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Canadian Publications Mail Product Sales Agreement No. 478423
March 2008 Volume 27, No. 7
Balloons Light Up
Olympic Shoot
In this issue:
Ohashi Chooses Super 16mm - Not HD • CSC AGM Reports
Industry News and more…
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visit: www.csc.ca
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: admin@csc.ca
Editor: Lee Rickwood (416) 260-8859
email: editor@csc.ca
Editor-in-Chief: Joan Hutton csc
Co-Editor-in-Chief: George Willis csc sasc
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.
Photo: Chris Reardon/CBS
CSC EXECUTIVE
President: Joan Hutton csc
Vice-President: George Willis csc sasc
Treasurer: Joseph Sunday phd
Secretary: Antonin Lhotsky
Membership: Philip Earnshaw csc
Publicity: Nikos Evdemon csc
Education: Ernie Kestler
Editor Emeritus: Don Angus
Membership inquiries: 416-266-0591
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Photo courtesy of Airstar
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.
4
12
Thomas Wallner,
award-winning
writer and
director, is a
graduate of
the National
Apprenticeship
Training Program
(NATP), 1991-92.
CONTENTs
13
v o l u me
2 7 ,
N o .
7
March 2008
2 - President’s Report
4 - Jesse Stone: Thin Ice
Ohashi on TV Movies, 16MM and HD
8 - AGM
Marks Significant Milestones
12 - Industry News
Csc Cyber Service Adds New Features, Functions
17 - Classifieds
18 - CSC FULL AND LIFE MEMBERS
20 - PRODUCTION DATES
On The Cover Lighting Balloons illuminate an Olympic-size swimming pool during
production on a movie about Canadian Olympian Victor Davis. DOP Gerald Packer csc
recently worked on the production. Supplier Airstar Canada has a new distributor and
partner in William F. White, which will make lighting balloons and related gear available
to film, TV and media production crews in Canada. Photo courtesy of Airstar.
PRESIDENT’S REPORT
S
ome creations apparently took seven
days, but continued work and research into the history of the CSC
indicates it took two years to give birth to
this organization.
Over the past year, we’ve been celebrating the CSC’s 50th year, and we’ve connected a number of special events and activities to the celebrations.
Now, we weren’t wrong about the timing – but as it turns out, apparently the
birth of the CSC took a little longer than
was first thought. It actually place over a
two-year span, starting in 1957 with some
insightful and visionary discussions, but
only reaching completion with the formal
passage of the By-Laws and Regulations in
1958.
So we’re not early or late to our own
party – we’re simply celebrating a little
longer!
Maintaining that excitement and momentum, then, as we move forward in
our second half century of operation, I
am happy to report that the final touches
on our 50th Anniversary commemorative
2 • CSC News - March 2008
book and DVD are being put into place.
It will be published in time for the Annual CSC Award Gala, to be held March
29, 2008, in Toronto. We will be able to
celebrate not only our current accomplishments and the creative achievements of our
members on that special evening, but also
we will be able to see even more clearly
from where and whence this creative community has grown.
Today, we, and the industry we are a
part of, are facing some serious challenges
– fiscal, financial, regulatory, among them
– and some amazing opportunities – learning more about developments in digital
cinema and related technologies, for example.
I believe, and I think the CSC has demonstrated, that only through a shared sense
of community can we meet these challenges and opportunities head on, so we all can
continue to grow, prosper and create.
That sense of sharing and connectivity
is what has underpinned the CSC for fifty
years – give or take. We can all use more of
the same in the next fifty.
Attention CSC Members
The CSC Membership Committee
will be meeting in April 2008 to consider
and review member status and accreditation upgrades. Accreditation procedures
and application criteria are in place, so
any CSC members who are interested in
upgrading to the full level, should apply
now. The criteria for accreditation include
the following:
FULL MEMBERSHIP
• The applicant for Full membership
must be professionally employed as a
cinematographer for a period of at least
ten years and must be fully qualified to
assume the duties and responsibilities as
a Director of Photography, or
• The applicant must have to his/her
credit exceptional achievement as a
cinematographer.
• Applicants who are existing members of
the Society must be in good standing.
• Detailed Full Membership requirements
are as follows:
• The membership committee sits twice a
year and consists of a minimum of five
full members to review full member applications.
• The applicant will be required to submit a minimum of five recent complete
Dramatic/Documentary/
Commercial productions in which they were
responsible for the integrity of the
photographic image. Dramatic show
reels alone will not be accepted, nor
will selectively edited examples taken
out of context. Quality of work will
be judged on an international standard
of excellence, and the committee will
be looking at all technical and artistic
aspects of the work submitted. The
body of work must show more than
professional competence, it must show
the applicant’s creativity and aesthetic
sensitivity in the interpretation of the
script.
• The committee’s decision must be
unanimous and is final. Applicants who
are refused full membership may resubmit at a later date.
• If accepted for Full Membership, the
applicant will be charged a $500 accreditation fee.
Shooting Jesse Stone: Thin Ice
Ohashi on TV Movies, 16MM and HD
by David Heuring
R
Photo: Chris Reardon/CBS
Photo: Chris Reardon/CBS
ene Ohashi asc, csc began his hockey games for the CBC. He enrolled problem. He becomes the police chief in
fruitful association with Robert at York University and shot dozens of stu- a small New England town. The HollyHarmon in 1999 on The Crossing. dent films while there. After graduation, wood Reporter praised Selleck’s perforThat telefilm, a dramatization of George he bought an Aaton 16 mm camera, and mance in Jesse Stone: Sea Change and called
Washington’s bold decision to lead his shot educational films, documentaries and the movie “soulful.” Jesse Stone: Thin Ice,
tattered army across the
the most recent iteration,
Delaware River and atis scheduled to air on CBC
tack the British in 1776,
in Canada and on CBS in
earned Ohashi an Amerithe United States. The Jesse
can Society of CinemaStone films are also available
tographers Outstanding
on DVD.
Achievement Award. It
Ohashi and Harmon
proved to be the first of a
worked with the goal of
series of cinematography
making a film with a theatawards won by the cinerical look. “We wanted the
matographer for his work
scope and feel of a feature
with Harmon, including
film, only with a televiCSC Awards for Best Feasion budget and roughly
ture (They) and Best TV
22 days,” says Ohashi. “On
Drama (Jesse Stone: Stone
Stone Cold, the first Jesse
Cold), an ASC nominaStone film, we used a lontion for Jesse Stone: Sea
ger than normal prep peChange and a CSC Award
riod of three weeks to fine
nomination for the fea- Rene Ohashi, CSC (far let) with his crew and director Robert Harmon (far right) on the tune an efficient schedule,
ture film Highwaymen. set of Jesse Stone: Thin Ice in Vancouver, British Columbia.
refine our shot lists, and
His awards on projects
plan to get the most out of
directed by Harmon are
the Nova Scotia locations.
among 11 CSC Awards
Our preparations allowed
and 11Gemini Awards for
us to shoot only the stronthe cinematographer.
