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A PUBLICATION OF THE CANADIAN SOCIETY OF CINEMATOGRAPHERS
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•-llo.4714n
De<ember 1999
Volume 19, No.4
MERRY CHRISTMAS
Frome from Noonon Mcl.oren's
onimoled short, Christmas Crocket
IN THIS ISSUE
POINT OF VIEW: Just Watch Me
PRESIDENT'S REPORT: Christmas On Camera
GEMINIS 99: Underschultz and Greene
TALKING PICTURES: Cold Squad
ON CAMERA: Kuri Kurita
WHAT'S NEW?: At Arri Canada
~=~
INSERTS INSIDE
- CSC Awards Forms
- CSC Executive Nominations
- Camera Assistants Course Application
DltCPRD
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Panasonic.
President's Report
-2Christmas 0 11 Camera
Talking Pictures
-4 Cold Squad
Just Watch Me
-6Life After Pierre
On Camera
- 10 Kuri Kurita esc
Geminis 99
- 14 CSC Winners
What's New?
- 17 Arri Toys
esc omu
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lorllllt, -llfllJI
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Film Clips
- 18 CUBE Goes West
W41'-f66.4110,..41'-~
699-9149
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_..._"'
Action Production Notes
CSC Calendar
- 20 Visit: www.csc.co
Cover l'hotograph: Public Archi\'CS
("..·mada. Coloured by ·1he Uerkclry
S1at
llou~e
PRESIDEnT'S
RePORT
Christmas On Camera
hadn't really thought about it
before, but cinematographers and
Christ rna~ kind of go together, like
candy In a stocking. It's the time of
year when television carries a Santas11e bag full of goodies - seasonal
episodes of regular series, Christmas
specials, MOWs, tons of Ho Ho Ho
commercials, and favourite old
movies. When you get right down to
It, our Christmas tradition owes
almost as much to the jolly old shootcr as It docs to Kris Kringle himself.
Ci nematographers know that
Chrlstma~ fare usually gets shot in july
or thereaboub, but they would never
divulge the ~ecrets of fake snow, greenscreen Oying ~leigh~ and robotic rein-
I
deer. They arc creating a world of fantasy, and it's the reality of makebelieve that has always made
Christmas special to kids of all ages.
It's Ironic that the word Christmas
conjures up so many bright colours,
because most of the classic Christmas
movies were shot in black and white
and have come down to us, despite
colorization, in that glorious legacy of
grey-scale tones and contrasts. Every
December, children and adults who
refuse to grow up wait faithfully for
the return of jimmy Stewart in It's a
Womlcr(t•l Life (1946), so lovingly shot
by joseph Walker and joseph Biroc,
and for crusty old Scrooge, played to
the hilt by Alastair Sim, to be visited
by ghosts In A Cl•ristmas Carol (1951),
photographed with visual tricks galore
by C. r•ennlngton-Richards.
There arc many more, but those are
my favourites. I rather wish someone
would make another Christmas movie
in black and white, but probably not.
Anyway, here, in black and white,
on behalf of myself, the CSC executive
and staff, I wi~h all of you a very Merry
Christmas and a Happy New Year!
iiiiiiii~iiiijiiiiiiiiiiiiiiiiiii"
THE DOP'S NIGHT
BEFORE CHRISTMAS
'Twas the night before Christmas, and all
through the set
Creatures were whining: "It's not a wrap yet
The l'!)hts had been hung by the gaffer
at noon,
In hopes the director would get the shot
soon.
The actors were mumbling the last of
their lines,
While visions of residuals danced in their
minds;
The camera was loaded, so the focus and
2nd,
Broke for a smoke until their boss beckoned
When out on the lot there arose such
a clauer,
All looked at the soundman to see what was
the mauer.
Away to the outside they flew like a plane,
Faster than an HMI dropped from a crane.
Musco Light beams on the breast of
fake snow
Gave the illusion of mid-day to objects belo•
When, suddenly their blood-shot eyes were
eclipsed,
By a miniature dolly pulled by eight tiny
grips,
With a lillie old driver, so lively and fat,
It could have been Hitchcock in a furry
red hat.
More rapid than best boys his chargers
they came,
And he whistled, and shouted, and called
them some names;
He yelled at the crew and went straight
to his work,
He lined up the shot; then turned with a jer
And placing his fingers where he was the
greatest,
Scratched himself twice, and declared
a hiatus;
He sprang to his dolly, to his team gave
an order,
And away they all flew, headed south of
the border.
'Cause I heard him exclaim, ere he dr011e
out or sight,
"I'M OFF TO BARBADOS, SO TO ALL
A GOOD NIGHT!"
- Merry Christmas from the Editor Elf,
with apologies to poet Clement Moore
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YOUR BEST CHOICE.
Cold Sg1111cf Richard Leiterman esc
Talks About a Cop Show with a Difference
(From Kodak's /11 Camrra, October/99)
y
ou make a decision this is
going to look a bit gritty,
but that's OK. That's one
of the thing< that made our
(Canadian) documentaries exciting.
Everything wasn't p<>rfcct."
Richard Leiterman c;c w~s talking
about his two season< as director of
photography on Cold Squall, a onehour police-cri me drama produced In
Vancouver about a team of pollee officers who investlgate and solve cases
that have ~n relegated to the •cold"
file. Now in its third sea~n. the series
airs fridays at 10 p.m. Eastern on CIV.
The cwrent 001' is Stephen Rctl.l'S esc.
Leiterman told /11 Cmnua that
when he was offered Cold StJmul in
1997, he was drawn tO the Idea of
designing the look of a serle~ from
scratch. He photographed close to JO
episodes and directed two during the
show's first two years.
';lt 1S mainly an lnterior show hy
/1
de~ign,"
16mm format . I hat Is primarily a
budgetary decision, but Leiterman said
that it also works for the look of the
show.
"The camera Is very portable, so we
could usc a bungec cam, or squeeze
into a tight corner for a handheld shot
from an interc~tlng point of view.
Advance> in 111m technology helped to
get latitude and depth with acceptable
grain.•
Leiterman, who uwd Kodak Vision
500 film for Interiors and the 7245
daylight-balanced film for exteriors,
said the role of a cinematographer on
a narrative show like Colt/ StJrwrl is a
delicate balance.
