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Canadian Publications Mail Product Sales Agreement No. 478423
March 2007 Volume 26, No. 7
Dinosaur Hunters Fly High in 3-D
In this issue:
2007 CSC Award Nominees Gala Presentation Night Coming Soon!
CSC Member on “Legendary” Shoot Camera Course has International Flavour
Bringing independent Canadian film to the world.
Without private sector funding, the world might never share in the
vision of Canada’s filmmakers. That’s why FUJIFILM is proud to help
launch the Reel Support Initiative, which contributes a significant
portion of our negative film & video stock sales supporting
Astral Media The Harold Greenberg Fund/Le FOnds Harold Greenberg.
FUJIFILM encourages other film industry participants to stand with
us in supporting Canada’s filmmakers. Working together, through this
important sponsorship, we can free Canada’s creative minds to bring
great films to the world.
www.reelsupport.ca
visit: www.csc.ca
The Canadian Society of Cinematographers
was founded in 1957 by a group of Toronto,
Montreal and Ottawa cameramen. Since
then over 800 cinematographers and persons in associated occupations have joined
the organization.
Our members now represent the film
and video community in all ten provinces.
Our aim continues to be to promote and
foster the cause of cinematography and
the interests of the Canadian film and video
community.
We facilitate the dissemination and
exchange of technical information, and
endeavor to advance the knowledge and
status of our members within the industry.
As an organization dedicated to furthering
technical assistance, we maintain contact
with non-partisan groups in our industry,
but have no political or union affiliation.
17
CSC EXECUTIVE
President: Joan Hutton csc
Vice-President: Richard Stringer csc
Treasurer: Joseph Sunday phd
Secretary: Antonin Lhotsky
Membership: Philip Earnshaw csc
Publicity: Nikos Evdemon csc
Education: Ernie Kestler
Director Ex-Officio: George Willis csc sasc
Membership inquiries: 416-266-0591
CORPORATE SPONSORS
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CSC Office
Canadian Society of Cinematographers
Executive Director: Susan Saranchuk
3007 Kingston Road Suite 131
Toronto, Ontario M1M 1P1
Tel 416-266-0591 Fax 416-266-3996
email: admin@csc.ca
Editor: Lee Rickwood (416) 260-8859
email: lrickwood@goodmedia.com
Editor-in-Chief: Joan Hutton csc
www.csc.ca
CSC NEWS is a publication of the Canadian
Society of Cinematographers. CSC NEWS
is printed in Toronto and is published ten
times a year. Subscriptions are available for
$75.00 per year in Canada and $95.00 per
year outside the country. Canadian Publications Mail Product Sales Agreement No.
478423.
22
8
CONTENTs
v o l u me
2 6 ,
N o .
7
MARCH 2007
2 - President’s Report - CSC news names new editor
4 - COVER STORY - Dinosaur Hunting wITH Arriflex
8 - INTERVIEW - BRIAN PEARSON, CSC ON “LEGENDARY” SHOOT
16 - INDUSTRY EVENTS - TECHNOLOGY OPEN HOUSE;
EQUIPMENT FLEA MARKET; SUPER 16 SYMPOSIUM; CAMERA ASSISSTANT’S COURSE
20 - AWARDS - CSC NAMES 2007 AWARD NOMINEES
22 - News Clips COVER PHOTO - Astar B3 helicopter
25 - Classifieds
27 - Members
fitted with the Nettman Stab-C nose mount
holding Arri 3D 235 rig with Cooke 15-40
Zoom lenses Photo courtesy William Reeve
28 - Production Notes/CSC Calendar
PRESIDENT’S REPORT
CSC News
Names
New Editor
A
s preparation for the CSC Awards
Gala reach a fever pitch, the enthusiasm and excitement around
being able to recognize and honour the
creative achievements of our membership
is tangible.
As you will see in this issue of CSC
News, jury-selected nominees have been
finalized, and as you know, awards will
be presented Saturday, March 31, 2007 at
the Westin Prince Hotel, Toronto, ON.