gest, well-planned images
“Every once in awhile
and to make the best film
a cinematographer finds a
possible with the time and
kindred spirit in a direcmoney we had.”
tor,” says Ohashi. “Our
Ohashi and Harmon
aesthetics and way of seechose to shoot using the
ing are in sync. In the beSuper 16 mm film format,
ginning, we talked and reframing for a 1.78:1 asferred to films for a look,
pect ratio. “We didn’t ever
but by the time we shot
think about shooting HD
the Jesse Stone telefilms, we
because it does not have a
knew each other so well.
filmic, theatrical look,” says
Our discussions weren’t
Ohashi. “We employed
about the look so much as The set of Jesse Stone: Thin Ice on location in Vancouver, British Columbia.
a certain amount of twothey were about the kind
camera coverage to make
of shot angles and the style of blocking.”
features for new magazine shows. Eventu- our tight shooting schedule, and that
Ohashi was raised in Toronto. As a ally, he was able to make the transition to style made 35 mm, even 3-perf 35 mm,
boy he became interested in still photog- narrative filmmaking.
beyond budgetary means. By shooting in
raphy, and he learned about film cameras
The Jesse Stone television movies star the Super 16mm format and transferring
and editing by assisting a neighbor who Tom Selleck as a former Los Angeles cop to HD for post, we could have that theatshot television documentaries, including who leaves that job because of a drinking rical look.”
4 • CSC News - March 2008
the drama indicated, taking the viewer
on an emotional ride. At times, he used
smoke to create atmosphere and to make
the light palpable.
Using two cameras to save time required careful strategies. “You have to
choose the right camera angles relative to
the sources of light,” says Ohashi. “For
example, I lit a daylight interior scene
through a window that provided cross
light for the master shot from a frontal
direction. I put the other camera at almost at a 90-degree angle, so that shot
was backlit. In that situation, each camera was shooting at a different stop. We
quickly set up another take with the cameras still at almost a 90-degree angle from
each other, but maybe tighter. That way,
we’re giving the editor four angles that
will intercut smoothly.
“This is a good example of why collaboration with an understanding director and talented crew is important,”
he says. “Filmmaking is a collaborative
form of storytelling. My main camera
operator, and second set of eyes, is Andy
Chmura. There are several camera operators with whom I consistently choose
to work because they understand how I
think and see things. I value their input
and encourage them to trust their instincts.
“There was a time earlier in my career when I sometimes chose to operate
a camera myself. I don’t think you can
operate and do a good job of lighting for
multiple cameras with today’s production
schedules. I think that some of the art
is lost because there is no time to think
ahead about lighting. I tell everyone, including the assistants, key grip, dolly grip
and gaffer that I want their input because
we are all investing our time and efforts
in making a movie. If we all collaborate,
the chances are good that we are going to
make a much better film.”
All the Jesse Stone productions used
LaserPacific in Los Angeles for processing, dailies and posting in High Definition. On Thin Ice, dailies were streamed
back to Halifax and burned to DVD.
Ohashi took digital stills of selected shots,
processed them using Adobe Lightroom,
and posted them on an FTP site for the
timer to download and view.
“A picture is worth a thousand words,”
he says. “I have not retransferred any
of my rushes in three years because they
Photo: Chris Reardon/CBS
The decision to shoot film was partly
an aesthetic one, and partly a practical one.
“With the use of film, we are not encumbered with cables tethered from camera to
a recorder and video playback systems,”
says Ohashi. “We could not make these
films on these tight budgets and schedules
with HD cameras. The technology isn’t
as flexible. We need the range of exposure that film provides because we are frequently shooting in places where we have
extreme differences between the brightest
and darkest elements of shots.
“A director friend recently shot on a
high end HD system and estimated that
he lost an hour-and-a-half a day because
of the technical requirements of the HD
camera system. Not to mention, that with
most of the HD cameras one does not
have all the tools of the language and art
of cinematography at one’s disposal, like
variable frame rates, shutter angles, 35mm
depth of field, et cetera.”
Thin Ice was photographed using two
ARRI SR3 cameras with PL-mount Zeiss
variable prime and Zeiss Ultra prime lenses designed for use with 35 mm formats.
“Especially on wide shots, I could see the
difference in resolution and contrast, and
therefore sharpness, compared to regular
Super 16 lenses,” says Ohashi. “The advantage is that we are using the sweetest
part of the lens.”
Focal lengths tended to be longer so
that Ohashi could use focus depth and
separation to direct the attention of the
viewer as he would in 35 mm format.
When wide lenses were unavoidable,
he used more negative lighting in backgrounds to focus the audience’s eye. These
decisions also affected choices in locations
and production design.
The cameras were loaded with Kodak
VISION2 200T 7217 or Kodak VISION2
500T 7218 film, depending on the situation. “Whether you are in the canyons of
buildings in New York City or the changing lighting weather conditions of Halifax,
Nova Scotia, 7218 can deal with it,” says
Ohashi. “I relied on the dailies transfer
to incorporate the right amount of contrast. I prefer to use tungsten based stocks
with exteriors, as I like to control color by
changing the color temperature. I often
use an 81EF color correction filter to create a cooler look if the scene requires it.”
Ohashi describes the approach to
lighting as realistic, but heightened when
Rene Ohashi, CSC checks the light on the set of Jesse
Stone: Thin Ice in Vancouver, British Columbia.
CSC News - March 2008 •
5
Photo: Chris Reardon/CBS
Photo: Chris Reardon/CBS
Director Robert Harmon looks at the monitor with actor Tom Selleck on the set of
Jesse Stone: Thin Ice in Vancouver, British Columbia.
Director Robert Harmon gets a glimpse of Rene Ohashi’s world through the camera lens on the
set of Jesse Stone: Thin Ice in Vancouver, British Columbia.
6 • CSC News - March 2008
have been as I envisioned them. Obviously once a film is cut, scenes are moved and
placed in a different context to which they
were intended, so timing of some shots
will ultimately need adjustment, sometimes radically. But the rushes have been
right on.”
Ohashi adds that the final transfer for
Thin Ice was done at LaserPacific on a
Lustre digital grading system. “That improved the quality of the Super 16 mm
images further,” he says. “The difference,
along with improvements in film stocks, is
definitely noticeable.”
LaserPacfic’s Emmy® Award-winning
SuperComputer™ Assembly system automatically assembles the show based on the
production’s EDL. “The SuperComputer
is really a time-saver that delivers affordability,” says producer Steven Brandman.
“I have been in the business a long time.
The process has been revolutionized. The
fact that you can stay in 24p, with firstgeneration quality, is amazing. Twenty
years ago, I could spend three times as
much delivering a film like Sea Change.
Today, you can get into titling and effects
much more affordably. You can do more,
faster, for less. Those are all good things
for a producer, and they all translate into
higher quality.”
