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A PUBLICATION OF THE CANADIAN SOCIETY OF CINEMATOGRAPHERS
Canadian Publications Mail
Product Sales Agreement No. 478423
December 2003
Volume 23, No. 4
Serge Desrosiers csc
Camping Sauvage:
The Sky’s the Limit
ALSO
IN
THIS
ISSUE
AWARDS: Prix Gémeaux Winners
EDITOR'S DESK: Christmas Nostalgia
POST: Calibration and Communication
NEWS CLIPS: Le Marais at Camerimage
PRESIDENT’S REPORT: Centre for the Arts
MERRY
CHRISTMAS
volume 23, No. 4
December 2003
The Canadian Society of Cinematographers was
founded in 1957 by a group of Toronto, Montreal
and Ottawa cameramen. Since then over 800
cinematographers and persons in associated
occupations have joined the organization.
Our members now represent the film and
video community in all ten provinces. Our aim
continues to be to promote and foster the cause of
cinematography and the interests of the Canadian
film and video community.
We facilitate the dissemination and exchange
of technical information, and endeavor to advance
the knowledge and status of our members within the
industry. As an organization dedicated to furthering
technical assistance, we maintain contact with nonpartisan groups in our industry, but have no political
or union affiliation.
CSC EXECUTIVE
President: Joan Hutton csc
Vice-President: Richard Stringer csc
Treasurer: Joseph Sunday phd
Secretary: Ernie Kestler
Membership: Philip Earnshaw csc
Publicity: Robert Brooks csc
Membership inquiries: 416-266-0591
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CSC OFFICE
Canadian Society of Cinematographers
Administrator: Susan Saranchuk
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Editor: Donald Angus (416) 699-9149
email: [email protected]
Editor-in-Chief: Joan Hutton csc
CSC NEWS is a publication of the Canadian Society of
Cinematographers. CSC NEWS is printed in Toronto and
is published ten times a year. Subscriptions are
available for $75.00 per year in Canada and
$95.00 per year outside the country. Canadian
Publications Mail Product Sales Agreement No. 478423.
Contents
2 - President’s Report
- Centre for the Arts
4 - Letter to the President
- What Price Art?
4 - Awards
- Prix Gémeaux Winners
6
1 6 - Cover Story
- Camping With Serge
12 - From the Editor’s Desk
- Christmas Nostalgia
14 - Post-Production
- Calibration & Communication
12
16 - News Clips
- Le Marais at Camermage
20 - Action Production Notes
- CSC Calendar
Visit: www.csc.ca
14
COVER PHOTO: IT’S ‘CAMERAMAN’!
DOP Serge Desrosiers csc is flying
high to film a scene for the Quebec
feature Camping Sauvage.
president’s report
Joan Hutton csc
Introducing . . .
The Centre for the Arts
Get the Christmas Spirit — All Year Long
people who want to participate in
the arts. It felt good to work with
aspiring young filmmakers and to
contribute my experience in and my
passion for moving images. This
business is always a give-and-take
learning process.
The Centre for the Arts is the
love-child of actor/teacher John
Boylan, who is its founding director.
Officially launched on Jan. 1, 2003, it
is “committed to meeting the needs
of artists, to have a place where their
voice can be heard and their work can
be produced. The Centre for the Arts
is a space for artists to study, practise
and
celebrate
their
work.” It promotes and
presents work in theatre,
film and video, music,
dance, visual arts, and
also conducts community events.
Boylan says that his
work over the last few
years — teaching acting
classes and organizing
the ACTRA Film Society
— “put me in touch
with many artists who
expressed a desire for
a space to study, practise
and celebrate their work.
Hopefully, the Centre
for the Arts will answer
those needs. Already, we
have supported and initiated numerous activities,
including monthly independent film screenings,
Shown on location, Joan Hutton csc was DOP for the first short film, Running open forums, the Young
Company (and) a student
Towards Tomorrow, produced by the Centre for the Arts in Toronto. The
placement program.”
drama was written and directed by Matt Hilliard-Forde (right).
T
his holiday time of year, with
its spirit of giving, is an opportunity to reflect on how fortunate we are as professional cinematographers and to make a commitment to
sharing some of our gifts with those
young filmmakers struggling to get
started. It’s a two-way street, too. We
can often learn much from those
whom we teach.
For three damp, chilly days in
early November, I was privileged to
be behind the camera for the first
short film produced by Toronto’s
fledgling Centre for the Arts, a notfor-profit organization open to all
2 • CSC News
/
December 2003
The Centre also has “provided
opportunities for acting teachers, inkind grants of workshop and devoted
performance space to independent
theatre groups. . . . We ran two film
camps for teens, with workshops led
by guest professionals that included
Maury Chaykin and Michelle Nolden
(acting), George Bloomfield (directing)
and Judith Thompson (writing).”
The short drama that the Centre
asked me to shoot, Running Towards
Tomorrow, was written and directed by
Matt Hilliard-Forde and produced by
Alda Neves, with Boylan as executive
producer. The project received a grant
from Bravo!FACT. As the volunteer
director of photography, I was proud
to help break new ground and to be a
part of training the talent of tomorrow. I took home that wonderful sensation of seeing a seed grow.
Boylan invites CSC members and
others to drop by for a visit at the
Centre’s facilities: 533 College St.,
Suite 303. I urge members to support
the Centre for the Arts and the projects of young filmmakers in general
with your time and expertise. Getting
involved is an investment in our
future. And it’s fun.
