Are the wranglers Mexican or
American?
Bogner: The animal wranglers are all
American. It's a Hollywood animal supplier
and they are fantastic, they are one of the
best.
Edwards: This is a natural growth from those
early nature films you made.
Bogner: It is. On Tarzan I have to go by the
animal trainers when we shoot. I have to be
always ready when the animal comes to the
set because you don't know what that
animal's going to do. How can you tell
something to the lion, or the elephant and
the monkey?
It's a painstaking situation. You have to
have lots of patience to work with animals
and you have to be ready. I usually roll the
camera even before the director says roll
because the animal is doing something
extraordinary and we can always use it. But
I have to be sure everything is ready before
they bring out the lion because he's king of
the jungle!
Boonnaarwas the animal trainer in Tarzan
and White Fang. He's an incredible fellow.
You have to have a talent to train animals.
February 1994 • CSC NEWS •
7
Not anybody can do it. The animals have to
have the respect of the trainer. It's just a
natural presence of the man gives the animal
that obedience and the animal listens to him.
So I say it's almost like art to get from that
animal what the show needs.
Edwards: Do you have pets yourself?
Bogner: No I don't.
Therefore I have cars.
Pets need time.
Edwards: What are you planning on doing
next?
Bogner: Well I'm just waiting if something
happens. If the Tarzan [series] goes, I'll go
back there.
Edwards: In terms of lighting, how do you like
to render a scene?
Bogner: If it's a drama it should be lit so that
you believe it's natural.
Edwards: But you can stretch the belief of the
viewer by adding, for instance, a light coming
from some other source?
Bogner: It's in your hands. You don't have
to really demonstrate where the light is
coming from. If you don't show the geography
of the room, you don't know if there is a
window on the other side. If you are smart
and you protect yourself, you don't show
the geography to the viewer, it could be an
open door there.
Edwards: We// I noticed in the (lim we were
looking at, the corridor scene for instance and the
stairwell scene, there's a lot of light that has no
particular source, but you have to have that or you
wouldn't see the face ofthe woman going up the
stars. I (lndthateasyto accept, you simply expect
to be able to see. Only because I knew Iwas going
to be talking to you I thought, where is this light
coming from.
Bogner: Some producers they like to have
everything. They want to see the person, 'if
I pay for the actor, I want to see him'. Some
producers will let you work with silhouettes,
darkness. Again, if it's television, you usually
have a tendency to pump it up, so you lose
the moodiness of that. If I want to judge
somebody, I'll go to the movie cinema and I
want to see it on a screen. On a television
I know how it works, you know, so I don't
question sometimes those things. People
these days have sun roofs, skylights, there's
a beautiful source of light from there,
gorgeous and that's the light given by nature.
That's the best light. The film manufacturers
try to help the cinematographers with
different stocks and speeds.
Edwards: What is your favourite (1/m stock?
Bogner: Agfa I think is very nice material if
it's done for screening, for projection. Kodak
it's a very nice material, especially for
television and especially their new stuff, the
new T -grain, the 5245 the daylight type
stock. The lower the ASA the better the
grain; there's hardly any grain, the better the
blacks are. The curve of the film is very steep
so that whatever has light, whatever is dark
has real nice darkness, nice exciting darkness.
So those are the films to work with. A low
speed film requires more light: outside it's
no problem, but interiors require light and
that means a lighting package, that means
money again, so then, for that you've got a
high speed film which is not as beautiful but
still adequate.
Edwards: Do you ever make mistakes?
Bogner: Even if you do mistakes, you learn
on mistakes if you recognize the mistake.
You can take advantage of that mistake.
Let's say there are certain laws when you use
HMIIights that you have to follow. If you use
incandescent light at 3200 you can do
whatever you want. But when you switch to
HMis, it's a pulsing light, a very high power
light. I'm always comparing HMis to a still
photographer's flash. It's a daylight type
light, it's the same light like this daylight
which we measure in the Kelvin
scale. As soon as you use HMis you
'" are actually equalizing the same
light to the daylight light outside.
It's the same colour temperature.
Now it's about 8000 Kelvin. Kelvin
measures a match. In Kelvin scale
that's about 1800 foot candles. The
sun in a summer sky in Canada in
July at lunch time, it's about 30,000
Kelvin. That means it's very blue.
So why do people take pictures of
a sunset? It's because it's very
beautiful. You have no blues, you
have lots of oranges, lots of yellows.
When you take picture in sunshine
in the middle of the day in Florida at
lunchtime, not exciting. As soon as
you take a picture of a sunset or
sunrise it's beautiful.
Edwards: What about (liters?
Bogner: Filters. You can us e
enhancers, sure you can but yo u
can use them only up to a certai n
point because they may screw yo u
up again in the end you know.
When you put a warming filter,
8 • CSC NEWS • February 1994
everything will be warm.
I am using
warming filters in Mexico because when
I shootduringthe day and to be consistent,
you have to have that consistency. Then
you can adjust that in the printing later on
in video, but if you do it there (in camera),
you give this guy a big favour; he doesn't
have to adjust that much again, he can
adjust just a little bit. It's the law and you
have to use it. So, with HMis which is
II OV electricity and 60 cycles, you have
to shoot 24 fps. In Europe it's 220V, 50
cycles you have to shoot 25 fps. If you
don't you will have all kinds of pictures
which will be waving and doing all kinds of
crazy stuff. If you know that law, if you
ever experience that mistake, you can
use it in a film if you want that effect.
Edwards: How did you use it?
Bogner: I did that effect in one boxing
movie when the boxer was hit. I just used
that effect, that his point of view looking
at the guy who punched him. So I'm
putting the camera on him, putting the
camera outside of those laws and use the
law to my advantage because if they want
to do that in the post, it would cost them
a lot of money. I can do it right here! Very
simply.
It was for Rose and Ruby
Productions, Busted Up, directed by an Italian
director, Conrad Palmisano. It was not a
bad picture; it got pretty good success for
what it was, but it was very violent, dirty, the
back alleys, bad guys, that kind of stuff.
r-------------,
I
Edwards: You mentioned early when we were
talking about Henry Less that he came into your
life and you said "you always need somebody".
Who is there who has found you as a help? Is
there anyone who you've brought along or given
a break to who might now be saying to somebody
else, Ludek Bogner gave me my great break?
