The X Generation

A PUBLICATION OF THE CANADIAN SOCIETY OF CINEMATOGRAPHERS
Canadian Publications Mail
Product Sales Agreement No. 478423
November 2004
Volume 24, No. 3
The X Generation
XDCAM Making Waves
and Winning Raves
ALSO
IN
THIS
ISSUE
VIDEO FILE: Tapeless “Cam-puters”
GOLF: 3rd Annual Kodak/CSC Fall Classic
AWARDS: Gemini/Gémeaux Nominations
LIGHTING: “An Awesome Experience”
DISCUSSION: Emerging Imaging Sensors
NEWS CLIPS: Diet of Souls Honoured, and More
PRESIDENT'S REPORT: “Fun” in Fundraising
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volume 24, No. 3
November 2004
The Canadian Society of Cinematographers was
founded in 1957 by a group of Toronto, Montreal
and Ottawa cameramen. Since then over 800
cinematographers and persons in associated
occupations have joined the organization.
Our members now represent the film and
video community in all ten provinces. Our aim
continues to be to promote and foster the cause of
cinematography and the interests of the Canadian
film and video community.
We facilitate the dissemination and exchange
of technical information, and endeavor to advance
the knowledge and status of our members within the
industry. As an organization dedicated to furthering
technical assistance, we maintain contact with nonpartisan groups in our industry, but have no political
or union affiliation.
CSC EXECUTIVE
President: Joan Hutton csc
Vice-President: Richard Stringer csc
Treasurer: Joseph Sunday phd
Secretary: Antonin Lhotsky
Membership: Philip Earnshaw csc
Publicity: Robert Brooks csc
Education: Ernie Kestler
Membership inquiries: 416-266-0591
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CSC OFFICE
Canadian Society of Cinematographers
Administrator: Susan Saranchuk
3007 Kingston Road Suite 131
Toronto, Ontario M1M 1P1
Tel 416-266-0591 Fax 416-266-3996
email: [email protected]
Editor: Donald Angus (416) 699-9149
email: [email protected]
Editor-in-Chief: Joan Hutton csc
CSC NEWS is a publication of the Canadian Society of
Cinematographers. CSC NEWS is printed in Toronto and
is published ten times a year. Subscriptions are
available for $75.00 per year in Canada and
$95.00 per year outside the country. Canadian
Publications Mail Product Sales Agreement No. 478423.
Contents
2 - President’s Report
- “Fun” in Fundraising
14-
Cover Story
The X Generation
10 - Video File
- “Cam-puters”
4
12 - Golf
- Kodak/CSC Fall Classic
15 - Lighting
- “Awesome” Workshop
16 - Discussion
- Imaging Sensors
12
20 - Awards
- Geminis et Gémeaux
22 - News Clips
- Diet of Souls
24 - Action Production Notes
- CSC Calendar
Visit: www.csc.ca
15
president’s report
Joan Hutton csc
Putting the “Fun”
in Fundraising
W
ork commitments prevented me from attending this
year's
third
annual
Kodak/CSC Fall Classic golf tournament, but I understand it was a great
success again - thank you, Susan
Saranchuk - and that this time the
CSC education fund was the beneficiary of more than $14,000. We are
most grateful, especially to Kodak
Canada Entertainment Imaging but to
2 • CSC News
/
November 2004
all the tournament sponsors and players as well, for the financial boost. It is
most welcome, and now we can plan
with security not only our regular
education programs, such as camera
assistants' courses and lighting workshops, but also new ventures.
High on our projects-to-do list is a
series of “lectures” by visiting directors of photography and our own distinguished cinematographers. The
format has yet to be determined and it
probably will be flexible to accommodate our guest VIPs; however, the
basic idea is to screen a work - be it a
feature, documentary, commercial or
whatever - and then interact with the
DOP face to face. The learning experience, for both up-and-coming and
veteran shooters, will be phenomenal.
We hope to videotape (or
videodisk) each event, and, of course,
publish a report on the evening in the
CSC News and on the CSC web site.
We'll keep you up to date on how our
plans are progressing. We hope to
have a schedule of our first events
soon.
Meanwhile, talking about putting
the “fun” in fundraising, we are
delighted to report on the success of
“The Eleventh Hour Charity Challenge”
to raise money for the Actors' Fund of
Canada. In a letter issued in early
October, the cast of the CTV drama
series The Eleventh Hour challenged
productions shooting in Canada during the Fund's “More Than Applause”
campaign week of Oct. 18-25 to
match or better the $1,100 it raised
through an on-set raffle for cast and
crew in the fall of 2003.
The challenge web-letter cited
recent tough times for the film and
television production business and
the 70-per-cent increase in assistance
delivered by the Actors' Fund of
Canada. Anyone working professionally in film, TV, music, theatre or
dance can apply for short-term financial aid from the Fund, which has
given out $2.5 million in rent payments, grocery money, utility payments and other assistance over the
last 10 years.
The Eleventh Hour cast noted that if
every film and TV show in production
during the fundraising week matched
the $1,100 they raised last year, the
effort would yield $50,000 for the
charity. Shows picking up the gauntlet
were Global's Train 48, the CBC's This
is Wonderland, and CTV's Sue Thomas:
F.B. Eye.
A little over two years ago, in the
September, 2002, issue of the CSC
News, this column introduced CSC
members to the Actors' Fund of
Canada and published an informative letter from executive director
David Hope. I thought then, and I
still do, that this fund is worthy of
your consideration. For more information, or to make a tax-deductible
donation, you can contact the Fund
at: The Actors' Fund of Canada,
10 St. Mary Street, Suite 860,
Toronto, ON M4Y 1P9. Telephone:
(416) 975-0304 (toll-free 1-877-3998392); Fax: (416) 975-0306; e-mail:
[email protected]; web site:
www.actorsfund.ca •
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Photo: Don Angus
cover story
THE X-MEN: Sim Video president
Rob Sim (left) and DOP Bert Dunk
csc asc share the spotlight with a
Sony XDCAM camcorder during an
XDCAM showcase in September.
Dunk calls the XDCAM system
“incredible stuff.”
I
The X Generation
t probably is the blue-laser, optical-disk technology
that's causing all the excitement. After all, it was only a
rumour a few short years ago - the stuff of science fiction. Whatever. The fact is, here in 2004, it has been a long
time since a standard-definition video camera has stirred
up so much buzz in the television industry.
The centre of attention is the Sony XDCAM, which officially launched the X Generation of digital image acquisition at NAB last spring (with a preliminary introduction in
2003) and has been titillating filmmakers ever since. The
last public love-in for the camera(s) - the IMX PDW-530
and the DVCAM PDW-510 - was a fall workshop at Sim
Video that was sponsored by Precision Camera Inc. and
Sony of Canada.
4 • CSC News
/
November 2004
XDCAM Making Waves
and Winning Raves
There was lots of technical talk and hype, and there was
the XDCAM, of course, the star of the show. But the focus
for most was the screening of tests shot by award-winning
director of photography Bert Dunk csc asc - side-by-side
visuals of day and night situations captured on both
XDCAM and the Sony F900 HDCAM. The XDCAM images
had undergone an up-resolution process.
“The XDCAM looked pretty good,” Dunk said. “I mean,
it's not high definition but it sure looks good. It's not a
replacement for high def, but if it's accepted (by broadcasters) as an up-res, then for people with smaller budgets it's
certainly a possibility.”
The DOP, a technically-minded artist who has never
actually shot a show in video but is not opposed to the
By Don Angus
“It's a Ferrari”
- Michael Boland csc
idea, said that “XDCAM is more than just a camera.” He
explained that he used it for checking rushes on the threeperf 35mm shoot of a pilot, Anonymous Rex.
In a procedure Dunk dreamed up himself (“Nobody at
Sony had even thought about it"), post-production house
Magnetic North simultaneously recorded on an XDCAM
PDW-3000 studio deck while they were transferring the
35mm film to digital tape. The next morning he was able
to access the IP address on the deck and get the thumbnail
clips he wanted, or they put the clips up on their server and
he could access them there. “With the thumbnail feature of
the XDCAM, you can see enough to judge what you need
to do, and then you get the full-res disk at the end of the
day. That's a big plus.” He would like to do it again on his
HAPPY OWNER: Michael Boland csc
poses on location with his new XDCAM
PDW-530. He went to Newfoundland
and Iceland with an XDCAM from
Precision Camera and “after two
days, I said 'I'm buying this.'