For more information, call 647436-2787 or e-mail: [email protected] or visit www.centreforthearts.com.
•••
Finally, the CSC executive and
staff join me in wishing all members, sponsors and friends a very
Merry Christmas. Stay safe and well,
and may Santa bring us a sleigh-load
of new productions to keep us all
busy and happy. ●
letter to the president
To Joan Hutton csc, President
Canadian Society of Cinematographers
What Price Art?
(re: President’s Report, October/2003, Judging Leni Riefenstahl)
Dear Joan,
I find your Leni Riefenstahl column outrageous. Art does not
exist in a vacuum. It must be judged in context of the time and
place in which it was created. What value can it possibly have
otherwise? Can you look at Riefenstahl’s perfect compositions
without wondering about what cost her masterful propaganda
exacted upon the 10-million-plus souls who died as a direct
result?
Her “steely grey contrasts” came at an intolerable price. Was
her work that good? What is a film worth? How many lives per
frame? And then there’s always that niggling question about
how much she knew about the role she played as a part of
Hitler’s juggernaut. Joan, she was a highly intelligent woman
and a great opportunist. She knew how to manipulate people
and situations — this is plain to see by looking at her work and
her quick rise to power. How could she not have known what
she was helping to create?
She came out of the war unscathed, unpunished and unrepentant. Now we have to admire her work, too? I wonder if
someone made a beautiful snuff film, really gorgeous, perfectly
composed, rich blood reds, just the right backlight, a touch of
diffusion . . . would that piece of work deserve a hallowed place
in the history of cinema? How much of a stretch am I making
by this comparison? We all know, as Leni did, about the power
of advertising. She entered into her pact with Hitler both eyes
wide open.
And let us talk about Art for a moment. What is the
essential element of any work of Art in any medium?
Composition, style, technique? No. The one thing that allows
any piece of work to become true Art is Soul. Triumph of the Will
and Olympia are films bereft of soul. They are works of fine
manipulation and nothing more. I would probably buy a car
from Leni Riefenstahl’s used car lot, but her work does not hang
in my Art gallery.
And to attempt to make a deal so that if she apologizes for
ever being born we can allow her to keep her movies — what
bullshit! No wonder she couldn’t let them go. All she had was
her work, especially those two pieces which became the sum
total worth of her life. The woman had no heart and no soul.
I pity her miserable existence, but will give her no credit for her
mechanical genius.
Sincerely,
Thomas Burstyn,
csc FRSA
4 • CSC News
/
December 2003
awards
Two CSCers
Win Prix
Gémeaux
C
SC members Louis de Ernsted
csc and Ronald Plante
csc received photographic
achievement honours at the 18th
Prix Gémeaux gala in Montreal on
Nov. 23. Réal Truchon was the other
cinematography winner, while Daniel
Jobin csc and Serge Desrosiers csc
were among nominees.
Kodak Canada Entertainment
Imaging sponsors the three photography categories of the Prix Gémeaux.
This year’s winners (and nominees) are:
Meilleure direction photographique
- dramatique: Louis de Ernsted csc,
Bunker le cirque “Épisode 1” (nominees
— Jean-François Lord, Hommes en quarantaine “1 – Tout nu dans la rue”;
Daniel Jobin csc, Jean Duceppe “#1 –
Le chemin de la scène”; Laurent
Beauchemin, Serge Desrosiers csc,
Rumeurs “#2 – Premières impressions”;
Nathalie Moliavko-Visotzky, Philippe
Lavalette, La dame de cent ans; Louis
Durocher, Tabou “Épisode 12.”)
Meilleure direction photographique humour, variétés, arts de la scène, talk
show: Réal Truchon, Une chance qu’on s’a
(nominees — Vincent Colbert, Festival
académie of stars: Coral Egan; Gatien
Ouellet, Star “#9 – Finale des filles”; Réal
Truchon, Chansons du 7e art)
Meilleure direction photographique
- documentaire, affaires publiques,
reportage, biographie: Ronald Plante
csc, Le baiser (nominees — Jean-Denis
Ménard, Joe Fafard – Sculpter les origines; Bernard Fougères, Journal d’un fou;
Gilbert Lemire, Que reste-t-il?; Robert
Vanherweghem, War Babies . . . nès de
la haine) ●
cover story
Serge Desrosiers csc
Camping Sauvage
— ‘Never Lose the Beat’
DOP SERGE DESROSIERS csc poses on the set of
the Quebec feature Camping Sauvage with his
Panavision camera from Location Michel Trudel.
6 • CSC News
/
December 2003
W
hat’s that, up in the sky? It’s a bird, it’s
a plane, it’s . . . Cameraman!
It’s really Serge Desrosiers csc,
Panavision camera on his shoulder, suspended
from a wire at the end of a crane over a Montreal
intersection. All in a day’s work for the Quebec
director of photography, who does his own operating, no matter how precarious a situation the
shot may require.
For Camping Sauvage, a French-language theatrical feature shot in Montreal and Granby, Que.,
last summer, Desrosiers not only flew like a
Cirque du Soleil acrobat, he also got up close and
personal with a raging fire, filmed bare-chested
from atop a gay parade float, rigged his camera to
the front of a “pedalo” (pedal boat), and had fun
manipulating a Hot Gears remote system.
