a creative highway - Canadian Society of Cinematographers

A PUBLICATION OF THE CANADIAN SOCIETY OF CINEMATOGRAPHERS
September 2000
Volume 20, No. 1
Mu
a creative highway
Alao In thla 1-u•
Women On Camera Les Chefs Operatrices
The Video File: A Lineup of Firsts
Film Clips: The Right Stuff
President's Report: Sack to tile Future!
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rolumt 20, No. I
Stpltmbtt 2000
a.Conten ts
Th e President's Report
-2 Back to the Future
Music Videos
-4-
"Creative Highways//
Women on Camera
-8 Les Chefs Operatrices
T he Video File
- 14 Who's on First?
Film Clips
- 17 More to the Story
Action Production Notes
CSC Calendar
- 20 -
Visit: www.m.ca
Cover photo by llrent J. Craig
001' Oylan Macleod es<: with
Jltn Cudd y or IJ/ur RO<IOO
.•
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Back to the Future
e're back, with 10 more
issues of the CSC News to
take us into the 21st centu·
ry. This issue is No. I of Vol. 20 in the
current 20-year run of "the newslettei"
- as our publication is someti mes
called. Looking back to 10 years ago
this month (Vol. 10 No. I ), the newlook, magazine-format News featured a
cover profile o n Vic Sarin esc by Wang
Chow. We've reproduced the cover
here for your interest and perhaps a
touch of nostalgia for a time when we
were all just a little bit younger.
For a q uick history of the maga·
zine, we'll quote the information that
the late Fritz Spiess esc provided for
our 1997 40th anniversary issue:
"Since the Society's inceptio n, a
membe rship newsletter has always
W
been a vital communications toolJ
evolving from a si mple pamph let
through a variety of meta morphoses.
"In November, 1961, the first 16·
page magazi ne was published as
Cmmdia11 Ci11ematograpl1y, edited
by Public Re lations Directors
Donald McMillan and Leonard
MacDonald. While free to members, the magazine appeared every
second month with a cover price
o f 35 cents an issue and a $2-a-year
subscription rate.
"Arter Len's tragic death in a
plane crash while shooting aeria ls
in Alberta, Art Benson, a Toronto
publisher and writer, beca me edi·
tor of Ca11adia11 CillematogmplJY,
wh ich after a few years was
renamed Ci11ema Cmmda. At first It
was still a esc publication, with
free subscriptions to all members,
but eventually the esc distanced
Itself from Ci11ema Ca11arla and
started its own newsletter again. In
1980, then-p resident Robert
Rouveroy esc, with jennifer Hietala as
editor, revitalized the magazine u nder
its presen t title, the esc N~·ws."
Actuall y, back issues t hat Rob
Rouveroy has since given us show that
the name News did not start until
April, 1981, then soon went back to
Newsletter until March, 1987. The first
glossy, magazine-format News came
o ut in january, 1990. Don Angus took
over as editor in September, 1994, and,
while the magazine has gotten bigger
with more nair and colour, we hope
we have contin ued to perform that
"vital communications" role for
rnem~
bers across the country.
Meanwh i.le, our latest communica·
tions link, the CSC Website at
WIV\V.csc.ca, continues to evolve. The
CSC Directory 2000 now is o n-line,
and we are working on corrections and
updates to listi ngs to keep them as
current as possible. Also under con·
struction is th e new Slwoter QuickFiru/
feature that will add un iq ue search
functions to the listings. To our knowledge, nothing like this has ever been
done before in a directory of this kind,
so progress has been slow. We'll keep
you posted .
Finally, the CSC extends its
congratulations to the Toronto Inter·
national Him Festival, which this year
(Sept. 7·16) celebrates its 25th anniversary. The TIFF, second only to Cannes
in size, has become a major jewel
in the crown of Canadian and world
cinema.
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MUSIC VIDEOS:
Creative Highways for Emerging DOPs
"Music videos are a great place
to try things out"
-•
- Dylan Macleod esc
By Sandra Glaze
you're a fan or no t, music videos
arc on the cu tting edge of 21st-century
cinematography. Award-winning DOl's
David Greene esc, Dylan Macleod esc and Chris
Soos esc all began their burgeoning careers shOOt·
ing videos, and they credit the genre as a •creative
highwa)'· • They may ha,·e moved on to other, big·
ger projoos, but music videos continue to be inspl·
rational work they have not left behind.
Greene, a graduate of the York University film
program, won a Gemini last year for Best
Photography in a Comedy, Variety, Perfonning Arts
Program or Series, In recognition of his work on
Water, wrtir, Air, Fir1•- Omgo11 Timgo, and was nominated for a 2000 CSC awa rd for his video of Fmgilr,
a duet with jesse Cook and Holly Cole.
He was aio;o a esc nominee in 1996 and took
the Society'~ first-place Student Cinematography
Award in 1995.
Music videos, Gr('Cnc says, "gave me the opportunity to ~hoot a lot of stuff, to explore ideas, to
shoot on a regular basi~ and, more importantly, to
make alliances with new dirooors on the same
path. I thin!.. music videos are a great way for new
OOPs to break Into the Industry. There is a freedom
to experiment. •
The occasional camera technique on music
videos may become a stereotype, he notes, "but
that raises an Interesting point: if it is so overused,
then it was a damn good idea." It's the DOP's challenge to breathe new life into it.
W
Oylon Modeod esc
h~th~r
For Macleod, musk ~ldros have
meant multiple challl'rll(l'\ and opportunities. "You're oft~n wt>rllng with a
limited iludgct and de•lhlK wil h the
pollll~ of the band vc"u' the director
vcrsu~ the label.
"1 he biggest Jdv,ontJgc music
\'idros ha'-e o\'Cr commcrtlals, from a
OOP\ pcrspectl\t, Is th~rc Is more
tlc"boltt). • He rcc~lls sh<ootong ~video
for \1U)' jane ~mond t>n ~ budget Of
S IS,OOO. ·we decidt-d on ~ really nice
e.>.terior, a prO\'indal ll.1rl., '><l the locallon was free. We spcoll the money on
wardrobe, on shooting In .l~mon and
on getting a good trJmfcr. Careful
colour choices In makeup and outfits
11ave us a lot of flcxlhlllty In the
transfer, which really mal.e\ the video
accept the musl<
video a\ a legitimate
form. len years ago
com merctal age nell''
didn't t.oke this kind
of e~ll<'rlencc seriOu\ly. I'm glad It's recog-
niz.ed now."
