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CANADIAN SOCIETY
Canadian Publications Mail Product Sales Agreement No. 478423
OF
CINEMATOGRAPHERS
NEWS
February 2007 Volume 26, No. 6
Setting
Sail
for the GENIES
IN THIS ISSUE
AWARDS: Genie and ASC Nominees
AWARDS SPOTLIGHT: Four for the Show
VIDEO FILE: Deluxe Fights Piracy
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CANADIAN SOCIETY
NEWS
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 non-partisan 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: Nikos Evdemon csc
Education: Ernie Kestler
Director Ex-Officio: George Willis csc sasc
Membership inquiries: 416-266-0591
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CSC Office
Canadian Society of Cinematographers
Executive Director: Susan Saranchuk
3007 Kingston Road Suite 131
Toronto, Ontario M1M 1P1
Tel 416-266-0591 Fax 416-266-3996
email: [email protected]
Editor: Donald Angus (416) 699-9149
email: [email protected]
Editor-in-Chief: Joan Hutton csc
www.csc.ca
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.
CSC February 2007.indd 3
OF
CINEMATOGRAPHERS
visit: www.csc.ca
2007
Genie
and
ASC
Award
Nominees
8
12
4
CONTENTS
V O L U M E
2 6 ,
N O .
6
FEBRUARY 2007
2 - PRESIDENT’S REPORT - THE BEST LAID PLANS …
4 - AWARDS - GENIE AND ASC AWARD NOMINEES
6 - AWARDS SPOTLIGHT - FOUR FOR THE SHOW
8 - LOOKING BACK - A “NEWS” FLASH FROM THE PAST
12 - VIDEO FILE - DELUXE FIGHTS PIRACY
15 - NEWS CLIPS - ART IN THE BIG APPLE
17 - CLASSIFIEDS
19 - MEMBERS
20 - PRODUCTION NOTES
CSC CALENDAR
COVER PHOTO by Nick Wall:
A Viking ship slips through the
icebergs of Iceland in a scene from
the feature Beowulf and Grendel,
shot by Jan Kiesser csc asc.
31/1/07 09:26:47
PRESIDENT’S REPORT
The
Best Laid
Plans …
T
he cover of last month’s CSC
News, which launched the new
logo of the Canadian Society of
Cinematographers, was a disappointment in that a dark and muddy rendition
rolled off the press and into the mail,
right across the country. It was a printing
glitch, which we are dealing with, and we
are working to ensure this kind of error
does not happen again.
We apologize to our members for the
problems with the January issue, one of
the most important of our 50th anniversary year. Because we want you to see the
January cover the way it was supposed
to look, we have reproduced it on page
three. The new logo was conceived and
designed by George Willis csc sasc, with
the technical help of graphics artist Robert Jones.
In addition to the magazine, the new
logo has been introduced on the CSC web
site at www.csc.ca, in the 2007 CSC Directory and on official letterhead and forms.
We are excited to move forward under this
new banner. We have had compliments so
far from several members, and kind words,
too, from our friends Down Under. Ron
Johanson ACS, vice-president/secretary of
the Australian Cinematographers Society,
e-mailed us: “Congratulations to all concerned on the Society’s new logo. A brave
step forward, but I’m sure one that will be
very worthwhile.”
Meanwhile, work on our 50th anniversary commemorative book and DVD
is progressing. I would like to take this
opportunity to thank all the CSC members who are working on this project,
and to extend our gratitude to Vancouver
DOP Cliff Hokanson for his voluntary
contributions to the DVD.
Cliff shot videotape interviews with
Bob Crone csc, his wife Vi, Kelly Duncan csc and Doug McKay csc at the
Crone residence, assisted by Joe Klymkiw. Equipment was loaned by Byron
Drinkle at Sim Video and videotape was
donated by Ron Sheehy of Fujifilm Canada, Vancouver.
As a point of interest, Vi Crone was
a camera operator who was involved with
the early CSC. In fact, she said she was the
first female camera operator in Canada.
Thank you to Vancouver cinematographer Cliff
Hokanson for his voluntary contributions to the
CSC’s 50th anniversary DVD.
The CSC expresses condolences to the family, friends and colleagues of David Ritchie, 56, who was killed in an
accident on a Toronto film set Jan. 25 when a wall collapsed on him. The movie set was at 75 Commissioners
St., in the port lands near Munition St. and Don Roadway. Toronto police said crews had been taking apart the
set, used earlier this month. Mr. Ritchie was not connected with the CSC, but any injury or death in the film
and television workplace touches us all.
2 • CSC News - February 2007
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CANADIAN SOCIETY OF CINEMATOGRAPHERS
Canadian Publications Mail Product Sales Agreement No. 478423
NEWS
January 2007 Volume 26, No. 5
Celebrating 50 Years
1957-2007
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AWARDS
2007
Genie Award Nominees
for Cinematography
& ASC Feature Film and
TV Award Nominees
David Moxness csc Nominated by ASC
for Smallville Episode
F
our full CSC members were among those nominated by the Academy of Canadian
Cinema and Television for the 2007 Genie Award in cinematography. The 27th annual Genies gala was held Tues., Feb. 13, at The Carlu atop Toronto’s College Park.
The nominated directors of photography were Jan Kiesser csc asc for Beowulf &
Grendel; Bruce Chun csc for Bon Cop, Bad Cop; Pierre Gill csc for Maurice Richard / The
Rocket; Steve Cosens csc for Snow Cake; and Nicola Pecorini for Tideland.
The Genie Award honours the best in Canadian movies.
Maurice Richard / The Rocket, a film about Quebec’s greatest hockey player, collected
13 nominations, including best picture, best cinematography, and best director – Charles
Binamé. A best actor nod went to Roy Dupuis, who played Rocket Richard, and Julie Le
Breton was contending for best actress.
Érik Canuel’s Bon Cop, Bad Cop had a second-best 10 nominations, including best
picture, best director and cinematography. Colm Feore and Patrick Huard were both up
for best actor for their roles in the movie, which displaced Porky’s as the all-time top grossing film at the Canadian box office. Canada’s other box office success in 2006, Trailer Park
Boys: The Movie, received a best picture nomination, along with Un dimanche à Kigali and
Guide de La Petite Vengeance.
4 • CSC News - February 2007
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AWARDS SPOTLIGHT
Four for the Show
CSC Genie
Nominees
Push Action
and Emotion
By Don Angus
David Moxness csc has been nominated for an ASC Award in the episodic
television competition for “Arrow”/Smallville.