Bogner: That's a good question. I worked
with a lot of people who were for the first
time on a set working. Sometimes, those
people didn't work before, but you
introduce those people to certain
productions and they keep working and
move on. They move on and today, guys
who were my second assistants now they
are OOPs. Oh yeah. Life's got to move on.
I said great for you if you did, that means you
learned something.
Edwards: Anybody in particular?
Bogner: Ithink those people will know who
I'm talking about.
• Ludek Bogner esc •
Theatrical Feature Films
The Neighbour • The Swordsman
The Psychic • The Big Slice
Red Blooded American Gir l
Still Life • Destiny to Order
Hostile Take-Over • One Ma n Out
Murder One • Circ le Man
Caribe • Pretty Kill
City of Shadow
Hearts of Fire (2nd Unit DOP)
Busted Up
Television
Tarzan (series) 1991, 1992, 1993
Counterstrike (several episodes)
Old Age Friends
The Twilight Zone
Night Heat
Diamonds
Mariah State
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L------------February 1994 • CSC NEWS •
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Part Two:
Super 16 Symposium: The film format of the future?
In this part two of the
report on the Super 16
Symposium held in
October 1993, we cover
the highlights of the
extensive testing that
Joan Hutton esc and
Nicholas Allen-Woolfe
esc did to present the
side-by-side comparisons of 35 and Super
16 blown up to 35,
along with comments
from Michael Smith of
film Opticals, directors
of photography Barry
Stone esc, Barry
farrell esc, and Colin
Davis of Kodak Canada's discussion paper
on how the Super
16mm film format
relates to future
t elevision technologies.
Part three, next issue,
will focus on David
Devolpe of the NFB in
Montreal and their
move to Super 16mm,
a long with a post
production perspective
f rom Lorne Meiss of ..
Studio Post & Transfer
in Edmonton and Jan
Brown of MedallionPFA in Toronto .
•
I 0 . esc NEWS • February
1994
Side by Side Comparisons of 35 and Super 16 Blown up to 35
joan Hutton esc, President CSC
I don't think anyone's saying that Super 16
looks the same as 35. What we're trying to
find out here is how close we can get.
Nicholas Allen Woolfe esc and I wanted to
explore a direct comparison between 35
and Super 16 blown to 35. We've tried to
make it as equitable as we can and kept
everything as much the same in 35 and 16,
though, you know it isn't always possible.
Both prints went through the same number
of generations. The 35 has gone through the
interpos, dup neg process as the Super 16
has gone through the blow up interpos, dup
neg process. We used an Arri Ill for the 35
and an Aaton LTR54 for the 16. We used
Zeiss primes on both cameras trying to
eliminate any variables there. We didn't use
the same mm lense on each camera because
we would have very different image sizes.
We felt it was important to compare the
same image size, so we've gone for that. On
one camera we'll have, say, a 25 or 35 lens,
the other will have a 50 to give us the same
image size on each one..
We compared three different kinds of
stock- 48, 93, and 96. We used exactly the
Kodak's exposure index. We didn'twantto
put any variables into the mix so everything
was exposed at I00 ASA for '48, 200 for '93,
500 for '96. We didn't use any of our pet
little exposures that we all have. I threw in
the 96 in 16mm just so I would see how awful
it might look because I don't think it will
make a very good blow up myself, but we'll
see when we see it on the screen. Probably
the best thing is just to roll the film and then
we can just talk about it after we've actually
seen it. [These tests were screened
simultaneously on side by side 35mm
projectors.]
It didn't look too bad to me, especially
the '48. I don't know if I would use '96 unless
Iwanted a really gritty look and '93 personally
I'd debate a bit, but the '48 blown up doesn't
look too bad when you consider the price
difference. The blacks seemed to hold up
well. The skin tones were nice. I'd certainly
like to hear any comments you have.
I find the Aaton doesn't scratch very
much. I've really never had any scratching
problems with that camera. We didn't have
too much dirt and sparkle problems in the
Super 16, but I see we've gained a bit through
the different stages. I'm sure that can be
gotten rid of as well with, you know, we were
working very fast to do these tests, and
unfortunately we ran out of time. And I'm
sure if we'd had more time, we would have
had less sparkle.
Next we shot under and exposure tests
of the same stock with two people and also
on Macbeth colour checkers so you can see
between the two, how the films re-act to
under and over exposure tests once they're
blown up. Using 7248, 93 and 96, I exposed
normally, half stop under, one stop under,
half stop over, a full stop over and then
printed best light because what I wanted to
see was how much you could push the film,
whether it's going to look better at a normal
exposure at the Kodak rating, whether it's
going to look better at a half stop over. I
assumed it wouldn't look better at under,
but I wanted to see how bad itwas,justto see
what you could get away with and what you
couldn't. Again, I think 48 and 93 are going
to look better. 96 probably isn't going to
look so great, but I wanted to see if it was
possible to use it in special circumstances.
On the 48, I would go up to even a full
stop overexposed. I would probably rate it
a ·half stop over because that's just my
favourite spot and I think it looks really nice
there. The 93 I'd probably go half a stop over
as well, but I don'tthink l'dtakeitthe full stop
overexposed, that ' s just a personal
preference. But there's such latitude. I find
it quite amazing, especially the 48 looks
pretty good at every place that we tested it.
But personally, I don't think I'd use the 96 for
a blow up unless I had a scene that I wanted
a really gritty look for. I look forward to
testing the new experimental high speed
stock to see how it compares to this 96 or
how it compares to the 93.
"If you think you've got damage,
you'll see a picture of it."
Mike Smith, President, Film Opticals
We've been doing blow ups since the early
sixties starting with regular 16. In 1972,
1973 we did a 16mm super blow up for Alan
King, I think it's called Married Couples. At
that time were using a liquid gate that we
designed and one of the things we found out
was that any damage on the original negative
is shown up by the lenses because of the
diffraction caused by physical damage. So it's
very, very important when handling the
negative at all that it be handled extremely
carefu lly, because if you think you've got
damage, you'll see a picture of it.
One of the comments that I have to
make is that I disagree with Ricardo [Ricardo
Olivero of Film House. See CSC News,
January 1994] about over-exposure. I have
found that a negative that is 1/4 to 1/3 of a
stop over-exposed gives excellent results.
It's also important to keep in mind that
you're actually shooting a 35mm project,
nota l6mm and should look at it accordingly.