The comedy, probably destined to be screened
only in “la belle province,” was shot in Super
35mm with three-perf pull-down on Kodak film,
mainly the 50 ASA 5245 stock. Desrosiers said the
Panavision camera gear, from Location Michel
Trudel in Montreal, was the
first used on a Quebec feature
By Don Angus
since the award-winning Léolo
of 1992, shot by Guy Dufaux csc and produced by
Lyse Lafontaine, who also produced Camping
Sauvage. On set, Lafontaine was given the nickname “Miss Pana.” Tony Roman also produced.
Camping Sauvage director Guy Lepage, in collaboration with Sylvain Roy, is also the movie’s
lead actor.
• see page 8
HOT SHOT: Wearing firefighting gear, Serge Desrosiers csc takes his Panavision camera
in close to shoot a controlled blaze that is key to the plot of Camping Sauvage.
CSC News / December 2003 •
7
CAMERA PRIDE: Serge Desrosiers csc gets into the spirit of things from atop a gay pride float.
• from page 7
Desrosiers told CSC News that the
story revolves around a broker who
witnesses a hit-and-run on his way to
work one morning and tells the police
the licence number of the truck that
ran down the male
pedestrian. At the
end of the day his
car explodes, and
the police reveal that the truck driver
is a big motorcycle gangster. Our
straight-arrow hero agrees to testify
in court when the police promise to
hide him for a couple of months in a
mobile home at a remote camping
site.
The DOP called the production’s
Panavision Platinum “the Cadillac” of
camera equipment, “and we had
everything, like the 135-to-420 mm
zoom, the 4:1, which is absolutely
beautiful; it’s like four feet long.
“One day,” he added, “we had both
the Platinum and the Millennium
cameras. I shot the whole day with the
Millennium, which is something rare
for us Canadians, here in Quebec any-
scenes especially at the camping area.
It’s not an easy film stock because I’d
say by 7:30 at night, that’s it; you can’t
shoot anymore even in the summer.
It really needs a lot of light, but for me
that was the challenge of trying to get
the most sharpness available with
the three-perf. It
ended up with a
nice look that I called the ‘Florida
look.’ I tried to make the camping site
look really contrasty, with a lot of sunshine and a lot of colors, and a lot of
saturation.”
When shooting in Montreal, he
shot day exteriors with 5274 200 ASA,
“to change the look from the camping
scenes,” and he went with the Vision2
5218 500 ASA stock for “all my night
exteriors and night interiors. It’s an
• see page 10
‘Your meter has to be set perfectly all the time’
8 • CSC News
/
December 2003
way. Normally you only get to shoot
with the Millennium on American features, but for a Canadian feature it’s
rare to get hold of a Millennium that
costs US$2,000 per day. Another day,
we had three Arri 435 cameras to
shoot high-speed car chases, explosions and stuff like that.”
Desrosiers said he chose the Kodak
5245 “because I really wanted some
sharpness, since we were shooting in
three-perf and we had a lot of exterior
HOT GEARS: In a shaded break from his hand-held photography, DOP Serge Desrosiers csc
runs the controls of the Hot Gears remote system from David J. Woods Productions.
• from page 8
incredible film stock. I would say it’s
probably a 600 ASA and not a 500,
with no grain, which was really great
for us, especially for digital transfer.”
Camping Sauvage was transferred to
an HD digital intermediate then back
to 35mm film. “I wouldn’t go with the
5218 on a film-to-film transfer because
it’s a low-con negative, the blacks are
really high, but if you bring it through
the digital process it really looks
good.”
Desrosiers said the weather in the
Granby area was bright for the first
couple of weeks, but it poured rain
the last week, making it difficult to
match the sunny look of the early
footage. The crew had to wait for the
rain to stop, then light everything.
Because of the moisture on the
ground, extras with garden hoses pre-
10 • CSC News
/
December 2003
tended to be watering their lawns to
fake what the DOP called the “wetdown look.”
“The 5245 did a great job but it’s a
really hard film stock. I mean, your
meter really has to be set perfectly all
the time. There is no point of return.
We had one shot in which my meter
was set with the wrong ASA, so we
were two stops under and we had to
shoot again. Two stops under with
5245 is absolutely useless. There is no
way we can even think about taking
that image.”
He explained that shooting threeperf Super 35mm was not only about
saving 25 per cent of film-stock cost,
but “going hand held, I could operate
with a 1,000-foot mag, giving me a lot
of time before we had to reload, and
just never lose that beat. For us it was
really important on this shoot: never
lose the beat and just go with it.”
Desrosiers said Camping Sauvage
was his first comedy feature, and he
found that “what’s surprising in
comedy is that you always have to
think about whether what you are
doing is funny. We would take a lot
of time to figure out angles and
to determine really bizarre shots
that would be funny, like shooting
actors with a 10mm lens at two feet.
Their faces go fisheye, and the
motorcycle gang members look especially bizarre.
“We also had a lot of POVs where
the actors would talk to the lens. They
would talk to each other on a two shot
or on a wide shot, but in the close-ups
we would shoot them like they were
talking to themselves. That’s why
shooting with the 14-minute, 1,000foot mag was really important.”
FLOATING CAMERA: This remote-controlled Panavision camera takes a cruise on the bow of a pedal boat (“pedalo”) in a scene for Camping Sauvage.