All three cinematographers ~8""'
production studiO\
now lool. to musoc
vld<.'OS to find the
strong Imagery they
often need to redeem
wea~ scripts.
"Directors are
lool.lng at music
videos and are willing
to try what they M.'<' Olrist ....... Soos <><
there in the contc\t
of narrati,•c," says Soo\, who woo.' the
t5C \lu5ic Video \ward In 1997, 1998
and 2000, and was nominatl-d '"'ce in
1999. He "<JS also a nomlnl..-ln 1996.
!>oos and Macleod arc both alumno
of the film school •• Ryerson
l'olytechnic Unoverslty, but Soos's
root' In the film community );O back
even further. His unci~ I\ l'oronto
~jll'<.tacular.
•You have to pre-plan as much as
possible. Shoot day- be ready for anything. You have to be read) to l~:t go or
your orogmal idea ~nd tom~ up woth a
uc~""' solution. • In shor1, tht' ch~l­
l~nges an be as dl'.-n<: ~s the antsts:
"'>omc bands are hl.c mannl'<)uons,
othc" just don't understand the produ<tlon process."
'I hen there arc art hi\ II I.e Gord
l)owncy •nd Til~ Trto.vlwlly 11/p, whose
vldl'<l\ Macleod praises as •fundamcntJII) honest and about >tory-telling. •
l!;lnds Ul.e n~ lfip won't S<'ttle for a
doll) \hot on the JX'rform~r. which
Mad<'Od says is high on his list
of o-erworked techniques In the
ml'dlum, "though the label may want
s.~lc 'hots lil.e these as an Insurance
pull<') •
\luslc , -;deos han• bl"n good to
\IJd<•od, who now dOt'\ more commNdals and has moved Into feature
ll lom. Ills feature l-ow Comt• Dow11,
dlrt'l t<•d by Clement Virgo, premiered
,It t h~ l'oronto International Film
I ~\tl\'al this month "I'm very glad I
umc up that (mu51c 'Ideo) route.
\1u\lt videos are a great place to tr)'
thtngs out before bringong them into
the wmmerclal world •
\ former musician himself,
\ IJlil'Od >ays he has already shot se,._
cral ol his dream videos, citing in partl<ular his wor~ with llootsy Collins
""'tit~ frnll), for whkh he won a esc
a"ard on 1999, and his work with nor
1
r;.,_ylwllr llil•·
" I'm glad the
C:~(
has come to
Dowkt GrHit uc
I
director/produc er Bob '>chult7, •so I've
always known being a LX>I' was a cool
gig."
He tal.cs his lnsporatoon from foreign film OOPs such ~' \lawomir
ldlial., who shot A \/1c>rl 1o1m About
KilliiiS (1988), Christopher Doyle who
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shot Fallen Angels (1997), and Sergei
Urusevsky, who shot I Am Cuba
(1964).
Soos says the music video is an
exciting medium for him because it's a
"creative highway where m usic, fashion and painting" meet and are tr<lllS·
formed by each other. He contends
that not only have music videos
achieved legitimate status, their lasting va lue has been confirmed by thei r
addition to the collections of modern
art museums (Including his own work
with alternative rocker Marilyn
Manson at the Museum of Modern Art
in New York.)
That video, along with several others, earned Soos recognition and an
agent in the U.S. "My video work has
helped me work internationally."
While getting work gets easier, the
work itself doesn't. "I'm constantly
challenging myself, rethinking my
own strategy. Jt doesn't get easier.
Expectations grow. Miracles are
expected. Bigger names bring bigger
budgets and better toys, but directors
have seen it a ll.
"It's not the slickest shot that
sparks people's attention. I learned
back in film school, it's not about a filter or a lens. You have to make your
own luck. When you have synergy
with an artist like David Bowie, it just
doesn't get better than that."
What will be the future of music
videos? Soos says that, sure, the music
video has achieved legitimacy, but he
predicts the medium will stay as "out
there• and "edgy" as ever. "Digital
video is going to create nothing but
licence for just abou t anybody to
experiment." And even more ways for
new OOPs to answer Jiml Hendrix's
musical question, Are You Experienced?
Greene's prediction Is that there's
no way to know where music videos
will go - or will take their OOPs. "Dick
Clark d idn't think that the music
video form would last more than a
year in the early '80s. If Dick can't get
it right, then I'm not going to guess."
(San dra Glaze is a To ronto -based
freelance write r. Her fi rst wo rk for
CSC News was Wild Tilings in the
Septe mbc r/99 issu e)
Les Ch e f s Operatrices: French Women Cinematographers Speak Up
CSC Associate Zoe Oirse of Toronto, whose cinematography lor the National Film
Board and her own films has helped interpret Canadian historical and social issues
on theatre and TV screens, attended the Festival International de Films de Femmes
at Croteil, France. last spring. She came back with an armful of videotaped interviews with sevoral women cinematographers, whom the festival was honouring lor
their work In the world of French film. Here is her account of tho festival and excerpts
from an Interview with French DOP, or "chef operatrice," Agnbs Godard.
US CHIFS OPERATRKIS: (bod row, !r.. left) Domi11iqnlt Rigoltur, Clciro Cho"ldori<, Tessa Rodne; (!root row, from ltfl) Carotooe Choonptliot:,
Nwil Aviv, and Agots Godard.
By Zoe Dirse
he l'estival International de Films de ~cmmes Is the
largest women's film festival in the world. This year,
the 22nd festival paid special homage to several
French women cinematographers, among them Agnes
Godard, Nurit Aviv, Dominique le Rlgoleur, Caroline
Champ<'tlcr and Claire Chi lderic. Durlng the fC>tival,
March 24-Aprll 2, their films were screened and dl>cu;.sions
were held with the audience. 1\vo-hour workshop> were
held with e:och of the ci nematographers In a stud io setting.
T
Festival director jacJ..Ic Buct fielded questions to the
cinematogJaphers that pertained to their personal history,
work experience, relatlon~hlps to various directors and
their approaches to composition, framing and lighting. The
audience was varied, but consisted mostly of younger
women and students.
On March 29, a forum was held for all the cinematographers in attendance. jackie 13uct launched the discussion by
giving each cinematogrn1>i1cr an opportunity to speak
about her work. l.ater, in a much larger forum
before an audience of several hundred, they again
answered question~ concerning their particular
relationships to directors, personal style, views on
camera mo\'Cmcnt - ~uch as today's •Nouveau
Vague• or constant movement - and issues dealIng with the question or whether or not a
women's camera perspective affects an audience's
respon\e.