Focus your lenses as you would on your key
point in your scene because when you see it,
on the screen blown up, you will see precisely
where the lense is focused.
The next point is the different between
Super 16 and regular 16. You, of course, get
a larger picture area so therefore the grain
is not so apparent and you get a better
sharpness and it will give you a better picture
than the regular 16. From an optical point of
view, what you need to do on an optical
printer, your titles and any effects that require
the printer which you cannot do in a lab, they
are all the same as if you were doing 35. We
have, on a couple of occasions, for regular 16
done bluescreen matting and we have also
done even a matte painting. I cannot
recommend that kind of work.
Things that you might say are negative,
if you aren't using currently, newly designed
equipment, you'll have problems in postproduction because there's not quite as
wide a selection of equipment that you have
in regular 16 or 35. The lab and anybody
handling your film have to be extra, extra
careful. Just going back to what I said before,
if you think you've got damage, you'll see a
picture of it. Quite a large percentage of
damage is removed by liquid gate, but some
of the damage can no longer be removed
once you remove the emulsion , it's there
forever.
I have done a few seconds of the scene
where you see the city skyline. We were
given a piece of 7296 negative to do a test
and we did it slightly differently to Film
House, we had a 16mm interpositive made
and then from that we blew it up as Super 16.
We blew it up as if it was regular 16 so you
can see the difference between regular 16
and Super 16.
We've done two or three features the
16mm IPwayand it appears to be a subjective
thing. I personally prefer going up to a 35mm
interpositive, but I've had some people tell
me that they like 16 because they think there
is a little bit less grain. I really haven't come
to a conclusion myself. It appears to depend
upon the kind of scenes that you have and
the exposure for that particular scene. In a
well exposed scene, it doesn't make any
difference, but when you get into shots
where you've run into low light levels,
technically speaking, that's probably an underexposed negative, but it's the right exposure
forth at particular kind of scene. As far as the
negative is concerned it is underexposed
and therefore will show the grain to a greater
degree than something that's got a full
exposure. This is one of the worst kind of
scenes I think to do a blow up with.
One of the things that I've noticed over
the years if you' re shooting 16mm for a
feature, is that it's best to stay away from
panoramic shots because they will show up
the lack of resolution. One of the ones I saw
was a shot with a lot of trees in the
background, where the leaves on the trees
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got lost in the grain of the film. It couldn't
hoI d the resolution. It works great when you
stay with medium close up shots you really
can't tell, if it goes well, whether you shot in
16 or 35. Some of the films we've handled
have ended up with awards and I would have
to say half the awards were due to the
content of the film and half of them for
technical quality.
Question: You wouldn't recommend an overexposure of a couple of stops?
Not as far as I'm concerned. I found that
between I /4 and I/3 of a stop maximum
gives excellent results. In scenes where
you've got shadows, it gives you a little bit of
density in there that allows you to come up
with a decent print in 35.
Question: Do you feel the same thing about the
new stocks with wider latitudes, i.e. 93?
Yes. Probably the best quality I've ever seen
was a job we did for Bob Ryan where we took
the 16mm and blew it up in CRI and that was
the best I've ever seen, but you can't get CRI
now so that's out of the question.
Question: You're obviously blowing up the 16 a
little bit more to get the 1.66 ratio. If one wants
to project a /.33 ratio would the magnification
then from 16 and Super 16 be the same?
Yes. Because you have to fill the frame top
to bottom when you're doing 1.33. When
you're doing 1.66 you only need to fill the
frame from side to side and you can ignore
the top to bottom. The shape of the regular
16 frame fits your I .3 3. Your frame line on
16mm is basically zero so there is no way to
change the shape of the Super 16 back to
1.33, you have to cut off the left or right or
go in the centre of it.
~' n t he field ... practical comments
(1'1'\o m directors of photography
Baril'}" Stone esc & Barry Parrell esc
Barry Stone esc
c
Here's a low budget tip for projecting
Super 16. There are very few Super 16
projectors. What we did because we were
unable to get to Film House all the time, was
we actually took an old 16 projector and I
filed out the gate and filed out the pressure
plate and it worked quite well. What happens
is that the optics of the projecting lens
doesn't give you the correct amount of light
from the right hand sideoftheframe, but you
do see the entire rushes. And providing you
did smooth it off, it doesn't scratch the print
at all and you do actually get to see everything
you shot.
The last Super 16 was a movie of the
week that I did in England this year and what
was amazing to me was how more advanced
they are there. We did all the transfers for
our rushes in Bristol, a pretty small town in
England, and they already have Super 16 gate
and flying spot scanner. So it goes to show
how much people in Europe are ready for
HDTV, ready for the widescreen format.
Everything is getting shot there in Super 16,
for that very reason they think it's going to
go to HDTV, they're prepared for that to
happen very soon.
Barry Parrell esc
Basically Guitar Man was shot on Super 16
just so it would be HDTV ready. Tests were
done in both 16 1.33 and also in 1.66 and the
HDTV, possibly 1.78, who knows. I've never
worked with the Aaton. We used the new
SR3 which was a very nice camera. We did
have some scratching problems though
towards the end and on one major scene. I
think what the problem was, this being a new
camera and working into it we had some
problems along the sprockets; it began to
remove some of the emulsion on one of the
mags and it built up and it scratched one the
scenes. It worked out okay in the end though.
We found it tough to get all the Super 16
equipment that you want, when you want it.
It's not like doing something in 35 or in
straight 16.
Guitar Man was an effects film, s~ most of
' ere was a lot of, was
'a. · ·g pro b'lem, but it is
S ·a Po st in
12
o
CSC NE.WS
o
February 1994
Edmonton would send us each scene as a
letterbox reduction, which isn't offensive;
most of us wouldn't find it offensive but
some television audiences would. I think it
could almost pass as being televised that way
because it is a compromise when you're
shooting a film for television which may
make it to HDTV eventually. You have to
compose for both formats so you find yourself
somewhat compromised at times and
frustrated at times if it's a large set up and
you're trying to keep objects out of the way.
Film is "Futureproor•
Colin Davis, Marketing Director,
Motion Picture and Television
Imaging, Kodak Canada
Today, in 1993, with the next century right
around the corner, many new technologies
lay before us -- especially in the television
domain. Today, the industry has shown
more than a renewed interest in the Super
16 mm format due to the potential quality it
provides in terms of production values. I'll
assume you already appreciate the advantages
of working in film-- that is why you've chosen
to do so. But having made that decisior., you
still must choose from a variety of film
formats and image strategies.