~vou need to stay up on the technology side o f things, and yet all the
while you keep reminding your>elf
you can't get too caught up In it; you
have to remember, it is the aesthetiC)
that matter. You arc telli ng a story
with images as well as word>."
he explained ... There arc no
car chases. They use the new roremlcs
and DNA techniques to solve old
cases...
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Tite team is relegated to a basement
area of the police station, which dictated Leiterman's lighting style and
provided opportunities for innovative
thinking.
"Upstairs, In the station, where the
detectives and commissioners work, It
h much brighter and has a different
feeling. i'cople arc loath to go down
those StCI>S into the basement where
the paint Is peeling and there's not
much light.
• we devised what we called a
bungce cam ," Leiterman recalled,
"where the camera was suspended by
bungce cords from an arm on the
dolly. It wasn't hard mounted, so it
had some breathing to it and some
movement. We tended to use that
more In I he basement."
Like mo>t Canadian television
serie~. CIJitl Squad Is photographed in
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~POINT OF VIEW
Just Watch Me: Trudeau and the
~lOs
Generation
Jly Don A n~:us
ire after Pierre. limes arc 1\ood. nallonal unity st>em\
3«\Jre, at le,st ror the time being. Brian Mulroney Is
gone. and Jean Chretien •P{K'ars to get mort' popular
with each chudM at his e.-pease.
But something is mlssmg. Where ha'e all the nowers
gone? Canada ha\ never been the same since the elegant,
enigmatic and t•ucntrlc Pierre ~lllott lrudcau dominated
L
j
I
JUST W.UCHIII<r. DOP I...W l'loatt >th., t slot! •lomloo for 1M 1111
' - t "'-t.., Jnt wttci Mo:
r.-..
~1M 'lOs~-
our political and wcial consciousness with a daring and
~ian that put him and our country on a \\Orld stage. Hac~
then, C\1!0 \merlcans ~who our prime m1nlster wu.
The man Is 80 now, and the Nat11lrtal Film Board hu
ta~en a unique approach to examining his legacy. The 1999
leawre documentary Just Watcll M~: '/l'udrnu aud tile '70\
Gmerallou, a hit at Tt>ronto and v.~rlou' other Olm festivals
this year, lntroducei us to eight JX'Ople from across the
<ountry- anglo and franco, scparatht and federalist, ideahst and realist - whose dwerse pcrwnal and national
dreams are somehow lntertl\ined.
1i1e :O.:FB says that "while other boou and Olms on the
Trudeau era locus on the key players or the time, Just Watcll
Mr is the flr>t 111m to give voice to the JX~>ple most marked
by Trudeau. I he ones who were just kids when he was bask·
log in TrudeaumJnla, Oipping the finger at stri kers In
Salmon Arm, II< or puning soldiers on the streets or
\iomreal."
The 77-minute Ju•t Watcll Mr, available In French as
Frencltkiss: lu t(Oitmtioll 4111 ril-r: Trwlt•uu, was the vision of
llr~t-time director Catherine Annau. It was produced by
Gerry Flah ive and Yves Bisa illo n and shot In digital •·ldt'O
by CSC Associate \fcml~r Ronald Plante o f Montreal.
Plante, who ha\ done ·rour or live• prolecu lor the
~I 8, had pcNlnal lntNeits in the dcxumentary. One of
the women interviewed, Jocelyne Perrier, •she's my gnl·
friend, • and at 16 Plante himself grew Ufl in the Trude~u
era, although not 3\ a ran or tht' prime minister.
"Since I'm fro m Quebec, Trudc,lu was a bad guy and
~ene Levesque was a >tar.• he told < ~(. News. "But after
that I worked In Toronto, and as a cameraman I tral'elled
all over the world and all O\'Cr unada Mter a while I fig·
ured that It's not all that blac~ and white I'm a true
Canad1an In a way, because I have the Quebec point or
"Since I' m fro m Quebec, Trudeau was a bad guy and Ren e Levesque was a star."
- Just Watc/1 Me OOP Ro nald Plante
6 • C'i(
.\·...,, . Dt nokr 1'199
view and I also have the Canadian point of view. You a couple or HMis. I usua lly work with soft effects, and
don't get that often, both points of view. •
bring down the detail very low. I will crush the b lack. •
Would he want another referendum? "Never again!"
~le said: "Catherine Is an ama1ing director. She
Plante travelled across the country with Just Wt1ICI1 Mt, knows exactly what she wantS. On the film's pre-prohis cinematography showing us familiar and not so well· duction, we looked at still photography, fashion phoknown places, from the towers
tography, we looked at
of Calgary to the snowdrifts of
movies. It was one of the first
lqaluit, In a whole new light.
times that I really had the
His camera, a rental Sony
time to sit down and talk
Digital Betacam 700, captures
about the look, and I think it
the passion and humour of his
translates to film. Everything
subJects with empathy and
we had In mind, the colour
respect.
the look, Is there.
If) am the prod ucl or a
"It was ti me well spent,
socl<ol experiment, • says Doug
and I think the NFll is o ne of
Garson at the start of the fi lm,
the on ly places where we
"an experiment that was
would have time to do that,
pushed for and Initiated by
and the freedom to do whatevPierre Trudeau to make the
er we want. I shoot dramas, I
country
bilinguaL"
For FIGHTlNG FlRlS: OOP R...U Plo.tt (riglot) woru wi1lo
shoot documentaries and to
Toronto-bred John Duffy, operator Martio Falardtae aod dirtdor-'- l4wila•ais (loft) ..
me It's the only place where
Montrealers were •au sitting alomiooo slooot for tloo strios (...,.. 24, a fnfogloten dr- set we have that kind of freedom.
around having absinthe and io Mootreol last.
ll's an ama1Jng place for me. •
fantastic sex all day, • while
The NFB, however,
Quebec City's Sylvain Marois, now teaching college • wouldn't allow us to shoot 16:9 because they said the
French In Victoria, B.C .. remembers identifying two broadcasters won't broadcast It, although ONF, the
women as anglo because they had "big beautifu l white French side of the Film lloard - It's a co-production teeth. •
wanted it.