This la\t question provoked some differing
opinions. l)omlnquc le Rigoleur, one of France\
first women cinematographers, responded that in
fact a difference cou ld exist. But Caroline
Champctlcr, a younger generation DOP, d isagreed. She clai med that her work responded to
the director\ vl>lon and artistic expression, to
which an audience would respond accordingly.
During the course of the festival, I interviewed
the five cinematographers mentioned above. Zoo Oirse
Here Is part or m)' interview with Agnes Godard,
DOl' or "chef ol*ratrice• on the 1998 French feature Lt1 Vi~
r"* tlt.'S attsl"i (Titr Drromli(e o( Ansels). The film has won
acclaim at C.1n ncs and other festivals and earned a Best
Cinematography nomination for Godard and a Best
Director nomination for Erick Zonca at the 1999 asar
Awards. the main national fi lm awards in France.
0 : When did your in terest in cinema start?
A: A~ a teenager I had an in terest to work on movies, but
til that time II was d lfncult so I started my studies In journalism. Six years latl•r I wen t to study cinema at the lnstitut
d'Etude Ch1~ma t ographlquc in Paris. I started to work as a
camera assistant one year after I finished my studies. I
worked four yean as a focus puller and lour years as a earnera operator and have been a DOP for the past I0 years.
0 : Why did you decide to go into cinematography as
opposed to the more traditionally held jobs for women In
cinema?
A: My father was an avid photographer and I was always
fascinated by the Images In the cinema. It felt like a my>terious thing and Iliad the feeling that you could tell a story
through piCtures. When I was at school I was very shy and
knew that I could not write a scri1>t, but when we had to
shoot short mms I became very excited and decided to listen to my Inner voice. It Is very si mple.
0 : Was It difficult lor you to enter cinematography as a
woman?
A: For me, the situation was not so difllcult because
there had been a generation of women cinematographers
before. I was not a pioneer; there had been Dominque le
Rigoleur and Nurit Aviv. In France, we were lucky becaul<'
It was not so surprising to have a woman around the camera. Although, when I was working as a focus puller and
operator In other European countries, I sometimes felt that
I had to prove myself more because I was a woman. I was
very aware of this problem, so I chose to focus only on the
work and talk only about the work. I did not want this to
be a monkey on my back, but I was lucky be-cause those
before me had to open the road.
Today In France we have at least 50/50 camera assls-
tants, men and women, but of course there are less
women operators and DOl's. I ha,·e also noticed that there
are a lot of productions who never hire women, but on
the other hand there arc many more who have no problem with that. Sometimes women arc given an "etiquette,• offered certain (llms like women'> stories, bu t I
have no plan. What Is Important to me Is to chose a good
project and to sec If I can get along with the d irector, male
or female.
0 : Would you say that you work more with male or
female directors?
A: As a matter of fact, I work with more women than
men. I don't know why but maybe It Is because I did my
first film with Claire Denis and this set a standard. We have
been working together for the past 10 years. Also in France,
for the last 10 years there are more and more women
directors.
0 : Do )'Ou think that women sec things differently?
A: I am not sure. I have noticed that when a film is
directed by a woman it is designated as a woman's film. It's
funny that we do not do it for men; why do we not say that
It I~ a man's fil m? It is strange. I think that If we see differently, then the • rega rd" (look) is d ifferent beca use of the
person, not because one is a man and one isa woman. But
maybe I am wrong. I still have to Investigate that. I am curious about the answer; maybe It will ta kc my whole life,
maybe not, but it is not the answer that interests me but
how everybody is looking at things.
0 : llow do you go about setting a frame?
A: When I set a frame, it is a way for me to try to understand, to translate what is the sequence, what the director
is looking for- and in that case I ha\'e the feeling that I
engage myself as a person and not only as a woman. I am
there to do a job and to help the director to go further in
what they arc looking lor.
It is difficult to explain In English, but In any case everything is a different combination. I have been working with
COIIIivlred 011 page 12
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men and some homosexuals. With
women there may be more of a complicity, but what we have tO do is
work for the film and find the right
th ing for the film. When I was very
shy, I was afraid of the technical side,
and maybe that was because I was a
woman. Then I decided that everyone has to find their own way to
work and to find their inner rhythm.
Q: Describe what it is like to work
with director Claire Denis (Beau travail, 1999).
A: It is a very rich adventure
because she is a lways looking for
something. She tries to tell a story with a c-amera, with a script, with
actors - that tota lly belongs to cinematography, and with this her
research is very complete. I learn a lot
and we are very compatible, that kind
o f a relationship drives you very far.
It is an honour to work with her and
to share her vision of cinema. She
helped me establish my own relationship with cinema and the camera and
the lights.
Q: What directors have you
worked with?
A: Agnes Varda, Claire Denis,
Ca therine Corsini, Erick Zonca,
jacques Nolot, Peter Handke and
Wlm Wenders.
Q: What was it like working on
Tile Drenmli(c of Angels with Erick
Zonca?
A: It was different than i usually
work. We met after the locations had
been chosen and many decisions had
been made. I was q uite alone on the
fi lm. I worked with the script and
found it a challenge to work with
someone that 1 did not know. All he
asked of me was to make a rough
image and to use strong colours and
all the rest was my input.
Q: Is there a fil m that best represents your best work?
A: There are parts of j'ni pas sommeil (I 994 with director Claire Denis)
that l am very proud of. The shooting
was difficult because of the subject,
crim inality and homosexuality, and
everyone was very anxious. This kind
of male world was strange to me. 1
realized that after 1 saw the film 1
found things that I liked and thought
12 • esc Ne"" , s.rx<m~>« 2000
that after such a rough shoot perhaps
I really am a DP.
Also I am very happy with the last
film that I shot with Clai re Denis in
Djibouti, called Beau Tmvail (Good
Work). I am very happy with the texture of the film. It is difficult to totally
love any film and maybe I am never
totally satisfied.
Q: Do you have a family?
A: I have a daughter and a companion of 25 years. I think that in the
past, I felt that I did not have time for
another kind of life, but when I had
my daughter it was differem. Now I
am stronger to make time for myself
and to make time for my job- not that
I give less time to my work but now
the border between what is life and
nomination at Hot Docs! 1996.