Obviously, there is the choice between
35mm and 16mm. As Michael Zakula
presented earlier, there are several format
options for each width and composition
options for each format. Each option has
technical,
aesthetic
and
logistic
consequences.
Now I know you're familiar with a great
deal of this. Still, it seems worthwhile to
gather all the information together and
present it at one time. We need to clear up
any questions •• so you will be well-positioned
to make the best decisions.
First, let's put the topic into a larger
context. I believe it is beneficial to discuss
important factors that should drive your
imaging choices. You could say they form
the "big picture" around the "little picture"
-- if you think of television as that little
picture. But today's reality is that both the
television business and the television screen
image are getting bigger in many senses of
the word.
First, if you believe "bigger is better",
then the TV picture is getting bigger because,
with advancing television technology it will
certainly get better.
HDTV is just one change on the way. It
will make television truly bigger. The picture
will be wider because of the widescreen
format of all HDTV standards. And it will be
larger in terms of sheer overall size, because
doubling the number of scan lines allows the
viewing of a much larger image. Even for
NTSC, TV screens are growing and, along
with them, so are the demands on the
imaging system.
Finally, the television industry as a whole
is getting bigger and more competitive --as
more channels are available in the home, and
more distribution outlets available to
producers.
All these points lead to one conclusion:
quality -- that is image quality - that really
matters in today's television production,
and will matter even more as time goes on.
So what makes this true? Certainly the
advent of HDTV. Some people seem to
think it is a long way off - too far into the
future to be a concern. Actually, HDTV or
at least enhanced TV is on the way, and
needs to be a part of to day's TV production
equation.
HDTV has been broadcast in Japan for
the past few years. In Canada and in Europe,
widescreen TVs are already for sale.
In the US, an FCC-sponsored committee
is finishing up their test of competing HDTV
systems. They are determined to render a
decision that soon will set actual
implementation in motion.
Of course, there is no question that
when HDTV arrives in Canada, it will coexist with today's NTSC TV - just as
"Compatible color television" co-existed
with standard black and white TV thirty
years ago - and still does today.
In short, you will soon be living in a dualformat, multiple-standard, television world.
Let's look at the implications of advancing
television technology for people who produce
programs today.
The most apparent is this: television
programs will have maximum long-term value
only if they meet the higher, visual quality
standards of the new distribution systems
an d home displays.
Remember, these systems are about
quality! The sole rationale for their
development is to deliver a higher quality
image to the viewer. They don't give you
more channels or better performances.
What they will provide you with is an
improved picture. Viewers are already
looking for -and at- bigger television pictures.
The average size of the home TV display has
grown with the availability of affordable large
screen and projection televisions. HDTV
will accelerate this trend.
With HDTV, not only the size but also
the shape of the television image will change.
Its wide 1.78: I aspect ratio contrasts with
the squar-ish NTSC aspect ratio of 4:3 and
is much closer to the American theatrical
widescreen standard of 1.85: I.
To ensure a program's compatibility with
both HDTV and NTSC aspect ratios, TV
directors and cinematographers must use
"shoot and protect" scene . composition.
Just as feature films are shot for theatrical
release and protected for video, TV
cinematographers should shoot for NTSC
and protect for widescreen television. The
point I'm trying to make now is about
safeguarding the long-term value of
production investment.
It's about embracing a production
strategy that allows programs to be
compatible with the higher quality, larger
screen, and wider aspect ratios of enhanced
television systems.
In 1990 at Photokina in Cologne,
Germany, the Hi 16 Coalition was formed.
Its purpose was to position the Super 16
format as the origination medium linked to
HDTV technology. Digital stereo sound
recording was also recommended as an
element of the proposed production
technique. The wide-screen image of Super
16 is a close match for the 16:9 aspect ratio
characteristic of all of the current and
proposed HDTV transmission formats.
Today, the coalition has members in
twelve countries, including producers, service
companies and manufacturers. Considerable
progress has been made when you look at
the companies like Aaton, Arriflex, Bolex
and Pan avision who have designed or modifie~
cameras for Super 16mm production.
Also the BTS and Rank-Cintel have
developed special rollers and lens/gate
assemblies for adapting their telecines, for
transferring Super 16mm film to video in
~
t~HOUSE
LABORATORY
FORMATS
35mm or 16mm
Color and Black & White
F1lm House is the largest laboratory found
outside Hollywood, and is a full service
facility providing professional service for
processing original negatives and answer
prints, blow up, wet gate printing,
intemegatives, and interpositives for feature
film and television production.
F1lm House offers 24-hour service, with the
capability to tum rushes around in four to
six hours. Before a film leaves the premises,
each reel is screened and thoroughly
checked to ensure optimal quality.
For further information contact Stan Ford
or Tom Burner at (416) 364-4321 or (416)
464-1310 (fax).
F1lm House Laboratory
380 Adelaide Street West
Toronto, Ontario M5V 1R7
LEE Filters
CELEBRATING
25 YEARS
CONSISTENCY
&
EXCELLENCE
400 Matheson Boule vard
Un it I
Mi ssissauga. Ontario
Canada L4Z I N8
416- 890-093 5
February 1994 •
esc NEWS • I 3
either 525 line or 625 line formats. These
telecines can also transfer to either 4:3 or
16:9 aspect ratios for enhanced NTSC or
PAL-PLUS wide-screen formats.
Several years ago, BTS and Kodak
undertook an initiative to design, engineer
and manufacture a high performance HDTV
production Telecine, which is currently
scheduled for introduction in 1994.
One of the gates being manufactured for
use in this telecine is designed for the Super
16mm application that supports all the work
and the comments backed by the European
Broadcast Union. From a film manufacturer's
standpoint, the only requirement to shoot a
Super16mm project is by requesting EXR
colour negative films with a single row of
perforations as opposed to double.
While the television picture is significandy
reduced, it is clear that 35mm format will
always provide you with the highest quality
images. The frame is clearer, because
graininess decreases and sharpness increases
with the wider format.
This slide demonstrates the relationship
between 16mm, Super l6mm, and 35mm
formats when transmitted via NTSC and
HDTV into the wide screen 16:9.