J>Jan te said di rector Catherine Ann au "wanted to do
"We decided to go 4:3, bu t I did my own I6:9 a nd
the interviews really rich and cosy," for which he used 2.35 aspect ratio in front of the camera. There's a Jot or
"basically a soft-key light and high-contrast background a lmost Cinemascope, all done in fron t o f t he lens - Just chimera, soh box. What we would do was carry a nothing in post. It's all done on location because I carry
small lighting kit with us, and on locations we would rent
rtepoge8
•-a
"I like to use low-tech stuff and bring it to hi-tech , or the other way around take hi-tech a nd mix it with low-tec h stuff."
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my own matte, so we could do whatever film aspect ratio we wanted.
Electronically it was a 4:3 film,
but visually it was multi-format.
"The colours," he added, referring
to some magnificent scen ic shots,
"are all done in camera as well. I use
black-and-white contrast lilters II ke deep reds, deep yellows, deep
greens. These are lilters for blackand-white c inematography, like if
you want something that's more contrasting or something to bring out
the sky or the leaves or the skin tone.
I use them for colou r shooting
because the resulting colour is pretty
amazing/'
Plante said that "I like to use lowtech stuff and bring it to hi-tech, or
the other way around - take hi-tech
and mix it with low-tech stuff, using
cardboard matte and b lack-and-white
filters."
On the low-tech scale, there was a
Nizo Braun Super 8 film camera,
borrowed from NFB d irector Lara
Fitzgerald, which Plan te used
for some interesting footage in
"Kodach ro me reversal fi lm and
black-and-white reversa l as well.
"It's a ll over the film. My camera
assistant, l'ilippo Viola, wou ld run
around and just grab shots. So the
camera was wherever we felt like
shooting. We would a lways have it
handy."
From Super 8 to 16mm fi lm to
high-definition video, Plante stays
versatile. He shot a series of IS-second promotions for TVOnta rio with
an HDCAM, and he uses two new
Sony Digital Betacam 790 cameras
for shooting the second season of the
series Caseme 24, a firefighters drama
set in Montreal East.
Montrea l, he said, now is shooting "very intensively" in Digital
Betacam or HD. He said a large nu mber or series, incl uding big-budget
productions, have switched to video
from 16mm or 3Smm film.
INOTE: Plante said the copy of Just Watch
Me that was screened at the Toronto
International Film Festival. winning for director
Annau the $15.000 prize for Best Canadian First
Feature Film. was a 35mmblowup llansferrell at
Vision Global in Montreal. ' The amazing job on
the timing' was done at deluxe toronto.) •
14mm, L8mm,25mm,32mm, 40mm,50mm, 75mm.IOOmm
"Here's the way I like to work;'
says Roger Deakins: "Prime lenses,
close to wide open, no diffusion,
no flare. For all that, the new Cookes
are the best I've worked with"
they were. Looking at the printer
lights, I could see I wasn't getting
as much exposure. When you're
taking a filmstock to its Jimjt, that
makes a difference:•
Director of Photography
Roger Deaki.os ASC BSC
' ,,..., here's a lot or mystification
~ about cameras and lenses;•
says Roger Deakins. "People prefer one major camera or another,
but they're all good; and so are all
three major lens systems:•
"Stopped down to T5.6 or further,
very few people looking at the
screen can tell which ma.ke of lens
was used, on most shots. But I like
to shoot lit interiors between 1'2.5
and T3.2. At those apertures and
wider, I've been able to see some
differences!'
"A while back, I went straight from
shooting a film with one set of
lenses to shooting another with a
different make. I noticed U1at the
other lenses weren't really as fast,
wide open, as their markings said
*
"I've seen the bare lightbulb test
footage; and I made some comparison dusk street-scene shots myself, when the first Cookes were
delivered. Fantastic. No double
kick from car headlights, even
wide open. And in terms of clarity
and sharpness, the Cookes were
the best I'd seen:•
''On the film I'm shooting now, we
made a sunset shot with a very
hot sun in the frame. I used the
Cooke 32mm with nothing in front
of the lens; and I knew it would
be clean. That's what these lenses
WW\v.cookeoptics.com
do for me: they let me take a few
more risks. I feel more confident
about putting a hot light or the sun
in frame and still getting shadow
detail and little or no flare:'
"There's only one thing I don't like:
not enough focal lengths! They tell
me they're coming out with more I wish they'd hurry uP:'
*
Roger Deakins
A Director of Pllotograplly since
1983, his film credits include
FARGO and KIIXDUS, for both of
wlliclllle won Acaderny Award
.\'ominatio ns; and SHA\\SIIJ\XK
REDE.\IPTION, for which he won
both an Academu Award t\'om·ination and cr11 ;tSC Award.
Cooke
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When Mr. l>eakins said therewenm 't enough focal umgtlrs,
we lrad six. Now we /rave eiglrt; and soon, we'll hat--e eleven.
On CalDera an interview with Kuri Kurita
l:S£
From the Amazo11 to tire Ymrgtu Rlwr, •Kurf• Kurita's
camera capture~ the world~ wotrtlt'I'S
By Linda Adachi
or those of us vegging away at
sedentary office jobs, Naohiko
"Kuri" Kurita's life looks, well,
fabulously excil ing. For over 35 years
he's been all over the world as a
l)lrector of Photography or a motion
piC1ure cameraman. Born in 1935 in
Tokyo, Kurita has been based in
Candda since 1967.
As a child, the unruly Kurita was
more Interested in baseball than in
school. AC1ually, he wanted to learn
the martial arts, but after World War U,
the American occupation prohibited
them. •So, instead of a sword, I took a
bat.•
fortunately, the Kurita house in
Tokyo did not suffer any bombing
damage, and the family took in students whose own homes were
destroyed. Some of these students took
the young, curious Kurita to French
and American movies. (Kurita, an only
child, still keeps in touch with some of
these former boarders, whom he considers almost his siblings.)
llowever, it was In high school that
Kurita's intere~t in film blossomed. lie
came acro~s an essay written by Sergei
Eisen~tein (the greatest film direC1or of
pre-war Soviet Union), excerpted and
translated In a textbook. There,
F
Eisenstein explained the lnOu·
ence of haiku and kanji character formations In his film
images. Kurita was fascinated.