When Desrosiers wasn't operating hand-held, or supervising Daniel
Sauvé's and Yvan Bourdages' "incredible" steadicam work, he shot with
the Hot Gears rig provided by David
J. Woods Productions of Toronto.
"With two directors on the production," he reasoned, "I was afraid of
being with the camera 100 feet or
more away from them while they sat
in front of a monitor with the script.
I thought they might invent another movie than the one I was thinking of at the moment I was at the
camera. With the Hot Gears, I would
always be sitting with the directors
and the script and I would always be
there to get the information they
were discussing and to help them
evaluate the scene." He never "put a
foot on the dolly for 35 days,"
except to use it sometimes as a tri-
pod. "My first assistant was on the
dolly alone."
Hand-held, he explained, the directors were almost always beside him,
except when he was dangling from
a wire.
Editor’s note: Desrosiers was DOP
for Lance et compte - La nouvelle
génération, the revival of the 1986
hit Québec series Lance et compte
(He Shoots! He Scores!). See CSC
News, September/2001 or search
Archived Articles on www.csc.ca. ●
CSC News / December 2003 •
11
from the editor’s desk
Christmas Nostalgia:
Don’t You Just Love It?
well up over a heart-warming TV commercial with bright-eyed children. Kids
will do it every time. If I were a filmmaker, my own two daughters and
grandchildren would fill several syrupy
Christmas features.
My two favourite Yuletide movies
are A Christmas Carol, the one from
1951 with the superb Alastair Sim as
Scrooge, and Frank Capra’s 1946 gem
It’s a Wonderful Life. Even
the sternest heart is melted by the happy bravery
of Tiny Tim and rejoices
at the heaven-orchestrated rescue of good old
George Bailey and his
savings and loan.
As much as I cherish
the uplifting tale of
Scrooge’s redemption, It’s
a Wonderful Life wins
hands down for sentimentality. I always get blurryeyed and lumpy-throated
when the bell tinkles on
George’s Christmas tree in
the final shot and we all
know that the bumbling
angel, Clarence Oddbody,
has just received his wings
for a job well done. Fade
to mush.
I am not alone in my
homage to the emotional
glow of It’s a Wonderful
Life. Rob Reiner, with
award-winning credentials
as an actor, director, producer and writer, says,
“Every time I see it, I cry,
and I’ve seen it now about
forty or fifty times.” He is
in a league of his own. I
George Bailey (James Stewart) argues with guardian angel
am in awe.
Clarence Oddbody (Henry Travers) in a scene from It’s a
Reiner’s tribute — one
Wonderful Life.
of two on It’s a Wonderful
I
have always been a sucker for the
nostalgia of Christmas, especially
those classic Christmas movies like
It’s a Wonderful Life and Miracle on 34th
Street, the 1947 original, not the 1994
remake, although that version is my
wife’s favourite. For me, the more sentimental the better. It’s only a good
Christmas movie if it can make me
sniffle, although I have been known to
12 • CSC News
/
December 2003
Life — appears in the book Private
Screenings, published by Turner
Publishing for the American Film
Institute in 1995. My wife, who knows
and shares my passion for movies, gave
it to me for Christmas last year. The
book, with a foreward by James Stewart,
asks notable film “insiders” to share
their greatest movie moments. The cast
includes Kirk Douglas, Tom Hanks,
Charlton Heston, Norman Jewison, Jack
Lemmon, George Lucas, and many,
many more performers and filmmakers.
It makes a great Christmas gift.
Reiner says: “One of the moments
that has always stayed with me is a
scene in It’s a Wonderful Life in which
Mary (Hatch), played by Donna Reed,
is on the phone with Sam Wainwright,
who is calling from New York. George
Bailey (Jimmy Stewart) has just come
to visit her, and he’s feeling awkward,
being at her house. He leaves and then
comes back to get his hat. She puts
him on the phone with Sam. So the
two of them are on the phone together, listening to this guy in New York
talking about how they should invest
in plastics. While the two of them are
listening, George is falling in love with
her. . . . It was all done in one shot,
and to me it’s one of the most powerfully emotional scenes I’ve ever seen
in a movie. . . . Apparently this was the
first take. They did one take, and that
was it.”
Interestingly, the same scene was
cited by the directing/producing team
of Marshall Herskovitz and Edward
Zwick (Glory, Legends of the Fall), who
even called their partnership The
Bedford Falls Company after the town
in It’s a Wonderful Life. Marshall, they
told Private Screenings, discovered the
movie one night while still in college.
“staying up till 3:30 in the morning,
unable to turn off this amazing dark
George Bailey (James Stewart) and Mary Hatch (Donna Reed) fall in love while sharing a phone in It’s
a Wonderful Life. It’s Rob Reiner’s favourite scene.
poem of modern life.” The telephone
scene is “so perfect and so powerful,
yet so confounding, that we’ve talked
about it ever since.”
Sam, George’s best friend, is making it big in business in New York.
He’s in love with Mary, Mary is in
love with George, and George thinks
he wants to leave Bedford Falls and go
off and see the world — until that
phone call. While Sam is plugging the
virtues of plastics and urging George
to get in on the ground floor, George
grabs Mary forcefully and bellows:
“‘Now you listen to me — I don’t
want any plastics, and I don’t want
any ground floors, and . . .’ He runs
out of words. She is crying soundlessly, helplessly — completely open to
him, beautiful beyond words. And
then he does kiss her, all over her face,
holding her as fiercely as he was just
shaking her.
“And the scene, in all its electric
passion, is over, defying all theory. . . .