She also shot Balkan Joumey for
Gerda Films, a documentary directed
by Brenda longfellow which was a
1996 Genie nominee and was presented with a Cerl'ificate of Merit at the
1997 Golden Gate Awards in San
Francisco; Erotica, a Sienna J' llms documentary directed by Maya Gallus,
which earned a Genie nomination in
1997 and Hot Docs! nominations for
best arts documentary and best cinematography In 1998; and Sluulow
Maker, a Gerda Films documentary
directed by Brenda Longfellow, which
was a Hot Docs! nominee in 1997
for best biography and a 1998 Gen le
winner.
This year, she produced, directed
and was DOP for the documentary
Matlame Presitlelll (Prismalight, Zoe
Oirse Productions).
Zoe has travelled across Canada
and around the world with her camera, and she is a keen student and fan
of cinema from many lands.
what is cinema is clearer.
The line between cinema and life
can be foggy and cinema can go into
your life like the deviL TI1e passion of
cinema is so big that you have to find
a serenity or you will live a nightmare.
I now feel stronger to manage. For the
future, I look for an enjoyable life and
for my daughter to wake up happy
every day.
(More of Zoe Dirse's interviews will
appear in future issues of CSC News.)
About Zoe Dir·se
Zoe Dirsc, a graduate of the
University of Toronto and currently
working on her MFA in Cinema
Studies at York University, has compiled a long list of credits as a cinematographer and director. She was a
film and video cinematographer with
the National film Board of Canada
from 1982 to 1997, also shooting,
d irecting and producing documentaries and docudramas for the CBC,
TVOntario, and private production
com panles.
Her camera work includes Forbitldm
Love: Tile Unaslrnmed Stories o( Lesbian
Lil'l'S, an NFil docudrama directed by
Aerlynn Weissman and Lynne Fernie
which won the Genie for best long
documentary in 1993; and fane Rule:
Fiction and 01111!1' Tmlils, an NFB dO<.'Il·
mentary, also directed by Weissman
and Fernie, which won the Genie for
best short doct•mentary in 1995 and
earned Dirse a best cinematography
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13
THE VIDEO FILE
There has been a lot going on this summer in the world of digital video
production and product development, including some " firsts" - with more to
come. To try to catch up a bit, here is a digest of news and pictures that have
crossed the CSC News desk since our June issue.
EARTH TO HD: Camera operator Drew Paller (left),
with 1st AC Sandy Cooper and 2nd AC Chris Kalbfleisch
in the backgroond. ~nes up a shot of a5en leader Da' an
(letli Porh r) oathe Torooto set of lrutlt: fiool (Mflid.
The camtra is the Sony HDW-1900 24P digital high
definition camcorder, a hy component of Sony's 1ew
CineAlta product line.
Ea rth: Final Conflict
First TV Series Slwt in
Sony CineAita 24P
llian ce At lantis' Ge11e
Roddwberry's Earth: Fi11al
Co11{1ict is shooting its fourth·
season episodes with Sony's new H DWF900 241' digital high definition camcorder, a key component of Sony's new
CineAita product line. The Torontobased show thus becomes the world's
first episodic television production to
use digital 24-framc progressive HD as
an alternative to the conven tional
35mm film used in previous seasons.
The camera in usc is one of the first
production models of the HDW-F900.
Jim Tolen, director of engineering and
tech no logy for Tribune Entertainment
(the U.S. syndicator of the series),
Alliance Atlantis' post-production
A
supervisor Steve D'Onofrio, series c-ine-
matographers David Moxness and
Thomas Durnan (CSC Associate), as
well as key Sony technical staff supervised testing of the new camera.
"We are thri lled to be the first
episodic television production In the
world to shoot <L~ing Sony's cutting-
14 • esc N•~• , Sep"'nh<r lOOO
edge 24P CineAita technology," said
Peter Sussman, president of Alliance
Atlantis Entertainment. "The new
HDW-F900 camcorder provides us with
the ability to maximize our creativity
through specia l effects, while saving
time and production costs that would
otherwise be dedicated to film processing - without sacrificing the splendid
picture quality associated with 24frame 35mm film."
"The introduction of Sony's
CincAlta digital 241' production system
is a milestone in the motion picture
and television production industry,"
said Pat Whittingham, executive vice
president of Sony of Canada Ltd. "As
businesses today strive to reduce cost
while expanding revenue, the CineAita
241' offers an economical, yet extremely compelling solution to technically
innovative studios."
Firs t Direct-to-Internet Movie
Sllot Witll Panasonic
DVCPROSO Progres,~ive
Qwmrtm1 Project, the first motion
picture specifically produced for distribution over the Internet, was shot
in Hollywood with Panasonic's
DVCPROSO progressive AJ-PD900WA
2/3-inch camcorder. The movie,
starring John Clecse, Stephen Dorff
and Fay Masterson, premiered on
SightSound.com on May S, 2000.
Qua111t1111 Project, a SightSound.com
and Metafilmics production, was
described by the producers as "a man's
journey from his head to his heart."
Combining Uve-aclion and extensive
CG I and 3-D effects, the project
marked the d irecting debut of Eugenio
Zanetti, a longtime production designer who won an Oscar for art direction
for Restoration. The director of photography was Robert Primes asc, whose
special~ffccts photography was seen
in the film Total Recall and whose work
on the television series Felicity garnered
him the 1999 Em my for best Cinematography.
SightSound.com, based in Mount
Lebanon, Pennsylvania, is a five-yearold Internet company that distributes
movies and music online. Metafilmics,
of Los Angeles, develops and produces
film, television and new media proje,ts
that portray characters as both human
and spiritual. Metafilmics' motion picture debut, 1998's Academy Awardwinning Wilat Dreams May Come, went
on to gross over SlOO million and
receive
numerous
international
awards.
Art Hair, SightSound.com's chairman and chief technology officer, said
the selection of the Panason ic AJPD900WA camcorder was entirely driven by technology requirements. "The
material had to be digital to be appropriately compressed for Internet distribution. Additionally, given the abbrcvi<~ted production schedule, it would
HD SPECTACULAR: Terry Horbatiuk (left), senior monoger
of broadcast and industrial video at Panasanic Canada. ano
Sudy Shen. president and C£0 of Acura Technology Group,
were joint hosts at o June 27 • HDTV Spert<Klllar• in
Toronto, featuring the Panosanic OS HD VCR. lhe new
DVCPRO lOOMB/ s HD m<Khine and camcorder one! lhe
UFC1800 Universal Format convertor including 1080p24
support.
have been impractical to shoot in film
and transfer to dijlital tape."