ContraC1ing tuberculosis. Kurita
spent two bed-ridden years
reading and thinking about
such ideas, and decided that
KURI KUROA uc "W1ooo o llllllfD penon • • • o
film was his future vocation.
Obtaining work in Japan was .;stake, Y" caa't licit it.•
difficult for a TB survivor, for
With Jwanaml Productions, Kurita
everyone was required to pass written
and physical tests In order to be hired. learned the world of non-fiction: docUpon graduation from the College of umentaries; Industrial and educational
Art, Nippon University, Kurita man- films; scientific series for children.
aged to land a position as a camera
l ie discu sses the evolution of the
assistant with lwanami Productions, documenta ry genre In japan: "The
figuring that he'd eventually be able to modern concept of It in Japan i.s
work his way up to d irecting, as any derived from Europe and North
America. The japanese word for docufilm school grads aspire.
However, Kurita recalls half-Joking- mentary Is klroku elga (literally, record
ly, "I fou nd that directors were gener- ntm). 1'he word 'documentary' came
ally quite awful people - pushy and from pre-war England, where people
will ful; I decided I couldn't be like who made the film~ were radicals who
that. Also, directing required fantastic tried to change society. Around
amounts of energy, and I found that wartime, there was brmka riga (culture
camera work was comparatively com- film), which was a Gem1an lnOuence.
•After the war, the American occufo rtable. The hard part is, when a camera person makes a mistake, you can't pation showed A.yolku dg11 (educationhide it. Even a little hair or a scratch al film) In open Oelds. Some of them
on a lens wiU be obvious in the were lind of stupid, like showing how
to wash one's face - we lived in
finished product. •
unsanitary conditions after the war but some were beautiful. •
After eight formative years at
lwanami, Kurita Immigrated to
Canada in 1967, starling out at a film
production company In Winnipeg.
Why Canada?
"Good camera work is
especially important
in a docume ntary."
UP, UP AND AWAY: fro11 a hot·oir baiootl, Kuri Kurita uc shoots a 111M ave< the A.az""
juogle for ao IMAX feature.
I 0 • esc N.,.., O.Cnnbt-r 1999
" I had originally wanted to try
going to Taiwan or Cambodia for film
work, but the political conditions
didn't a llow for it. The three attractions about Canada for me were
Norman McLaren (the late National
Film Board animator hailed internationally as the 'poet of animation'),
Herbert Norman (noted japan scholar
and diplomat, born in Japan to
Canadian missionaries), and Lester
PeaiSOn. I wanted to work for the
N~ll."
Howe,·er, Kurita ended up freelancIng. which over the years has brought
him gigs In feature films, television
serit.>s, industrial films, and IMAX. He
considers himself primarily a documentary c~uneraman, and discusses
film from this perspective.
"Good camera work is espt.>eially
important In a documentary. Both the
director and the camera operator must
have a clear vision of what must be
captured, and must communicate well
together. If, for Instance, you're shooting a dcmomtratlon or a festival, the
cameraman may steer towards the
action occurring In one direction, but
the director mus1 communicate what's
happening elsewhere.•
Documentary, unlike a feature film,
mus1 be shol properly on the first take.
"Na1Ure won 't walt for you; you
have 10 adjust to Its whims. You can't
'arrange' animals for a shot. If you're
shooting a factory, they won't slow
down the assembly line for you. You
must be well-prepared, with a good
senst.> of anticipation . Sometimes,
you'll be shooting something, and the
director will suddenly see a butterfly
and say, 'Grab it! Grab It!' •
Anotht.>r Important distinction
between documentary and feature
film, according to Kurita, Is the natu·
ralness.
"In a documentary, you have to
always think about the audience, espe-cially with !MAX: If what you've shot
i.s not clearly understandable to tht:
audience, the confusion will be magnified on such a huge screen, and
you're forced to be clear about what it
Is you're showing on this huge screen.
"It's different than the vision of a
novelist or painter, which can be selfabsorbed. In a documentary, the subject dictates how you shoot. You can' t
Insist on your own will, unlike in a
drama where you can have more artistic llcenc~. You must respt.>et the subject, be non-1 nt rusive, and avoid
things like extreme angles. You have
to presenl It In a natural manner/ yet
not be boring. So, maybe instead of
using a SOmm lens, a 200mm lens
might be more Interesting.
" Huma ns have a desire to
record, for com m un ication
to future generations. That's
w h y I li ke fi lm."
"You need three things to be a good
cameraman: Imagination, passion ,
and skill. The director, of course, must
also possess these q ualities, but he or
she has to also think about time;
whereas, the cameraman is more
about space. •
Kurita has b<.'Cn to about 45 countries, and has shot everything from
Komodo dragons to the 1\mazon jungle to the source o f the Yangtze River.
HoWC\'er, attempts to extract Indiana
jones-type tales of danger out of him
are futile, for Kurita Is a seasoned pro
who Is not easily shaken.
" I don' t really have any fears.
I don't like heights, but I'll still do work
h'• Uttekl'toultbblr l.f )'OO thouglu wr 'i\Yrt refnring 10 the c:untr.a
Ahtr all, It) :a ~UI)'· But thr muh is, Videoscopc orfers th< w,mt
qu.alltiC'.S
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Quotes for video post
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at heigh ts. In the Am~zon I was shoot·
ing the top of the jungle tree> from a
net hanging below a hot-air balloon. In
China last year (for the UJXomlng
IMAX feature Cltnug Jilmg /71tt Grrttl
Riwr of Citina/), we went to a remote
part of China, near 1ibet, to shoot a
mountain 6,62 I metres high where the
sourw of the Yangtze was located. That
was two hours from the Golmud airport, and we had one hour to drcle owr
the mountain before retumlng. The
whole time, there was no place to make
a landing in case or an emergency. You
just hope nothing happens. •
Kurita's French-Canadian wife Anne
Marie, a schoolteacher, adds, "In China,
with the thin air at the 4,()()().5,000
metre altitude, the whole crew got >lck
except him. He was the oldest, and he
was still smoking at the time, and he
was nne!"
For this tough guy, the ultimate
enemy is, of all thing>, insect.>. "In the
Amazon, tiny insect> - I think they
were ticks - got Inside everyone's
pants. We wore long pants, boots, hats,
and towels around our necks. We were
fully protected, and they still found us.