I could see how good it was.”
next show, if that is on film, “because it is so handy.”
Vice-president Bill Long of PCI has been saying all along
that the camera and its unique optical disk recording system would have tremendous value in several production
areas - documentaries, commercials, low-budget series, etc.
- as well as for electronic news-gathering. He predicted the
new kid on the block would supplant the Sony workhorses,
the venerable Betacam SP and the much more expensive
Digital Betacam.
It's not just the advanced technology; just look at the
cost, he noted. The high-end XDCAM PDW-530 camcorder
sells for only $50,000.
The XDCAM family consists of camcorder models PDWsee page 6
CSC News / November 2004 •
5
from page 5
510 and PDW-530 and deck models
PDW-V1 (mobile), PDW-1500 (halfrack) and the PDW-3000 (studio). The
PDW-510 records DVCAM only,
whereas the PDW-530 can record in
DVCAM or MPEG IMX. A single disk
holds 85 minutes of DVCAM material
and 75 minutes of MPEG IMX 30Mbps
data. For MPEG IMX at 40 Mbps
and 50Mbps, the disk capacity is
specified at 55 minutes and 45
minutes respectively.
PCI sales executive Ted
Mitchener told CSC News that “in
just a short period of time we have
experienced a great deal of success in
placing XDCAM products in the
Canadian production and post-production community. The response to
the quality of images produced by the
PDW-530/510 and the improved work
flow in post has been overwhelmingly
positive.
“The use of the proxy video and
associated meta data will generate
huge time savings both on and off set.
Logging, which traditionally is one of
the more time-consuming and tedious
procedures, is an area where huge
amounts of time can be saved simply
due to the nonlinear nature of the
XDCAM optical disk recording system.
'Pretty incredible
stuff, it's the future'
Imagine not having to shuttle tape
ever again.
“While Betacam SP and Digital
Betacam will continue to be widely
used, I believe that XDCAM will come
to dominate in ENG/EFP applications
in the not-too-distant future.”
Rob Sim of Sim Video concurred.
The XDCAM “is not just the cam-
era, it's the whole system,” he said.
“It's the ability to send your footage
on Ethernet and the low-res proxy for
off-line. For cost-effectiveness, the disk
can be reused thousands of times,
which is not the case with videotape.
The camera itself is the latest technology; its sensitivity is about ASA 640,
and it handles contrast nicely. Overall,
as a standard-def camera it's performance is definitely in the
realm of 16mm (film), and it will
shoot 24p as well as 30p and 60
interlace.”
Sim Video has three
cameras now but will probably acquire
more “as the demand ramps up, and it
seems to be ramping up. We'll probably be up to five very shortly.”
Besides news-gathering, Sim said
XDCAM applications encompass
sports, reality, documentary, low-budget series and music videos. “I believe
it will be the de facto replacement for
COMMERCIAL FIRST: Tony Wannamaker csc, one of the two commercial DOPs for Toronto 1's creative services department, lensed early this year the first
commercial to be shot in Canada with the PDW-530 model. Toronto 1 is the first Canadian broadcaster to switch from tape-based acquisition to the XDCAM.
6 • CSC News
/
November 2004
Betacam. I think the whole format
lends itself well to streamlining the
whole production process. You can be
editing as you shoot. You have nonlinear access to your footage. You can
ship your dailies off to L.A. (for example) very easily and very cheaply on
the Internet.
“It certainly does look pretty good
up-res. It doesn't look as good as HD.
It's still a standard-def NTSC camera,
and no matter how good the camera is
you can't fix the deficiencies of NTSC.
That's why HD is so wonderful,
because there are no remnants of
NTSC.”
The XDCAM is not a flash in the
pan, “although it depends on how
quickly the world of HD takes over.
That's where the future is, and it's happening now.”
Mike Spear at Videoscope said the
XDCAM is generating “lots of interest
and the demos are showing that everybody likes the camera. It's got strong
quality and they see it as almost a
Digital Betacam.” However, he added,
it is a transitional period. “I'm not getting the feeling from cameramen that
they're all that convinced as to which
format to go with these days, whether
to go for a less expensive XDCAM unit
or to hang in there for HDCAM.”
As a newcomer to the increasingly
complex world of digital video, the
XDCAM may not yet be a major player, but the camera and optical disk system certainly has its cheerleaders.
Besides Bert Dunk, who called the
technology “pretty incredible stuff, it's
the future,” the XDCAM has won
raves from several CSC members.
Michael Boland csc bought a PDW530 last June only days after borrowing a “trial” unit from PCI for a documentary shoot in Newfoundland and
Iceland. He was asked to shoot the
CBC doc by Newfoundland producer/director Barbara Doran, and he was
planning on using his Betacam SP
when Steve Mayhew of Eyes Post
Group suggested he check out the
XDCAM at Precision Camera - “'16:9
and better than Digi Beta. Maybe
you can trial it,'” he said Mayhew
suggested.
Doran and the CBC agreed to use
see page 8
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from page 7
the XDCAM and Bill Long at PCI
agreed to supply it. Taking his old
Beta SP as backup, Boland went to
Newfoundland with the XDCAM and
“after two days, I said 'I'm buying this.'
I could see how good it was.” He
warmed up quickly to the camera's
many features, especially the thumbnail scenes and the ability to play back
the footage at night on an eight-inch
Sony monitor. “It just looked outstanding.”
The camera “is a Ferrari. It's evenly
balanced just like my old Arri SR. It
doesn't have the back weight of the
tape deck in it. I was just blown away
by the whole thing. This has made
videotape redundant.”
Don Purser csc shot a children's
show pilot on XDCAM and said,
“It's certainly the most interesting
thing to come along in a while. I
like the look of it; I saw the tests
shot by Bert Dunk and some of
his up-res images looked quite
spectacular.
“It's nice to be able to check
something in the camera,” he added,
“pull it into thumbnail mode, play
back a specific take, and then just hit
record. There's no queuing up, just
start right where you left off. The disk
goes to the next available space.” He
liked the weight of the camera, too.
“I think this will replace Digi Beta.
I think the electronics of processing
have improved a lot since the last
series of Digi Betacams. I think (blue
laser technology) has great potential you know, the whole thing of being
able to work proxy video and that
kind of stuff. I think it's got a real
hook.”
He said, “It runs a little hot., but I
suppose the upside of that would be
that if you had it in a Polar bag, working outside in the winter, you wouldn't have to put any Hot Shots in it.”
Anton van Rooyen was one of two
camera operators, with Robert
MacDonald, under DOP Milan
Podsedly csc on a Rhombus Media
documentary
on
the
Toronto
Symphony Orchestra. He said he
believes economy was a major factor
in choosing XDCAM, “and the fact
that it has 24p added some bling for
the price.”
8 • CSC News
/
November 2004
He liked “the light weight and the
balance of the XDCAM,” especially
since “we had our cameras up, I would
say, for five hours and 45 minutes out
of every six, largely hand held. It was
one of the hardest shoots I've done
physically - just nonstop even with
two cameras. We did rehearsals, performances, we shot behind the scenes,
we shot breaks during rehearsals when
one or more of the musicians would
talk to visiting schoolchildren, we shot
them setting up on stage, we shot the
conductor in his office suite, we interviewed many orchestra members, we
would travel often with the conductor
in his car. Then we shot parties in the
evening, either an official gathering at
Roy Thomson Hall or perhaps an
informal dinner at a restaurant or at
'24p added some
bling for the price'
one of the patrons' houses in Rosedale.
“We put the camera through its
paces over the two weeks. We used five
cameras for the performances.”
One downside, he said, is that “it
does use more power compared with,
say, a 570, whose battery will last way
longer than it will on an XDCAM.”
Tony Wannamaker csc, one of the
two commercial DOPs for Toronto 1's
creative services department, lensed
early this year the first commercial to
be shot in Canada with the PDW-530
model (see CSC News, May/2004).
Toronto 1 is the first Canadian broadcaster to switch from tape-based acquisition to the XDCAM.
“My interest primarily centred on
the application of the camera in prolonged commercial production environments, its reliability in cinema verité type shoots, and its application in
post-production,” he said. “The
XDCAM performed well in both studio and field environments.