Meanwhile, the ASC announced that Emmanuel Lubezki,
ASC, AMC (Children of Men), Dick Pope, BSC (The Illusionist), Robert Richardson, ASC (The Good Shepherd), Dean Semler,
ASC, ACS (Apocalypto), and Vilmos Zsigmond, ASC (The Black
Dahlia) were vying for top honours in the feature film category
at the 21st annual American Society of Cinematographers Outstanding Achievement Awards competition. The winner was announced during the awards gala on Feb. 18 at the Hyatt Regency
Century Plaza Hotel in Los Angeles.
This was the eighth ASC nomination for Richardson, the
third for Zsigmond, who won in 1993 for the telefilm Stalin, the
second for Lubezki and Semler, and the first for Pope. ASC President Daryn Okada noted that all five nominees trace their origins
to different countries. Semler was born and launched his career in
Australia, Zsigmond in Hungary, Lubezki in Mexico, Richardson
in the United States, and Pope in England, where he still resides.
The ASC also announced 10 nominees in the two television
categories. The finalists in the Television Movie/Miniseries/Pilot
category were Thomas Del Ruth, ASC for Studio 60 on the Sunset
Strip (pilot); Adam Kane for Heroes (pilot); Walt Lloyd, ASC for
The Librarian: Return to King Solomon’s Mines (telefilm); Bill Roe,
ASC for Day Break (pilot); and John Stokes for the “Umney’s Last
Case” episode of Nightmares and Dreamscapes: From the Stories of
Stephen King (miniseries).
The nominees in the Episodic Television competition were
Toronto/Vancouver DOP David Moxness csc for “Arrow”/
Smallville; Eagle Egilsson for “Darkroom”/CSI: Miami; Nathan
Hope for “Killer”/CSI: Crime Scene Investigation; Bill Roe, ASC
for “What If They Find Him”/Day Break; and Gale Tattersall for
“Meaning”/House M.D.
This was the 11th nomination for Del Ruth, the eighth for
Roe, and the third for Hope. Del Ruth has earned top honors
four times for his work on ER and The West Wing. Roe previously
won for episodes of The X Files, and Hope took home the award
the last two years for CSI. It was the first nominations for
Egilsson, Kane, Lloyd, Moxness, Stokes and Tattersall. •
F
or the quartet of CSC members among the five cinematography nominees at this year’s Genie Awards – Pierre Gill
csc, Bruce Chun csc, Steve Cosens csc and Jan Kiesser csc
asc – the films they created are carefully crafted contrasts in styles
and objectives.
A best picture contender, the Quebec feature Maurice Richard,
in French, and The Rocket, in English, recalls in dark tones and
muted colours the tempestuous career of one of Canada’s most
famous and fiery hockey warriors. To fit the period of the 1940s
and ’50s, DOP Gill wanted lots of black. The drama of the images
reflects the intensity of the story.
Chun, another Montrealer, found his work on the actionpacked comedy/melodrama Bon Cop, Bad Cop to be a challenging
mélange of well-lit broad comedy, eerie darkness and explosive
violence. It is a roller coaster of sensations – a surprise at every turn
– and audiences went to see it in record numbers. It was also up
for a best-picture Genie.
The quiet, relatively obscure Snow Cake, a romantic drama
with emotional hurdles, was lensed warmly and sympathetically
by Toronto DOP Cosens. Starring Alan Rickman, Carrie-Anne
Moss and Sigourney Weaver, Snow Cake tells the story of a man,
traumatized by a tragic accident in his past, who becomes friends
with an autistic woman. No hockey, no cops.
At the opposite end of the scale is the heroic epic Beowulf
and Grendel, shot magnificently by Kiesser on remote locations
across wind-swept Iceland. The Canada-UK-Iceland co-production received limited distribution and was roughly treated by most
reviewers, but Kiesser’s cinematography was called by Variety,
among other plaudits, “visually arresting.” The trade magazine
said that “visually … the film is a treat. Shot entirely in the outback of Iceland, it’s a gallery of hauntingly beautiful locations, and
director Sturla Gunnarsson skillfully uses its bleak otherworldliness to distance us from anything familiar and evoke a lost heroic
age.… Stark, barren Icelandic locations stand front and centre in
Jan Kiesser’s muscular widescreen compositions.”
Nicola Pecorini, for his work on Terry Gilliam’s fantasy, Tideland, was the fifth nominee. With Steadicam inventor Garrett
Brown, Pecorini founded the Steadicam Operators Association in
1988. His camera operator and second-unit DOP on Tideland was
Mark Dobrescu csc.
cont’d on next page
CSC News - February 2007 •
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AWARDS SPOTLIGHT
CONTINUED
‘I wanted dark images with lots of black’
– PIERRE GILL CSC
“We wanted to make a period film that
speaks to modern audiences,” Pierre Gill
said about Maurice Richard / The Rocket.
“Given the subject and the budget, some
people might have chosen to play it safe,
but we didn’t hesitate to take chances when
that was what it took to tell this story.”
Director Charles Binamé asked his
collaborators to work with a muted colour palette, including some pastel hues,
reddish browns and steel blues, Gill told
the CSC News last year (see CSC News,
February/2006). “I encouraged the production designer to be bold with darker
paint colors. I told him to paint it black
if he wanted but to make sure I could get
a reflection. That allowed me to get a nice
blend of color and light.
“The costumes also helped depict the
period. For example, during the late 1940s
and 1950s, most people wore hats, many
with a brim that shaded their eyes. Often,
I didn’t add any fill for their eyes. When
they look up, and their eyes are revealed
at the right moment, it makes the scene
even stronger.
“I also wanted dark images with lots
of black,” said Gill. “I lit the actors with
side and top light, and sometimes I put a
highlight on something in the deep background for depth. I wanted dark walls so
that the faces come out first.”
Gill shot in Super 35mm using threeperf film coupled with timing in a digital
intermediate (DI) suite. He convinced the
producers that the three-perf, DI approach
could save money in addition to gaining a
creative edge. He was able to isolate elements of shots and alter light and darkness, contrast and colours in a fraction of
the time it would have required on the set,
and fine tune looks that suited the period
and the emotional flow of the story.
Almost the entire film was photographed on an Arri 535 and Kodak Vision
500T 5279 film, with a few scenes filmed
on Eastman EXR 200T 5293 film. Gill
also decided to shoot the entire film “with
the oldest set of Cooke lenses I could find.