Ohashi credits the success of the Jesse
Stone films in part to his collaboration
with Harmon, whose background is in
architectural photography. “Robert knows
how to tell a story through images, given
his background and love of photography,”
he says. “The role of the cinematographer,
working in collaboration with the director, is to bind all facets of production together and make them into a unified and
unique story. But the collaborative process
is a lot more than a cinematographer and a
director working together. Someone wrote
the script, a producer believed in it, and,
and there’s a cast, costume and production
designers, your crew, et cetera.
“I am especially proud of the fact
that this year Jesse Stone: Sea Change was
nominated for an ASC Award in the TV
movie, miniseries and pilot category,” he
says. “I believe the other nominees in that
category were all 35mm productions with
much higher budgets. No one I’ve spoke
to was aware that our film was shot in
Super 16mm, and I take that as a high
compliment.”
AGM Marks Significant Milestones
Annual General Meeting
T
he CSC gathered for its 2007 Annual General Meeting, held at the
Toronto facilities of Technicolor,
with a mixture of celebration over its first
50 years, and anticipation for the what
will surely be another 50 years of creative
achievements and professional challenges.
But the business of running and operating the CSC momentarily takes a back
seat, as is traditional at these meetings, so
colleagues who had passed away during
the past year can be remembered and honoured with a moment of silence.
In her opening remarks to the President’s Report, CSC President Joan Hutton sadly noted that “We lost one of our
founding members and a dear friend,
Sammy Jackson-Samuels, in April, and
a long-serving member of our executive,
Vice-President Richard Stringer, in July.
We also note the passing of Associate Life
Member Joern Dressel in June.”
Although no new nominations were
received for the Executive Board, and
while the current executive agreed to serve
for another year, one change in the Board’s
make-up was noted: George Willis csc,
sasc has moved to the Vice-President’s
chair from his post as Director Ex-Officio.
He tabled this report:
Vice President’s Report
As we look to the year ahead of us and
beyond, there is the realization that the
CSC needs to have a renewed purpose and
direction and in essence, re-invent itself if
we are to survive the enormous changes
and challenges that are very apparent in
the film and television industry at this
time. There will always be a new generation of filmmakers to take our place and it
is incumbent upon us to embrace the new
attitudes and processes if we are to survive
as a society.
Therefore, I propose that the CSC embarks upon a revised program dedicated to
making inroads within an industry that is
changing at an alarming pace. While nostalgia allows us the comfort of enjoying
8 • CSC News - March 2008
and fondly remembering the “good old
days” we must be mindful and ever vigilant of the need to address and deal with
the new technologies. The CSC is a group
of individuals dedicated to the art and
craft of filmmaking but the time has come
to think beyond “film” per se. We must
consider the many new forms and processes of image gathering and be prepared to
accept that “digital cinema” is here to stay
… whether we like it or not. I for one like
it because it expands our creative thinking
and that in essence is what we are about.
We are in a society where creativity has
a new norm and where there are no rules.
In any event we acknowledge that “rules
are meant to be broken” and there has
never been a time like the present when
this is so apparent.
It is our hope then, that the CSC
membership expands greatly, meets more
often, has dialogue as never before and
gives wings to our creative thinking in the
business that we have chosen as a career
and love to be a part of. This is an exciting
time … let us grab it by the horns, hang
on and have the ride of our lives.
Secretary’s Report
CSC Corporate Secretary Antonin
Lhotsky noted that the Executive Board
met quarterly throughout the year, at the
CSC Clubhouse at William F.White. All
business at CSC meetings was conducted
as per Roberts Rules of Order. The minutes of all meetings may be viewed upon
request, he reported, noting that audio
tapes of the meetings are available, and
that arrangements to listen to them can be
made at any time.
Like the film industry in general, the
CSC continued to tighten its financial belt
while looking for new ways to improve the
Society’s service to its membership. Treasurer Joe Sunday explained to members
the detailed financial report for 2007, distributed to meeting attendees. Auditors
for this year are Bob Bocking and John
Hodgson.
Treasurer’s Report
The CSC has suffered a significant
financial reversal in this challenging time
for our industry, reported CSC Treasurer
Joseph Sunday csc. Just like our members
and generous sponsors who reasonably
adjust their expenditures when projected
revenues are les than planned, we need to
react more quickly to changes in the economic climate, no matter what our original plans/wishes may have been, he said
Year 2007 has been the CSC’s 50th anniversary, and the Executive allocated and
spent funds specifically to acknowledge
this momentous occasion. Such expenditures probably contributed to 50% of the
overall deficit for the year.
The other major source for this year’s
deficit was the continued reduction in advertising revenues for the CSC News. The
Executive has initiated outreach programs
with our valued sponsors to develop programs and editorial approaches that will
be of continued interest to them. At the
same time, we are exploring ways to reverse the spiraling production costs for
this key publication.
As well, the CSC administration had
a mandate this year to purge our lists of
members whose dues were not being paid.
This resulted in a large drop in active
members. Even though this results in a
drop in real revenue (now and for the future), we had previously booked substantial reserves for the unpaid fees. Finally,
the Executive is committed to delivering
the organization that members especially
value. As Treasurer, Sunday said he needs
to find ways of making this happen, usually needing to increase reliable revenue
while reducing costs. Sunday concluded
by encouraging any interested members
to send him ideas for how to best achieve
this.
Awards Presentations
Robert Bocking csc reported on the
success of the 2007 CSC 50th Anniversary
Awards Gala, highlighting the number of
attendees, and listing the award recipients
that were honoured. As well, 2007 was another good year for CSC shooters at major
awards competitions. Henry Less, Michael
Grippo and Rene Ohashi were winners at
the Gemini Awards in October, and Pierre
Gill won a Genie. At the ’07 ASC Awards,
David Moxness won in his category.
Bocking thanked CSC members for
their participation in the awards process,
saying that the entries submitted in this
competition continuously shows off the
high quality of work being produced by
cinematographers in this country.
Editor Emeritus. Our new editor is Lee
Rickwood and I’m sure everyone has seen
his work in the magazine.
Special thanks to Nikos Evdemon,
Publicity Chair, who has saved us a ton
of money by keeping our web site updated in function and design. He has introduced new features, which are described
in an article in CSC NEWS (please see
Industry News).
At the conclusion of the meeting, CSC
President Joan Hutton again thanked all
the attendees for their participation, and
she especially noted the contributions of
the volunteer Board.
“I want to warmly thank each and every member of the Executive Board for
all their dedication and hard work in our
50th Anniversary year just passed. I also
again acknowledge the special efforts of
office administrator Susan Saranchuk,
who wears many hats and somehow
makes them all fit.”
Membership Report
The membership committee, chaired
by Philip Earnshaw csc, met in 2007 to
review submissions of those who wished
to upgrade to full membership. As usual
we followed the standards laid out in our
bylaws and regulations and unanimously
approved the five cinematographers who
have been granted full member status.
The CSC welcomed 17 new affiliate members, 8 new associate, 6 new
full and a new CSC sponsor, Earnshaw
described.
TRULY Publication of the bi-annual CSC Directory was moved to 2007 from 2006 to
TANDING
coincide with the 50th anniversary, so the
TOGRAPHER
next edition of the Directory will be pubRIENCE...
lished in 2009. The 2007 edition includes
the CSC By-Laws and Regulations as revised by Bob Bocking and Joe Sunday.