“It was a cool, windy day when I
shot the initial tests. Fortunately . . . I
could warm my fingers at the disk
insert location. However, having
noted the heat generation, I was concerned about prolonged use. On set, I
had the camera running constantly
over a period of eight hours. The disk
insert location was warm to the touch,
but there was no indication of overheating; the re-writable disk was warm
to the touch as well.”
Wannamaker said, “The ability of
the camera to generate thumbnails on
request for sequence clips proved beneficial in the commercial environment. When we needed to screen
footage, to ensure that we got the take,
we easily enabled the thumbnail function and the clip bin was presented in
the side panel monitor. It was simply a
matter of selecting the clip and
enabling the item for playback.”
He said it was “exciting to be part
of this new technological leap. The XD
cameras offer practical advantages to
both our current affairs and creative services departments and
provide our production staff
with an efficient means for work
flow.”
Richard Stringer csc
has shot with the XDCAM and
was “impressed by an improved
picture over existing standard-def
cameras in that price range and the
fact that this camera offers slow shutter speeds and 24p.”
Stringer attended NAB last spring
on behalf of IATSE 667 and wrote a
detailed review for the union's
newsletter, including his assessment of
“tapeless image storage cameras.”
Excerpts of Stringer's work are printed
in this issue. Copies of the full material are available from IATSE 667.
Meanwhile, Panasonic has introduced its DVCPRO Professional Plugin (P2) technology, which allows
images to be captured on P2 Secure
Digital (SD) memory cards and transferred directly to editing software,
eliminating the need for tape.
According to Panasonic, P2 technology puts the information right into
the editor's hands with no digitization
or conversion, saving hours of work.
Data is immediately accessible on the
P2 card in file format. The card is recognized instantly when inserted into a
PC's PCMCIA slot. The system is
expected to have a major effect on the
broadcast and news-gathering industries, which depend on tape-based
systems. •
video file
Tapeless 'Cam-puters'
Are for Real
T
he big development at NAB
2004 was eliminating tape as a
video format and replacing it
with the same type of data storage we
use in our computers and digital cameras - disk drives and solid memory
cards. This concept has been around
for a few years, but it's kicking in for
real this year. There is lots of competition and there are different systems
from the key video manufacturers. As
usual, they all want their product to be
the next format of choice.
Sony has its XDCAM. This is a bluelaser system that uses a DVD-size disk
in a protective compartment. Cost is
$40 for a recording time of 45 to 85
minutes, depending on picture quality.
There are two standard-definition cameras - one very good at $27,000, one
really good at $50,000. I have already
shot with the XDCAM and I was
impressed by an improved picture over
existing standard-def cameras in that
price range and the fact that this camera offers slow shutter speeds (and 24p).
Panasonic has its DVCPRO P2. This
system uses a small card - a big brother
to cards you might use in a digital still
camera. Cost is $2,000 for 18 minutes,
but don't panic - Panasonic says this
cost should come down. The standarddef camera with P2 is the PDX800 at
$28,000. This camera accepts five P2
cards for a total of 80 minutes and picture information will jump from one
card to another - even mid-shot.
Ikegami, a video manufacturer not
seen much in Toronto, started this idea
a few years ago. They have a disk in a
cartridge-type drive, the FieldPak2,
which they claim could accept other
memory devices in the future. It costs
$500 and stores an hour or more
depending on the picture quality setting with their new standard-def camera, the DNS-33W. JVC cameras are
using an add-on drive called FireStore.
With this, you can record on both tape
and disk drive.
So what are some of the advantages
10 • CSC News
/
November 2004
to tapeless shooting? First, we eliminate tape's transport mechanism
which can be noisy and break down or
require maintenance. The tape stock is
vulnerable to handling damage and
dropouts, but these new storage
devices are robust and can handle
extremes in temperature and humidity
(which can make tape inoperable).
But the big change I noticed was
the replay and re-cue features.
Anybody who has shot tape knows
that when you are two-thirds through
the tape, nobody goes
back to check the first
By Richard A.
or
second
take,
because it takes too long, the tape
might get screwed up, and you have to
be careful to re-cue to the point you
left off or you might erase something.
With all the digital capture devices,
you can go back and check takes
instantly (like selecting tracks on a
consumer CD player), with no fear of
doing damage or erasing anything. So
you can look at previous takes, even
delete them and then return to shooting at any time. These devices can be
used over and over many times, which
changes the cost factors compared
with using existing videotape.
Other advantages of disk drives are
time lapse and replayable freeze
frames. There is also a feature called
“cache” where the disk or card can be
capturing an image even before you
ask it to. When you press record, a certain amount of time can be pre-recorded. This is useful if you've fallen asleep
when the prime minister starts his
major address!
Now that information is in gigabytes, the pictures can be downloaded
to computer faster than real time. Tape
has always required real-time digitizing
when loading the images into computers for editing.
Panasonic chose solid-state card
storage because there are no moving
parts and therefore no maintenance,
while Sony maintains that the
XDCAM, which has a spinning disk, is
reliable and rugged. At NAB, Sony had
a camera in a deep freezer and during
the demo they took it out into the
warm Las Vegas environment to show
record and playback was no problem
(lens fog was still an issue though!). I
asked about vibration interfering with
the disk record mode, but this camera
actually senses shock and is always
using a memory buffer to delay the
digitizing if necessary.
Sony's disks are just a little more
expensive than present
tape
costs,
Stringer csc
although you can
reuse them. You can choose to keep
them as you would videotapes; they are
very robust and have much more shelf
life than tape. If you want to reuse the
disks, you must transfer the images on
to disk drives, DVDs or tapes.
Panasonic's P2 cards are pricey, but
cost and memory capacity will change.
If you use up your supply of P2 cards
on location, you will have to download
the images on to a laptop to free them
up for reuse. Even though downloading is fast, it would be an issue in the
field.
One interesting feature on the
new cameras is a colour LCD flip-out
monitor on the side, similar to miniDV camcorders. The location is on
the top right of the operator's side of
the cameras, and on the XDCAM it
can be switched to show the timecode information.
My only problem is that if you
want to use this LCD for the director
while you use the viewfinder, there
is little or no room for your head or if you shoot from the hip the
LCD is totally blocked. Maybe they
should consider locating the LCDs
at the top of the camera behind the
handle.
Many of these camera systems are
still in development and soon this kind
of data capture will be used on HDTV
models. •
CSC FULL
AND
CSC FULL MEMBERS
Nicholas Allen-Woolfe csc
Jim Aquila csc
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Michael Balfry csc
Christopher Ball csc
John Banovich csc
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LIFE MEMBERS
John Goldi csc
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FULL LIFE MEMBERS
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Toronto
Vancouver
Tel: (416) 444-7000
Tel: (604) 291-7262
CSC News / November 2004 •
11
3rd Annual Kodak/
CSC Fall Golf Classic:
Teeing Off for CSC
Education Fund
Photo: Don Angus
Photo: Don Angus
of the Ontario film and television industry pitched and
putted around the 18 holes of the 3rd annual Kodak/CSC
Fall Classic. It was “a gem of a day,” enthused one happy
golfer.
see page 14
LONGEST DRIVE, WOMEN: Johanna Gravelle
receives her prize from colleague Dave Butler
of Kodak Canada Entertainment Imaging.
LONGEST DRIVE, MEN: Josh Scherba.
Photo: Don Angus
MOST HONEST GOLFERS: Eugene McEleney, Dee Smith,
Russell Cienapp and Paul Stechly of the Applied Electronics
team. 1-2-3 . . . you're right, they've lost somebody.
Photo: Don Angus
LOWEST TEAM SCORE: Daniel Schwartz, Richard
Storms and Mark Lewandowski of the D.J.
Woods team. Diane Woods could not make it.
12 • CSC News
/
November 2004
Photo: Don Angus
I
t was officially the first day of autumn, Sept. 22, and a
bright sun in a mostly cloudless sky warmed the lush
fairways and greens of the splendid Woodington Lake
Golf Club in rural Tottenham, Ont. For five or so hours,
longer for some than for others, 80 golfers from all corners
PUTTING CONTEST: Winner Alwyn Kumst csc.
Photo: Don Angus
recreation for education
CLOSEST TO THE HOLE: Men, Allan Munro.
Women, Cynthia Dron.
Thank you
The 3rd Annual Kodak and CSC Fall Classic Golf Tournament at
Woodington Lake was a resounding success. Participants from all walks
of the entertainment industry enjoyed a full day of fun and fundraising
in support of the CSC Education Fund and Lecture Series.