The lenses were from the 1950s, and had
been modified by Clairmont Camera so
that we could use modern follow-focus
techniques. They are basically very old
lenses in new casings. There is no coating,
so there’s a more romantic look, and they
flare like crazy. We were a little worried
about the flare until one day in dailies, the
lens flared and it really made the scene. After that we tried to include more flares.”
‘There were so many different styles’
– BRUCE CHUN CSC
Bon Cop, Bad Cop was a jumping contest for Bruce Chun. The hit film was such
a mixture of styles, moods and tones, that,
despite its humour, it couldn’t be shot as
just a broad comedy.
The script, Chun explained, “jumps
back and forth between several different
types of storytelling, mood and character
– from broad comedy to action to the dark
and sinister, like murder, then back to broad
comedy. The challenge was really in the
day-to-day workings. We knew the tones
we wanted to give to each separate mood of
the film, but the way they were put together
meant that one day we’d be shooting something high key, very slapstick, and the next
we’d be shooting something very dark.
“We had to be careful so that the transition of the broad, high-key comedy into
that dark world would somehow work,
that it wouldn’t jump too much.”
It’s not unusual, Chun continued, to
have moments of comedy in a dark, scary
film to relieve audience tension, but never before had he done anything like Bon
Cop, Bad Cop. “It can take days to find the
look for something that’s dark, whereas on
this we didn’t have a chance. We’d shoot
one day of something really spooky and
then back into broad comedy or the very
technical aspects of a car rig, action or an
explosion where you’re setting up several
cameras for several hours. You’re always
shifting gears without time to find the
look for each sequence because there were
so many different styles.”
It was a challenge from director Érik
Canuel’s standpoint, too, the DOP said,
“going from somebody being killed to some
goofy guy in a mascot outfit. At what point
do we get funky and stylistic or at what point
do we just want the story to tell itself?”
That was the “main fun and the main
challenge.”
Chun said he shot on Kodak Vision2
200T (5217) and Vision2 500T (5218)
film stock loaded in Arri 535 cameras. He
ran two cameras most of the time, and as
many as five for action sequences. He recounted one scene in which a car explodes
with stunt doubles walking along the sidewalk right next to it – no green screen, no
wires. “The fun was doing it in camera so
it all feels real,” he said of the sequence. He
used hand-held cameras, Steadicam and a
crane for that shot, with most of the footage at street level as close up as possible.
Overall, he said, only about 10 per
cent of the shoot was hand-held. Dominique Ricard was A-camera operator, and
Chun pitched in himself to operate in
multi-camera scenes.
6 • CSC News - February 2007
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‘I strove to keep things as simple as possible’
Wind, cold, rugged terrain and short days were a few of the
obstacles that faced Jan Kiesser csc asc and his crew on the
Iceland shoot of Beowulf and Grendel.
As pre-production started on Beowulf
and Grendel, Jan Kiesser said he “began to
appreciate that the huge vistas and rugged
terrain (of Iceland) that I would be photographing required logistics to get through
with equipment and crew.”
For his camera package, he chose an
ArriCam ST and an ArriCam LT for their
lightness, versatility and ruggedness. Director Sturla Gunnarsson and the DOP
“knew we needed to maximize our opportunities for multiple camera setups and
2nd unit as well as having a backup camera
body. I chose Cooke S4 lenses, which performed incredibly well and handled bright
light sources such as torches and the sun in
the frame very nicely.”
Every day on the shoot offered its own
unique and difficult obstacles, Kiesser recalled. The first day was no exception. The
crew was shooting a replica Viking ship in an
iceberg lagoon in remote southwest Iceland.
“This location and situation offered
some breathtaking images we achieved
using both long lenses for land-to-water
shots of the ship within the icebergs, and
hand-held wide-angle shots onboard the
ship that spoke of a different time. The
challenge on this day was that the bilge
pump was not able to keep up with the
water seeping through the dry hull – the
ship had been dry stored for many years
– making us race to get our shots before
it became too dangerous for the people
onboard.
“I strove to keep things as simple as
possible,” Kiesser said, “considering the
limited budget and the tight schedule,
with short days, increasingly lower temperatures and inclement weather toward
the end. We had a fairly simple lighting
package: HMIs consisted of a few 18Ks,
6Ks, 4Ks and 1.2K Pars. The tungsten
package was an assortment of 10Ks on
down to a couple of Peppers, a few KinoFlos, lots of Par 64s and some Maxi Brutes
for additional punch.”
He said that “from my first introduction to the exterior sets, I was concerned as
to how we would be able to light the night
scenes in such a vast landscape considering
the historically high wind conditions. The
wind velocity when we were shooting at
night was in the area of 60 to 100 kilometres an hour, usually with driving rain or
dirt and stones.
“It made it impossible to use any kind
of cranes or lifts to get lights high into
the air in order to get some spread. Quite
often I resorted to backlighting the existing atmosphere from the ground or placing some bigger lights on some of the
hills that surrounded our set. In the end I
would put lights where they could be safe
and accessible, then manipulate the balance and exposure to obtain an image that
supported the scene.”
Kiesser continued: “The majority of
our interior scenes were in the Meade Hall
that was built as a functional structure for
both exteriors and interiors. The interior
offered some protection from the elements,
but through the schedule we encountered
more and more difficult weather conditions. The fatigue of the crew increased,
we had three base camps blown away, and
we shut down for three days because the
blowing rocks made it too dangerous to
get to the set.
“Daylight became less than six hours
with the sun getting to 10 degrees above
the horizon at its maximum elevation. But
at the end, snow on the landscape provided an odd contrast as we finished shooting our final interior scenes in sub-zero
weather in a cave with a waterfall built by
our brilliant special effects coordinator,
Richard Conway.”
Photo: Nick Wall
Photo: Nick Wall
– JAN KIESSER CSC ASC
Jan Kiesser csc asc looks a little anachronistic among this group of interested Vikings as he uses his Mac laptop to set up
a scene for the epic feature Beowulf and Grendel. That’s director Sturla Gunnarsson on the DOP’s right and over his left
shoulder is Gerard Butler, who plays Beowulf. Kiesser explained: “We are reviewing rehearsal footage I shot on Mini-DV
then edited on FinalCut Pro to illustrate the movement required in the staging of a sword fight sequence.”
STEVE COSENS CSC was not available for comment on
Snow Cake, but he e-mailed that one of his most recent efforts,
the feature The Tracey Fragments for director Bruce McDonald,
was the opening night film in the Panorama section at the Berlin
International Film Festival this month.
FOOTNOTE: Sturla Gunnarsson and Jan Kiesser csc asc are guest speakers
at the Toronto Camera Club on Thursday, March 15, from 8 to 11 p.m.,
talking about shooting the movie Beowulf and Grendel.