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Education Report
Ernie Kestler, the Education Chair,
described the CSC Camera Assistants’
Course, held from February 16 to 25,
2007, as a great success. There were 14
students in attendance; 12 from Ontario,
1 from Quebec and 1 from Mexico City.
He acknowledged the support from
sponsors and instructors, and thanked
them for sharing their facilities, personnel and expertise:
A Basic Lighting Workshop, with
11 participants from Ontario, was also
staged during the year. Again, special
thanks were expressed to all those who
helped make the workshop possible, including sponsors, instructors and facilities providers.
This is also the year that long standing editor Don Angus formally resigned,
and though we miss him, he has agreed
to remain close to the publication as
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INDUSTRY NEWS
Friends Remember
‘Friend of
Community’
The family and friends of
June K. Moran would like to
let all her many friends and colleagues in the Canadian film and
television industry know that
June passed away on Friday January 25, 2008.
For 20 years June was bookings manager and organizer extraordinaire at Spence-Thomas
Productions. She was also the
most gifted event and party planner we ever knew. June was a major contributor to events in the
early days of the Canadian Film
Awards and also worked tirelessly
with the Council of Canadian
Filmmakers and the “Bessie”
Awards.
June knew people all over
the film and television industry
through her work and her volunteer activities. She has stayed
in contact with close friends but
there are many others who may
not have seen her for some time
but will remember her fondly
and with gratitude for her unfailing grace and amazing abilities. As do many of her friends,
Emma Archer and Audrey Spence-Thomas remember that June
was “an unsung hero and a friend
of the community.”
CSC Cyber-Service
Adds News Features,
Function
June Moran, longtime friend of the film & TV industry
in Canada, is pictured at the offices of Spence Thomas
Audio Post in the 1980s, and more recently during the
Canadian International Air Show. June passed away in
January of this year.
10 • CSC News - March 2008
Higher qualities and shorter
addresses are part of recently announced upgrades and enhancements to the CSC website.
The Members’ Demo Reel
service, for example, has been
revised to allow the streaming of
any format, up to and including
HD. The streams are accessible
on any computer operating system, they do not require installation of a video software player,
and they will play instantly without long loading times, describes
CSC Publicity Director and webmaster
Nikos Evdemon csc.
The screening process is even easier
still, Evdemon describes, as he has setup
the site so that shorter and more relevant
URLs (specific website addresses) can be
used.
“You don’t need to use long addresses
or add the extension .asp after the name,”
he notes. “Just use csc.ca/name - that’s all
you need now!”
As examples, Evdemon cited some
current online Members Demo Reels, and
noted the new shorter and more direct
address that can be used to access them,
including Robert Bocking csc (www.csc.
ca/Bocking); Philip Earnshaw csc (csc.
ca/Earnshaw); Robert B. McLachlan csc,
asc (csc.ca/McLachlan); and George A.
Willis csc, sasc (csc.ca/Willis), among
others.
“One of our members asked me at
the AGM if it is possible to have some
one short address for streaming his Demo
Reel directly, instead of long ones - and
without having to go through a list of
many other cinematographers listed together with his name,” Evdemon relates.
“I thought that is a great idea. Now members who have a Demo Reel can have
their reel accessed directly by simply typing their name at the main site address: www.csc.ca/name. The name can be what
ever the member wants and it works with
caps or lower case.”
With the upgrades to the system, Evdemon says he hopes that all members have
one source for personal and professional
information, as well as their Demo Reels,
thus reducing overall needs for costly domain names, website administration and
hosting servers.
Full Members and Associate Members
will have access to the CSC Demo Reels
with lengths from 30 seconds to 10 minutes total.
The Annual cost to members with
CSC Demo Reels will be:
- $50 for up to 3 min video
- $75 for up to 6 min video
- $100 for up to 10 min video.
For best quality send your DVD Demo
Reel or video files in deinterlaced .MOV
or .AVI format, with H264 or Xvid/DiVX
video codec and video bitrates no lower
than 1MB (prefer higher). Other formats
include: VOB, MPEG2, MPEG4 or MPG
format.
Additional suggestions about what
CSC members would like to see on the
website are very welcome, Evdemon underscores, even necessary in order to continually improve the site. He urges any
and all Full and Associate members who
have not done so to send their demo reels
for online posting.
Best Practices,
Environmental
Consultants for Film
and TV Industry
Planet in Focus, the International Environmental Film & Video Festival and
the Toronto Green Screen Initiative aims
to create a set of sustainable best practices
protocols leading to a certification program for the Toronto film and television
industry, using a third party verification
mechanism.
Having received initial expressions of interest from suitably qualified and experienced consultants, project
evaluators and coordinators made their
first selects, and invited finalists to submit
a full proposal at the end of February.
Individuals, firms, consortia, NGOs
and research centres made proposals and
recommendations for greening the film
& television industry, including conducting baseline research to examine existing
practices within the Toronto/Ontario
industry (among all levels and forms of
screen-based productions); creating a best
practices Green Production Guide; and
developing protocols and recommendations toward a Green Screen-Based Certification Program.
Further information and project proposal descriptions are available online, at
www.planetinfocus.org.
Cinema Editors’
Association Debuts
in Canada
The Canadian Cinema Editors (CCE)
is a newly formed professional association
representing the interests of Canadian picture editors.
The CCE is a non-profit organization, launched with the goal of improving
the craft and profile of picture editing in
television, film and new media. The association founders say they hope to bring
well-earned respect to the art of editing,
which they see as an integral part of the
storytelling process, but one that is often
not discussed or worse, forgotten.
Paul Day, Roger Mattiussi and Paul
Winestock are the founding directors
of CCE. They say they hope to emulate
similar organizations in the US, England,
Australia and France, amongst others, who
have served to promote their honoured
members and to educate the general and
filmmaking public about the craft.
During the formative stages of the new
CCE, the founders were regularly in touch
with other industry organizations, such as
the CSC, where they received much guidance and advice.
Day described his vision for the association in a release announcing its launch:
“I’d like to see the Canadian Cinema Editors bring together professional editors
and assistants who feel excited about the
craft and expose, educate and shed some
light into the cutting room. All moving
images are edited at some point. The
manipulation of emotion is very powerful
and addictive. Alone in the dark and ‘playing’ with images is, in my opinion, one of
the best jobs in the world.”
Mattiussi added that one of the principal goals of the CCE, as he sees it, “is
to illuminate the aspects that constitute
exceptional editing, not only to ourselves,
but also to those who rely on us to help
make their programs as memorable as
possible. As an honour society, we will
communicate with other professional disciplines within film, television and new
media, as well as with people who wish to
become editors, either through personal
initiative or through formal educational
institutions.”