Our sincere thanks to our sponsors, to the companies and individuals who donated
prizes for the tournament winners, to the volunteers who helped make sure that
everything ran smoothly, and to everyone who took time out from their busy
schedules to support the cause.
We couldn’t have done it without you. Thank you.
SPONSORS
DONATIONS
Applied Electronics Ltd.
Arri Canada
Bacardi Canada
Clairmont Camera
David J. Woods
Deluxe Toronto Ltd.
IATSE 667
LEE Filters
Maxell Canada
Osram
Panavision Canada Corporation
Precision Camera
PS Production Services
SIM Video
Sony of Canada Ltd.
Videoscope Ltd.
Wm. F. White Int'l.
Woodington Lakes Golf Club
Sahadat of Kodak Entertainment
Imaging, Susan Saranchuk and
Karen Longland of the Canadian
Society of Cinematographers, and
Doug Maguire of Maguire Marketing &
Communications.
“The Kodak & CSC Fall Classic golf
tournament is a great opportunity for
us all to get together for a day of fun and fundraising,” she said. “Thanks to
your efforts, 100 per cent of the
money raised this year will go directly
to support the CSC education fund
and lecture series. So by being here
today you're not only supporting the
CSC, you're also supporting future
generations of cinematographers. And
that benefits us all.”
CSC education chair Ernie Kestler
said the recession that hit the
Photo: John Narvali
Photo: Doug Maguire
from page 12
There were 90 guests at the sumptuous, roast beef dinner that followed
the friendly competition. Comic magician David Merry played host, entertained with a hilarious set, and
announced the various prize winners.
The biggest winner was the CSC education fund, to which the day's proceeds of over $14,000 were allocated.
Kim Snyder, country manager and
vice-president of Kodak Canada
Entertainment Imaging, urged the
dinner gathering to give “a big round
of applause” for the various tournament sponsors, because “without
them this event wouldn't happen.”
She also thanked the organizing committee “for making this such a memorable day” - David Butler and Duane
FAIRWAY PIRACY: Ed Higginson csc, president
of The Lab in Toronto Inc., tries to look menacing as he appears to hijack a golf cart - his own.
MERRY MAGICIAN: Dinner host David Merry performs
a magic trick with the help of his pet mouse, who
miraculously lived through the show.
Photo: John Narvali
THE 19TH GREEN: Ernie Kestler, CSC education chair, and
Jennifer Mallette of William F. White International, enjoy
the sunshine and fresh autumn air at the Kodak/CSC Fall
Classic. The CSC education fund was the beneficiary of the
day's proceeds.
Photo: John Narvali
WELCOME: Kim Snyder, country manager and
vice-president of Kodak Canada Entertainment
Imaging, welcomes golfers and other guests at
the Kodak/CSC Fall Classic dinner.
14 • CSC News
/
November 2004
Canadian film and television industry
has made it difficult to find funding
for the annual CSC camera assistants'
course and the CSC's regular lighting
workshops, both of which are “an
important and popular part of the
CSC's mandate to promote and foster
the art of cinematography in Canada.”
The infusion of money from this
year's golf tournament allows the
Society to continue existing education
programs, he said, and to develop new
educational programming “in an
effort to keep up with the ever-changing technology.” A new lecture series
in the works “will have Canadian and
foreign directors of photography
screening their work and participating
in follow-up discussions.”
Kestler said: “There is much the
CSC wants to do to help disseminate
the collective knowledge and expertise
of our profession. The funds raised
today will help us make a major step
in that direction. Thank you all.”
And now, the tournament's prizewinning golfers:
• Lowest team score (63): Mark
Lewandowski, Daniel Schwartz,
Richard Storms
($100 gift certificate from Sporting
Life - donated by Clairmont Camera,
plus Kodak garment bag and one
dozen golf balls.)
• Most honest golfers: Paul Stechly,
Eugene McEleney, Dee Smith, Russell
Cienapp
(Videoscope/Sony briefcase with
coaster, pen, calculator.)
• Putting contest: Alwyn Kumst csc
(2 Raptor tickets, donated by
IATSE 667.)
• Longest Drive, Women: Johanna
Gravelle
(Green fees for 2 - Woodington Lake
Golf Course; DVD player, donated
by D. J. Woods Productions)
• Longest Drive, Men: Josh Scherba
(Green fees for 2 - Woodington Lake
Golf Course; DVD player, donated
by D. J. Woods Productions)
• Closest to the Hole, Men:
Allan Munro
(Bacardi gift basket)
• Closest to the Hole, Women:
Cynthia Dron
($50 Sporting Life gift certificate donated by Clairmont Camera) •
lighting
CSC Lighting
Workshop:
'An Awesome
Experience'
T
he Fall 2004 edition of
the CSC's ongoing series
of Lighting Workshops
was held the weekend of Oct. 23 at PS Production Services in
Toronto, with an enrolment of
10 participants.
On day one, Ernie Kestler,
CSC Education Chair and workshop coordinator, introduced
the class to the various theories
of light and lighting, and also
demonstrated the use of several
types of light meters. The workshop students got to talk and
compare notes over lunch
break, then in the afternoon
session Ernie talked about
three-point lighting and set up
an exercise where the group
tried to make an object look
three-dimensional. Everybody
enjoyed the chance of actually
experimenting with various
lighting approaches and observing the results. Subhashish
Tripathy found the hands-on
exercise to be “an awesome
experience.”
Day two started with a tour
of the lighting facilities at PS,
conducted by Rae Thurston, PS
senior vice-president, operations. With over 29 years of
senior level experience at managing the rental of film and television production equipment,
Rae has a reputation as a very
“hands-on guy.” Over the years
he's been gaffer for numerous
films, and a production manager on many commercial shoots.
While the tour was in
progress, George Willis csc,
aided by gaffer Bob McAdam,
devised a lighting plan for the
standing set (generously provided by DSA) that he used for several practical demonstrations.
The DOP set up an office
interior, with transitions from
early morning to night (including a neon effect from outside
the window). He also explored
the effects of an approaching
storm on a domestic (ground
floor) interior, Not only did he
STUDENTS get a tour of the lighting facilities at PS, conducted
by Rae Thurston, PS senior vice-president, operations.
Text and Photos
by Ernie Kestler
CSC Education Chair
demonstrate different times of
day, but also tree effects indicating the storm and wind. The
group also looked at light transitions, including water and fire
effects, that George set up on an
exterior patio set.
Participant
Andrew
Stevenson thought that “this
workshop is an excellent
opportunity to learn from
highly experienced professionals.” Everyone agreed the workshop was both informative and
stimulating, and helped to
demystify some of the “mysterious” aspects of lighting.
In the words of Denise
Curry, “it helped get my creative
juices flowing.”
Workshop
clients
were
William Austin, Maggie Craig,
Denise Curry, Robert Hanousek,
Julia McDowell, David Niven,
Andrew Stevenson, Subhashish
Tripathy, David Trueman and
Jason Vitesse. •
LIGHTING instructor George Willis csc set up an office interior,
with transitions from early morning to night, including a neon
effect from outside the window.
CSC News / November 2004 •
15
discussion
Emerging Technologies
in Imaging Sensors
W
ith the transition to digital television driving the requirement for multi-format, multi-use imaging devices, the October meeting of the Toronto branch
By Lance Carlson
of SMPTE examined emerging technologies in imaging sensors for multi-format SD and HD broad-
cast use and cinematography. SMPTE invited CSC members to the discussion in the Eaton Lecture Theatre at the
Rogers Communications Centre of Ryerson University, and Associate Member Lance Carlson was there to report for
the CSC News. The meeting was arranged by Paul Stechly of Applied Electronics Ltd. and Reid Robertson of
Panasonic Canada, and sponsored by Applied Electronics. Presentations included, CMOS: Cameras for Multi-format
HD Production, by Alan Keil of Ikegami; Advanced Frame Transfer Technology, by Lucian Ion of Dalsa Corp.; and
the D-20 Cinematography Camera, by Sebastien Laffoux of Arri Canada.
The Arri D-20
The Dalsa Origin
I
t was a little like Back to the Future.