VENUE: 587 Mount Pleasant Road. Tickets available for $10 at the
door on the night of the lecture, as space permits.
Go to www.torontocameraclub.com/lect
CSC News -February 2007 •
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LOOKING BACK
N 1:
O.
HISTORY IN A RAGGED NEWSLETTER
‘Drop us a post card with the dope’
I
t’s yellowed and a bit tattered now, almost 50 years later. It wasn’t a thing of
beauty to begin with. After all, it was just
a rough worksheet or mock-up of a fourpage bulletin that would be retyped, mimeographed and mailed to some 50 people,
all of them men with a common interest:
Cinematography.
George Morita csc, who was a young
camera assistant for master craftsman Fritz
Spiess csc when he joined the brand new Canadian Society of Cinematographers as an
associate in 1957, kept this original draft of
the very first CSC newsletter all these years.
He came by the document when he was
recruited by Fritz to take on the job of secretary. “There was a tense moment for me
during one of the early meetings, which has
a comic twist in retrospect,” Morita recalled.
“Some of the group felt that only full cameramen could be members of the Society and
that assistants should be excluded. As the debating continued – and I dutifully continued to record the proceedings as secretary – I
thought I might have to leave the room if the
voting went against including assistants and
try to eavesdrop from the hallway to complete my minutes!”
Morita, who went on to become a renowned Toronto-based director of photography and a legend in the world of commercials, said he thought the relic might be of
interest as the CSC celebrates its 50th anniversary this year.
The paper is simply a pasted-up layout
sheet of what became the inaugural com-
By Don Angus
muniqué from the fledgling Society to its
earliest members. It is dated OCTOBER
1957, a month after the CSC was officially
launched. The front-page masthead bears
three lines, hand-printed in ballpoint pen:
“To promote and foster cinematography
in Canada”
CANADIAN SOCIETY OF
CINEMATOGRAPHERS
OCTOBER 1957 – 1202 Woodbine Ave.
Toronto 13, OXFORD 8-1628 No. 1
The two-column front page features the
first paragraph of a “Greeting from the President of C.S.C.,” signed by Herbert S. Alpert
csc asc, the Society’s first pro-tem president.
Below that is a long, blank space, presumably
for an article or an advertisement to come.
Appearing in the right-hand ...see page 10
8 • CSC News - February 2007
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CSC News - February 2007 •
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column is a short article by Julian Roffman,
an “internationally known film maker” who
was among the charter members. In 1961,
Roffman produced and directed the 3-D feature The Mask, with Alpert as DOP and Sammy Jackson-Samuels csc (Sammy) as camera
operator. (More on the making of The Mask
in a later issue. Was it the forerunner of the
1994 comedy starring Jim Carrey?)
Page 2 included a small section on Photographic Assignments (who, where the
members are working): Sammy had just
completed a feature (unnamed) as operator
and was up north shooting a mining film,
while Alpert had recently completed shooting on a 35mm B/W feature with the working title The Runaways, and was shooting a
musical pilot film at Meridian Films. There
was a plea for more assignment notices: “If
each member will drop us a post card with
the dope it will be included in the next paper.”
There are several ad spaces, spilling over
on to page 3, where the president’s greeting
is continued below a short Questions &
Answers column. The back page is taken up
with Bylaws of the Society and a “space …
reserved free, for any members who would
like to advise other members that he has
equipment he’d like to sell, rent or swap.”
In his presidential greeting, Alpert said:
“It is, of course, with great pride that I write
this short note to all the members. I have
long looked forward to the moment when
an organization such as the CSC would
come into being.
‘Constant nourishment of
interest and desire … will provide
the growth of this Society’
“I feel that at this particular moment in
Canadian film history an organization or society such as ours will directly help shape in
some small manner the course the industry
will take.” After pointing out the bylaws on
the back page, Alpert noted that the purpose
of the Society “is to promote and foster cinematography in Canada; to develop the mutual interests, and to provide the membership
with technical information to enable the improvement of their professional status.”
He closed with: “It is only through the
constant nourishment of interest and desire
will we, as members, provide the growth of
this Society.… It is my hope that the CSC
will represent the hallmark of professional
Canadian cinematography.”
Julian Roffman’s article waxed optimistically: “With the first flicker of film on a
nickelodeon screen, the link between the
cameraman and the art of the motion picture was forged into a bond so solid that half
a century of production has only served to
strengthen the contribution of the cameraman as a craftsman and an artist.
“In Canada, the growing list of international awards for both government and
commercial films attest to the status of the
cameraman as a vital collaborator in the creative effort of film production. The production picture is slowly changing in Canada.
New demands in different fields of production will call forth the development of new
and more exciting techniques from the
cameramen in Canada. A distinct style and
technique of dealing with light and shade
will emerge to bring further recognition on
world screens. Canadian cinematography
will take its place alongside the
major contributions of the finest
cameramen of the world.”
Finally, how about those
Questions & Answers? There
were two in issue No.1:
Q. Where can I get some info
on aspect ratios and aperture
dimensions of all the different
screen systems? HGB Tor.
A. The ASC Handbook by Jackson Rose and from the Society
of Motion Picture and Television Engineers, 55 West 42nd St.,
New York 36, N.Y. They have a
booklet titled Wide Screen Motion Pictures which contains
plenty of gen.
Q. What will a viewing filter do
for me? J.P. Tor
A. The viewing filter or monotone filter will enable you to see
contrasts and relative tones as
they will be recorded on film.
But wait a minute! Herb Alpert, said Morita, “confided in me
that he had conjured up the questions for the Q & A column.”
Now, if only we can conjure
up a copy of the finished newsletter No. 1. •
10 • CSC News - February 2007
CSC February 2007.indd 12
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CSC February 2007.indd 13
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Photo: Don Angus
VIDEO FILE
To fight video piracy, Deluxe Toronto has developed
a division it calls Content Protection Services, with
the motto “detect and analyze.” Jeff Dewolde,
vice-president of technology, is the top watchdog.
‘SURRENDER YE SCURVY DOGS!’
Deluxe Toronto
Fights Video Piracy
By Solange De Santis
N
obody in the electronic confines
of Deluxe Toronto’s post-production headquarters on downtown
Adelaide St. actually utters “Surrender ye
scurvy dogs” or other buccaneer vernacular.
That’s left to Johnny Depp in Pirates of the
Caribbean or Dustin Hoffman in Hook as
amusement for movie audiences.