Love, hate, jealousy, sensuality,
violence, humour, tears — not bad for
three minutes of screen time.”
In his foreward, Jimmy Stewart,
who passed way in 1997 (I heard the
bell tinkle), wrote that It’s a Wonderful
Life “shows that one man can make a
difference. The fact that people
remember these tiny moments, when
they don’t necessarily even remember
the name of the picture or the plot,
just shows that people remember the
abstract idea through the human
moment in film. They don’t remember it abstractly, they remember it
because it had some sort of emotional
effect on them.”
Well put, Jimmy. Hey, look here in
the TV listings, It’s a Wonderful Life is
on tonight at 10. That’s only five
minutes from now. Gotta go. Have a
Merry Christmas. As Tiny Tim would
say, “God bless us, every one.”
CSC News / December 2003 •
13
post-production
The Two ‘Cs’ of Telecine Transfer:
Calibration and Communication
to-read LCD; support for re-clock,
legalization, and real-time image processing; data rate of 270 Mb/s to 1.5
Gb/s; support of HD and SD video formats with automatic recognition;
automatic recognition of Kodak
Keykode numbers; trouble-shooting
diagnostic software; support for dual
link HD (4:4:4); ability for software
upgrades; ability to add new films and
new LUTs; a remote user interface —
Windows 98 OS or higher, direct connection via RS232, and remote lockout
feature.
Cortes went on to describe the film
look-up tables in the TCS 1002-V software. Each LUT incorporates the
unique “look” associated with each of
Kodak’s colour negative film stocks; it
produces an image with wider dynamic range; restores scene content as cap-
Photo: Don Angus
said, include remote user interface;
dual link HD and SD; scene illuminant; fine colour adjustment; and
more. The TCS, she explained, supports film; calibrates telecines to a
standard reference point; and complements Kodak’s existing telecine product line including Telecine Analysis
Film and the Telecine Toolkit.
The Telecine Calibration System
improves telecine calibration for video
work, such as video dailies, “best
light” transfers, and “one light” transfers, and improves downstream tapeto-tape correction. Image processor
features of the TCS 1001-V and 1002-V
include: acceptance of video data in a
variety of formats; film-specific lookup tables (LUTs); support of Kodak
colour negative films; provision of
accurate colour management; an easy-
Michelle Cortes, Kodak Canada Entertainment Imaging account manager for
post-production, distribution and exhibition.
14 • CSC News
/
December 2003
Photo: Don Angus
M
ichelle Cortes of Kodak
Canada
Entertainment
Imaging and Jim Hardie
of Eyes Post Group presented a “Cscape” of important post-production
lessons at a CSC meeting at Eyes
Post’s Toronto office on Nov. 10.
Calibration, namely the new Kodak
Telecine Calibration System 1002-V,
was the feature from Cortes, while
Hardie tried to take the “dailies”
mystery out of communication — or
lack of it — between the cinematographer on set and the colourist at the
post house.
The Power Point slide presentation
by Cortes, account manager for postproduction, distribution and exhibition, highlighted the improvements of
the Kodak TCS 1002-V over the 1001V. The core features of the 1002-V, she
Jim Hardie, Eyes Post Group production manager for commercial and
independent films.
Kodak Telecine Calibration System 1002-V
tured by the cinematographer, provides proper tone scale and contrast
necessary for video viewing, and
improves overall transfer consistency.
The TCS benefits the cinematographer, she said, because it transfers the
image exactly as captured on film; it
captures film’s dynamic range; if the
grey card is missing the 1002-V can
still get to a good position; it displays
an image that meets viewing standards
for broadcast; it gives the colourist a
visual baseline starting point to see
what the cinematographer shot and to
provide a point from which the cinematographer and the colourist can
begin their work.
For more information, e-mail
[email protected]
Hardie, Eyes Post production manager for commercial and independent
films, emphasized that communication is the key to the relationship
between the cinematographer and the
colourist.
“Most long-form projects have
the opportunity of doing one to three
days of testing, during which the DOP
can usually come
into a facility like
ourselves and spend
some time with the
colourist who has
been assigned to that project. With
some input from the director, hopefully, the DOP and colourist can establish
a general look for the show, and then,
if life works out the way we prefer it to,
sometime after the first couple of
shooting days there’s time for the DOP
and the colourist to talk a little bit
more and for the colourist to ask,
‘How close did I get?’”
Commercials and music videos
are a whole different game, he said.
“Neither of those have any prep time
whatsoever beyond what the insurance agents will demand.” The client,
director and DOP decide at a meeting
what the look is going to be, “and the
only time they get to impress that look
is in the dailies or the one-light. So at
that point we need maximum information from the DOP, because we didn’t get to go to that meeting.”
With music videos, commercials
and independent films, “we will wait
for footage to come in the door and be
surprised that it’s 16mm not 35mm.
We will get camera reports that are a
single sheet of paper, that are very
inadequate. Some camera assistant
will write 10 rolls, 12 rolls all on one
sheet. There are two people who desperately need those camera reports —
the editor and the colourist.”
What happens if the lab eats some
of your film? Hardie asked. Without
proper camera reports, there’s no way
of knowing what was lost. And, he
added, “it’s amazing how rarely we
morning.’ Just very short sentences on
the back of the slate. My attitude is
that if our colourist misses that you
get a free transfer.