The evening's three presentations
were about current and future
leading-edge technologies, but, for a
nostalgic look back, Gord Ballantine of
Applied Electronics brought out his
collection of Image Orthicon tubes,
some about the size of a small
bazooka, with a 3 1/2- inch sensor,
down to a MagLight-sized single
(monochrome) 1/2-inch chip and a
2/3-inch Beta-style beamsplitter block.
16 • CSC News
/
November 2004
Apparently the delicate nature of the
tubes made the switchover to solidstate CCD chips a rapid and welcome
one.
Moving forward, Alan Keil, VP and
director of engineering for Ikegami at
its Maywood, N.J., headquarters, started his talk by summarizing a bit of the
history of image sensors, including the
Image Orthicon, the Plumbicon, etc.,
and then explained some of his company's developments into current
solid state CCD technology. His detailing of photo diodes, or pixels as we
now know them, led to a comparison
of Frame Transfer, Interline Transfer
and Frame Interline Transfer technologies used in current image capture
devices, primarily video cameras.
He also explained how Ikegami is
now exploiting new technologies with
CMOS-sensor image acquisition,
which it has developed in collaboration with Rockwell Scientific. CMOS
imaging technology is obviously now
coming of age in motion imaging and
Ikegami is pinning much of its expectations on maintaining their reputation for quality in their new HDTV
products with this technology. Not
least in features of the CMOS technology is the fact that it consumes considerably less power than CCDs.
I have attended Mr. Keil's presentations before and they are always fascinating in their obscure detail of some
of the intricate workings of the imaging devices we rely on to often make
us look smarter than we really are (at
least speaking for myself).
The next presentation was by
Lucian Ion, filling in for John Coghill
of the Waterloo, Ont.-based Dalsa
Corp., which seems to have its act
together in creating a next-generation
digital cinema camera, the Origin.
Gord Harris, formerly of Imax and a
consultant to Dalsa, alerted me to this
product over two years ago and I have
been waiting and watching with anticipation ever since. I have not been to
NAB for either of the launch presentations, but there is certainly a lot of
buzz among serious cinematographers
in Europe and Hollywood and in
between. Denny Clairmont of
Clairmont Camera is also involved in
an advisory role.
Without getting into a history of
Dalsa (primarily a chip maker) and
their amazing products, a simple
reminder may be in order. Their chips
are of such quality that they were
selected by NASA for duty on the Mars
Rovers, whose spectacular images we
have all seen.
With 20 years of experience designing the world's best image sensors,
Dalsa followed a cinematographer's
wish list to design the next-generation
digital cinema camera from the
ground up. Dalsa's digital cinematography system reinvents the digital cinema camera the way it should be.
Origin has not grown from videocam
roots. Its revolutionary power and performance have been focused directly
at the needs of motion pictures.
This was essentially a technical/engineering presentation and
P+S Technik Digital Image Converters
Use 35mm primes on your 2/3” or Mini DV
camera and get the same depth of field, angle of
view and focal length as with 35mm film cameras.
Use PL, Panavision or Nikon mounted
35mm primes on any high-def or standard
def 2/3”video camera. Get creative with the hindreds
of lens choices that used to be available only to 35mm
filmmakers.
Pro 35
Use PL, Panavision or Nikon mounted
35mm primes on your Canon XL-1/1-s,
Sony PD-150, VX2000 or Panasonic AG-DVX100 Mini
DV camera. Professional results, Mini DV budget.
Mini 35
Mount
the lenses
used in filming on a video camcorder and preview the
scene as the film camera will actually see it. Record
shots on location, evaluate lighting. Replace camera
with optical viewfinder for director’s viewfinder.
VDF-35/16 Director’s Viewfinder
Available for sale or rental,
information package on request.
200 Evans Avenue, Unit 4 Toronto, Ontario M8Z 1J7
Tel: (416) 463-4345 Fax: (416) 469-2609
[email protected]
see page 18
CSC News / November 2004 •
17
from page 17
DELUXE is Canada’s leading full-service film laboratory and postproduction
house serving feature, television and commercial filmmakers. We offer the highest
quality theatrical, television and postproduction services.
We provide extensive theatrical fulfillment and distribution services,
delivering release prints, trailers and marketing materials direct-to-exhibitors
throughout Canada and the USA.
Visit our website at www.bydeluxe.com
Deluxe | Laboratories | Toronto
• Dailies – 35mm & 16mm
• Front End Services
• Release Printing
• Anti-Piracy Technology FCTTM
Deluxe | Cinema Services | Toronto
• Release Print Distribution
• Print Control, Tracking, Storage
• Trailer Breakdown & Chasing
• Marketing Fulfillment
• Trailers
• Standees
• One Sheets
• Banners
Laboratory
350 Evans Ave., Etobicoke, ONT M8Z 1K5
P: 416.364.4321 F: 416.348.0104
Contact Paul Norris, VP Sales Lab
416-205-8029
18 • CSC News
/
November 2004
Deluxe | Postproduction | Toronto
• Sound Re-Recording
• Sound Deliverables
• High Definition Dailies
• Hi Definition Mastering
• SD/HD Telecine
• Editorial Services
• Physical & Digital Vaulting
• Digital Asset Management
• Standards Conversion
• Intl. Broadcast Duplication
• Broadcast Distribution
• Screeners – Promo & Academy
• Digital Intermediates (EFILM)
• Digital Distribution
Postproduction
424 Adelaide St. E., Toronto, ONT M5A 1N4
P: 416.364.4321 F: 416.364.0615
Contact Stan Ford, VP Sales Post
416-957-6202
the techno stuff is in white papers at
www.dalsa.com/dc for anyone wishing to get into the details. From my
standpoint, the real story is that this
camera represents a breakthrough in
digital capture for some time to come;
they will not need to bring out a new
camera in two years. The current camera is capable of outputting 2K or 4K
res uncompressed pictures (potential
for large format) and more; the cinematographer can choose the format
and the aspect ratio.
The 22-megapixel CCD image sensor (4008 x 5344 pixels) offers the
industry's best image quality with
dynamic range (72db linear) (12
stops), sensitivity and low noise that
are unmatched by sensors with a fraction of its resolution. Other features
include 35mm PL mount cinema lenses for a complete choice of lenses you
know and trust, and the corresponding depth of field you expect. An optical viewfinder (made by P+S Technik)
enables the operator to see what is
actually being captured. The first production models will achieve a 60fps
frame rate at full resolution and a
higher fps rate at a lower res. Nominal
exposure index is 200T and 300D,
with 400D being the objective in production models.
One obvious challenge for this
camera is just what to record on. After
all, 4K uncompressed output requires
something in the order of 1.4
terrabytes for 60 minutes. Current
Origin recorders use a RAID0 configuration with 1.2tbytes of storage
(approximately 50 minutes). The new
generation recorders will be configured as RAID3 or RAID5 to provide
redundancy. In a studio setting, camera output could be streamed directly
into a storage network, but when “on
location” the camera needs a field
recorder, which must be offloaded
when full (much like film magazines).
Sebastien Laffoux of Arri Canada
presented the D-20, which has been
shown in functional models over the
last year or so. There apparently are
plans to introduce pre-production
models before the end of this year in
select Arri rental facilities.
As one might expect from Arri, the
D-20 is a cine-style digital camera
which (Arri is always quick to point
out) is for TV-oriented applications.
However, it is designed to have the feel
and versatility of a film camera,
including most of the familiar accessories. In its own way, it is somewhat
format agnostic and future proof.
The full-sized CMOS CCD is full S35 size and can be cropped to match
film formats, depths of field, etc.
Currently one can record to HDCAM
and HDCAM SR (2880 x 1620 pixels)
or other formats. In so-called “film
mode,” the D-20 can record
unprocessed data from the sensor to a
recorder or it can be fed to a film negative (through an Arrilaser film
recorder) (3648 x 2162 pixels). It
sounds cumbersome but reeks of versatility (and quality).
Basic specs of the camera include:
modular design; about 15 pounds; PL
mount availing itself of any or all
high-quality lenses out there; a quiet
mirror shutter borrowed from the
Arricam; and a variable frame rate for
film-style handling. The limit currently is 100fps with speed ramp and exposure compensation, but increased rates
are anticipated and will be contingent
on format and compression. Latitude
is expressed as 60db (10 stops) at 12bit digitization. As indicated, Arri will
be releasing a limited number of preproduction models in select rental
facilities in Europe, the U.K. and New
York and looking for feedback in collaboration with end-users (hopefully
cinematographers) to continue its
development towards a full production model.