Nevertheless, Deluxe Toronto, part of
the international Hollywood-based Deluxe
Laboratories Inc. film-processing company,
has developed technology that is sending a
shot across the bows of 21st-century video
pirates.
Today’s video robbers are not a source of
swashbuckling entertainment. They preyed
on the motion picture industry (defined
as foreign and domestic film producers,
distributors, theatres, video stores and payper-view providers) to the tune of US$18.2
billion in 2005, according to the Motion
Picture Association of America (MPAA).
The problem is worldwide. According
to the MPAA’s estimates: the U.S. film industry lost $6 billion, China, $2.7 billion;
France, $1.5 billion, Mexico, $1.1 billion.
According to Jeff Dewolde, vice-president of technology at Deluxe Toronto,
video theft takes several forms. On the
first day of a movie’s release, “cammers,” as
they’re called, are sitting in movie theatres
with hidden camcorders, filming the film.
Illegal DVDs are on the street within hours
of a movie’s premiere.
Other thieves download movies from
the Internet and make copies. Still others
buy a legal DVD, then make and sell illegal
copies.
12 • CSC News - February 2007
CSC February 2007.indd 14
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One form of video piracy that’s especially busy in the fall months is the theft
and illegal reproduction and sale of “screeners,” DVD copies of movies that are candidates for awards and sent to members of
such organizations as the Academy of Motion Picture Arts and Sciences (the Oscars),
the Hollywood Foreign Press Association
(the Golden Globes) and the Screen Actors
Guild (the SAG awards).
‘If it shows up on the Internet,
we can grab you’
laboratory lined with DVD duplicating machines, Deluxe applies an identifying code
called a watermark (after the marks used in
fine paper) to each disk. “We came up with
the technology – how do you recover that
code and associate it with an individual?”
said Dewolde.
As many as 15 staffers might be working during awards season, said Stan Ford,
Deluxe Toronto’s vice-president, video and
data dailies. If the film is stolen and reproduced, Deluxe can trace it back to the person who received it.
“There was an arrest made on some
screeners early last year, involving Babel
(which won the Golden Globe this year as
best motion picture/drama) and some others. They were being delivered to a member’s office and the receptionist was giving
them to her cousin who uploaded them on
the Internet,” recalled Dewolde.
Deluxe Toronto’s identifying technology can also trace a screener that’s posted
to the Internet for illegal downloading. “If
it shows up on the Internet, we can grab
you,” said Ford. Dewolde noted that “an
organized crime group would try to get
hold of these screeners and replicate them,
Photo: Don Angus
Screeners of a film such as Dreamgirls,
which is in theatrical release but not yet
released commercially on DVD, are most
vulnerable, said Dewolde.
“For the Christmas releases, there is a
push (by the studios) to be one of the first
with your screeners (to awards voters),”
he said. Since awards have proliferated,
the number of potential voters is huge.
The Academy has about 6,000 members,
the Hollywood Foreign Press about 100
and the Screen Actors Guild a whopping
130,000.
Deluxe Toronto over the past few years
has developed a division it calls “Content
Protection Services,” with the CSI-like
motto “detect and analyze.” The unit fights
piracy in several areas – film duplication,
Internet monitoring and analysis of illegal,
street-purchased DVDs.
Several major studios – MGM, Fox,
Paramount, Sony and Miramax – send
Deluxe Toronto their films for screener
production. Other studios use a system
developed by Technicolor. In a computer
On the inside, Content Protection Services looks
like most other computer rooms, but technology
vice-president Jeff Dewolde (seated) and Stan
Ford, vice-president, video and data dailies, say
that if a film is stolen and reproduced, Deluxe can
trace it back to the person who received it.
CSC News - February 2007 •
CSC February 2007.indd 15
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31/1/07 09:27:52
Photo: Don Angus
Dean Tremblay (left) and Trevor Currier are required to be secretive about what
they do in the encoding dept. at Deluxe Toronto. On this day, Currier was encoding
some new DVDs while Tremblay was scanning the Internet for illegal movies.
then send them via
FTP (the electronic
process called file
transfer protocol) to
Moscow and within
24 hours, they would
be on the street.”
The business of
identifying screeners
has grown for Deluxe
in recent years due to
a court decision in
2003. Outraged at
35mm/16mm Services | HD/SD Telecine and Editorial | Digital Intermediates
Laboratory Evans: 416.205.8155 | Laboratory Carlaw: 416.461.8090
Postproduction: 416.364.4321
video piracy, the major studios supported
a move by the MPAA to ban screeners and
to urge potential voters to see their films in
theatres. However, smaller film producers
filed suit, saying they needed the economical method of getting their movies before
the voters. The court sided with them and
screeners were here to stay.
Deluxe Toronto has the capacity to
do 8,000 screeners a day, Dewolde said.
Among the films that came to Deluxe Toronto this past year were Borat, Little Miss
Sunshine, The Queen, World Trade Center
and Babel.
Another major portion of Deluxe
Toronto’s business is the manufacture of
“release prints,” that is, copies on film that
are to be projected in movie theatres. It can
also apply a watermark to the prints that
“allows us to identify a theatre in which
illegal camcording is occurring,” said Dewolde. At digital cinemas, a date and time
stamp can also be inserted by the data projector at the time of showing.
Canada is a particularly active source
of camcorded movies, mainly because laws
here concerning intellectual property rights
are relatively weak. According to a story in
the Toronto Globe and Mail on Jan. 13,
Bruce Snyder, Twentieth Century Fox’s
president of domestic distribution, estimated that at one point in 2006, Canadian
theatres were the source for nearly 50 per
cent of illegal camcords across the globe.
Fox was able to trace the source of copies of its films to several Cineplex theatres in
Montreal. Snyder told the Globe and Mail
that Fox was considering the drastic step of
delaying the release of its films in Canada
for several weeks after their U.S. release. “At
least we would then have a running start
before we have to start competing with
ourselves,” he told the newspaper.
Downloading films from the Internet
has grown and Deluxe Toronto’s forensic
division monitors Web sites in several languages, including Russian, Chinese/Mandarin and Japanese, for illegal use. It can
analyze the source and attributes of the
pirated material.
“The studios also send us bags of
DVDs,” said Ford. Deluxe Toronto’s investigators can analyze the plastic, glue, disk,
content, artwork and graphics of a shipment in order to trace its origin.
(Solange De Santis is a Toronto-area arts
and entertainment writer and is a frequent contributor to the CSC News.) •
14 • CSC News - February 2007
CSC February 2007.indd 16
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NEWS CLIPS
Digital images by
Paula Tymchuk that
will be exhibited at
the Agora Gallery
in New York City
next month include
(clockwise from top
left) “Blossom,”
“Solant” and
“Turning”.