“Another DOP took that one step
further. He got his second or third
assistant, with a labelmaker, to write
(what he wanted to say) and stick the
words on the front of the slate — like
‘Make this look like Scene 101.’ It
worked because it was on the screen.”
One of the basics is tearsheets,
Hardie continued. “Certain DOPs will
send in a file folder with photos
they’ve torn out of magazines. ‘I want
the sky to look like this dress.’ Any
indication possible. That also works
extremely well because our guy’s going
to say, ‘OK, he wants this to look like
that.’ When I say blue, everyone thinks
of a different colour blue. We have to
get to know that when you say blue it’s
not quite as blue as when someone else
says blue. We know the difference and
we can start from a fixed point, (such
as) ‘Make this look like the job I did six
months ago.’”
For aspect ratios, he said, “we desperately plead for rack
leader, and a real,
well-drawn one, one
that actually means
something.”
Other ways of getting information
to the colourist, he noted, include
JPEG files, video prints, and audio cassettes. “Digital formats are coming
that are going to make it easier, but we
are dependent on what you see and
your ability to put that into words so
that we can attempt to replicate it. I
haven’t yet seen anything that’s going
to beat that.” ●
Jim Hardie: “We are dependent on what you see and your ability
to put that into words so that we can attempt to replicate it.”
know at what frame rate and aspect
ratio you shot.”
So how does the short-form cinematographer communicate with the
colourist?
“Varying choices. One of the better
ones I’ve seen is, at the head of each
setup, the slate goes out, is turned
around and on the back it says, ‘Keep
this warm, outside is 2 o’clock in the
CSC News / December 2003 •
15
news clips
LE MARAIS AT CAMERIMAGE
Daniel Vincelette csc Attends Festival
Québecois filmmaker Kim Nguyen’s
feature Le Marais (The Marsh), shot by
Daniel Vincelette csc, was screened in
the World Panorama-audience competition section of the 2003 Camerimage
International Film Festival of the Art of
Cinematography. The 11th edition of
the festival was held Nov. 29 to Dec. 6
in Lodz, Poland (www.camerimage.pl).
The film, shot in regular-frame,
three-perf 35mm, was presented last
year at the Toronto International Film
Festival, le Festival des Films du
Monde in Montreal and at various
other festivals around the world. The
movie got good reviews, the press
especially acknowledging the visual
treatment given the film, and garnered six nominations, including cinematography, at the JUTRAs in
Montreal.
Director of photography Vincelette,
nominated for the 2003 CSC award for
best cinematography in a theatrical
feature for his work on Le Marais, was
invited to Camerimage to present the
film. On his way back from Poland,
Vincelette stopped over in Paris to participate in a workshop on digital cinema he helped organize under the sponsorship of France’s CST (Commission
supérieure technique de l’image et du
son). Two of his colleagues from
Montreal, Serge Desrosiers csc and
Jean-Pierre St. Louis, also participated
in the event with French DOPs.
IDA HONOURS ATTENBOROUGH
Career Achievement Award
for Filmmaker
Sir David Attenborough has received
the International Documentary Association’s 2003 Career Achievement
Award. The presentation was made during the 19th annual IDA Distinguished
Documentary Achievement Awards
Gala on Dec. 12 at the Directors Guild
of America Theater in Los Angeles.
“Sir David Attenborough has made
incomparable
contributions
to
advancing our understanding and
appreciation of natural history,” said
CAMERA CLASSIFIEDS
WANTED: Used Lighting: 2x 1K Ianiro redhead open-face, each complete with safety wire mesh, 4-way barn-door, full scrim
set w/holder. 1x 650W Strand or Arri fresnel, complete with 4-way barn door, full
scrim set w/holder. 1x 300W Strand or Arri
fresnel, complete with 4-way barn door,
full scrim set w/holder. Other items of
interest: Speed Ring (for 1K Ianiro),
Chimera w/fabric baffle, stands, clamps,
etc. I'm open to alternative items from this
list. Please call Andrew @ 416-535-1475
or email: [email protected]
FOR SALE: Arri SRII Super 16 camera, PL
mount, 3 mags, 3 batts, b&w video assist,
5x7 matt box w/various filters, 12-120
Zeiss zoom T1.4, 50-300 Nikon zoom T4,
Sachtler 7+7 Studio head w/legs; many
extras, original owner, great shape.
Offers: Jim Jeffrey (905) 274-2028 or
[email protected]
FOR SALE: Steadicam equipment:
Master Series film sled, case size
33"x22"x10" wt. 65 lbs.; Master Series
film monitor; 4 Anton Bauer Pro Pack digital batteries; 12V-24V power converter;
12V-24V power converter with two batteries/Lentequip; T-handle set (4 hex T-handle wrenches); modifications: quick
release top stage; new bearing upgrade in
arm; larger antenna in top stage. Support:
vest bag (duffel); C.P. Master Series operator’s vest; case size 25"x21"x 9.5" wt. 30
lbs.; Master Series articulated support
arm; quick release arm post clamp; 4 C.P.
arm posts 4", 5", 8", 12"; C.P. "F" bracket.
Accessories: case size 23"x15"x15" wt. 55
lbs.; PAG MC124 battery charger-quad; 1
power cables (chargers PAG); C.P. docking
bracket; power cables: Panavision 24v,
Arri 24v, Arri 12v, Moviecam 24v.
Assorted: Preston MDR bracket na.