Note that there are no differences
observed with the Super 16mm and 16mm in
NTSC, however differences will occur with
respect to the amount of information being
transmitted into HDTV. As you can see the
amount of information increases by some
46% when you compare the Super 16 versus
the straight 16. There were changes because
of the repositioning of the 35 into that new
aspect ratio.
To conclude, film remains a worldwide
standard for television producers, now and
into the future.
NEXT ISSUE: The third and final part of
the Super 16 symposium report.
In NTSC 35mm has four times the
transmitted area than that of 16mm and
three times the area in the wide screen
HDTV system.
My colleagues from Medallion-PFA and
Studio Post & Transfer will talk to these
applications and the use of the Super 16mm
gate in their respective operations.
One final question to be answered is ...
Why Super /6mm at all in the television domain?
Well, film is futureproof and therefore
provides the producer with a valuable asset.
Super 16mm's aspect ratio of 1.66: I is also a
closer fit to the wide screen aspect ratio of
I. 78: I and as previously stated results in
improved image quality. What we're saying
today is that film is forward compatible and
when you think about the proposed HD
standards, film will still be there ready to be
put back into that system no matter how
advanced it gets. I think that's very important
for you to understand that.
• CSCCAPS are available in
unbleached cotton, one size
fits all.
• CSC T -SHIRTS black or
white, sizes large and extralarge.
$15.00 each plus $2.50
for shipping.
TO ORDER CALL
(416) 461-3089 or (905) 271-4684.
•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
CSC Welcomes
New Members
by Lisa Bodnarchuk
Colleen Graham (Associate) has been operating since the early 1980's. A Steadicam
owner/operator for four years, a staff operator at YTV for three years, she is well versed
in broadcast, commercial, documentary and
corporate production. She is now living in
Vancouver. Besides shooting regularly for
BCTV, 1993 credits included World Cup
Freestyle Skiing, Vancouver Sun Run, CMHC
and the "Let's Build" landscaping series (Toronto). (604) 255-361 I.
14 • CSC NEWS • February
1994
John Lesavage (Affiliate) was initially trained
in still photography and worked in this field as
a commercial photographer. He also spent a
few years doing travel stock photography.
John saw cinematography as a natural progression and has shot shorts, documentaries
and experimental films. Currently he is shooting a short drama while finishing his last year
at York University in Film Studies. (416) 7893373.
Derek Stephen McPhail (Affiliate) has
worked as a script/video editor for technical
training videos and for tel.~vision productions
in addition to being project co-ordinator for
industrial displays and film staging. Derek is a
full-time student at Ryerson in Film Studies.
(416) 421-3071 .
Jessica Reid (Affiliate) is a second year film
student at Ryerson Polytechnical University
whose interests lie in cinematography and
production design. (416) 962-2843.
Mark Lewandowski (Affiliate) whose
specialty is EFP work. He got his start on the
Lynette Jennings TV Show and since then has
done camera for a boxing documentary and
various other sports projects, a special on
women and aging and various tv commercials.
His creative talents have been utilized most
recently in the pre-production and production of a half hour show atthe dinosaur project
, at Ontario Place. (416) 237-9918.
PRODUCTION NEWS
Compiled by Lisa Bodnarchuk & Lori Longstaff
From Western Canada
In February, Laszlo George esc shot
Heart of a Child, a movie of the work whose
fact based story centres around the birth of
two critically ill newborns. One of the infants
becomes the youngest recipient of a heart
transplant and today is a healthy, happy, five
year old boy. The show stars Ann Jillian,
Michele Greene, Terry O'Quinn, Bruce
Greenwood, and Rip Torn. Attila Szalay
(operator), jill MacLauchlan (first assistant),
Larry Portman (2nd assistant) and Ted
Smith (trainee).
DOP Rodney Charters esc just finished
shooting Traps starring George C. Scott, Dan
Cortese and Bill Nun. Camera crew included
Cam McDonald (operator), Dan Elsener
(first assistant), Anita Egleseder (second
assistant),Julian Chojnacki (B unit operator)
and Chris Harris (B unit assistant).
Letter from Dan Nowak esc
"The intense pace of summer production
still hasn't let up as I'm beginning my third
feature in six months. Abducted 2 will be
shooting in Victoria in February and March
with Greg Beaton pulling focus and Marcus
James loading.
I recently finished filming in Edmonton on
Sleeplesswith Ken Hewlett, Holly Gregory,
Kathy Deugau and Alan Salzl in the
positions of operator, first, second and third
camera assistants.
Finally, in Vancouver we wrapped
Crackerjack, starring Thomas lan Griffith,
Christopher Plummer, and Nastasia Kinski.
Operator was Harvey Larocque, with Holly
Gregory on focus and lan Seabrook and
Marcus James as second and third assistants.
I hope everyone's keeping warm back east
there. We'll keep in touch."
Cyberteens in Love ... first
project to shoot on Sony's
Digital Betacam
Cyberteens in Love, a
futuristic film about cybernetic
technology and young love has
been shooting in February.
Starring Justine Priestley and
Martin Cummins as two lovers
challenged by the dark world
of cybernetic brain implants,
Cyberteens in Love was
selected as the first recipient
Above: Chris Triffo esc shooting the music video
of the "Next Wave"
"The Grandfather's Children".
Competition. In keeping with
the high tech theme, the
production of Cyberteens will break new
Commercial DOP Michael Szucs esc
technological ground. It will be the first
resurfaces in Miami ... We lost touch with
project shot on Sony's new Digital Betacam
Michael a while ago and were pleased to
using a proprietary SONY BVP-90 16x9 CCD
receive a letter from him recently.
He's
camera. The final product can be transferred
directing/shooting in Miami where Derek Van
to 35mm film for large screen presentation as
Lint esc has set up a production company with
well as being output in the standard 4x3 aspect
Lorna Lambert. As he writes, "I have a house
ratio for television viewing. Post production
on the water which makes me very happy ... I
is being handled by Post Haste Video.
got so tired of travelling, it was six long years,
that I don't think I'll leave for a while."
Martha Fusca, Toronto Women In Film
and Television (TWIFT) President recently
announced the winners of this year's
Outstanding Achievement Awards. Of special
note, CSC President joan Hutton esc is
honoured with the Outstanding Achievement
Award sponsored by Telefilm Canada.