ART PHOTOG PAULA TYMCHUK
‘TRIPS’ TO THE BIG APPLE
The photographic art of affiliate
member Paula Tymchuk has been chosen
by a New York City gallery for an exhibition entitled “Tripping the Light Fantastic” March 16 to April 6. Three of the six
images that will be exhibited at the Agora
Gallery, located in the heart of the Chelsea Art district at 530 West 25th Street,
are shown on this page. The Agora’s web
site (www.agora-gallery.com) has information on Tymchuk’s work.
The digital photographs of Torontobased Tymchuk, a winner of the CSC’s
Camera Assistant Award of Merit, are
investigations into the human body
transformed by light and shadow. She
says, “The most gratifying experience
for me as an artist is when a viewer is
first attracted to the image on an intuitive level.” As a child, Tymchuk’s mother
encouraged her to paint large murals on
the walls of her room, so that “I began,
at an early age, to tell a story within one
single frame.”
At times, her images are not easily
recognizable as parts of the body, and
could be landscapes or fantasy constructions. More often than not, the picture’s
centre is a place where skin meets shadow, or more specifically, where the light
reflecting off skin meets its opposite, to
conjure a mood of deep reflection. With
her inspired investigations into the visual and physical, Tymchuk’s work challenges the definitions of portrait, realism
and images of the body itself.
She is currently publishing a photo
book entitled “Freedom within the
Skies.” She continues to travel, observing the play of light in the world, and
searching as she says, “for magnificent
exposures.”
CSC News - February 2007 •
CSC February 2007.indd 17
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31/1/07 09:28:01
WIFT INTERNATIONAL SUMMIT
COMES TO TORONTO IN JULY
Associate Lori Longstaff shares a moment on a jetliner set with a real-life anti-terrorist hero.
Associate member Lori Longstaff
hasn’t yet met Jack Bauer (played by
Kieffer Sutherland) on the hot series 24,
but she has shared an on-set airplane
seat with a real anti-terrorist hero. And
she has the photo to prove it.
The Toronto-based focus puller and
B-camera operator has been working
since last June on the Discovery Channel’s Mayday, a series about real-life disasters – a lot of them airplane crashes.
“The series shoots re-enactment scenes,
five drama-shooting days per episode.
Prior to the drama, they send out a small
doc crew to interview the survivors and
other related stuff.” Longstaff says she
works on the five drama days and on a
“sister” show called Zero Hour – “same
shooting style, and sometimes the same
locations.”
The photo she sent us is from the
Zero Hour episode “Hijacked,” shot by
DOP Anton van Rooyen. It shows Longstaff and “the original terrorist rescue
man,” Philippe Bardelli, aboard a mockup of an airliner. He was a member of
the GIGN (Groupe d’Intervention de
la Gendarmerie Nationale), the French
government’s elite counter-terrorism and
hostage rescue unit, when it successfully
stormed a hijacked Air France jetliner
and liberated 173 passengers and crew in
December, 1994. Flight 8969, bound for
Paris from Algeria, was hijacked on the
tarmac by four young Algerian terrorists.
Three passengers were murdered
during negotiations with the Algerian
government before the GIGN force
stormed the plane, which had been
forced to fly to Marseilles, and killed
all the terrorists. Although there were
several casualties, none of the rescuers
or passengers was killed.
Longstaff said that “Philippe was
present during the filming, so the
re-enactment of the aggressive takedown -- bullets everywhere! -- was
accurate. “The entire (camera) crew
was so proud and grateful to Philippe
for risking his life and saving all those
passengers.”
Photo: Thomas Gatenby, CSC Associate
LORI LONGSTAFF HELPS FIGHT
TERRORISTS ON ZERO HOUR
Women in Film and Television – Toronto
(WIFT-T) has announced that it will host
the WIFT International Summit in Toronto
July 16-19. This year will mark the first time
the event, held every two years in a different
country, has been staged in Toronto.
“We are very excited about presenting this
important event,” said Sue Sheridan, executive director of WIFT-T. “In a global marketplace, it is essential for women and men in
screen-based media to network, forge new
partnerships, and learn from the experiences
of colleagues in other parts of the world.”
Women in Film and Television – Toronto
is one of nearly 40 chapters worldwide affiliated with WIFT International (WIFTI), a global network comprised of more than 10,000
members dedicated to advancing professional
development and achievement for women
working in all areas of screen-based media.
The WIFT International Summit will
bring together participants from Afghanistan
to New Zealand. For four days, delegates will
be inspired by panels, workshops, screenings,
and other special events. The International
Summit will also give Toronto an opportunity to spotlight our own expertise in developing diverse talent and encourage international
business opportunities that can assist Canadian production companies and filmmakers
in creating strong products that are viable in
the worldwide market. •
These six gentlemen, decked out in CSC T-shirts, enjoyed their time at the 2007 Manitoba Advanced
Film and Television Workshops in Winnipeg last month. They are (front row, from left) Jan Kiesser
csc asc, Henry Lebo csc, Brenton Spencer and (back row, from left) Phil Linzey csc, Karl Herrmann
csc and John Spooner csc. Spencer is president of IATSE Local 669 in Vancouver.
16 • CSC News - February 2007
CSC February 2007.indd 18
31/1/07 09:28:13
CAMERA CLASSIFIEDS
FOR SALE: Panasonic HVX-200 camera.
Low hours, like new. 8 months left on Canadian warranty. $4900.00. Call David @
416-920-7979.
FOR SALE: Sony DSR 570WS with Canon
lens YJ 18X9B4 IRS Head Drum Operating
1364 hours, tape transport 613 hours, total
operating 1877 hours. Package includes:
Porta Brace with rain cover, Circular Polerizer filter, 1/2 Black Promist filter. Some
minor cosmetic wear and tear but in good
working condition. C$15,000. For more
info and pictures contact Mike Sorel at
(403) 451-4484 ext 273 or [email protected]
TO SUBLET: Charming, fully furnished 2
1/2 (one bedroom) in the heart of Montreal’s Plateau, close to downtown, an ideal location for someone visiting the city. All
included: phone, TV, DVD. Perfect for DP,
director or actor going to work temporarily in Montreal. Beautiful light, quiet, large
balcony with view oF the mountain. $700
monthly or $300 weekly.. Call Larry at 604
899 4234 or [email protected]
FOR SALE: Sony DSR-500WSL DV CAM
camcorder
hours: A=1435 B=0776
C=1810 Eng + French manuals. $4,400.