Tests have been carried out comparing the D-20 with standard and
Super 35 as well as 65mm. (Sebastien
said there was a limited presentation
of test results in Toronto last spring,
and the most convenient window for
the next local showing will be after
NAB next year.)
The promise of digital image
capture is complex and exciting.
The above cameras are the result of
many years of leading-edge research
and technology achievement. Along
with the Thomson Viper and
the Panavision Genesis, they represent
a new era in high quality image
capture. •
CAMERA CLASSIFIEDS
FOR SALE: Sony VX1000 DVCamcorder complete with 6 lithium batteries, Century Precision
Optics wide angle, 2X telephoto and 16/9
anamorphic lenses, plus Beachtek Pro Audio
inputs, LED VU Meter, and wireless microphone, and carrying case. Original cost $10,000.
Complete package price $ 2,000. Contact
Robert Bocking csc (416) 631-9845 or
[email protected]
FOR SALE: Fujinon 8x20 switchable zoom lens
with doubler; Fujinon wide angle X.07 adapter;
Fujinon Tele-Converter X 1.6; screw-on Heliopan
rotating polarizer and Heliopan UV filter; all
equipment in excellent condition. Total price
$16,500. Phone (604) 947-2915
WANTED:
Cineworks
Independent
Filmmakers Society in Vancouver is shopping
for an Arri BL3 or BL4 35mm sync production
camera package. Preference is a complete
package which must be in good condition.
Partial packages may be considered. Shopping
list: a 4-perf body, PL mount, full academy film
gate, 1:1.85/TVsafe ground glass, video assist
optics, follow focus, 4"x5.65" matte box, 4 - 6
mags, and a set of Zeiss T1.3 primes. Wish list
includes a video tap, more mags, a head and
legs, an Angénieux T3.5 HR 25-250mm zoom
lens, a 4-perf MOS PL mount camera package,
filters would be nice, too. Contact: Randy
Rotheisler, phone (604) 251-6762; fax (604)
685-9685; email [email protected]
FOR SALE: Meerkat 35 jib arm, made by
Filmair International, Toronto. Almost new, used
only couple of times on one show. Included are
two extra weights, extra long weight rod and
hard case. Asking price $4,200 plus taxes.
Contact Milan Podsedly (416) 409-5758,
[email protected]
FOR SALE: Nikon Super Zoom system for
Betacam - you can fill the frame with the moon
or pan within a postage stamp, $7,000; Sony
SX999 miniature (pencil) camera with 3.5mm,
6mm and 12mm lenses, $1,200; BVW25
Betacam record playback deck with Telcom
time code display, Pelican and soft cases, and
110v power supply $4,000; Two camera master
lighting kit; Two 750W Rifalites with diffusers
and egg crate grills, 2 Arri stands, 2 HD stands
with lighting booms with counterweights,
spare lamps, extra cables and case, $2,000;
Custom camera safe with electronic lock, for
Durango or larger SUV, $400; Nikon OS “V”
underwater camera with 35mm f2.5 lens and
SB-102 flash, complete with case, manuals
and spare “O” rings, all in mint condition,
$1,500. Contact Jim Mercer, 416-932-3485 or
[email protected]
FOR SALE: Used equipment. Arri SR package,
w/10-100 Zeiss, w/Arri Shade & Accs, 2 mags
& case,15,000; Arri “S” package, VS motor,
primes, cable, battery, 2,500; Panasonic DVX
100P DV Camera, w/standard accs., 3,400;
Ang. 12-240, 12-120 Arri “B” mount, call for
price;Ang. 5.9mm (Arri S), Ang. 10-150 (Éclair),
Ang. 12-120 (CP), call for price; Century lenses,
25-250 zoom, 500mm w/ 2X, 230mm, 300mm,
call for price; Bolex packages, Rex 3's, Rex 5's,
EBM's, other Crystal motors, call for price;
Filters and more used gear: Check our web site
www.llsr.com; Phone: (604) 298-3224 Fax:
(604) 298-2023; Looking for used film or video,
email [email protected]
FOR RENT: Pro 35 Adaptor with PL Mount and
Nikon Mount. Call Henry Less at 416-678-5377
WANTED: Used Lighting & Grip in good condition. Please call Andrew @ 416 535-1475 or email: [email protected]
FOR SALE: From Leather Design Tech, leather
items customized to the needs of the film industry; also nylon cordura, an inexpensive way to
create and organize “on set” accessory bags,
personal tool belts, camera tool pouches,
labelled and slimmer cable pouches. Now making TV monitor covers for easier monitor viewing. For camera assistants, now making camera
cart bags to hang off your carts, with labelling
for great organization, approximately 18x18x6
inches, $35-$45 each; and smaller nylon cordura pouches to hold various cables to reduce the
bulk in your “ditty bags,” 3x4 inches, $8.00.
Think of something you need, we can design
and create it together. Call to order: Lori 416452-9247, 905-895-3807, [email protected].
Web site: www.leatherdesigntech.ca
Camera Classifieds is a FREE service to CSC members. If you have items
you’d like to buy or sell, please fax your list to (416) 699-8521 email [email protected]
CSC News / November 2004 •
19
awards
Nominees for
2004 Gemini Awards
et Prix Gémeaux
T
he Academy of Canadian
Cinema and Television has
announced the Best Photography nominees for the 19th annual
Prix Gémeaux in Montreal Nov. 27-28
and the 19th annual Gemini Awards
in Toronto Dec. 11-12-13.
Gemini nominees:
Best
Photography
in
an
Information Program or Series are:
Ian Hannah, CBC News: Sunday
“Afghanistan”; Colin Allison, CBC
News: the fifth estate “Run For Your
Life”; Henry Less csc, made to order
“East Meets West”; Aldo Columpsi,
On The Road Again “Pamorama
Painter”; Brad Schewaga, The Thirsty
Traveler “Absolutely Aquavit”.
Best Photography in a Doc-
20 • CSC News
/
November 2004
umentary Program or Series: John
Walker csc, Men of the Deeps;
Claudine Sauvé, Short Infinity;
Michael Grippo csc, Sleeping Tigers The Asahi Baseball Story; Mike Rudyk
and Wayne Vallevand, The Lone Trail:
The Dogs and Drivers of the Yukon
Quest; Keith Brust and Susan
Fleming, The Secret World of Gardens:
Garden Mimics.
Best Photography in a Dramatic
Program or Series: Henry Chan csc,
Human Cargo; Les Erskine, Da Vinci's
Inquest “A Man When He's Down”;
David Frazee csc, Cowboys and
Indians “The Killing of J.J. Harper”;
David Frazee csc, Da Vinci's Inquest
“Bury My Own Bones”; Rene Ohashi
csc asc, Shattered City: The Halifax
Explosion “Part One”; Peter Woeste
csc, Stargate SG-1 “Nightwalkers”.
Best Photography in a Comedy,
Variety or Performing Arts Program
or Series: Rudolf Blahacek, Death and
The Maiden; Kim Derko csc, Youkali
Hotel; Paul Tolton csc, Shadow
Pleasures; André Turpin, Amelia.
Prix Gémeaux:
Meilleure
direction
photographique - dramatique: Georges
Archambault, FORTIER “Épisode 6”;
Bruce Chun csc, Grande ourse “Le mal
surgit de l'ombre”; Ronald Plante csc,
LES AVENTURES TUMULTUEUSES DE
JACK CARTER “Tigre et passion, partie
2”; Laurent Beauchemin, RUMEURS
“Amour et biologie 2”; Michel Caron,
SIMONNE ET CHARTRAND “19681969”.
Meilleure
direction
photographique - documentaire, affaires
publiques, reportage, biographie:
Jean-Claude Labrecque csc et Jérôme
Labrecque, À HAUTEUR D'HOMME;
Alfonse Mondello, L'IMPOSSIBLE
RETOUR DES EXILÉS AFGHANS (ZONE
LIBRE); François Beauchemin et Robert
Vanherweghem, LA COLÈRE DES
PARIAS
(EXTREMIS);
Philippe
Lavalette, LES MESSAGERS ; Mario Cyr
et Martin Leclerc, MISSION ARCTIQUE
“La grande traversée.