It was so Itchy ... trying to shoot was a
challenge.
"In Manitoba, I was shooting a
beautiful sunset. Once the bottom of
the sun touch~ the ground, It takl'S
only about three minutes for the sun to
sink completely, 50 once you hold the
camera in position, you can't move 11.
A.> I was holding the camera, a huge
swarm of mosquitoes dt>secnded on my
arm ... and I couldn't move lt. It wa<.
brutal."
"Before coming to Clllada, I usro to
think bears might be a threat, but mosquitoes?! I thought northern countries
didn't ha,·e such things, but it turns out
Tok')'O mosquitoes arc nothing compared to Canadian ones. •
And speaking of sunsets, the droll
Kurita continues, •many directors arc
excited about sunri'>CS and sunsets, for
some reason. I hate shooting sunrise<;!
You never know exactly where It'~ going
10 come from. Of COUT>C It riSe~ from
the ea;,t, but where, exactly'/ You can
ask the locals - farmers or fl>hermcn
who'll tell you that It rl~e~ behind the
Island or behind a particular tree - but
OJICt(AL
I OAGW
_._
BONY.
I 2 • esc NN" Jka:mhcr J999
sometimes you SCI up all the equipment, and the position is totally om
SunlietS are ea~ier.,.
just as Kurita Is not easily frightened,
he Is not bothert'<l by l~than-luxurl·
ous conditiom or boredom at location
shoots. For th<' Amazon IMAX shoot,
where he was stuc~ In the jungle for 95
days, Kurita slept In a boat. Others slept
outside in hammocks. He brought cassettes and books to occupy him . lie
observed nature.
"In the mornings, the chorus of
howling mon~eys was fantastic. One
night, a boy took me out on a boat, and
we crashed Into an alligator. There's
never boredom.
• Versatile
H
Between assignments, the affable but
"I'm actually shy" Kurita, who Is based
In Toronto, likes to play mahjong and
take care of numcrou< pets.
Kurita renects on his vocation, • Film
is an imporlanl document. llurnans
have a desire to record. for communlca·
lion to future generations. That's why I
like film.•
I The New Can¥/•an IS !Ullished \Wetly '"
Toronto This StOI'f appeared in the Sepl 23. 1999.
issue It was sent to tho CSC News by Ken Post esc.
wrose neighbour brought it to his anentm 1
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Tel: (416) 255-3335
or (800) 379·ARRI
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[email protected]
Visit: www.orri.com
CSC Members Uudersclwltz
and Greene A moug Slwoters
Hououred fo r Ciuematogm pl1y
erick Underschult7 esc and
David A. Greene esc were
among cinematographers
honoured for excellence at the opening
night gala of the
14th annual Gemini
Awards in Toronto
D
on
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l4 • CSC Ncu'" D«<mb<r 1999
T<mgo
DAVID A. GRIEME m :
Gemllli winner lor lilt
Phologtophy lo o Comedy,
Variety, Perior01illg Arls
Progto• or Serill.
(Another esc wi""''•
Derick Utwlerschullz cs~
was oot oWe to otlead the
Gtoolool gala.)
earned Best Photography in a Comedy,
Va ri ety, Performing
A r ts P r og r a m or
Series.
For Best Pho to·
g r aphy in an
Information Progr~m
or Series, the winner
was Paul Freet, W-Five: A Wing & A
Prayer (W-Five, "Life & Death").
Best Photography In a Documentary Program or Series: German
Gutierrel, Claude-julie Parlsot ltU«till, "Wicked Butterflies".
Also nominated In the four photog·
raphy categories were:
Dtamalic Progtam or Series: Steve
Danyluk esc for Emily of New M00t1,
"Rivers of Babylon"; Laszlo George esc,
Scnmlaloas Me: 17tt /acqutllllt Susamr
Story; Michael McMurray esc, Gtttt
Roddettberry's Eartlr: Filial Cottfllct,
"Sleepers"; Robert Saad, Slt't'plttg Dogs
Lie.
COmedy, Variety, Performing Arts
Program or Series: David A. Greene esc
for La Da11za - Quartetto Gelalo;
Dennis jones. Tire / 998 Canadia11
Country M usic AwardJ.
Information l' rogram or Series:
Wayn e Abbott, Willie Lypko, Vattlllge
Wome11 of Originality, "Sandra llezic";
Colin Allison, Tltc Fiflh £st111r, "llad
Blood"; Stcphanc Brls~on, CTV N1·ws:
Library Lifesavers; Ito~~ Macintosh,
CTV News: Deadly /Jetrr.~elll~.
Documentary l'rogram or Series:
Rudolf Kovanic esc, 811lxxm Tales;
Robert Melichar, Forbidden l'lar.s,
"Icebreaker"; Richard Stringer esc,
Exhibit A: S«rft< of Fom•1ic Scienrt,
"Evil l.i\•es Here•; John WestheUS<'r,
East Side ShowdoMI.
The opening night ceremonies recognized achievement In broadcast
toumalism, technical, craft and design
categories in English-language teleVIsion. H~ted b)• anchor l'eter Kent of
Global Television News, the gala was
held In Constitution llall at the Metro
Toronto Convention Centre, and was
telecast live on Rogers Television.
At a pre-Gemini reception, Koda~
Canada presented Its annual Spectrum
Awards to all the cinematography
nominees. Diane Cappclletto, television segment manager for Kodak
Canada l'rofesslonal Motion Imaging,
said: "The Kodak Spectrum Awards arc
our way of expressing our respect and
admiration to all or the nominees.
Each of them has created an origina l
work of art that has made an Indelible
impression ."
Kodak Canada sponsors the
Geminis and the Gemeaux for Best
Photography.
The 14th annual Prix Gemeaux
gala In Montreal o n Sept. 26 included
the following winners and nominees
In the two cinematography categories:
Meilleure direction photographlque: vldro (best video photography): Winners- Christian Berneche,
Richard Hamel for Zacltary Ric-liard
~~ Miclttl Ri>·ard: 1111 air de Lo11isiane;
also nominated - Serge Massicotte,
Mitrostar 1999; German
Gala
Gutierrez, Claude-Julie Parisot,
lnS«Iia, "Mechants papUions"; Louis
Durocher, L<1 C11ll111'1' dans lOllS us
lu11.1, •oansez maintenant•; Marc
Gadoury, L" Culture dans to11s ses
trllls, •Musique pour un slecle
sourd".