Canon YJ18x9BRS zoom lens $2,200.
Canon YJ12x6.5B4 zoom lens $4,000.
Sony UVW-100 Betacam SP camcorder,
Fujinon S16X6.7BRM- 18 zoom lens, Porta
Brace soft carrying case $1,250. Contact
Nick de Pencier, Mercury Films 416 5162661 [email protected].
support LS.6 for Zeiss 10-100 & 2x Mutar; clap
ring for Zeiss 10-100mm T2.0 II; guide rails
(give lightweight support); Arri variable speed
unit VSU; custom case (for 16mm camera
package). $19,900 plus taxes. Call 613-2553200 cell.
FOR SALE: Sony DVW700 Digital Betacam
camera, excellent condition:1 Sony viewfinder; 1 Sony battery case; 1 Sony tripod adaptor;
1 8x160mm Canon zoom lens. $19,900 plus
taxes. Call 613-255-3200 cell.
FOR SALE: 52 filters 4 x 5.6, Enhancer, Neutral Density, Black Promist, Ultra Contrast, Soft
FX - 85, 8N3, 6, 9, Regular Fogs, Corals, Sepia,
Black Net, Low Light, Day for Night; 8: 6.6 x
6.6. ND Soft Grads, Sunset, Twilight, Sky Blue;
5: 4x4 Circle Diffusion; 3: 4 1/2 Round Polas;
3: 138 Round Polas. Contact Bob Saad at 416481-5429.
CAMERA CLASSIFIEDS
A FREE service to CSC members.
If you have items you’d like to buy
or sell, please e-mail your list to
[email protected]
FOR SALE: Field and post-production
equipment. Cinematographer’s personal
Betacam camera and film sound equipment: Ne mann mics, Micron wirelesses,
etc. Sony BVW400 camera, tripod, lights,
grip. Full list at www.saltwater.ca/equipment
FOR SALE: David J. Woods Heads Up
LCD eyeglasses kit for viewing NTSC
video. Custom power pack – uses (NP-98)
Sony batteries – one included. Original value over $1,000, priced to sell at $300. Aluminum water resistant / crash box for Arri
2C with 400 mag. Replaceable plexiglass
window, $150. Selection of lead lining to
avoid x-ray damage when travelling with
film stock, $50. Non-folding rolling spreader, $20. E-mail: [email protected].
FOR SALE: Arri SRII camera, excellent
condition: SRII camera body (metered);
magazine 40 ft.; Zeiss 10-100mm T2.0 II
BA-auto; Zeiss 9.5mm T1.3; right-hand
grip on & off (flat plug);
con’t
CSC News - February 2007 •
CSC February 2007.indd 19
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CSC February 2007.indd 20
31/1/07 09:28:21
CSC FULL AND LIFE MEMBERS
CSC FULL MEMBERS
Nicholas Allen-Woolfe csc
Jim Aquila csc
Eduardo Arregui csc
John Badcock csc
Michael Balfry csc
Christopher Ball csc
John Banovich csc
John Bartley csc asc
Stan Barua csc
Yves Bélanger csc
Peter Benison csc
Dean Bennett csc
John Berrie csc
Thom Best csc
Michel Bisson csc
Cyrus Block csc
Michael Boland csc
Raymond Brounstein csc
Thomas Burstyn csc
Barry Casson csc
Eric Cayla csc
Henry Chan csc
Marc Charlebois csc
Rodney Charters csc asc
Bruce Chun csc
Damir Chytil csc
Richard Ciupka csc
Arthur Cooper csc
Walter Corbett csc
Steve Cosens csc
Bernard Couture csc
Richard Crudo csc asc
Dean Cundey csc asc
Francois Dagenais csc
Steve Danyluk csc
David De Volpi csc
Kamal Derkaoui csc
Kim Derko csc
Jacques Desharnais csc
Serge Desrosiers csc
Jean-Yves Dion csc
Zoe Dirse csc
Mark Dobrescu csc
Wes Doyle csc
Guy Dufaux csc
Ray Dumas csc
Albert Dunk csc asc
Philip Earnshaw csc
Ian Elkin csc
Michael Ellis csc
Carlos Esteves csc
Nikos Evdemon csc
David Frazee csc
Marc Gadoury csc
James Gardner csc
David Geddes csc
Ivan Gekoff csc
Laszlo George csc
Len Gilday csc
Pierre Gill csc
John Goldi csc
Russ Goozee csc
Steve Gordon csc
Barry Gravelle csc
David Greene csc
John Griffin csc
Michael Grippo csc
Manfred Guthe csc
Thomas Harting csc
Peter Hartmann csc
Pauline Heaton csc
Brian Hebb csc
David Herrington csc
Karl Herrmann csc
Kenneth Hewlett csc
Edward Higginson csc
Robbi Hinds csc
Robert Holmes csc
John Holosko csc
George Hosek csc
Colin Hoult csc
Donald Hunter csc
Joan Hutton csc
Mark Irwin csc asc
Maris Jansons csc
James Jeffrey csc
Silvio Jesenkovic csc
Daniel Jobin csc
Pierre Jodoin csc
Martin Julian csc
Norayr Kasper csc
Glen Keenan csc
Ian Kerr csc
Jan Kiesser csc asc
Alar Kivilo csc asc
Douglas Koch csc
Charles Konowal csc
Rudi Kovanic csc
Ken Krawczyk csc
Les Krizsan csc
Alwyn Kumst csc
Jean-Claude Labrecque csc
Serge Ladouceur csc
George Lajtai csc
Marc Laliberte Else csc
Barry Lank csc
Henry Lebo csc
John Lesavage csc
Henry Less csc
Pierre Letarte csc
Philip Linzey csc
Walt Lloyd csc
J.P. Locherer csc
Peter Luxford csc
Larry Lynn csc
Duncan MacFarlane csc
Dylan Macleod csc
Bernie MacNeil csc
Glen MacPherson csc
Harry Makin csc
Adam Marsden csc
Donald McCuaig csc
Robert McLachlan csc asc
Ryan McMaster csc
Michael McMurray csc
Stephen McNutt csc
Simon Mestel csc
Alastair Meux csc
Gregory Middleton csc
C. Kim Miles csc
Gordon Miller csc
Robin Miller csc
Paul Mitchnick csc
Luc Montpellier csc
George Morita csc
Rhett Morita csc
David Moxness csc
Craig Mullins csc
Douglas Munro csc
Stefan Nitoslawski csc
Dan Nowak csc
Rene Ohashi csc asc
Ron Orieux csc
Harald Ortenburger csc
Gerald Packer csc
Rod Parkhurst csc
Barry Parrell csc
Brian Pearson csc