Meilleure
direction
photographique ou éclairage - humour,
variétés, arts de la scène, talk show:
Normand Chassé, À VOUS LE MONDE;
Claude Benoit et Normand Chassé, LA
SOIRÉE DES JUTRA 2004; Pierre Roy, LE
VENT, LA MER, LE ROC; Réal Truchon,
MUSIQUE DU MONDE . . . D'ICI;
Gatien Ouellet, STAR ACADÉMIE (LE
VARIÉTÉ) “4 avril 2004”.
•••
Kodak Entertainment Imaging is
once again sponsoring the Best
of Photography categories. “Kodak
is committed to supporting Canadian
filmmakers,” says Kim Snyder, vicepresident
of
Kodak
Canada
Entertainment Imaging. “We're very
proud of our long-standing partnership with the academy to help ensure
that talented filmmakers in our
industry continue to receive the
international
recognition
they
deserve. Congratulations to all of the
nominees for their dedication and
commitment to excellence.” •
“Get it to The Lab”
• 16/35mm colour
negative processing
• Set up
• Academy leader
• Cleaning
• Ready for transfer
Audio and Video quotes available
in conjunction with
Deluxe | Sound & Picture
C O N TA C T :
Ed Higginson:
Al Lindsay:
Tel:
Fax:
[email protected]
[email protected]
(416) 461-8090
(416) 461-0768
Toll free: 1-888-822-2505
183 Carlaw Avenue • Toronto, Ontario • M4M 2S1
The One
Swatchbook
that has
it all ...
ROSCO CANADA
1241 Denison St., #44,
Markham, Ont., L3R 4B4
905-475-1400
Toll Free: 1-888-767-2686
Fax: 905-475-3351
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CSC News / November 2004 •
21
news clips
DIET OF SOULS WINS CINE AWARD
At 2004 Atlantic Film Festival
The documentary Diet of Souls was
jury-selected for the William F. White
Cinematography Award at the 24th
Atlantic Film Festival in Halifax in
September. Diet of Souls, the third in
director John Houston's Arctic trilogy, was shot by Robert MacDonald
and Christopher Ball csc as co-cinematographers (see CSC News,
June/2004).
Diet of Souls premiered at the
National Gallery of Canada in
Ottawa on June 20 and on Vision TV
on June 24, 2004. More information
on this film and the entire trilogy is
available at www.triadfilms.ns.ca or
[email protected]
THE HOLLYWOOD OPTION
On History Television
Twenty-five years ago this month
in Iran, the CIA and Canadian government joined forces in a covert
operation called “the Hollywood
Option,” the most dangerous diplomatic operation in Canadian history.
The story unfolds in the documentary Escape from Iran: The Hollywood
Option, made by director Chris Triffo
csc of Regina-based Partners in
Motion for History Television. It premiered on Oct. 30 and was rebroadcast on Nov. 4.
On Nov. 4, 1979, 66 employees of
the American embassy in Tehran
were captured and held hostage. Just
a few hundred meters away, six other
Americans found haven in the
Canadian embassy. Former Canadian
ambassador Ken Taylor, then prime
minister Joe Clark, former external
affairs minister Flora McDonald, the
former Empress of Iran, key members
of the U.S. administration and CIA,
authors Stephen Kinzer and Claude
Adams, American hostages, and
members of the six escapees all bring
this story together.
22 • CSC News
/
November 2004
HEAD IN THE CLOUDS
Shot in Montreal by
Paul Sarossy csc bsc
“There are great movies, there are
date movies, and then there's something even yummier: great date
movies. Head in the Clouds is a fine
example of the latter,” says a threestar review in the Toronto Globe and
Mail. “A pleasure-purveying hybrid
of cinematic art and unabashed
romantic melodrama, this is the sort
of film that brings to mind the
sweeping epics of a bygone era (think
Doctor Zhivago or Gone With the
Wind).”
The feature stars Oscar-winning
Charlize Theron (Monster) and Stuart
Townsend.
“Lavishly photographed by legendary Canadian cinematographer
Paul Sarossy (csc bsc),” continues the
review, “the film was shot mainly in
Montreal, though you'd scarcely
believe it. The fictional Paris of
Sarossy and director John Duigan is a
magical, soot-blanketed urban landscape of romance, violence and
despair. It's the perfect backdrop for
this great, gooey, hot-fudge sundae of
a love story.”
THE DGC AWARDS
Arcand and Invasions
Take Top Honours
The Directors Guild of Canada
celebrated the best film and television work created by its members at
the 2004 Directors Guild Awards in
Toronto, the third annual such gala.
The host was Mary Walsh, and Leslie
Nielsen made the presentation of the
Lifetime Achievement Award to
director Arthur Hiller. The DGC's
Distinguished Service Award was presented to long-time DGC member
Keith Cutler by DGC president Alan
Goluboff.
DGC Team awards are given to all
DGC members working in Guild categories on the winning productions.
The Craft awards are presented to
individual members for outstanding
achievement. The winners of the
2004 DGC Awards were:
Outstanding Achievement in
Direction Feature Film: Denys Arcand,
Les Invasions Barbares
Outstanding Team Achievement in a
Feature Film: Les Invasions Barbares
Outstanding Team Achievement in a
Television Movie or Mini-series:
Human Cargo
Outstanding Achievement in
Direction - Television Movie or Miniseries: Brad Turner, Human Cargo
Outstanding Team Achievement in a
Family Feature Film: Blizzard
Outstanding Achievement in
Production Design - Feature Film:
Matthew Davies, The Saddest Music In
The World
Outstanding Achievement in Picture
Editing - Feature Film: Michele
Conroy, Nothing
Outstanding Achievement in Sound
Editing - Feature Film: Mark Gingras,
John Laing, Michael O'Farrell, Jill
Purdy and John Douglas Smith, The
Statement
Outstanding Achievement in
Direction - Television Series: Sturla
Gunnarsson, Da Vinci's Inquest “Bury
My Own Bones”
Outstanding Team Achievement in a
Television Series - Drama: Da Vinci's
Inquest “Bury My Own Bones”
Outstanding Achievement in Sound
Editing - Television Movie or Miniseries: Tom Bjelic, Allan Fung and
John Douglas Smith, Shattered City
Outstanding Achievement in Picture
Editing - Television Movie or Miniseries: George Roulston, The Many
Trials Of One Jane Doe
Outstanding Achievement in
Production Design - Television
Movie or Mini-series: Tim Bider,
Shattered City
Outstanding Team Achievement in
a Documentary: Dying At Grace
Outstanding Achievement in
Production Design - Television Series:
Jennifer Stewart, Snakes & Ladders
“Political Animals”
Outstanding Achievement in Sound
Editing - Television Series: Susan
Fairbairn, Ronayne Higgenson and
Brandon Walker, Slings & Arrows
“A Mirror Up To Nature”
Outstanding Achievement in Picture
Editing - Television Series: Paul
Winestock, The Eleventh Hour “Hard
Seven”
Outstanding Team Achievement in a
Television Series - Comedy: Corner
Gas “All My Ex's”
Outstanding Team Achievement in a
Television Series - Family: Degrassi:
The Next Generation “Holiday”
KODAK CINESERVER
Major Step Forward
In Digital Cinema
Eastman
Kodak
Company
announced at the annual ShowEast
Conference in Orlando, Fla., that the
company is taking a major step
forward in its goal of making highquality digital cinema available for
motion picture exhibitors around the
world. The company is demonstrating the Kodak Digital Cinema
Solution for Feature Presentations, a
bundled package of hardware, software, and support services. The core
of the package is a unique Kodak
CineServer, which includes proprietary colour technology and image
science to deliver high-quality
images to the cinema screen. The full
solution includes preparation and
distribution of content and technical
support.
Kodak services include preparation of the Digital Source Master files
by LaserPacific, a Kodak company.
LaserPacific provides complete digital
post production services, including
digital intermediates, encryption,
compression, and encoding in digital
cinema color space, all designed to
enable audiences to experience
movies they way the filmmakers
intended. The digital content is
transferred to a hard disk drive or
DVD-ROM, which are distributed to
cinemas. The disks are loaded
into the Kodak CineServer, which
decrypts and decompresses the
movie and sends it to a cinema-grade
digital projector to play on the
theatre screen.