Warren Allgyer, presiden t of
Panasonic Broadcast, said, "DVCPROSO
Progressive's use in the documentary
world is growing rapidly, and it has
tremendous potential in cost-effective
feature-film productions like the in nova tive Qua11t11111 Project. OVCl'ROSO
Progressive records artifact-free images
at a significantly lower cost than shooting 3Smm film, offering content originators a new means of acquiring and
finishing in high «~so lution. •
DVCAM family. The new DVCAM
DSR-250 Camco rd e r, DSR-1800
Editing Reco rder, OSR-1600 Editing
Playe r, and DVCAM DSR- 1500
Editing/Player Recorder were unveiled
during a dealer and media event at
Sony of Canada's Toronto headquarters on Aug. 10.
The DSR-250 Camcorder is the successor to Sony's popular OSR-200A.
Equipped with dramatically improved
picture quality and operabi lity with
abundant fu nctions, the DSR-250 can
accommodate both standard and mini
cassettes. It features DVCAM and DV
recording/playback capability for reli·
able!long recording, and an LCD mon itor for advanced generation shooting
style with a maximum of I I hours
recording time possible (with BPL
Lithium io n battery). Compa tible with
a broad range of professio nal industry
accessories, the DSR-250 meets the
functionality requirements of wedding and event videograph ers, small
to m id-sized production houses,
video jou rnalists, and broadcast
stations. •
001> Primes said, "l 'm a film guy,
but I thought the images we got from
the ;\j-PD900WA were beautiful. The
camera was responsive in low light
and recorded the dramatic, expressionistic lighting o f Qum1t11111 Project
impressively. We had to adjust the
contrast range o f our lighting to that
of the ca mera, which was a bit more
limited than the dynamic range of
film, but once done, all went quite
well. Also, I love working with progressive scan."
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Frencll Feature is First Sltot
in Sony 24P HD - witll
A ngenieux Zoom Lenses
Vitlocq, a SZS-milliOn l'rench tealure starring G~rard Depardieu, is in
post-production after being shot in
Paris on two Sony 24P HD cameras
using Angen icux zoom lenses. The
production is reported to be the first
worldwide feature shot in 24P highdefinition video. The two cameras
shot about 95 per cent of the time
with the Angenieux 11.5 x 5.3 HD
zooms.
In Toronto, CineAsst presented a
July 12 demonst ration of Angenieux
broadcast video lenses and Thompson
Broadcast products. And CineAsst now
has the new Angenieux 24P HO 1'cine"
lens and the Zeiss adapter that allows
the use of existing 3Smm Prime lenses
on 2/3" HD cameras. The lens and
adapter was being tested in Los
Angeles by Rodney Charters esc for an
upcoming HD shoot.
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Sony of Canada Introduces
New DVCAM Product Line
Sony of Ca nada Ltd.'s Communicalion Systems Network Group has
introduced four new prodU<."tS in its
esc News
I
Sef)t;!'mlxor l tXXl •
15
evidence of the relevance of "Super 16 in
the Era of HDTV."
Franzwa}
KODAK: MORE TO THE STORY
Rimis the Rightlluff for HDIV
n a double bill for Toronto CSC
members and guests at Toybox on
june 27, Kodak Entertainment
Imaging spared no superlatives in
I
~
FILM TO DIGITAL: Fred Frantwo (in front of
screen) and Randy Sporrono, both from Kodak
Head Ollke ill Rodtester, N.Y. demonstrate how
film <Otllpares with video in the era of HDTV.
putting film at the top of the imageca ptu r<' choices for high-den nit ion
digital television. In the opening presentation, "Film to Digital - There's
More to the Story," Fred Franzwa,
hybrid R&D technica l director at
Kodak Head Office in Rochester, N.Y.,
demonstrated how film compares with
video in cost and q uality. And Randy
Sparrazza, director of sales development at Rochester, foUowed with visual
whose
main responsibility as
part of Kodak's Digital
Council is to work with
hybrid technologies
that involve both film
and video, ad mitted
that "there's no question that in most cases,
when we do the
deta iled cost analysis, FRED RETIRES: fred GoodaU (ba<k row, 2nd fr0t11 left) poses with friends and
that d igital video is a <olleagoes on the o«osion of his May 31 retiremtnt fr0t11 Kodak Conodo
cheaper medium on Entertainment Imaging. Fred, o good fr;.nd of the CSC. provided 34 years of
strvi<e to the Canadian film industry, mainly In notional tam soles ond more
which to originate."
But "the degree of recently as dire<tor of Kodak's <inema o~rations.
difference that exists
between dlgital video
and film, when you look at the longKodak's tests, he said, showed CBS
tern! value of the asset, is on the order was wrong, although the tests had not
of only one or two per cent, all things yet been shown to the U.S. network.
considered. It is a little more expensive
to shoot on film, but it's not just a WESCAM FLIIS AT MOLSON INDY
cost, it's the value of the investment in Eye·in·lhe-Sky for IV V'rewen
total - all the things that exist in terms
Worldwide television viewers saw
of the value of capturi ng on fil m and some of their most exciting Molson
having that as your protection for Indy images from the Wescam highwhat you might want to do in the resolution, long-distance cameras that
future.
were used by broadcasters of the
"l'rom an image quality point of Toronto race thls summer. One of the
view.'' Franzwa continued, "you want Wescam cameras was built into the
to capture all the information you Wescam Stealth, a revolutiona ry,
need in order to tell the story" and for quiet, low-speed airplane that had its
the desired impact on the audience. Canadian debut at the Molson Indy
" image quality is texture, sharpness, under contract to ESPN. Another was
resolution, depth of field, sensitivity, aboard the Global TV helicopter, and a
latitude and colour. Every frame is third was a fi lm system used in the
unique with film. It has a certain tex- production of Sylvester Stallone's latture to it, and there's something about est feature, Oriverr, to be released next
that texture that relates to this thing year.
we call the 'film look' or the psychoThe Wescam Stealth was hired
physica l way in which the eye from the Flamborough, Ont., comparesponds to the images. There's some- ny by ESPN Regional Television to
thing about that randomness of the cover CART racing throughout the
texturing that means something."