Mcilleure direction photographlque: documentaires (film) et dramntiqucs (best film documentary and
drama photography): Winner Daniel Jobin, Le PoiiX'k, "Episode #3";
also nominated - Bruce Chu n,
Vlolon Mag/que. Thomas Vamos, Ces
Eu{rmt; d'ailleurs, •tpisode #4"; Serge
DCHOSicrs {CSC associate), Oivtt,
"Epl~odc #38 - Quelques v~rlt~s·;
l'hlllppe Lava lette, Impressions.
AWARDS NIGHT: Tho Kodak Cooodo Profoulonol Motion Imaging toom poses with this year's winners
of the Kodoll Spe<1rum Awards, allnomlneos for Gemini Best Photography Awards.
esc N....,
, 1)...-<mhcr 1999 •
15
Oyion Macleod (l(
Bemie MacNeil (l(
Glen MacPherson (l(
Horry Mokil (l(
Oonold McCIXIg (l(
Robert Mdochlon (S(
Doug Mclelm (S(
Ryon /hMoster (S(
Michoel/hMunoy (S(
Ernest McNobb (S(
Groeme Moors (S(
Jim Mercer (l(
Simoo Mestel (S(
SroN8v Mestel (S(
Gordon Mille! (S(
Poul Mitdnd (S(
Roget MoOOe (S(
George Monro esc
Croig lhlllins esc
Oouglos Munro (S(
Don Nowok (S(
Rene Ohashi (S(
Ron Oneux (S(
Horold Ortmger (S(
Gerold Pocker (S(
8ooy Porrell (S(
Oovid Pellener (S(
Bony PetellOO (S(
8fOOo Phir., esc
Andre Plenoor (l( SQS(
Edward Piettzkiewicz esc
Rondol Pion (S(
Milon Podsed~ (S(
Steven Poster osc esc
Andreas Poulsson (S(
Joel RolllOOl (S(
Ousomo Rowi (S( bsc
Stephen Reizes (S(
Oerelt Rogers (S(
Yoctor Sorin (S(
Poul Sorossy (S(
Christopher Soos (S(
John 5poooel (S(
John Griffin esc
Moofred &!the (l(
Pete~ Hortrnooo (l{
PcMine Heoton esc
Bricm Hebb esc
FULL MEMBERS
Nicholas Allen-WooKe (S(
Jim AqiJio (S(
John Bortley esc osc
Peter Benison esc
Borry lle!gfflooon (S(
John Berrie (l(
Cyrus Block (l(
Robert 8ocki1YJ (l(
Mkhoel Bolond (S(
Robert Brooks (l(
Raymond Braunstein (l(
lholros Bulllyn esc
Borry Cosson (l{
Henry COOn (l(
Rodney OlOiteJS (S(
Oomir Chynl (S(
Rictad Ciupko (S(
Alfhur Cooper (l(
Wohe~ Corben (S(
Steve Oon)U esc
Joccpes lleshomo~ (S(
Jem-Yves Ilion esc
Kelly Ouncon (S(
Albert Dunk (S( osc
Phiip Eomsilow esc
kin Elkin (l{
Mkhoel Er~ esc
Nbs Evdemon esc
Henri fih(S(
Christopher Frymon (S(
looles Gordner (S(
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lvon Gekoft (S(
loszlo George (S(
len Gildoy (S(
John Goldi CS<
Russ Goozee esc
Stephen Gordon (l(
Oovid tileene CS<
[t(Md He~rirY,]ton (l(
Edwuid Higginson C5C
Robbi Hinds C5C
Robert Homes (S(
John Holosko (S(
George Hoselt (S(
Colin HotAt (S(
loon Hutton (S(
Anthony lorozielo (S(
Tom Ingle (S(
Moll:. llwin (S( osc
Pete~ Jomes ocs (S(
Moris Jonsoos (S(
Momn JIAion esc
Glen Keenoo (S(
Oougbs Kieler (l(
Oougbs Koch (l(
Oorles Konowol (S(
Rudi Kovonic (l(
Ken Krawczyk C5C
les Krizson esc
Nwvn KumSI (S(
Noohiko Kurilli C5C
Jeon<bxle lobrerQtJe (S(
Serge Ladouceur (S(
George lojki (l{
Hocry Loke (l{
Barry lonk (S(
H81¥Y lebo esc
Oougbs lehroon (S(
Richard leite~mon (l(
IMios lente esc
H81¥Y less (l(
Philip Unzey esc
Peter l.uxfllfd (l(
Oufl(on MOOorlone (S(
®
I
I
\
I
I
'
'
I
..PANAV/5/0N
C A N A D A
I 6 • esc N ..., , D«•"""" rm
Ronold Stonnen (S(
8ooy Stone (S(
John Stooemoo (S(
Michael Storey (S(
R~hord Stringer (S(
Adorn Swico esc
Attilo Szoloy (S(
Mkhoel SilKS (l(
Christopher Tommoro (l(
Gobor Toli:.o (l(
Brion Thomsoo (l(
Bert Tougos (S(
Chris Trillo (S(
Oeri<k U~tz (S(
Seon Volennni esc
Poul YOO det Unden (S(
Oerek \\inlint (S( bsc
Roger Vernon (S(
Steve Vernon (S(
Ooniel Villerieuve (S(
John Woll:er esc
Tony Wonnomoker (l{
Tony Westtnon esc
Kit Whi1100re (S(
Pottick Willioms (l(
George Willis (S(
Peter Woeste (S(
l!il Wong esc
llru:e Worrall C5C
Yuri Yokubiw (S(
FUU UFE MEMBERS
Herbert Alpert esc osc
Eugene Boyko (S(
[t(Md Con (l(
Christopher Chopmon (l{ cfe
Robert Crone (S( cfc
Kenneth Oowy (S(
Edmond Oefoy (S(
Or. Woty Gentleman (S( bsc
Don Gibson (S(
Jomes Gronon (S(
kelneth Gregg esc
Brion Holmes (S(
Maurice Jockson-Somuels (S(
Myron Kupchuck (S(
Oonold McMilbn esc
Reginald Morris (S(
Oeon PetellOO esc
Kenneth Post esc
Roger Racine esc
Robert Rouveroy (S(
lYOn Sorossy C5C
Josef Seckeresh esc
Wolter WOSI1 esc
Ron Wegodo esc
louis WoKers (S(
esldcs the usual array
of sla t e-of-the-art
Arrlflcx cameras and
lights, Arrl Canada's open
hou>e In Toron10 o n Oc1. 26
fea tured <I slcl!lh-loacl of new
products that would look good
under any cinematographer's
Christmas uce.