David Perrault csc
Barry Peterson csc
Bruno Philip csc
Matthew Phillips csc
André Pienaar csc
Edward Pietrzkiewicz csc
Ronald Plante csc
Randal Platt csc
Milan Podsedly csc
Hang Poon csc
Andreas Poulsson csc
Pascal Provost csc
Don Purser csc
Joel Ransom csc
Ousama Rawi csc bsc
William Reeve csc
Stephen Reizes csc
Derek Rogers csc
Brad Rushing csc
Branimir Ruzic csc
Robert Saad csc
Victor Sarin csc
Paul Sarossy csc bsc
Gavin Smith csc
Christopher Soos csc
John Spooner csc
Ronald Stannett csc
Barry Stone csc
Michael Storey csc
Richard Stringer csc
Michael Sweeney csc
Adam Swica csc
Attila Szalay csc
Christopher Tammaro csc
Jason Tan csc
Gabor Tarko csc
John Tarver csc
Brian Thomson csc
Paul Tolton csc
Bert Tougas csc
Chris Triffo csc
Sean Valentini csc
Derek Vanlint csc
Gordon Verheul csc
Roger Vernon csc
Steve Vernon csc
Daniel Villeneuve csc
Daniel Vincelette csc
Michael Wale csc
John Walker csc
James Wallace csc
Tony Wannamaker csc
Peter Warren csc
Andrew Watt csc
Jim Westenbrink csc
Tony Westman csc
Kit Whitmore csc
Brian Whittred csc
Ron Williams csc
George Willis csc sasc
Richard Wincenty csc
Glen Winter csc
Peter Woeste csc
Bill Wong csc
Bruce Worrall csc
Craig Wrobleski csc
Yuri Yakubiw csc
Ellie Yonova csc
FULL LIFE MEMBERS
Herbert Alpert csc asc
Robert Bocking csc
David Carr csc
Christopher Chapman csc
Robert Crone csc
Kenneth Davey csc
Kelly Duncan csc dgc
Kenneth Gregg csc
Brian Holmes csc
Maurice Jackson-Samuels csc
Douglas Kiefer csc
Naohiko Kurita csc
Harry Lake csc
Douglas Lehman csc
Douglas McKay csc
Donald McMillan csc
Jim Mercer csc
Roger Moride csc
Dean Peterson csc
Roger Racine csc
Robert Rouveroy csc
Ivan Sarossy csc
Josef Sekeresh csc
Walter Wasik csc
Ron Wegoda csc
CSC News - February 2007 •
CSC February 2007.indd 21
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PRODUCTION NOTES AND CSC CALENDAR
British Columbia, Prairies
Ontario, Quebec, Atlantic
And She Was (MOW); DOP: Tony Westman csc; to Feb. 13, Victo-
The Best Years (series1); DOP: David Herrington csc; Op: Michael
Fylyshtan; to March 14, Toronto.
ria.
Blood Ties (series1); DOP: Danny Nowak csc; Op: Chris Tammaro
csc; to March 5, Maple Ridge, B.C.
Conspiracy (pilot); DOP: Attila Szalay csc hsc; wrapped Jan. 28, Van-
The Dresden Files (series1); DOP: Alwyn Kumst csc; Op: Colin Hoult
csc; Op: Gottfried Pflugbeil; B-Op: Brian Gedge; to Feb. 9, Toronto.
couver.
La Galere (série); DP: Yves Bélanger csc; au 6 mars, Montréal.
Downloading Nancy (feature); Op: Mark Dobrescu csc; to March 3,
Glimmer (series1); PedOp: Rod Crombie; to March 8, Toronto.
Regina.
Holidays in Handcuffs (MOW); Op: Jarrett Craig; to Feb. 17, Calgary.
Men in Trees (series1); DOP: David Geddes csc; to April 3, North
Vancouver.
The Quality of Life (MOW); DOP: David Frazee csc; Feb. 8-March3,
Burnaby.
Smallville (series6); DOPs: Glen Winter csc and David Moxness
Ice Planet (series1); DOP: Mike McMurray csc; to June 15, Toronto.
Kill Shot (feature reshoot); DOP: Caleb Deschanel asc; 1st: Joseph
Micomonaco; B-2nd: Marcel Janisse; Jan. 15-Feb. 2, Toronto.
Monster Warriors (series2); DOP/Op: John Lindsay; 1st: Demetri
Portelli; 2nd: Blain Thrush; to Feb. 5, Barrie, Ont.
Rent a Goalie (series2); DOP/B-Op: James Jeffrey csc; Op: Kim
Derko csc; Feb. 5-April 5, Toronto.
csc; to April 1, Vancouver.
Supernatural (series2); DOP: Serge Ladouceur csc; Op: Brad Creasser; to April 4, Burnaby.
Whistler (series2); 2nd: Trevor Wiens; to May 25, Langley, B.C.
Schedule of Meetings and Events of Interest to CSC Members
TORONTO
Thurs., March 15, 8 to 11 p.m. – Director Sturla Gunnarsson and DOP Jan Kiesser csc asc are guest speakers at the Toronto Camera Club, talking about
shooting the movie Beowulf and Grendel. Tickets available for $10 at the door on the night of the lecture, as space permits. At 587 Mount Pleasant Road.
Check out www.torontocameraclub.com/lect)
Sat., March 31 – The 2007 CSC Awards Gala will be held at the Westin Prince Hotel in Toronto. For information and tickets, call (416) 266-0591.
Check www.csc.ca/calendar for the latest information
20 • CSC News - February 2007
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The Kodak
Totem Award
Designed to emulate the
artistic combination of the art
and science of cinematography,
the Kodak Totem Award
is presented annually to each of
the Genie nominees in the
'Achievement in Cinematography'
category.
This award symbolizes the ongoing
dedication and commitment
to excellence that the nominees
bring to their craft.
Congratulations to the 27th annual Genie Award nominees for
Achievement in Cinematography.
Jan Kiesser CSC, ASC Nicola Pecorini
Beowulf &
Grendel
Tideland
Pierre Gill CSC
Steve Cosens CSC
Bruce Chun CSC
Maurice Richard
The Rocket
Snow Cake
Bon Cop,
Bad Cop
Kodak is a proud sponsor of the Genie Awards.
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C M Y K
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