U.S. and Canadil. The Stealth is a f11llySparrazza, whose primary responsi- integrated aerial video system in a spebility is for creating and managing cialty-bu il t, almost silent, fixed-wing
all
visual
demonstrations
for aircraft. The system includes a Wescam
Entertainment Imaging, screened on 16-inch, gyro-stabilized video mount,
an l-ID monitor a series of Super 16 Sony digital camera, live wireless
tests shot specifically to show how downlink, digital recorder, thrre interfavourably 16mm film stands up on nal/external cameras, pilot and camHDTV to 35m m fil m and digital video. era operator. Wescam says the Stealth
He explained the tests were a is a fraction of the cost of blimp or helresponse to an edict by CBS that icopter coverage.
16mm film o rigination was not good
The host broadcaster for the event,
enough for digital TV broadcast.
Can West Global, supplied their news
esc News ' Sepwnbc 2000 • I 7
helicopter and 16-inch Wescam video
system to cover the event live. The
network hired local Wescam operator
Derek Lovie to shoot the race.
The third Wescam system, a film
·,
mount, was used for shooting race
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18 • esc Neu•, s."""'""' 2000
scenes for the Stallone production
Driven (aka Clwmps), the story of a
former CART champion who is called
upon to give guidance to a young hot
shot driver who is com ing apart at the
seams in the middle of a championship season. Toronto was the third
in a series of races Wescam shot for the
fi lm; others included Long Beach,
Detroit and Chicago. Footage shot in
Toronto covered wide aerials of the
track race and ti.g ht shots of the cars in
competition.
In :ttlt1ition to the long-distance
cameras, Wescam provided ESPN with
five In-car cameras for behind-thedriver points or view.
Each year, Wescam equipment is
used in the production of over 60
Hollywood movies, including Tita11ic
and current films such as U-571, Road
Trip and Tire Perfect Storm.
lEinRMAN GOES TO SCHOOL
Join> Shetidon's Media Am fo<Ully
Richard Leiterman esc, considered
the dean of Canadian cinematography, is going back to school. Sta rtlng
this month, Leiterman will be sharing
the knowledge and expertise of a 40year career with students in Sheridan
College's new, postgraduate Advanced
Television and Film Program. 'We arc
thrilled to have Richard join our faculty,' says David Tucker, associate dean
of animation, arts and design at the
Toronto-a rea college. 'Our students
will greatly benefit from the wealth of
hands-on experience and knowledge
he brings to the classroom.•
Leiterman wi ll be working with students in the Journalism-New Media
and post-secondary Media Arts programs. He will teach a course in
Camera and Lighting Techniques, as
well as selected modules, Including
HDTV for Producers, geared to working professionals. Despite the
demands o r his new position, he Is not
leaving his cinematography career
behind. ' I've had a successful go at
filmmaking o r all kinds, and 1 won't
stop doing it - I just won't do as
much," says Leiterman. ~n.is new program at Sheridan really appealed to me,
because I will be working with students
who have already acquired considerable knowledge. I'll be helping them
refine what they've learned so far.'
Leiterman has shot a total of 20
feature films and 45 television movies.
He has received two Genies, three
Emmy nominations, two CSC awards,
a Yorkton Gold Sheaf for cinematic
excellence, and the Kodak New
Century Award, for outstanding contribution to the art of cinematography,
at the 2000 CSC Awards.
He joins industry professionals
such as Dennis Berardi, David Barlow,
Andy Ma lcolm, David Calderisi,
Maryke McEwan and Keith Murphy as
teachers in Sheridan 's Advanced
Television and l' ilm Program. The oneyear postgraduate program, housed in
the new Sheridan Centre for
Animation and Technologies (see CSC
News, February/00), provides niche
market production and post-production learning opportunities specifically designed to meet the evolving
employment needs of the entertainment industry.
I
AHGEL EYES GUYS: DOP Piotr Sobocinski
(Twilight, Morvin's Room. Ransom) centres the
camera aew of camera operator Peter Rosenfeld
(left) and focus puller Roger Finlay on location in
Toronto's Beaches during this summer's shoot of
Angel Eyss. The Hollywood feature stars Jennifer
lopet.
motor; variable speeds from 8-50 Ips;
crystal speeds, incl. 24 Ips and 30
Angenieux 12-120 lens, in blimp
matte box; battery with charger and
belt; 2x400' magazines; comes with loop
guard, dust plate, and carrying
Price: S5,500 firm. Contact Max McGuire II
(SI3) 738-1480
FOR SALE: Tiffen filters - Coral
$125 firm (1 avble); Optical Flat 6x6
OBO (4); Tobacco 1 6x6 $180 firm (1);
mist n 6xS $150 firm (1); Full 85 6x6 Sl
firm (1); N03 6x6 $125 firm (I); NOS SxS
125 firm (1); 85NOS Sx6 $125 firm (I);
85N03 SxS $125 firm (1); NOS Grad soft
Sx6 $150 firm (1); Polarizer SxS $150 firm
(1); N03 4x5.6 $125 firm (1); Coral• 4x5.S
$125 firm (1); Pro-mist 1/8 4x5.6 $125 firm
( 1); 85 cracked side 4x5.6 $20 (1); Pol a
cracked side 4x5.SS20 (1). None of the fil·
ters has cordura pouches. Gustavo Brum
[email protected]
FOR SALE: JVC 9" colour monitor
(AC/OC); Sennheiser 416 shotgun mic;
Lowell 1.5K soft light with case; laniro IK
redheads; Mole Richardson 2K soft light;
Matthews reflector boards with bracket
and stand; Pole-cats. Contact W. Chow at
(416) 7S2-5448 or e-mail: [email protected]
FOR SAL.E: Prime lenses for Arriflex: will
ic electronics onboard, digital speed con- fit 35mm Arri 2C or 16mm Arri S; Zeiss
trol, onboard batteries, 3 x 400 II maga · 16mm 12.3, $850; Schneider 25mm, 50mm
zines, studio follow focus unit, rods, Zeiss & 75mm, Cooke Speed Panchro 32mm
FOR SALE: Aaton XTA Super ISmm cam·
era with three 400-foot magazines, Super
ISmm Cooke lens, Canon 300 2.8, lens.