Congratulations Joan !
Other recipients this year include the late
Kate Reid, Heather McGillivray, Ann Medina
Alanis Obomsawin,JaySwitzer, Lynne Turner
'
and Nardina Grande.
TWIFT's Tenth Anniversary Awards Gala
will take place on Wednesday, March 16, 1994
at the Royal York Hotel. For,more information
call Cathy Smith at (416) 251-5141.
Chris Triffo cscjustwrapped producing/
directing two dramatic shorts for Farm Credit
Corporation (National). Among the crew
were camera operator Peter LaRocque,
camera assistant Bill Mills, location sound
William Butler, dolly grip Darrel Kesslar.
Chris Triffo esc directed and shot a rock
video called The Grandfather's Children. It
began playing on Much Music's lndie Feature
January 26th. Among the crew were gaffer
Peter LaRocque and camera assistant Bill
Mills.
Paul Sarossy esc completed Blood &
Donuts, a vampire movie just before Christmas.
The project was not only director Holly
Dale's first feature, but the first for the
Dan Nowak esc
February 1994.
esc NE.WS. I 5
Peter Dudley, a graduate of last April's camera
assistant's workshop, has recently completed two
tape documentaries - Buskermania and Tattoo. He is
currently shooting and directing eleven half hour
shows on native artists for Rogers Community 22 in
Ottawa. The series is being shot on Betacam and will
air every other Thursday until the end of June.
OMISSION: Last issue we mentioned John
Holosko esc is DOPing Catwalk this season with
focus puller David K. Perkins and assistant Roman
Neubacher, but we neglected to mention that Keith
Murphy is steadicam/main unit operator on the
show. Please accept our apologies Keith! Sounds like
Keith is well liked on set- the props department have
named a beer after him!
Above:
DOP Peter LaRocque,
camera assistant Bill Mills
and producer/director
Chris Triffo esc.
Below:
Blood & Donuts crew ...
Reni Hoz (2nd assistant),
Paul Sarossy esc, John
Freeman (2nd unit DOP),
Karin Hernandez (2nd unit
focus puller), Allyson Reid
(trainee), Paul Boucher
(focus puller).
Canadian Film Centre's Feature Project. Shot
in twenty five days, Blood & Donuts enjoyed the
comforts of studio shooting, on sets built in a
church basement. Art director David Moe
fashioned a grungy donut shop and hotel that
constituted the main setting. David
Cronenberg plays a gangster king-pin who
complicates the life (or 'un'-life) of the hero
vampire. The camera crew (in photo below)
include Reni Hoz (2nd assistant), Paul
Sarossy esc, John Freeman (2nd unit DOP),
Karin Hernandez (2nd unit focus puller),
Allyson Reid (trainee), Paul Boucher(focus
puller), Joe Micomonaco (2nd unit focus,
absent from shot).
In January, Paul shot a CBC televisionfeature, The Helsinki Roccomatioswith director
Bob Sherrin in the old Studio 7 complex.
Kodak's Eastman
EXR200T Film Stock receives
Outstanding Technical Achievement Award
at 1994 Gemini Awards
The Academy of Canadian Cinema & Television is
proud to announce that Kodak Canada Inc., in
acknowledgement of their Eastman EXR200T (5293/
7293) film stock, is the recipient of the Outstanding
Technical Achievement Award presented at the .1994
Gemini Awards on Thursday, March 3, 1994 at the
Metro Toronto Convention Centre.
The Outstanding Technical Achievement Award
is presented to a program or person who has created
or adapted a device, method, or invention which has
resulted in an obvious technical contribution to a
Canadian television program(s) broadcast in the past
year. In turn, the program has a higher production
value as a result of the technical contribution.
Kodak's Eastman EXR200T (5293/7293) film stock
was launched in 1992, and has since contributed
technically to the many programs entered in this
year's Gemini Awards, improving their image quality
and exposure latitude. Some of the nominated
dramatic series include £N.G, Beyond Reality, Street
Legal, North of 60 and Ready or Not [The DOPs on
these series are all CSC members.]. This stock is
praised for its improved sensitivity requiring only half
of the traditional lighting, and the exposure latitude
which provides versatility to the cinematographer
and the producer by giving the post production
laboratory
timer an additional creative contribution.
,
Four time Gemini Award winner Vic Sarin has also
used EXR200T while shooting his recent films. Says
Sarin, "I felt it was wonderful for magic stuff, just after
sunset when there is a little light before it goes black.
It has a nice tone to it and very nice realistic colours."
Fellow Gemini winning cinematographer Rene Ohashi
I 6 • esc NEWS • February
1994
esc agrees, stating that "the stock's main virtue
for me is the quality of the skin tones, improved
grain for feature photography, and added speed
forcibi lity."
Submissions for the Outstanding Technical
Achievement Award are solicited for the
Academy's program craft nomination juries
and from the producer(s) of the show on
which the technology was employed. A special
technical jury recommends a recipient of the
Academy's Board of Directors for ratification
This year's jury was comprised of Scott
Hamilton, Christopher Dobbs, Christopher
Severn, Paul Norris, and Wilson Markle.
I 35th SMPTE Technical
Conference & Equipment
Exhibit in LA
by Richard Hergel
I was glued to the TV set watching CNN, the
first wave of LA brush fires were in full bloom.
After a few panic phone calls to LA and a call
to the SMPTE Headquarters in White Plains,
New York the next day, it was confirmed the
I 35th SM PTE convention was still a go for LA,
October 29 - November 2, 1993.
esc at Mako Films on The Last Frontier series.
During the course of that series I met an
aspiring underwaterfilmmakerfrom LA, Adam
Ravetch. Adam after heroing the busy LA
freeway system, picked me up at the airport
and whisked me back to his apartment in
Venice Beach. Adam, his wife Sarah, and
myself attended the SM PTE conference when
I could drag myself away from the beach that
is.
The LA Convention Center is a large and
ultra modern complex, ominous and
bewildering for the uninitiated. I had wished
I had brought my old Boy Scout compass with
me just to find my way around the building.
Amazingly, I found Mr. Alan Ehrlich the Exhibit/
Marketing Manager forSMPTE. I picked up my
credentials and dropped off the esc
Newsletters for distribution at the show. Alan
was most helpful.