The vl~ual toyland included the new Zeiss Ultra
Primes, the Arrl Wireless
Lens Control System, the Arrt
Single hame System, the
RUBY 7 lighling n"ure, special demonstrations by the
dewlopcr of the Arrl Laptop
Computer Cont roller and the
new Ramping Con troller
System, and a special presentation or 1'ramvldco products.
B
THE ARRI WIRUE~~ ltfts Control SysltOI shown htre in closeup gets o worltoot from Grotmo Weston (inset), Arri Canodo
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esc Ntw• ,fN<.,IlhtT 1999 •
I7
FOR SALE: HJ..100mm T2 Schneider Zoom BMount 90mm front $3.000 US: Media Logi(
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see roote da!silieds on page 20
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CUBE
GOES TO
PALm SPRinGS
CSC ENTRY AT CINEMATOGRAPHER'S DAY
CUBE. the critically acclaimed
Canadian suspense thriller shot by
Derek Rogers esc, is the CSC's official
entTy at Cinematographer's Day 2000
in Palm Springs, Calif., on Jan. 14-15.
Rogers won the 1999 CSC Best
Theatrical Feature Award for his work
as director of photography on CUBE
(see CSC News, May/99).
Cinematographer's Day 2000, a
concept of Luciano Tovoll aic asc
IMAGO, is a special program of the
Nortel Palm Springs International Film
Festival, which emphasizes that "the
time has come for the cinematographer to be acknowledged as an author of
the film and as an artist with a refined
technologist's instinC1 whose palate
incorporates some of the most sophisticated principles of contemporary
film technology.
"Cinematographers represent the
intimate union of art and technology
for which the motion picture camera
has become a substantial metaphor."
say the Festiva l's organizers (see
www. cinema Jograpl1ersday. com) .
"Despite thei r essential role, cinematographers have historically been
denied the recognition effusively provided to other members of the film·
making team.
"Cinematographer's Day provides
the fertile atmosphere for artistic and
scientific exchange within the filmmaking community and the opportunity to influence filmmaking through-
out the world. Stylistic differences
among international cinematographers arc explored to discover a common cinematic language that reflects
personal visual expr<.'ssion and com·
munication and irrevocably links
divergent schools."
Cinematographer's Day will in·
elude a jury prize and two panel dis·
cussions focusing on the collaborative
relationship between cinematogra phers <md directors.
WESCAm A T
S 'T'CnE'T' OL'T'mPICS
ONTARIO FIRM'S nN OLYMPIC GAMES
Wescarn Inc. of Flamborough, Ont.,
has been awarded a contraC1 from the
host broadcaster, Sydney Olympic
Broadcasting Organization (SOBO), to
provide broadcast equipment at the
2000 Olympic Carnes in Sydney. This
represents Wescam's seventh appearance at an Olympic Games.
Wescarn's Entertainment Group
will provide a number of camera systems, operated by the company's own
technicians and operators~ to cover
marathons, walks, rowing, sailing and
cyding events. The stabilized camera
systems will be mounted on helicopters, boats and road vehicles. Wescam's
Broadcast Sports Group will supply onboard cameras for the sailing events
with wireless communications for the
transmission of voice, video and data.
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PROFESSION AL
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BRITISH COLUMBIA, PRAIRIES
BDRDERUNE NORMAL (lea lUre);
OOP: Ken Krawczy'< esc; to Dec. 8. Regina.
CAITUN's WAr(seriesl: OOP: Cam MacDonald: B·tst: Derek Fyfe; to Dec. 11. Calgary.
CAU. OF THE Wtto (seriest Op: Cliff Hokanson; 1st: Alan "Grin" Salzl; B-Op. Kelly Mason; to April 15.
Maple Ridge. B.C.
CHIWREN Of M YHEART(feature); OOP: Mike McMurray esc; to Dec. 21. Wimipeg.
CLIFFHANGERS (seriest. 2nd: Harold Bernard; 8&2ndU 2nd: Mark Gordon: to Feb. 1. Vancoover.
Doc SHow(feature); ODP/Op: Roberto Schaefer, los Angeles: 1st: R~ehard Orapkin. los Angeles; 2nd:
Randy Morton; to Dec. 8. Vancouver.
FRAMto (feature); DOP/Op: B<uce Worrall esc; to Dec. 10, Edmonton.
GET CARTER(feature): OOP: Mauro Fiore, los Angeles; Op/SC: Peter Rosenf~ld; to Dec. 17. Vancouver.
Hou.rwooo 01111AMP(setiest. Op: Michael Balfry; 2nd: Jos Oman; B-2nd: Cory Moore; to April27. Burnaby, B.C.
HONEY. I SHRUNK THE K1os (series); OOPs: ll<ian Whittred. Ron Stannett esc;2nd: Jarrett Craig; 8-0p: Rick
Garbutt; to Dec. 22. Calgary
IN THE NAME OF THE PEOPiE(MOW); OOP: Nikos Evdemon esc; tO Dec. 6. Vancouver.
THE COMPANY MAN(feature); DOP: David Pelletier esc; B-Op: C. KimMiles; 10 Dec. 19; in Voctoria, B.C.
OurrR LiMITS (series); DOP: Andreas Poulsson esc: to May 27. Burnaby.
SECRET AGENT MAN (seriest DOP: Greg Gardiner. los Angeles; A-0p&2ndU )OP/Op: Neil Seale; 2nd:
Danielle Dutch; to Jan. 13. Vancouver.