Excellent conditon; it has always been a
one-owner ca mera, originally bought
from Kingsway. A low price can be nego·
tiated. Christopher Fryman, Kyoto, Japa n.
email [email protected]
FOR SALE: Spectra Candela Model L[)-50,
reads from 0 to 50 footcandles; comes
with 0, xlO and xlOO slid es, original
leather case and neck strap, MSL $600,
asking S225. (416) 260·3456
FOR SALE: 16mm, 500fps Locam high·
speed camera with 12 · 120 Angenieux
lens; 1Smm Arriflex "M" camera complete with 2 - 400 ft. mags, several lenses,
filters, meters, a complete outfit;
Neumann RSM 19U stereo microphone
with Aycote windscreen and high-wind
covers. Call Robert Socking esc (41S)
S31-9845
FOR SALE: Arriflex lSB L film camera;
Zeiss 10-100 T3 lens; 2-400' magazines;
Barney; battery, charg er; C.P. variable
speed crystal motor; change bag; 3 fil·
tars; shoulder support; case; Arri serv·
iced; $3,900. Call Mike after 8 p.m. at (905)
951-S104
FOR SALE: Arriflex SA II 1Smm camera,
excellent condition, with cinematograph-
10· 100mm zoom lens, Tiffen filter holder, T2.3, $275 eech; Kiter telephoto F4, combi-
and cases. All recently serviced in June,
2000, and in excellent condition. $38,500
or nearest offer. Call Jonathon at (S04)
731-6620, fax (604) 731-6S84, email:
[email protected]
FOR SALE: Super t6mm XTR Aaton cam·
era, 3 x 400' mags, extension eyepiece,
Petroff 4x4 matte box, Cooke 10.5-52mm
w/Optex Super IS conversion kit,
Angenieux 12-120mm, Zeiss 9.5mm 1.3,
Angenieux 5.9mm, cases, filters, etc.
Phone (416) 533-6085
FOR SAlE: Arrisun 1200 par HMI head .
OeSisti Leonardo 2K 10" Irene!; replacement 8" par lenses; two C-mount lenses:
50mm Angenieux fl .5, 75mm Switar 11.9;
six-plate 16mm flatbed editing machine.
Call Kirk at (604) 253-0047 or e-mail:
[email protected]
FOR SALE: Arriflex 16mm BL package,
includes: Tobin TXM 15 crystal sync
nation 400mm & SOOmm with 2X converter
(BOO & 1200mm), $850; various filters. {12}
3x3 4x4, $300; new large 1Smm matte box,
$500; small matte box with glass & gel fil·
tars and holders, $300; high·speed 35mm
Arri 2C motor, $500; wooden babylegs,
$200; call (S04) 921 ·8260
FOR SALE: Minolta Spotmeter M
digital meter, in mint condition complete with the original manual; $350.
Phone (902) 422-0296 or e-mail
[email protected]
FOR SALE: 16mm ACL 2 Eclair camera
with 3 400' magazines in travelling case;
2 Angenieux zoom lenses: 12-120mm +
9.5-57mm; Belt battery plus 2
mounted batteries; filters, sunshades etc.
This is a one-owner camera in ex1:elllen't II
II
condition owned since 1980;
complete; Brian (250) 748· 8389
[email protected]
Camera Classifieds is a FREE service Ia CSC members. If you hove items you'd
like to buy or >ell, please fox your li>t to {416} 699-8521 or email editor@csc co
esc N, •• , S.pwnlxr 2000 • I 9
British Columb;a, Prairies
AlMosT AMEIIICAN(featuret 001': Andre Pienaor esc; to Oct 21, Calgary
ANDIWMIDA (seriOSt 8-{)p & 2rd-ll\it 001': James Wallace; to Dec
15, VancolM!f.
8..,_...1Mowt OOP: Donald M Mor1jM asc: Op: Kit Whitmore esc; 2nd Beth
11/obes. wrapped Aug. t 1. Toronto
The Chtppendales Murder (MOW): B·lst ll<ad Vos. wrapped Aug 18. Toronto
BEGGAIIs & CH(}(JSIRS (sanest OOP· Rayn\Ofld Braunstein esc: B·Op: Kelly Mason;
OROt' THC BEAr(ser;es);
to Oct. 26. VallCOU>..,.
BNI S<wNo (seri8$k B-2nd.loctwood Moore: to Nov. 20. VancolM!f.
CA/Tuo's WAr /l(setiest. 2rd Jarrett Ctaig: B-1st: Deretc Fyfo; to Doc. 4, Calgary.
COUJ SOVAD (senesl: 001'. Stephen ReqB$ esc: to Doc. 1, Burnaby.
THE CHRIS ISAAK SHow(seroest OOP. Randal Platt esc: to Ftb. 23. Var<:ouver.
CH•ISrr(MOwt OOP: laszlo G001ge esc; to NOY. 10. Maple Ridge. BC
CUss WA•FAIIE(MOWJ. OOP Ron Orieux esc; to Oct 2. North Vancruver
DARtt ANGEL (series). 0p !!tad Creasser. tD Dec. 14, North Var<:otrrot
OEVK WOI!f A SKIRr(featureJ: DOP David Butler (LAt 2nd: Clayton llachynsl<y;
B·2nd: Juliet Belmas: 2n<kloit OOP: John Banovich; to S~ I, Vancoover
THE FwriNG M IND (sell8St OOP: Tony Westman esc; 2nd: Malt< Gordon. to Nov. 25.
Vanoouver.
FIRST WA>'f (seriesl DOP. Henry Chan esc: 2nd: Leedy Corbett B-Op: Glen Orcksoo;
EAimt: ftNAt Cor.lur(SI!fiesl OOP l1mlas OIJit'OO: 0p: f>mrNII'MA!r. B-Op: Cudah
to Dec. 4, VancottVer.
F8Eoor GoT fii«E8EO (feature): OOP: Malt lrwrn esc. to Oct 23. Vancoover
F8EWOM(setiesJ; OOP: Philip Linzey esc; to Dec. 29. VancOO\"'
HA/10 /WN(Mowt DOP· Ben Ounlc esc asc; Op: Rod Crombie; 2nd: Donovan fraser;
B·Dp: Cam MacDonald; B· tst. Bryan Sanders: WfaCli)Od Aug. 21. Calgary
IGNmoo llea11Kak OOP: Jonathan Freeman. to Sept 15. North Vancruver
THE IIIIMORTAI (sanest. OOP. Ron SlliMOtt esc; 2nd-unit DOP/Op. KeiU> Yourg.
to Nov. 22. Burnaby.
i.Pif< 9(seri8$); DOP Adam Kane (lA). B·2nd Richard Win, to Dec. 18, Var<:olM!f.
I.JKI CArs AHo DOGS (feat~.<et. OOP: Jufro Macat ILAJ: 2nds: R~h Srndair. Jos
Oman. Zr<knlit OOP. Att•la Slalayesc; 2nd·unrt OpJSC M~hael Davres. to NOY.7.