The conference was to say the least
enlightening. The extensive technical seminars
were extremely informative and educational.
There was no shortage of new equipment,
technology, exhibitors and great ideas.
The show's visitors watched as the latest
in post production computer video editing
systems were demonstrated and then were
experimented with. All the exhibits were the
latest and up to date in their presentations.
If you wanted to you could have even tried
on a Steadicam rig set up for either film or
video. You really do have to be in top physical
shape to carry and operate the harness. Until
you have tried one on and walked around for
a while you don't appreciate the effort it takes
to properly work the system. My hat goes off
to all Steadicam operators; it's not as easy as
it looks.
When I landed in LA the smell of smoke
from the brush fires was still in the air. What
a welcome. This was going to be an inte resting
trip.
The last time I had the pleasure of visiting
LA was while I was working for John Stoneman
You and your production team
move mountains to make an
image more memorable. At
Precision Camera we understand
your needs t o·find custom
manufactured product s that
perform the JOb and are pnced
w1thm your budget.
But there·s more to Precision
Camera than just cameras. We've
got years of experience as industry
leaders in new products and new
product technology. There·s our
dedication to customer service
and our dependability. And our
The technical seminars were great. It
would have been impossible to see them all, so
one must pick and choose carefully. It was
nice to see IMAX Corporation playing an
important role in the "Special Venues Tutorial"
with a ses-sion on technologies for special
venues. During the course of the regular
technical program they also hosted sessions
on IMAX HD, 3D for the Nineties, and
Projection Screens - The Weak Link. All
extremely informative and well presented. '
sales know-how you can turn to
and count on.
We invite you to try our full line
of Cameras. Power. Ught1ng and
Accessories as we ll as stateoH he-art Studio/ Production
Equipment .
Precision Camera Inc No
problem is insurmountable.
UNEQUALLED TECH NOLOGY
UNEQUALLED SERVICE
PrPfiSIOn Camera /{)(
Duringthe course of my wanderings around
the convention main floor, I also bumped into
Danys Bruyere from O.L.E. Canada who was
demonstrating the new Aaton cameras at the
Lightworks booth. Adam and Danys got into
VANCOUVER
TORONTO
3216 Beta Avenue
Burnaby , B.C
V5G 4K4
{604 ) 191·0010
FAX {604 ) 19 1-1414
181 Carlaw Avenue
Toronto. Ontario
M4M 15 1
{416 146 1·34 11
FAX {416146 1-4869
LE NSES AN D ACCESSORIES
CAMERAS AND ACCESSOR IES
POWER PRODUCTS
. STUDIO/PRODUCTION EQUI PMENT
. LIGHTING TRA NSIT CASES ·
MAN UFACTUR ING SPECIAL SERVICES
· EQUI PMENT
February 1994.
esc NEWS. I 7
tlake more money •••
a long discussion about the new camera's
possible application underwater and
approaches on how to house the camera
for such work.
rent from us at our exceptionally low rates.
My trip to LA would not have been
complete without a visit to the Canadian
Consulat Generals Office. Ms. Hansen
of this office took the time to briefly give
me an overview on the efforts they are
involved in to foster greater American
awareness of Canada's vast abilities and
resources; from the negotiation of cross
border projects by the people at Telefilm
Canada all the way along to the set up of
exhibition booths representing Canada
at trade shows.
I joked with her about having to take
down the picture of Kim Campbell as
Prime Minister and she replied that only
after the official ceremony in Ottawa on
Thursday, November 4th, 1993 when
Jean Chretien takes over as Prime
Minister will the photos be changed. I
almost shed a tear when I heard that a
precise military style of discipline and
ceremony still hves on and so far away
from home!
BTS DXC 537 Hyper-HAOTM CCD Camera, plus
BTS BVV-~ Betacam SP Recorder
• Electronic Shutter with Clear Scan TM record on oxide or metal tape
• 750 TVL
o),;$250.00 per day
-weekly rental also available.
Or, you can save on DVR I0 D2 Recorders at $750 per day
BCB 75 Recorders at $425 per day
BCB SO Field Recorders at $250 per day
BCB 22 Players at $125 per day
The convention was a huge success.
I learned a lot and managed to pick up so
much literature that all the reading should
get me through the slow winter months.
The only bad side of the coin to the
whole trip was that everywhere I went I
kept getting hassled about the Toronto
Blue Bays and their winning the World
Series the second time in a row. I think
thatifwewinagainthisyear 1994, we will
have to call out the Canadian version of
the national guard toward off the attacking
American baseball fans.
Cdl Nc,w Tell. f1-U!
1-800-165-8888
In Toronto Call 238-0654
Fax ( 416/905) 238-6182
4580 Fieldgate Drive, Unit 4 (rear)
Mississauga, Ontario
L4W 4K4
My last comment all in jest, but
seriously folks my trip to LA was a blast.
I would recommend the SMPTE
conference wholeheartedly to everyone!
,
When only the best will do.
PS & Cinevillage , 65 Hewa rd Ave .. Toronto , Ontario M4M 2T5
(416) 466-0037
I 8 • esc NEWS. February
1994
Fa x: (416 ) 466-9612
CAMERA
CLASSIFIED$
FOR SALE: lOmm fl.8 C-mount
AngenieuxR2llens, $275; Lowell
Softlight 1500 with barndoors &
case, $495; 6 plate flat bedMoviola
M86A editor, $4,900; Ni-cad 1214v overnight charger 4-7 AHr,
120-220v, $125. Call (604) 2530047.
FOR SALE: BVP-7 SP with
Fujinon 14-llens, new heads February 15 , 1994. Asking $24,000.
Also miscellaneous items: 2 Cine60 7 AH belts, 10 NP-lB with
charges, AC-500, SRD-52 zoom
handle, Century Precision wide
angle .5, .7. All items in mint
condition. Call Bernard Couture
at (514) 466-9451 or fax (514)
466-8870.
FOR SALE: Four wireless microphones type MICRON model
TX501 and MR510, transmitters
and receivers in the 174.56, 175.0,
176.62 and 179.56 Mhz band. 3
black and 2 skin coloured TRAMS
and 1 Sennheiser microphone.
Connections for condensor mikes.
Complete with mobile distribution
amplifier, type ADA 114-1, power
supply module, cables and dipole
antenna. Mint condition. All serious offers considered. Ingrid Cusiel,
tel: 01131-20-616-0742, fax:
01131-20-683-7439orwrite: 2de
Helmersstraat 103hs, 1054CGAmsterdam, Holland.