If you haven’t already made your plans
for the evening, please contact the CSC
Office at 416-266-0591 for ticket information. Special Honouree and specific
category awards will also be presented.
and creative contributions of Don Angus,
whose occupancy of the Editor’s chair has
come to an end with his retirement. I want
to give Don my warm and heartfelt thanks
for all his hard work and great reporting
over the past 12 years!
Both the Society as a whole, and the
newsletter in particular, have come a long
way in the past dozen or so years, and
Don has consistently been reporting and
documenting our growth and success. I’m
sure the CSC membership will join me in
thanking Don, and wishing him all the
best for the future.
•••
Stepping into Don’s shoes is no easy
task. But, with this issue, I would like
to introduce Lee Rickwood, who we are
welcoming to the newsletter and the CSC
This issue of CSC News also gives us
the chance to acknowledge the hard work
2 • CSC News - March 2007
•••
community. Lee is an independent writer,
magazine editor and video producer, based
in Toronto. His writing is well-known in
the production circles, as he has regularly
contributed to a number of Canadian
industry magazines, including Playback,
Broadcaster and HUB:DL, among others,
as well as U.S. based publications.
Even before joining us, Lee has written about CSC members and their work:
several years ago, in fact, he profiled my
work on the ‘Hitman’ Hart Wrestling with
Shadows documentary. More recently, he
wrote about HD production activities at
Mercury Films, and DOP Nick de Pencier csc.
So, he’s no stranger to the CSC, but I
do hope you will welcome him in his new
position with us, and feel free to contact
him with story ideas or comments about
the newsletter.
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COVER STORY
3-D
Dinosaur Hunting
with the
235
Leads to
New Production
Opportunities
By William Reeve
Jeff Mart, with the 235 3D rig on his Steadicam.
For the upcoming IMAX© movie Dinosaurs Alive! and various other IMAX projects, William White and myself (both of the
3D Camera Company) worked with ARRI on the development
of a super flexible and super lightweight 3D rig, utilizing two of
the award-winning ARRIFLEX 235 cameras, Ultra Prime lenses
and the ARRI Wireless Remote System.
Using small and lightweight 35 mm film cameras to capture
images for IMAX 3D projection provides unprecedented flexibility and unique shooting angles.
3D cinematography is principally a wide-angle medium and
not difficult to put on film. With the right tools and following
some simple guidelines, any experienced director and cinematographer can produce fully-immersive and exciting images for all
types of 3D storytelling.
Arguably the most breathtaking 3D imagery can currently be
achieved in the IMAX 3D™ format.
Unfortunately, the 225 pound (102 Kg) IMAX Solido 3D
camera makes it difficult to get some shots, and prohibits the
use of many shooting techniques that are commonplace in 35
mm feature film production, including handheld shooting, Steadicam, long cranes, gyro-stabilized heads, car mounts, etc. In addition, the lenses available are 25 years old, have a widest aperture
of T4.5 and show various types of distortion, an unwelcome issue
especially for special effects work.
I have been approached many times in recent years by producers of large format films that want smaller, lighter 3D cameras,
with faster, distortion-free lenses and greater depth of field to compliment the breathtaking imagery of the IMAX 3D™ Solido camera system. Everyone wants to find ways to get the real money shots
by getting 3D images in unusual places and from unique angles.
In the past, I had designed several schematic versions of cameras to
achieve these objectives. I had even invented a new shooting format that interlaced Vistavision stereo images at the perfect spacing
for the human eye. However, I was concerned with the emergence
of digital capture, so none of these cameras have been built.
After several years of expecting digital image capture to
overtake our film based design ideas for smaller 3D cameras, I began to realize that digital technologies were giving
birth to new directions in some respects, but falling short
in others - namely rapid high volume onboard storage.
The real accomplishment of digital technology in the
past five to ten years has been the ability to digitally enhance the already exceptional film negative - a process
known as the Digital Intermediate. It is, for instance, possible to scan and digitally “up-res” images shot on 4 perforation/35 mm film to the 15 perforation/70 mm IMAX
projection format. The result can be of sufficient quality
that the difference between the 35 and 65 mm originated
material is very difficult to see.