KODAK AND CSM
Bring Digital Pre-Show to
Harkins Theatres
Eastman
Kodak
Company,
Harkins Theatres and Cinema Screen
Media (CSM) have announced that
CSM, the world's largest, independent provider of digital pre-show presentations, has made an additional
purchase of more than 200 Kodak
Digital Cinema systems. The company will use the systems to present the
CSM digital pre-show entertainment
program to audiences in the growing
network of Harkins Theatres.
Key to the Kodak sale is CSM's
new multi-year agreement with
Harkins Theatres, giving CSM the
exclusive right to provide a revolutionary digital pre-show program on
all 289 Harkins screens, circuit-wide.
The program is designed to be both
entertaining and informative for
Harkins' guests. Harkins makes the
third major chain with an exclusive
partnership with CSM and Kodak. All
Century and CinéArts theatres also
are being equipped with Kodak digital pre-show systems.
Since November, 2003, CSM has
purchased more than 1,300 Kodak
digital cinema pre-show systems.
They are currently being installed by
Kodak and used by CSM to provide a
market-leading digital pre-show
entertainment program in the
Arizona,
California,
Colorado,
Illinois, Oklahoma, Oregon, and
South Carolina markets.
COMWEB GROUP ANNOUNCES
Three Executive Appointments
Chairman/CEO Paul Bronfman
has announced the appointments of
Mark Prior to president of Comweb
Group Inc., Kevin Gordon to president of Entertainment Partners
Canada, and Robert Bruce to chief
financial officer of both the Comweb
Group and William F. White
International. •
CSC News / November 2004 •
23
ACTION PRODUCTION NOTES & CSC CALENDAR
British Columbia, Prairies
ANDROMEDA (series); DOP: Gordon Verheul; Op: James Wallace; 2nd:
Trevor Wiens; to Dec. 20, Burnaby.
DA VINCI'S INQUEST (series); DOP: David Frazee csc; to Nov. 22,
Vancouver.
THE FANTASTIC FOUR (feature); 1st: Larry Portmann; 2nd-unit Op: Paul
Mitchnick csc; to Dec. 22, Vancouver.
GODIVAS (series); DOP/B-Op: Bruce Worrall csc; to Nov. 22, Vancouver.
INTO THE WEST (mini-series); 1st: Kirk Chiswell; B-Op: Dean Bennett
csc; to Nov. 8, Calgary.
THE L WORD (series); Op: Neil Seale; to Nov. 16, Vancouver (HDTV).
THE LAREN SIMS STORY (MOW); 2nd-unit DOP: Craig Wrobleski csc;
wrapped Oct. 29, Calgary.
A LOVE STORY (MOW); DOP/Op: Greg Middleton csc; to Nov. 3,
Vancouver (HDTV).
LIFE AS WE KNOW IT (series): DOP: Randal Platt csc; to Dec. 2, North
Vancouver.
THE MOUNTAIN (series); DOP: Attila Szalay csc; Op: Brad Creasser; BOp/SC: Michael Davies; to Dec. 6; Burnaby.
THE MUPPET WIZARD OF OZ (MOW); DOP: Tony Westman csc; to Nov.
1, North Vancouver (HDTV).
RENEGADEPRESS.COM (series); DOP/Op: Ken Krawczyk csc; to Nov. 19,
Regina.
TERMINAL CITY (series); DOP: Thomas Burstyn csc; B-Op: Cyrus Block
csc; to Feb. 14, Victoria (HDTV)
TIDELAND (feature); Op: Mark Dobrescu csc; to Dec. 2, Regina.
Ontario, Quebec, Atlantic
L'AUDITION; DOP: Pierre Jodoin csc; to Nov. 21, Montreal.
AURORE; DOP: Louis de Ernsted csc; to Dec. 6, Montreal.
BLENDED (MOW); DOP: Michael Storey csc; Op: Glen Warner; to Nov.
19, Toronto.
DEGRASSI (series); DOP: Gavin Smith csc; to Nov. 17, Toronto.
ELEVENTH HOUR (series); DOP: David Perrault csc; B-Op: Cudah
Andarawewa; to Dec. 13, Toronto.
LES EX; DOP: Bruno Philip csc; to Dec. 10, Montreal (HDTV).
FREAKS OF NATURE (series); DOP: Mitchell Ness; to Feb. 11, Toronto
(HDTV).
INSTANT STAR (series); DOP: James Jeffrey csc; to Dec. 3, Toronto.
JEAN'S FATE; DOP: Daniel Vincelette csc; to mid-December, Montreal.
KEVIN HILL (series); David Moxness csc; 1st: Chirayouth Jim Saysana;
to Nov. 25, Toronto (HDTV).
THE LAND OF THE DEAD (feature); Op: Mark Willis; B-Op: Perry
Hoffman; to Dec. 12, Toronto.
LIFE WITH DEREK (series); DOP: Milan Podsedly csc; 1st: Peter
Battistone; to Dec. 1, Corner Brook, Nfld. (HDTV).
MISSING (series); DOP: David Herrington csc; Op/SC: Michael
Fylyshtan; 1st: Philippe Champion; to Nov. 10, Toronto (HDTV).
NAKED JOSH II; DOP: Francois Dagenais csc; to mid-January,
Montreal.
THE PIERRE HEIST (MOW); DOP: Luc Montpellier csc; to Nov. 26,
Toronto.
QUEER AS FOLK (series); DOP: Thom Best csc; Op/SC: Iain Baird; to
March 31, Toronto (HDTV).
RENÉ-LÉVESQUE; DOP: Serge Ladouceur csc; to Dec. 23, Montreal.
SHOW ME YOURS (series); DOP: Kim Derko csc; Op: Anton van Rooyen;
to Dec. 8, Toronto.
STONE COLD (MOW); DOP: Rene Ohashi csc asc; B-Op: Christopher
Ball csc; to Nov. 19, Dartmouth, N.S.
SUE THOMAS F.B.EYE (series); DOP: Yuri Yakubiw csc; Op: J.P. Locherer
csc; B-Op: Russ Goozee csc; to Feb. 28, Toronto (HDTV).
SWARMED (feature); DOP: Robert Saad csc; Op: Kit Whitmore csc; to
Nov. 9, Toronto.
THIS IS WONDERLAND (series); DOP: Gerald Packer csc; Op/SC: Colin
Hoult csc; to Feb. 10, Toronto.
TILT (series); 1st: Jeremy Tabarrok; to Feb. 14, Toronto (HDTV).
TWIST; DOP: Daniel Vincelette csc; to Nov. 1, Montreal.
WIDOW ON THE HILL (MOW); DOP: David Greene csc; 2nd: Marcel
Janisse; to Nov. 7, Toronto (HDTV).
WILD CARD (series); B-1st: Demetri Portelli; to Nov. 25, Toronto.
Schedule of Meetings and Events of Interest to CSC Members
TORONTO
Nov. 18, 7-10 p.m. - Technicolor Creative Services hosts a “Night With A
Colourist,” including: Discussions about television and cinema with longform and commercial colourists; and demonstrations of colour, software,
HD, various looks and equipment. Refreshments served. At 49 Ontario St.,
7th floor. RSVP by Nov. 12 to Kevin Barendregt 416-585-0674 or
[email protected]
Nov. 29-Dec. 3 - Kingsway Motion Picture Ltd. presents a five-day
Steadicam Workshop, with lead instructor Paul Taylor of Los Angeles, a
Steadicam operator for 20 years and an instructor for 15. (He also teaches
at the Rockport and Malibu Classic Workshops.) Fee for the workshop is
C$2,225 plus GST, which includes the five days of training and lunches.
Attendance is limited to 12-14 students, with a rig for every three partici-
pants. To book space, contact Douglas Macaulay at Kingsway Motion
Picture, 4-200 Evans Avenue, Toronto, ON M8Z 1J7, phone 416-463-4345,
fax 416-469-2609, e-mail [email protected]
Mon., Dec. 6 - Kodak Canada Entertainment Imaging hosts their annual
Christmas Soiree. At Kodak Canada Head Office, 3500 Eglinton Ave.W.
Details TBA.
Dec. 11-12-13 - The Academy of Canadian Cinema and Television presents
the 19th annual Gemini Awards.
Mon., Feb. 21, 6:30 p.m. - 2005 CSC Annual General Meeting. At
Precision Camera, 181 Carlaw Ave.
MONTREAL
Nov. 27-28 - The 19th annual Prix Gémeaux
Check www.csc.ca
24 • CSC News
/
November 2004
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