SIGHT UNSEEN (MOwt DOP: Robert Mdachlan esc; to Dec. 23, Vancoover.
Sou SuRvrvoR (mini-series); B.Op: Keith Young; 8·2nd: Richard Sinclair; to Dec. 17. Vancoover.
SusPICious RtvtR(featurel: OOP: Greg Middleton: to Dec. 22. Vancouver.
THEY NEST(MOW); OOP: Philip Linzey esc; 2nd: Amie Gibbons; 2ndU OOP/Op: Paul Mitchnick esc;
to Dec. 3. Vancouver.
B-Op: Ryan McMaster esc: Tr: Kevin Scrimshaw;
to Dec. 8. Toronto.
BAIT (feature): Tr. Danny Santa Ana; to Dec. 23. Toronto.
THE C/TY (series); OOP: Milan Podsedlycsc; Op: Anton Van Rooyen; 1st: Philppe Champion;
to Feb. 19, Toronto.
fAJITH: fiNAL CoNnlcr(seriesl: Op: Andrew Potter; B-Op: Cudah Andarawevta: to Feb. I. Toronto.
fALCONE(series): DOP: Steve Danyluk esc: to Feb. 28. Toronto.
GooN SouAo (MOW); Op: Kit Whi11nore esc; 1st: Glen Treilhard; Dec. 14. Toronto.
GUilTY HEARTS (mini-series); Op: Mark Wilhs; to Dec. 22. Toronto.
HANCMAN (feature); DOP/Op: Gerald Packer esc: 1st Lori longstalf; Tr: Micllael Turcotte:
to Dec. 4, Toronto.
THE HooP LiFE(series); OOP: John Berrie esc: 1st: Colleen Norcross: to Dec. 15. Toronto.
IN A HEARTBEAT(pilot~ OOP: Yuri Yakubiw esc; Nov. 1-11, Toronto.
JAIL BAIT(feature); OOP: Rerek Rogers esc: to Dec. 17. Toronto.
LosER (feature); 2nd: Nicole Blanchard; Tr: Ari Magder. to Jan. 30, Toronto.
UJVE CoME DowN (feature}; DOP: Dylan Macleod esc; to Oec. 3. Toronto.
NIKrrA (series); OOP: David Perrault: B·2nd: Federico De Marco: to June 12. Mississauga. Onl
ONE K1LL lMOW): OOP: Michael Storey esc; 2nd: Graeme Mears esc; to Dec. 3. Toronto.
Ps1 fACTOR (series); OOP: John Holosko esc; 1st: Chirayoulh Jim Saysana: to Dec. 3. Toronto.
THE Rwc HUNTER (series); OOP: Bill Wong esc: Op/SC: Rod Crombie; 1st Joseph Micomonaco;
2nd: Marte Beauchamp; to Dec. 3. Toronto.
RosocoP(MOW): DOP: Russ Goozee esc: 1st: Joe Dasilva; to Feb. 2. Toronto.
SINK Hou(MOW); DOP: Derick Underschulz esc; Op: Christopher Tammaro; to Dec. 23. Toronto.
SWEET SIKTEEN(MOW); Tr: Patricia Meyer. to Dec. 9, Toronto.
TART(feature); Op/SC: Micllael Soos; 1st B<ad Vos: to Dec. 17. Toronto.
THOMAS ANO THE MAGIC RAILROAD(feature); DOP Robbi Hinds esc: Tr: Tr811()r Wiens; to Oec. 17, Toronto.
TWICE IN A LiFETIME(se<iest DOP: Manfred Guthe esc; Op: Harald Onenburger esc: tO Dec. 23. Toronto.
URBAN LEGEND //(feature); Tr: Meredith Bogden; to Dec. 18. Toronto.
X-M EN (feature); 2ndU-DOP: Paul Sarossy esc; ldr: Chris Weiss; Tr: Jeff Tuckwell; to Jan. 25. Toronto.
20 • CSC Nr..-s ' O,cem,.,_ 1999
TORONTO
January meeting to be announced.
Thurs .. Dec. 16. 2 p.m. to 6 p.m. William F. White ltd. invites CSC mem·
bers to its Toronto Open House and the
official opening of the Fritz Spiess
Archive exhibit in the WFW lobby. At
1030 Islington Avenue.
Jan. 30/00 - Genie Awards,
(416) 366-2221
March 25100 -
CSC Awards,
(416) 966·6710
111111lpoge 18
ONTARIO. ATLANTIC
ANGELS IN THE INFIEW (MOW): DOP: James Gardner esc:
Schedule of Meetings
and Events of Interest
to CSC Members
FOR SAL£: Ani lighting: 4 open lace 650
watts. 6 stands and travelling case. 3 fresnels
30Dw. lMB-3 clip-on mattebox 4x4 Arri. 42
Tiffen filters. Cinemeter II and much more
goodies. Call Bernard (514) 733-6515, fax
(514)733-3513
SERVICES: Attention camera people: Buried
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own business? I can help organize your
business. from filing to basic accounting. Call
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The editorial and
production
staff at esc
News wishes
you a very
Merry
Christmas
and a happy
·,
. . . ...
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BESTPHOTOGPN'HYN A
tlfWMTlC """"""'OR SEIOES
8ESJ POOTOGIW'H't' IN ACOMEDY. VAAIEN.
PERroRMINC ARTS PROGRAM OR SERe
BEST PHOTOGRAPHY tH AH
INFOIWAllOH PROCRAMOR SERieS
8EST PtiOTOGitAJlHY IN A
tx:Xl.lfolfHTARf ~OR SERIES
Derick UnderS<hultz, CS<
Toto/ RecoR 2070
"ResliiiJticn'
David A. Greene, esc
~ter. Ectth. Air, Fire
'Drogon Tonga'
Paul Freer
W-Fr.<e: A Wli>g & A Prayer
German Gutierrez
Claude·Julie Parisot
W.Fi>e: 'IJfe & Death'
Jnsectio
'~Meted Buttetflies'
Congratulations to the
1999 Gemini Award winners
in the Best Photography category.
We applaud everyone who ever
set their thoughts in motion.
Kodak is a proud sponsor of the Gemini Awards.
Professional
Motion Imaging
www.kodlk.a/co/kdmotiOn