Burnaby
MAGICWI's Hoost(seriest OOP/Op: Bruce Worrall esc: B·Op: J1ll Maclauehlan.
&.mall'(
MOffliRSisenest. 1st Alan '&iu' Sa~l. 2nd Katherine Deugau: tD Sept 29. Edmonton.
MYmliiOUS WAI'$(SBri8$k Op· Kevin Hall; tO Doc. 23. North Var<:ouver
NNIHT v...... tsenest OOP: Andreas Poolsson esc: Op: Michael Belfry; 2nd Harold
Bema<d. to Dec. 15. Burnaby.
RAT RAct(feature). OQP· Thomas Ackerman asc ILA t. 2nd: 811gette Bennett: 2nd·
unit OOP: Donald McCuaig esc; 2nd-unit 1st Doug Pruss: to Sept 23. Caiga<y
StNS "'THE FAT•u lfeatt~et. 001" lloyd Ahern asc {l.A.t Op: M~hael Soos. B-Op:
Marie Oobtescu esc; to Sept 22. Regrna.
so Wo.a (serr8$k 001" Roben New esc; 8 & 2nd·unit 1st. Dean Welibef; to Nov
21. Vancower
SrARGArr SG· I (senes): OOP: Peter Woeste esc; to Oct. 25. &.mall'(
THESE AAMs Of"''"' lserres); OOP. Lany Lvm esc; I st; Holly Gregory: to Sept 7.
Vancouver
ZGIIIIfR(series): 2nd Daniello Dutch: to Oct 17, Burnaby
VAUHTINE (featlllet. OOP. Rick Bota llA.t. 2nd. Randy Monon; to Sept. 1. Vanoouver.
WltD Gcw (MOW); OOP. Gregory M<tdleton esc: Op
Carey Toner; Ist. Krrie Chrswell; to Sept. 15. Calgary
ONTARIO. ATIANnC
Au THAT CUTTIJ!s(featurel. Op. Harald Ortenburger esc: to Sept
21. Toronto
TN£ Ass«:!Arrs(""""l. OOP: Philip Earnshaw esc: 2nd Malt< G•les: to Dec 15, Toronto
1st John lesavage; to Oct6, Toronto.
Aroarawewa: tD Apill2. T()ll)rlto.
El'fH SONG IMOWt OOP. Vic Kemper ase: to June 30. To<onto.
EXIT WOUNDS (featufe), OOP: Glen MacPherson esc; 2nd: Nicole Blanchard, Tr.
Meredrth Bugden: B·lst: Jim Saysana; tD Oct 31. Toronto
FAMous Jm JACKSDN(SO<iest. ODP: Yun Yakubtw esc. tD Sept 15. Toronto
FoRfHiH DMm lseriest OOP: Luc Montpeflier esc. wrapped Aug 24. Toronto
HAI'fN(mlni-seroest OOP: Guy Oufaw< esc: Op· Perry Hoffman. wrapped Aug. t5.
Toronto.
IN A HEAIITBEAT lseriest OOP. Mrlan f'otlsedly esc; Op: Anton van !Iooyen. lsl Brent
Robrnson: 2nd Blarn Thrush, to Oct 20. Toronto
JActtll ErHu JOAN: WOMEN 01 CAMEtorlmini·senest Op: Hetvi Fik$ esc; Tr. Micflael
TtKeotte; wrapped Aug 18, Toronto.
JOHN a(feature): OpJSC: Peter Rosenfeld. to Oct. 31. Toronto
M EAND M Y SHADows (mini·senes); Tr. Danny Santa Ana; to Oct 3, Torooto.
PAtoJN fuu lfeature): OOP· Paul Sarossycsc: Op: Marie Willis: to Oct. 6. Toronto
PHANTOM"' TilE M£GA.'W'IMOWJ: OOP Derek Roge<S esc: OpJSC· Andris Mahss.
WfaClllOd Aug 15. TO<onto.
PRINCE CHAIIMtNc (MOwt Op/SC: Keitll Murphy; to Nov. 11. Toronto
QUEER AS Fot<lseriest 1st: M. Glen Treill\ald; 2nd: Tony Oliver; to March 20. Toronto.
RANDOM PAS.SAtE(mini·seti8$k OOP/Op Pierre Letarte esc: wrapped Aug. 24,
St. John's. Nfld
IIAH<t Of MOTION(MOWt Ist. Phtlippe Cl>ampi<lo; wrapped Aug 31. Toronto
THE Rwc HLIHTfl!(seriest. OOP: Bill Woog esc. 1st Joseph Micomonaco,
2nd: Mark Beauchamp: to Nov. 1. Toronto.
SANCTIIAIIY(MOwt Op· Kit Whitmore esc: 2nd Beth Nobes: tO Oct 12. Toronto
s...(MOwt OOP: Oavrd Ponault. tD Sept. 7. Mrssissauga. Orn.
Soot Fow(seroest 001" Mite McMurray esc; Op Paul van der IJnden esc: 1st.
Crnrtv Canon: B-OpJSC· lain
Ba11d; to Nov. 1. TO<onto.
Schedule of Meetings
STAR Hi1JtlU ($0110$k ISL Tony
and Events of Interest
Lippa; to Oct. 31. Mrnto. NB
TWICE IN A !mJMl(Senes);
OOP· Maris Jansms esc: Op·
J.P Locherer esc. 1st Peter
Battistone: to Doc. 18. Toronto
Vows [MOW}; OOP. Gerald
Pacl:er esc; lst.loo Longstalt
wrapped Aug. 10. Toronto
WALTER AND H£NitY {MOW),
WHAr MAKES A fAM1U'(M0WI;
Bt.A..,r(wiesl: OOPJQp· Archard Strrnger esc, wrapped
DOP: Rhett Monta, 1st: Ted
CM!tton; v.1apped Aug. 22.
Toronto
20 • CSC Nt~> t &,.em,.,. 1000
CSC Meeting to be announced.
+
OOP· Mrchael Storey esc; Op·
Glenn Warner; wrapped Aug.
21. Toronto.
THE WM Nm oo,.lserr8$t
OOP John Barrie esc; 2nd. Marte
Janrsse; to Sept. I . TorontD
Aug 23. Hubba<ds. N.S.
BLUE MUODER(seroest DOP/Op. Steve Oanvfuk esc. Ist.
Gareth Robens. to Doc. 20. Mrssossauga. Ont
to CSC Members
llll
Please check www.csc.ca
for updates.