“In this era of You-Tube and home
editing, it’s more important than ever
before to define the editor as not merely
a person cutting pictures together but
as an integral part of sculpting the pace,
performance and story in a film,” added
Winestock. “We work with directors
and producers intimately over periods of
weeks and months to help them achieve
the best story possible. Films such as
Away From Her, Eastern Promises and Fido
could not have become successes without a trained editor who understands all
aspects of editing.”
For more information about the
CCE, its goals, objectives and membership criteria, visit www.cceditors.ca.
CSC News - March 2008 •
11
coritti – “a great director and friend” – and
quite enjoyed the production, especially
while “in the pool”. Shooting took place
in Olympic-sized pools in Etobicoke –
such as the Olympium and Gus Ryder facilities. Save for the fact the film screened
in ’08, Packer says he would have entered
it in this year’s CSC Awards competition.
Photo courtesy of Airstar
Hot Docs Names New
Board and Committee
Members
Production stills from Pirates of Caribbean, and Man of the Year cover (in Toronto’s Brookfield,
formerly BCE Place on page 3) show lighting balloons in use.
Airstar Helps Heat Up
February Freeze
CinequipWhite held its Annual Trade
Show, known as the February Freeze, on
an appropriately cold day in Toronto, inviting members from the CSC and the
CICA to a concurrent joint meeting.
Attendees were treated to a pre-NAB
look at some of the newest products and
technology available for the entertainment
and media production industry. February
Freeze provides a great opportunity to talk
with popular suppliers and see the latest in
equipment innovations. As usual, a great
flea market was held as part of the day’s
events, with lots of hot deals and ‘gently
used’ equipment and accessories.
CinequipWhite’s John Ferguson noted
some of the latest announcements from
prominent suppliers in the film, television,
theatrical, broadcast & live entertainment
industries, and also shared some news and
described some upcoming events of interest to CSC and CICA members
CinequipWhite, for example, will
host Steadicam Flyer Workshops in May,
led by instructor Peter Abraham (other
Steadicam Operators are invited as course
assistants or guest lecturers). Each workshop class is limited to nine students, who
are provided Steadicam systems and materials from The Tiffen Company as part
of the course. Units used during the Flyer
Workshops will be available for sale.
Also announced at the event is a
new distribution partnership between
William F. White (WFW) International
12 • CSC News - March 2008
and Airstar Canada.
Airstar’s world-renowned space lighting balloons for film, television and special events are now available exclusively at
WFW locations across Canada.
Units were on display at CinequipWhite’s annual February Freeze showcase.
DOPs, gaffers and electricians were
informed about the unit’s quality of light,
the quantity and the direction. Available
with or without a reflector as round balloons, Tubes or elliptical balloons, they
provide a uniform light over 360° with
only one unit. As well, its texture creates
a light source with few shadows.
The light’s colour temp (tungsten light
of 3,200°, HMI light of 6000°) can be
adjusted with a colour corrector. A choice
of power ratings, between 575kW and
36,000kW to light from 250 to 20,000m²,
is also available.
The Academy of Motion Picture
Arts and Sciences recognized company
founder Pierre Chabert in 2003 with a
Technical Achievement Academy Award®
for his unique concepts and designs.
Airstar balloons have worked on countless productions internationally including all three Pirates of the Caribbean films,
Titanic, Mission Impossible 2, Cinderella
Man and Mr. and Mrs. Smith.
Lighting balloons were also used on a
recent Canadian production about Olympic swimmer Victor Davis. DoP Gerald
Packer csc described his work on the film
as involving three different balloons – all
worked well – on his shoot.
Packer says he worked with Jerry Cic-
Tom Perlmutter, Christine Shipman
and Mark Starowicz were appointed to the
Hot Docs Board of Directors. Tom Perlmutter is the current Government Film Commissioner and Chairperson of the National Film Board of Canada
(NFB). Since joining in 2001, Perlmutter
has been one of the organization’s leading
ambassadors at national and international
levels and has steered the NFB through
major technological advances in multiplatform production. Perlmutter also enjoyed a prestigious career in the Canadian
film industry before joining the NFB. As founding head of documentaries at
Barna-Alper Productions, he created and
produced many award-winning features
and series.
Christine Shipton is the Senior Vice
President, Drama and Factual Content,
for Canwest Broadcasting and has played
a strong role in rebuilding the Canwest
Canadian original slate for Global and E! Throughout her career, Shipton has been
responsible for developing and overseeing
noted Canadian programming, including
Da Kink in My Hair, Due South and Cold
Squad. Shipton has also held a variety
of senior positions in such organizations
as Blueprint Entertainment, W Network
and Alliance Atlantis Television.
Mark Starowicz serves as the Executive Director of Documentary Programming at CBC and is an internationally
in-demand writer and lecturer on the
history and future of broadcast communications. Starowicz’s passion for Canadian history and culture culminated in his
monumental 32-hour documentary series,
Canada: A People’s History. Amongst the
many awards and honours he’s received –
including eight Geminis – Starowicz was
presented with the Governor General’s
Award for Lifetime Artistic Achievement
in 2006.
Tom Perlmutter, Christine Shipton and
Mark Starowicz will assume seats left vacant
by the departures of Jacques Bensimon,
Michael Kennedy and Jerry McIntosh.
Additionally, Rudy Buttignol, chair
of the Hot Docs International Advisory
Committee (IAC), announced nine new
members to the IAC. The IAC works
closely with closely Hot Docs to promote
the festival and conference internationally, and to provide Hot Docs with market
intelligence from across the country and
abroad to better shape its offerings. The
new IAC members are: Claire Aguilar,
Vice President of Programming, Independent Television Service (USA); Jacques
Bensimon, Chairman, Cinématèque Québécois (Canada); Ryan Harrington, Head,
The Gucci/Tribeca Documentary Fund
(USA); Marijke Huijbregts, Commissioning Editor/Producer, AVRO (The Netherlands); Michael Kennedy, Executive Vice
President, Executive VP, Film & Marketing, Cineplex Entertainment (Canada);
Jason Meil, Senior VP - Original Programming and Acquisitions, Current TV
(USA); Cara Mertes, Director, Documentary Film Program & Sundance Documentary Fund, The Sundance Institute
(USA); Leena Pasenan, Director, European Documentary Network (Denmark);
and Tom Quinn, Senior Vice President,
Magnolia Pictures (USA).
is cinematography. In 2007, the Kodak
Canada Cinematography Apprentice designation was bestowed on Martin Dudzik,
a graduate of the Capilano College Motion Picture Production Program. Upon
being notified that he had been accepted
into the NATP, Martin says it’s “hard
to believe you’ve been accepted into a
program as great as this [one].”
“The NATP program is great for young
filmmakers who would love to volunteer
their time on set [but] can’t commit free
time for financial reasons,” he adds.
Martin’s apprenticeship placement was on
the set of an independent feature film titled,
The Taken, directed by Richard Valentine,
where he shot second unit photography.
Of Kodak Canada’s involvement in
the Academy’s NATP initiative, Johanna
Gravelle, Country Manager, Kodak Canada Entertainment Imaging, says, “Kodak
has been a strong supporter of the NATP
since its inception.”