This capability allowed the development of the
DMR™ (digital re-mastering) process, a technology deA close up of the convergence control. The cameras are mounted on rotating plates
veloped by IMAX to make it possible for any 35 mm film
that are controlled by the convergence lens motor visible below the lenses.
to be transformed into the image and sound quality of an
IMAX movie. DMR™ is used to show first run feature
films on the giant IMAX screens. I realized that the same tech- we needed to get the Ultra Prime lenses as close to each other as
nology could also be used to shoot 3D material with 35 mm film possible. The 235 camera is a natural for this, as it is very small
cameras to be intercut with material generated on 65 mm film.
and lightweight, but still contains all the modern features we
In April of 2006, with several up-coming IMAX films to needed. The engineers at ARRI removed one of the video assist
shoot, my partner William White and I commissioned ARRI to components and mounted it on top of the camera so we could
help us modify two ARRIFLEX 235 cameras to create a small get the cameras even closer together.
and lightweight Super 35 mm 3D System. We wanted to shoot
For perfect synchronization, they installed a small electronics
parallel stereography without mirrors and use the most distortion board into the camera, right underneath the blind connector on
free lenses in the world - the ARR/Zeiss Ultra Primes - to our the camera right side. Luckily, they had anticipated that someone
advantage.
might want to do something crazy with the 235, and had left
With the IMAX movie Dinosaurs Alive! in hot pursuit of some room for the board and extra connector in the 235 design.
equipment, we had only three months to design a special base To control the dual lenses and convergence we used the ARRI
plate and to go shopping for a completely matched set of 235 Wireless Remote System with custom software. Four ARRI lens
cameras and identically matched pairs of Ultra Primes.
motors controlled iris and focus in perfect sync, while a fifth moSebastien Laffoux at ARRI Canada spearheaded the effort to
tor controlled convergence. The framing is performed by looking
gether with Michael Haubmann from ARRI Austria, who coordi- at the video assist images on two 5.8” LCD monitors located on
nated a very enthusiastic team of engineers. We needed synchro- the cameras.
nized master/slave camera movements, synchronous focus, iris and
This made it possible for Dylan Reade, our operator, to view
zoom controls and an extra convergence control channel.
and operate with the first-ever stereoscopic, live action images by
Plus, to optimize normal stereo vision (orthostereo condition), simply using crossed-over eye technique, sometimes also called
William Reeve operating
a handheld shot. Note the
video goggles that allow
him to see the video assist
image.
The 235 3D rig is shown
here mounted to a gyro
stabilized support that rides
on top of a car in the Gobi
desert. William Reeve (left)
and Claude Fortin (right)
still smile, before they get
pummeled with desert dust.
William Reeve with the ARRI 235 3D rig on a Nettman Stab-C head attached to
an Astar B-3 helicopter.
“free-viewing.” Alternatively, the video assist
image can be viewed on video goggles. Since
only the video assist of one 235 was physically
modified, replacing a camera body in an
emergency, as well as using the cameras for
other, non-3D purposes, is easily possible.
Our first tests turned out better than
expected, especially for the critical close
focus shots where the distance between
the lenses - still greater than the distance
between the human eyes - can play havoc
with the 3D effect. This distance is called
the inter-axial distance.
Thus encouraged, we went ahead and
created an articulating base plate that includes an adjustment for convergence, the
angle of the optical axis’ to each other.
Having convergence on the fly in a compact 3D rig is a real first. It allowed us to
adjust convergence to match the lens’ focal length, helping us to visually push the
subject away from more aggressive 3D
that is the result of wider inter-axial distance and increased parallax.
A long standing Toronto-based film
industry machinist, Willy Nikodemus,
created the base plate that is at the heart
of the ARRI 235 3D rig. His designs were
made based on my CAD drawings that
were sometimes only minutes old. There
was a lot of testing and several attempts to
get proper control of the torque required
to accurately “toe in” fully-dressed cameras
on the fly. At the end, Willy installed a revised control mechanism literally seconds
prior to shipping to the first location, the
Ghost Ranch in New Mexico, and then
straight into the scorching sand of the
Gobi Desert in Mongolia.