FOR SALE: Bolex Reflex Cameras.
Regular and Super 16mm, spring
or motor drive, crystal or variable
speeds, variable shutter, full accessories. Trade for Aaton, Arri ...
considered. Call Grigor (416) 6044696.
WANTED: Arriflex BLI body,
zoom lens, blimp housing, and
prime lens blimp housing, 400 or
lOOOft.mags. CallMarkJob(514)
453-6312.
FORSALE: EclairACL-newhigh
power crystal motor, 25-25-29.97,
crystal pre-set speeds, plus 11 pin
Fisher connector for Arri variable
speed control or cinema electronics, orientableviewfinder, onboard
battery system, C mount plus specialArriflex adaptor mount for Arri
standard and Arri bayonet ... and
more. Best offer. O'Connor 50
fluid head tripod with heavy duty
legsandheavydutyspreader. $850
orbestoffer. Call(514)453-6312.
FOR SALE: NAGRA IV-S. Mint.
Loaded, very little use, with power
supply. Recently checked by Arri.
No time code. $5,200 or trade for
16/35mmcameras. Cal1Greg(416)
604-4696.
FORSALE: Estateclearance. Best
offers for 16mm AMPRO sound
projector, case, speaker; 16mm
aluminum split reel, Spectra meter
with all slides; pair Neumade rewinds, 16mm Griswold splicer,
RCA Model400 16mm projector,
no lens.
Everett Roseborough
Phone/Fax (416) 236-2811.
FOR SALE OR RENT: Many
assorted Tiffen Filters: 138mm, 4112", 3"x3", Series 9. Also 6, 6"x8"
Lee graduated filters with filterholder for Arriflex Production
Matte-Box. For further information please call Fritz Spiess esc at
(416) 225-5970.
FORSALE: BetacamPackage,BVP
3A complete with accessories
$9,000. Betacam BVP 330A complete with accessories $5,000.
Ikegami HL83 complete accessories $4,000. BVUllO Record/Playback $1,000. BVW 20 Betacam
Playback $3,500. JVC 7280 TM
14"colour video monitor $400.
JVC TM41AU 5" colour video
monitor$ 300. Tripod O'Connor
Head, snaplock with handle, Bolex
legs, Mitchell base and case $1,000.
Mole Richardson MR/FW 1OOOW
heads with barn doors, holders and
accessories $250 each. Baby 750
Mole Richardson light stands $250
each. Lowe! Tota Grip Case $900.
NPR16withlenses$5,000. LW16
with lenses $1,800. Mauer Hancock
Hot Splicer $ 300. Sun Gun Kit
$425, Mini-Fill Kit $425. Plus
various sound equipment. Call
James Grattan esc for more information at (514) 499-1044.
FOR SALE: BVP 30 (IH) Camera
Head with Viewfinder $1 ,500;
BVP3A Camera head $500; BVP3A
Camera head with viewfinder
$l,OOO; ·BVR75 Remote Control
$1,400; LDP1550 Laser Disc Player
$1,800; XC999 Micro Color Camera $1,500; EV09650 Hi 8
Camcorder complete with shuttle
remote $4,800; EV09850 Hi 8
Recorder/Editor $5,800; EVV900
Hi 8 Recorder $4,500; PCM 2000
Portable Dat Recorder $5,000;
PCM7030PC Dat Recorder
$7,900; PVVl Betacam SP Recorder, Cam/Back $6,900;
SV09600 S-VHS Recorder $2,800;
SVP9000 S-VHS Player $2,300;
VAl (S) Adapter $200; EVS200 Hi
8 VTR $1,099; EVO 510(S) 8mm
Recorder $220; BC 210 Charger
for BP90 Batteries $495; CPD121
B/W Display Monitor $100;
CRK2000 Chroma Keyer $900;
CCUM3 CCU $900; BVV50 Portable3/4" Recorder$500; EVOllO
Video 8 Camera,Portable Recorder
withCase$100. BKE90l(S)NTSC
Color Framing Detect Board
$1 ,300; BKE 904 RS 422 Controller Board$900; BKE905(U) lnterface/BVE900 Board $1 ,200;
BKE915(U) Switcher Inter Mod/
UsedBoard$900; BKE916Mixer
Interface Board $800; BKU 702
Remote Control Board $200; BKU
701 Interface RS232 Board $350.
All prices FOB Precision Camera
Inc. (416) 461-3411.
FOR SALE: Century Precision
Optics 300mm lens. Fits Arri SR
and Aaton 16mm cameras. $700.
Call Peter at (416) 698-4482.
WANTED: DeadAaton on-board
battery packs to adapt for an expedition shoot. Call (604) 253-0047.
FOR SALE: 8 5mm Hi-Speed Zeiss
Lens with Aaton mount $1,000;
Nikon 80-200mm ED Zoom Lens
f2.8 $800; Sony VAl-VNTSC Recorder UnitAdaptor $700; Noriyuki
Model TS-10 Time-Code Reader
Inserter $1,200; SQN-3 Microphone Mixer with Case $1,200.
Call Jim Aquila esc at (416) 3465786.
FORRENT: TorontoBeachesbasementapartment. Newlyrenovated
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RascoReinvents
eel.
By Rolling Out ANew Line
Of European Color Filters.
Introducing E-Colour. It's Rasco's version of the
European system of color effects and correction filters.
You'll find E-Colour filters are an exact match to the
light correction and effects colors you already know.
They even have the same names like CTB and CTO.
Rosco applied 80 years of filter production
experience to the development of
E-Colour. By using the most
advanced coating process and
the latest in dye technology,
Rosco improved color
stability. As a result,
E-Colour will last longer
on your lights than
most other European
brands.
Over the years,
Rosco has been
exclusively
recognized for
innovation
and advanced
technology. As
a matter of fact,
the company
won an Academy
Award in 1974
for developing a
system of filters
for the film industry.
Once again, Rosco
reinvents the wheel
by rolling out E-Colour.
So if you prefer lighting
with European colors, specify
E-CoJour for your next production.
You' ll get European colors with
Rasco technology.
For a free watchbook , or a Rasco office or
ealer an~.-,,· here in the world , call
or a 416 -lT -3351.