“Helping to develop the talent of the
Academy and Kodak
Give Cinematographers
a Leg Up
Getting a leg up in the Canadian
Film and Television industry is no small
feat, making applied training opportunities such as the one provided through
the National Apprenticeship Training
Program (NATP), presented annually by
the Academy of Canadian Cinema and
Television, all the more invaluable to film
and television studies’ graduates. The
NATP’s 12-week training period offers
apprentices hands-on experience in their
area of interest on a professional production set, as well as an honorarium.
Add to that corporate partners like
Kodak Canada Entertainment Imaging, a
longtime sponsor of the program, and the
sky truly is the limit for the select few who
are given the chance to implement their
knowledge to real-world film and television production.
Kodak Canada in particular awards its
apprenticeship to a student whose focus
35mm/16mm Services | HD/SD Telecine and Editorial | Digital Intermediates
Laboratory Evans: 416.205.8155 | Laboratory Carlaw: 416.461.8090
Postproduction: 416.364.4321
CSC News - March 2008 •
13
emerging filmmakers, through the experience of established industry professionals,
paves the way for a brighter future in Canadian Film and Television,” she explains.
The NATP, which was begun in 1984
and remains the Academy’s most successful professional development program to
date, has recently increased its profile with
the addition of the NATP ‘Wall of Fame’,
where the careers of outstanding apprentices from previous years are brought into
the spotlight.
About the historical perspective the
14 • CSC News - March 2008
‘Wall of Fame’ has brought to the NATP,
Sara Morton, new CEO of the Academy
of Canadian Cinema and Television, comments that, “the achievements of our
graduates are a testament to the positive
impact of the NATP program, made possible thanks to the generous support of
Canadian Heritage, Kodak Canada, Newfoundland & Labrador Film Development Corporation, New Brunswick Film,
Film Nova Scotia, and the Ontario Media
Development Corporation.”
Many NATP alumni, such as David
Morton, Thomas Wallner, and David McCallum, have gone on to win or be nominated for the Academy’s Genie and Prix
Gémeaux/Gemini Awards, giving the program yet another reason to celebrate the
accomplishments of promising filmmakers. Wallner, for example, is a Geminiaward winning writer (for the TV series
Beethoven’s Hair). story submitted by Nicole Novakovics
New NFB Appointments
Marc Rousseau and Jerome S. Zwicker have been appointed as members of
the National Film Board of Canada,
and Cindy Witten has taken up her new
post as Director General of NFB English
Program.
Witten assumed her new duties in late
February, bringing to the NFB a long and
successful track record in factual content
programming.
Vice President of Content at History
Television since 2005, Witten previously served as Vice President of Original Production for History Television,
BBC Canada and National Geographic
Channel Canada from 2002 to 2005,
and production executive for Lifestyle/
Factual at HGTV Canada, Life Network and History Television from 1998
to 2002.
“I’m excited by current directions at
the NFB. It’s an incredible opportunity to
work in one of the world’s great cultural
institutions at a moment when it is clearly
setting the pace for innovation in socially
relevant documentary, animation and digital content,” said Witten. At the Canadian Broadcasting Corporation, Witten was senior producer of Big
Life With Daniel Richler at CBC Newsworld from 1996 to 1998, and director/
journalist at The National from 1991 to
1998. She began her television career as
Current Affairs director/news producer at
CBC Toronto from 1987 to 1991.
She has also served on the Industry
Board for the World Congress of History
Producers, the Hot Docs International
Advisory Council and the Advisory Board
for the Yorkton Short Film and Video
Festival. Witten has an MA in Journalism
from the University of Western Ontario
and a BA in Political Science, University
of Waterloo.
“What impressed me about Cindy’s
career has been her willingness to recognize
www.
academy.ca
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our Industry
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The latest of a number of
industry events on new trends
in digital cinematography, DJ
Woods Productions, in association with Ryerson University
and Post DNA Productions,
assembled a group of leading
edge companies and individuals
to showcase new 4k cinematic
cameras and 4k digital imagery.
Among the many attendees
at the event was George A Willis sasc, csc, the current VicePresident of the CSC. Reached
after the event, Willis said he
“was pleased to see a big turnout and hope that the CSC will
be able to get that kind of atDalsa camera technician Lucian Ion shares a laugh with one
tendance in the future. The one
of the many attendees at a recent 4k digital camera and
thought that I am left with now
production workflow event in Toronto.
more than ever before is that the
time has come to recognize the
talent and take creative risks,” noted Tom fact that ‘digital cinema’ is moving ahead
Perlmutter, Government Film Commis- at an incredible pace and that we, as cinesioner and Chairperson of the National matographers or director’s of photography
Film Board of Canada (NFB). “We’re at a need to recognize and embrace the new
point of great creative renewal for the in- technologies.
stitution—crowned this week with our 5th
The first day saw attendees gather at
Oscar nomination in five years—both in Theatre D Royal Cinema in downtown
traditional and digital media. Cindy brings Toronto, where Peter Jackson’s short Crossthe right skill set of energy, drive and risk- ing the Line was screened. It was shot with
taking to keep the NFB at the cutting edge the Red One 4k camera (and while a true
of innovative media making.”
4k projector was not available, some of
Marc Rousseau graduated from Con- the benefits of this new format’s detailed
cordia University with a bachelor of arts imagery and broad image latitude were
in economics and finance. He has 15 years visible.
experience in management and finance
Also in the spotlight was a Red camera
and more than 20 years in planning. Rous- itself, described by camera technician and
seau is currently a partner with LVR Capi- manufacturer’s rep Marc-André Ferguson,
tal, a financial consulting firm.
Jerome S. as well as local DOP Gregor Hagey, who
Zwicker is currently the president, CEO, has worked with and reported on the Red
and major shareholder of Thorndale In- camera (please see CSC NEWS, Decemternational. He has been on the boards ber 2007 edition).
and committees of many organizations,
Of course, the new 4k technology puts
including Habitat for Humanity and the demands not only on cinematographers
Toronto Blue Jays B’nai Brith Day, as and camera operators, but also – if not
chair and founder.
more so – on post production supervisors, editors and DITs (digital intermedi4K Event Screens Film
ate technicians). Describing some of the
new post processes were local Final Cut
of the Future
The future of 4k is here! Proof arrived Pro Users group rep David Battistella,
in the form of a new short film by noted who described the FCP workflow with
director Peter Jackson, and it received R3D files and wrappers filled with valuits Canadian premiere during a two-day able metadata.
presentation for Film, Television and AdTony Cacciarelli demonstrated the Asvertising industry professionals to expand similate – Scratch component of the 4k
their knowledge of new concepts and workflow, as did Tony Fox of DVS (Cliptechniques in digital media. ster 4k & Cine 4K). Technicolor’s Brian
16 • CSC News - March 2008
Reid described 4k workflows and 35mm
Arri 4k scanners for theatrical release
prints. AJA Video Systems’ Chris Chahley
described his company’s Kona 3 2K workflow and Io HD on-set applications, while
Paul Hearty described the Cinegrid, with
its long-haul transmission capabilities for
high-quality digital media over high-speed
photonic networks.