There we used the rig and all the controls we had built to shoot to its fullest
extent. Keeping all the parameters needed
for a good 3D shot is tricky; you have to
balance convergence, focal length, interaxial distance, distance to subject, lens distortion, type of set and subject and various
other factors.
Our advice: “Don’t do this at home!”
Aside from our experience, we used
3D ‘apparent distance’ software developed
by IMAX to determine the correct convergence settings. I was many times observed
hiding under a dark cloth to make these
calculations on my Palm Pilot.
The results were astounding. The Ultra Prime lenses recorded beautiful distortion-free images at T2. The rig, consisting
of two 235 cameras named “Arnold” and
“Richter”, two Ultra Prime lenses and five
CLM-1 lens motors, weighs only 50 lbs
(22.7 Kg), that is 175 lbs less (80 Kg) than
the IMAX Solido 3D camera! In fact, it
is even smaller than most equivalent HD
rigs, since high-res storage is built-in. The
whole rig operates relatively quietly and
we get the benefit of film’s inherent advantages, including 4K resolution, higher
contrast range and natural color reproduction.
The 235 3D rig completely changed
the way we work on IMAX 3D movies.
Suddenly we can do things that every
normal feature film crew is used to, but
that is impossible with a 225 lbs camera
at T4.5. We went hand held, we flew this
rig under perfect control on the Panther
crane with a 36 foot reach, we placed it
on the Sky Jib, flew in a helicopter with
the rig on a Nettman Stab-C head, flew
in a helicopter of the Central Mongolian
Airways, Jeff Mart flew it on his Steadicam, it was mounted on the bumper of a
Toyota Land Cruiser and bolted on top of
vehicles in the Gobi desert.
We were able to run up and down a
river bed with a Steadicam on a cart, the
same way a Dinosaur would have done.
We shot background plates in dark locations with available light while still getting enough depth of field to keep the
CG guys happy. Never once did we have
a single failure of any kind. The whole
thing worked right out of the box. Thank
you ARRI!
Originally the plan had been to shoot
about 10% of Dinosaurs Alive! with the
235 rig, but the rig worked so well and
gave us such freedom in terms of weight,
lens speed and camera mobility, that we
ended up using it for more than half of
the film.
Months later after the up-res work at
Lowry digital in LA, the Director David
Clarke reported from The Giant Screen
Theatre Association Galveston conference
that when screening the Dinosaurs Alive!
Trailer, the difference the 3D images from
the 235 3D rig and the 70 mm IMAX
footage was imperceptible. The success of
this rig changes some of the conventional
rules for large format production. While
wide angle vistas are still best recorded
on the larger 65 mm negative, we have
proven that recent advances in film stock,
camera, lens and digital intermediate
technology make the use of smaller and
lighter 35 mm cameras possible.
Dinosaurs Alive! is scheduled to be
released in mid-2007. We will continue
to use this rig to shoot other exiting sequences for future IMAX 3D movies,
including our next project, a Stephen
Low IMAX 3D™ film titled Legends of
the Sky. We are already planning a new
lighter and more compact convergence
base plate that allows me to vary the interaxial distance; that is, to move the cameras farther apart from each other for more
aggressive Steadicam work. In addition,
other opportunities are already presenting
themselves. Many of the digital cinema
projectors that are being installed all over
the world are “3D ready” and there is a
new push to digitally convert existing 2D
movies to 3D and to shoot new, original
3D material. I believe that this will open
up the market and we will see a major increase in the number of 3D movies shot
and shown.
Ultimately, I think producers will ad
high frame rates to 3D, since the combination of high frame rate 3D image capture with high frame rate 3D projection
can create a fully immersive, ultra-realistic
environment in any digital cinema. The
best way to capture those high frame rate
3D images is film. So our goal is to further
develop film based 3D cameras to capture
high volumes of information at 48 fps.
These cameras will be able to supply
gorgeous 3D images for large format 3D
projection and for mainstream 3D feature
films in the future. •
Written by William Reeve, csc, with input from William White, Sebastien Laffoux
and Marc Shipman-Mueller. For inquiries
into renting the 235 3D rig, contact the
3D Camera Company at 1 Westside Drive,
Unit # 12, Toronto, Ontario, Canada,
M9C 1S2, telephone: 416-622-9925.