Contact 416-738-4542 or [email protected]
FOR SALE: 16mm Arriflex SR camera, 3 x
400 ft. magazines, Arriflex extension eyepiece; Zeiss T-Star (T3.1) 10–100 zoom
with fluid dampener, Zeiss Superspeed
T1.3 lenses (9.5, 12, 16, 25mm), Zeiss T2.4
8mm lens, 2 on-board batteries, belt battery, box battery, Arriflex 3 x 3 matte
box/sunshade. 16mm Arriflex ST camera,
2 x 400 ft. magazines, Arri angle viewfinder, 12– 12- Angenieux zoom, Cooke Kinetal
prime lenses (12.5, 25, 35, 50mm), variable
and governed speed motors, sync pulse
generator. Contact [email protected]
FOR SALE: Aaton Super 16mm LTR 54
w/color video assist, 2 mags, 2 bat, ext
eyepiece, 5x6 matte box, 6 filters- ND 36-9 & polorizing filter, double fog, day for
night, T1.8 Cooke 9-30 zoom lens,
Transvideo 6" color LCD mon 4:3-16:9,
cinema products remote focus unit -all of
the above with cases. Paid $64,000 - asking new low price C$29,900. Also,
Ronford F15 head - $3000, Ambient 201
timecode slate - $1700 w/cases, and
other acc. Call for list, Alexander at cell
(204) 981-3403; studio(204) 582-5728, or
email: [email protected]
Camera Classifieds is a FREE service to CSC members. If you have items
you’d like to buy or sell, please fax your list to (416) 699-8521 email [email protected]
16 • CSC News
/
December 2003
IDA president Michael Donaldson.
“His 13-part series Life on Earth has
already been seen by nearly a half-billion people around the world, and it
will surely endure for posterity.”
Sir David has written, produced
and hosted numerous natural history
television programs that have aired
throughout the last half-century. He
has written and produced 10 major
multi-part series and several hundred
individual programs exploring natural
history, including plants, mammals
and other life forms. The BBC is
converting most of the series to DVD.
Queen Elizabeth knighted Sir David
in 1985 in recognition of his contributions to society.
YORK STUDENT WINS KODAK AWARD
Best New Canadian Student Director
York University student Wendi
Marchioni is the recipient of the
2003 Kodak Best New Canadian
Student Director Award for her film
Winter Days. Sponsored by Kodak
Canada’s Entertainment Imaging
division as part of the Canadian
Student Film Festival at the Montreal
World Film Festival, the prize
includes an all-inclusive trip for 10
days to the 2004 Cannes Film
Festival, where a clip from her film
will be included in a showcase of
award-winning student films to be
shown at a Kodak -sponsored showcase of new talent.
Winter Days is a nine-and-a-half
minute narrative film Marchioni
made during her third year at York
University in Toronto. A young girl
whose car won’t start begins walking
to work and meets a young man. The
film follows the two as they develop a
romantic relationship, and the unexpected moments that result, until the
young man is killed in an accident.
Marchioni, a native of Aurora, Ont.,
has planned on being a director from
the outset of her undergraduate career.
Marchioni says she thought directing
was primarily about bringing her own
vision to the project and capturing
that vision on film. “But I’ve learned
so much about how you have to
understand the actors’ roles, and what
it takes to bring out their best performance. I realize now that there are a
• see page 18
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CSC News / December 2003 •
17
“Get it to The Lab”
16/35mm colour negative processing
Set up • Academy leader • Cleaning
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Quotes for Video Post in conjunction with
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18 • CSC News
/
December 2003
ROSCO CANADA
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• from page 17
whole lot of people who contribute to
the process.”
Collaboration extends to the rest
of the crew as well, she adds.
While the director controls an overall
vision of the film, he or she works
closely with the cinematographer and
others to create the film’s look. “It’s
important to get feedback and other
perspectives, because sometimes you
don’t see everything or understand
how others will see it,” she says. The
entire project cost just $3,500 to
make. She used the school’s 16mm
camera and lighting equipment. The
film was shot in practical locations,
mostly outdoors in a park or on a
street using the Kodak Vision2 500T
colour negative film 7218.
KODAK SIGNS CINEMA SCREEN MEDIA
as Major Digital Pre-Show Customer
Eastman Kodak Company has
announced that Cinema Screen Media,
one of the United State’s leading
full-service suppliers of advertising to
movie theatres, will be a major customer for the Kodak Digital Cinema
Pre-Show System.
In the agreement with Kodak, CSM
has committed to an initial purchase
of more than 200 Digital Cinema
Systems. Terms of the contract also
include agreements for Kodak to provide system service, software updates,
and preparation and delivery of CSM’s
digital pre-show to cinema screens.
Installation of the systems has begun
and a number of the screens are
showing digital advertising content.
The Kodak Digital Cinema System,
designed for cinema advertising, is a
network of high-quality servers and
pre-show projectors, supported by
Kodak’s worldwide service capability,
and driven by Kodak’s software. The
software enables the advertising to load
and display on the screens without any
operator involvement. Through this
unique software, Kodak’s operating
system is connected to the theatre’s
automation, as well as to its ticketing
systems. This gives exhibitors and
advertising suppliers the opportunity
to increase revenues, improve operational efficiencies, and provide audiences with a more dynamic and entertaining movie-going experience. ●
CSC FULL
AND
CSC FULL MEMBERS
Nicholas Allen-Woolfe csc
Jim Aquila csc
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Michael Balfry csc
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John Banovich csc
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CSC News / December 2003 •
19
ACTION PRODUCTION NOTES & CSC CALENDAR
British Columbia, Prairies
ANDROMEDA (series); DOP: Gordon Verheul; Op & 2nd-unit
DOP: James Wallace; B-2nd: Trevor Wiens; to Dec. 11,
Burnaby.