Supernal Entertainment’s Digital
Cinema Initiative was comprehensively
described by Jay Spencer, while Mark
Northeast from Quantel added his company’s perspective on and solutions for
the 4k workflow. He also mentioned Stereoscopic 3D techniques, and announced
further industry events that will be held
across Canada on 4k related topics. Red One is not the only 4k acquisition
tool available, of course, and so the Dalsa
Camera was also described during the first
day’s agenda, with company rep Lucian
Ion presenting clips from LeVar Burton’s
new film, Tempting Hyenas, shot with the
Dalsa 4k camera and work flow.
Ken Davis, Toronto-based producer
and co-organizer of the event, presented
samples of a 4k image manipulation and
its capabilities in commercial and television applications.
The second day of the event was hosted by Ryerson University and the Rogers
Communications Centre, where additional screenings were held. As well, table top demonstration areas were set-up,
where attendees could get hands-on with
cameras, editing systems and related 4k
technology. The event wrapped up with
a short panel discussion, which explored
both the plusses and minuses of using and
embracing a new techno logy like 4k digital cinema.
There is no one answer, the panel
agreed, as to why 4k, and why now? The
need for higher resolution imagery, that
could then be easily re-purposed across
major delivery platforms, was seen as one
big plus. The ‘horsepower of metadata’
was also described as a positive, as archival
information, digital and IP copy protections and more could be embedded in the
4k data stream.
Challenges to the industry, its established workflows and its established crew
positions, were cited as among the major
hurdles to be overcome. 4k is here now,
the panel reinforced, but it did not arrive
empty-handed.
CAMERA CLASSIFIEDS
Equipment Wanted:
Looking for 35 mm Bell & Howell, Eyemo, either
Q model or Single Lens. Would prefer a donation but will pay if reasonably priced. It is intended for the Canadian Army Film Unit
Museum in Calgary, AB Please call Norm Quick: 1-613-728-2487.
Equipment For Sale:
-DVW700WS Digital Betacam with viewfinder
and 2 wide screen zoom lenses -Canon J15ax8B4WRS SX12 and Fujinon
5.5-47. -Very low hours on new heads. $20,000 plus taxes. Contact Michael Ellis 416-233-6378
Preston Micro Force V+F2 and Hedon M26T Motor complete with cables, rod bracket, and 2 gears.
Like new - $5,000.00 obo
Please call or email Dale Rechner
Image Pacific Broadcast Rentals
604-874-8725 or 1-800-567-0037 ext 2
dale@imagepacific.com
BETACAM SP Camera
BVP550 BetacamSP camera with BVV5 recorder,
complete with:
-Fujinon 15 x 8 broadcast zoom lens
-‘Red Eye’ wide angle adapter
-6 IDX Li-Ion Batteries
-IDX quick charger with AC adapter, Flight case,
soft carry case,
-Sony monitor
$5000 call Christian @ 416.459.4895
-Clear Rain cover for Arri III with carry bag (very
little use) $100
-Delta-4 NP-1 four battery charger $50.00
-1 Petroff 3x3 filter tray $30.00
-2 Sony ECM-50 lav mics with wind covers, clips
and steel cases $100.00
-O’Connor 50 Head - Mitchell mount - with Foba
collapsible legs $800.00
-2 Arturto (Quartz Color) 3KW soft lights. Both
have egg crates and yokes. 1st never used.
2nd has gel holders, feet, standard spud and
$200 worth of new bulbs. Excellent condition.
$400.00 for both. John Banovich
director@JohnBanovich.net or 604-726-5646
Elmo TransVideo TRV16
16mm Film-to-Video Converter
Color CCD; converts mag or optical film
Frame, Color, Iris, Focus adjustments
Excellent working order.
Best Offer Accepted.
Contact Bea
E: feldab@rogers.com
Betacam SP D30 camera, PVV3 Recorder
Back, Fujinon 16X, 9-144 Zoom Lens, Six Batteries, Charger, Power Supply and case, Sony
PVM 80Q 71/2” Monitor and case - $5000
Call Joan Hutton at 416-693-9776
Field and post-production equipment.
Cinematographer’s personal Betacam camera
CSC News - March 2008 •
17
and film sound equipment: Neumann mics, Micron
wirelesses, etc. Sony BVW400 camera, tripod,
lights, grip.
Full list at www.saltwater.ca/equipment
Meerkat Jib Arm
Mint condition, very little use. Comes with hard
transport case. The Meerkat is a mini jib made by
Filmair International. It can take 35mm camera, lens
and matte box combinations. It has been designed
with maximum rigidity and optimum action for its
size and weight, making use of a quick action sliding counter weight arm for speedy set-ups. This jib
arm fits on top of standard heavy tripods, bazookas,
dollies or tracking vehicles and accepts any conventional or nodal fluid head. These can be mounted in
either the upright or inverted mode, to the 150 mm
bowl or Mitchell plate front offset fitting.
The Meerkat is constructed using corrosion proof
materials, and is finished in a black anodizing making it a durable, easy to take anywhere piece of
equipment.
Asking price $ 3800.
Contact Milan Podsedly
T: 416 409-5758
E: milan.podsedly@gmail.com
Padded Barney for Arri SR.
Bright Red...look cool while keeping your camera hot.
$100.00 OBO. Please contact Peter 416-698-4482;
604-730-0860 or peter@peterbenison.com
Arri 35mm 2C camera kit with 3x 400’ magazines and
5 Zeiss 2.2 primes plus 9.8mm Kinoptik - $7900.
Cooke 25-250mm T3.9 zoom - $5000.
Ronford 2004 fluid tripod (150mm bowl) with regular
and baby legs - $4500.
Nikon 50-300mm F4.5 ED lens with support for Aaton or still photography - $1500.