ARE WE THERE YET? (feature); 1st: Larry Portmann; 2nd-unit
DOP: Donald McCuaig csc; Nov. 17-Feb. 24, Vancouver.
CHICKS WITH STICKS (MOW); DOP: Paul Tolton csc; Op: Cam
MacDonald; Nov. 5-Dec. 3, Calgary.
THE COLLECTOR (series); DOP: Henry Chan csc; 2nd: Lecily
Corbett; B-Op: Jill MacLauchlan Parks; to Jan. 21, Vancouver.
DAVINCI’S INQUEST (series); DOP: David Frazee csc; to Dec. 1,
Vancouver.
THE DEAD ZONE (series); DOP: Stephen McNutt csc; 2nd-unit
DOP: Michael Balfry csc; Dec. 1-April 20, Vancouver.
GOING DOWN: THE RISE AND FALL OF HEIDI FLEISS (MOW);
Op/SC: Carey Toner; Nov. 26-Dec. 20, Calgary.
I WANT TO MARRY RYAN BANKS (MOW); DOP: Tony Westman;
Nov. 17-Dec. 12, Victoria.
JAKE 2.0 (series); DOP: David Geddes csc; 2nd-unit DOP:
David Pelletier csc; to Dec. 5, Vancouver.
RIDING THE BULLET (feature); Op: Ryan McMaster csc; Nov.
11-Dec. 19, Vancouver.
THE SHIELDS STORIES (min-series); DOPs: Luc Montpellier csc,
Mike McMurray csc; Nov. 7-Dec. 19, Winnipeg.
TOUCHING EVIL (series); DOP: Attila Szalay csc; Op: Brad
Creasser; B-Op/SC: Michael Davies; Dec. 1-April 19, Burnaby.
TRU CALLING (series); DOP: David Moxness csc; B-1st: Andrew
Medicky; to Dec. 17, North Vancouver.
Ontario, Quebec, Atlantic
1-800-MISSING (series); DOP: David Herrington csc; Op/SC:
Michael Fylyshtan; 1st: Philippe Champion; to Dec. 5, Toronto.
AURORA BOREALIS (feature); DOP: Alar Kivilo csc; Nov. 10-Dec.
19; Toronto.
BLUE MURDER (series); DOP: James Jeffrey csc; 2nd: Marcel
Janisse; B-Op: Kim Derko csc; B-1st: Ted Overton, to Dec. 8,
Mississauga.
CELESTE AND THE CITY (MOW); Op/SC: Andris Matiss; Nov. 23Dec. 19, Toronto.
THE COVEN (pilot); B-Op: Mark Willis; Dec. 1-13, Toronto.
DOC (series); DOP: Barry Bergthorson csc; B-Op:Cudah
Andarawewa; to June 14, Toronto (HDTV).
THE LAST CASINO; Director: Pierre Gill csc; DOP: Bernard
Couture csc; Nov. 2-Dec. 3, Montreal.
MENTAL BLOCK (series); DOP: Daniel Villeneuve csc; to Dec. 5,
Montreal.
MUTANT X (series); DOP: Alwyn Kumst csc; Op: Colin Hoult
csc; 1st: Jeremy Tabarrok; B-Op: Anton van Rooyen; B-1st:
Gottfried Pflugbeil; to Feb. 20, Toronto.
NOUVELLE FRANCE; DOP: Louis de Ernsted csc; to Dec. 22,
Lachine, PQ.
PARADISE FALLS (series); DOP/Op: Michael Storey csc; to Dec.
12 (HDTV).
POLITICAL ANIMALS (series); Op: Christopher Ball csc; to Dec.
4, Halifax (HDTV).
QUEER AS FOLK (series); DOPs: Thom Best csc, Gavin Smith
csc; Op/SC: Iain Baird; to March 19, Toronto.
REVERSIBLE ERRORS (mini-series); Op/SC: Keith Murphy; to
Dec. 7, Dartmouth, N.S.
SHOW ME YOURS (series); 2nd: Marcel Janisse; Dec. 11-Jan.
30, Mississauga.
SUE THOMAS F.B.EYE (series); DOP: Yuri Yakubiw csc; Op: J.P.
Locherer csc; B-Op: Russ Goozee csc; to May 21, Toronto.
TARZAN (series); Op: Christopher Tammaro csc; B-Op/SC:
Andris Matiss; to Jan. 20, Toronto.
TEENS (MOW); DOP: Bill Wong csc; Op/SC: Brian Gedge; Nov.
15-Dec. 9, Halifax.
TEMPS DUR (series); DOP: Ronald Plante csc; to February,
Montreal.
WILD CARDS (series); DOP: Bert Dunk csc asc; Op/SC: Rod
Crombie; 1st: Paula Tynchuk; to Dec. 19, Toronto.
WONDERFALLS (series); 1st: Jim Saysana; B-Op: Peter Luxford
csc; to Jan. 28, Toronto.
WONDERLAND (series); DOP: Gerald Packer csc; to Feb. 10,
Toronto.
Schedule of Meetings and Events of Interest to CSC Members
Check www.csc.ca
20 • CSC News
/
December 2003