Arri S 16mm camera - older body with variable and
constant motors - $1000. Two empty tube tripod
cases. Email: stringercam@shaw.ca
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 Polarizer 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 mike@corkscrewmedia.net
MORE CLASSIFIEDS ON PAGE 20
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 editor@csc.ca
CSC MEMBERS
CSC FULL MEMBERS
Jim Aquila csc
Eduardo Arregui csc
John Badcock csc
Michael Balfry csc
Christopher Ball csc
John Banovich csc
John Stanley Bartley csc, asc
Stan Barua csc
Yves Bèlanger csc
Peter Benison csc
John Berrie csc
Thom Best csc
Michel Bisson csc
Michael Boland csc
Raymond A. Brounstein csc
Thomas Burstyn csc
Barry Casson csc
Eric Cayla csc
Henry Chan csc
Marc Charlebois csc
Rodney Charters csc, asc
Damir I. Chytil csc
Arthur E. Cooper csc
Walter Corbett csc
Steve Cosens csc
Bernard Couture csc
Richard P. Crudo csc, asc
Dean Cundey csc, asc
Franáois Dagenais csc
Steve Danyluk csc
David A. De Volpi csc
Kamal Derkaoui csc
Kim Derko 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
Michael Ellis csc
Carlos A. Esteves csc
Nikos Evdemon csc
David Frazee csc
Marc Gadoury csc
Antonio Galloro csc
James Gardner csc, sasc
David A Geddes csc
Ivan Gekoff csc
Laszlo George csc, hsc
Leonard Gilday csc
Pierre Gill csc
John Goldi csc
Russ Goozee csc
Steve Gordon csc
18 • CSC News - March 2008
Barry R. Gravelle csc
David Greene csc
John B. Griffin csc
Michael Grippo csc
Manfred Guthe csc
Thomas M. Harting csc
Peter Hartmann csc
Pauline R. Heaton csc
Brian Hebb csc
David Herrington csc
Karl Herrmann csc
Kenneth A. Hewlett
Robert Holmes csc
John Holosko csc
George Hosek csc
Colin Hoult csc
Donald Hunter csc
Joan Hutton csc
Mark Irwin csc, asc
James Jeffrey csc
Pierre Jodoin csc
Martin Julian csc
Norayr Kasper csc
Glen Keenan csc
Ian Kerr csc
Jan E. Kiesser csc, asc
Alar Kivilo csc, asc
Douglas Koch csc
Charles D. Konowal csc
Rudolf Kovanic csc
Ken Krawczyk csc
Les Krizsan csc
Alwyn J. Kumst csc
Jean-Claude Labrecque csc
Serge Ladouceur csc
George Lajtai csc
Marc LalibertÈ Else csc
Barry Lank csc
Henry Lebo csc
John Lesavage csc
Henry Less csc
Pierre Letarte csc
Philip Linzey csc
J.P. Locherer csc
Peter C. Luxford csc
Larry Lynn csc
Dylan Macleod csc
Bernie MacNeil csc
Glen MacPherson csc, asc
Garnet Shawn Maher csc
David A. Makin csc
Harry Makin csc
Adam Marsden csc
Donald M. McCuaig csc, asc
Robert B. McLachlan csc, asc
Ryan McMaster csc
Michael McMurray csc
Stephen F. McNutt csc
Simon Mestel csc
Alastair Meux csc
Gregory D. Middleton csc
C. Kim Miles csc
Gordon Miller csc
Robin S. Miller csc
Paul Mitchnick csc
Luc Montpellier csc
George Morita csc
Rhett Morita csc
David Moxness csc
Douglas Munro csc
Stefan Nitoslawski csc
Danny Nowak csc
Rene Ohashi csc, asc
Harald K. Ortenburger csc
Gerald Packer csc
Rod Parkhurst csc
Barry Parrell csc
Brian Pearson csc
David Perrault csc
Bruno Philip csc
Matthew R. Phillips csc
Andrè Pienaar csc, sasc
Zbigniew (Ed) Pietrzkiewicz csc
Randal G. Platt csc
Milan Podsedly csc
Hang Sang Poon csc
Andreas Poulsson csc
Don Purser csc
Ousama Rawi csc, bsc
William Walker Reeve csc
Stephen Reizes csc
Derek Rogers csc
Brad Rushing csc
Branimir Ruzic csc
Robert G. Saad csc
Victor Sarin csc
Paul Sarossy csc, bsc
Michael Patrick Savoie csc
Gavin Smith csc
Christopher Soos csc
Michael Spicer csc
John Spooner csc
Ronald Edward Stannett csc
Barry Ewart Stone csc
Michael Storey csc
Michael Sweeney csc
Adam Swica csc
Attila Szalay csc, hsc
Christopher D. Tammaro csc
Jason Tan csc
John P. Tarver csc
Paul Tolton csc
Bert Tougas csc
Chris Triffo csc
Sean Valentini csc
Derek VanLint csc
Gordon Verheul csc
Roger 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, soc
Brian Whittred csc
Ron Williams csc
George A. Willis csc, sasc
Glen Winter csc
Peter Woeste csc
Bill C.P. Wong csc
Bruce Worrall csc
Craig Wrobleski csc
Yuri Yakubiw csc
Ellie Yonova csc
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MEMBERS
Don Armstrong
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MEMBERS
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TORONTO
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CSC FULL LIFE
MEMBERS
Herbert Alpert csc, asc
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Wilson MarkleWilson Markle
HALIFAX
902-404-3630
CSC News - March 2008 •
19
Production notes
British Columbia, Prairies
Men In Trees, Season 2 (Series): DOP: David Geddes
csc; OP: Keith Thompson; to Apr 17, North Vancouver, BC
Smallville, Season 7 (Series): DOP: Glenn Winter csc,
David Moxness csc; OP: John Davidson (alternating)
Doug Craik: to Apr 30, Burnaby, BC
Supernatural, Season 3 (Series): DOP: Serge
Ladouceur csc; OP: Brad Creasser; to Apr 11, Burnaby, BC
Ontario, Quebec, Atlantic
Rent a Goalie Cycle III (HDTV Series): DOP: James
E. Jeffrey csc; OP: Kim Derko csc; Feb 13 to Mar 28;
Toronto, ON
Screamers (DVD): DOP: John Tarver csc; OP: Nigel
Markham; HDTV Atlantic Canada
The Last Templar (Series): DOP: Thomas Burstyn csc;
to May 20, Montréal, QC
Calendar of Events of
Interest to CSC Members
March
Feb. 27- Mar. 2 Kingston Canadian Film Festival, Kingston,
ON www.kingcanfilmfest.com
Mar. 1-2 Manitoba Lighting Workshops ‘08, Winnipeg, MB
www.filmtraining.mb.ca/course_listings
8 Showcase ’08, Regina SK
www.smpia.sk.ca
20-23 Dawson City Film Festival, Dawson City, YK
www.dawsonfilmfest.com
29 Canadian Society of Cinematographers Awards Gala
Westin Prince Hotel, Toronto, ON
Visit www.csc.ca for ticket order form, or call the CSC Head
Office
at (416) 266-0591
April
11-17 NAB Trade Show and Conference, Las Vegas, NV
www.nabshow.com
17-27 Hot Docs Canadian International Documentary
Film Festival, Toronto, ON
www.hotdocs.ca
23-24 Toronto Documentary Forum, Toronto, ON
www.hotdocs.ca
CAMERA CLASSIFIEDS
Sony DSR-500WSL DV CAM camcorder hours:
A=1435 B=0776 C=1810 Eng + French manuals. $4,400. Canon YJ18x9-BRS 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 416 516-2661 mercfilm@istar.ca.
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); 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 613-255-3200 cell.
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.
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 416-481-5429.
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 editor@csc.ca
20
• CSC News - March 2008
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.
Kodak is a proud sponsor
of the Genie Awards.
Congratulations to the 28th annual Genie Award nominees for
Achievement in Cinematography.
Miroslaw Baszak
Bruce Chun
Alain Dostie
Vic Sarin CSC
Peter Suschitzky
Shake Hands
with The Devil
Nitro
Silk
Partition
Eastern Promises