CSC News - March 2007 •
7
INTERVIEW
CSC member Brian Pearson, at left, says First unit DP Andrew Lesnie was generous with direction and support on complex shoot.
Vancouver-based DoP Brian Pearson, csc,
reflects on holiday gifts, lucky breaks and
the important people that have inspired
his successful, award-winning filmmaking
career, in this interview conducted by Don
Angus.
The production itself is achieving almost legendary status. Some ten years
ago, it was to be Ridley Scott’s film, with
Arnold Schwarzenegger said to have the
lead role.
But, with a budget escalating to over
a $100 million USD, the project was
shelved until resurfacing only for a time,
with Michael Bay at the helm and Will
Smith in the lead.
In fall of 2005, the project regained
momentum in the hands of director Francis Lawrence. Finally, according to Production Weekly, more than six months
were set for production on the sci-fi vehicle I Am Legend, an adaptation of Richard Matheson’s 1954 novel (and a remake
of the feature film The Omega Man, with
Charlton Heston).
Filming took place in New York City,
including notable locations such as the
Kingsbridge Armory, Washington Square
Park, the Flatiron Building, Columbus
Circle, St. Patrick’s Cathedral, and the
Brooklyn Bridge, where various military
vehicles and aircraft, as well as hundreds
of PAs and more than 1000 extras, were
involved in the shoot.
Referring to the project (shooting began last September, and principle photography is slated to continue through the
end of this month), Brian Pearson, awardwinning CSC cinematographer, calls the
ambitious shoot “a huge feat” and a “terrific experience.”
Person’s cinematographic experiences, of course, began much, much earlier
– with a holiday gift that has inspired his
entire career:
CSC: What got you interested in cinematography?
When I was a kid my parents used to
give me rolls of Kodak super 8mm film
for Christmas every year. I used to take
my Dad’s home movie camera and shoot
all the film working with my friends as actors. Then came the long wait for the film
to be processed and mailed back - usually
a few weeks!
I experimented with the camera doing
stop animation with plasticine which was
lit by two house-hold bulbs (key and fill?)
but found that frame by frame was quite
a laborious a way to shoot. I had better
luck with live action, recreating scenes
from Star-Trek and other tv shows, and
later, when the film was processed, I drew
in my own laser-beams and explosions by
hand with fine point felt pens, frame by
frame. In the beginning I edited in-camera because I had no way to actually cut
the film together. Only later did I buy an
editing block and begin to glue the film
into some shape.
Where did that original interest come
from? I’ve no idea except that I always
loved that flickering light on the wall
when ever we watched our home movies.
CSC: Where did you study and/or train?
Did you come “up through the ranks” as
assistant, operator etc.?
I entered University of British Columbia (UBC) in 1985 with the intention of
becoming a stockbroker or investment guy
of some sort, for lack of any other passion.
After a year of brain-crushing mathematics and macro-economics, I was somehow
actually accepted into the Commerce Program. But before the program began, I
woke up one night with a sort of epiphany
where I said to myself distinctly, “I’m going to go into film.”
This was a silly notion that I soon
shook off - I knew no one in the film industry nor had any family members who
had done anything even close to work in
the film industry! But, when I went to sign
up for the Commerce courses, I knew I
was making a mistake; I sharply changed
paths to English and later Film Studies.
I studied a double major of English and
Film from 1986-1990 and shot my first
16mm short film in the Film Society. I felt
fortunate to be surrounded by what was a very
creative group in film school including Bruce
Sweeney (who shot my student film, and
I his), Mina Shum (for whom I shot a film
as well), Steve Hegyes (Brightlight Pictures
Producer), Greg Middleton (DP), Catherine
Monk (Film Critic), Reg Harkema (Editor
and Director), Lynne Stopkewich (Director)
and Simon Barry (Screenwriter).
I caught my lucky break when one of
my class-mates referred me to do some
video camera operating for a casting session for Circle Productions, a commercial
production house. Very quickly it became
a regular gig for me and opened the door
for work at Circle first as a Production Assistant, literally sweeping floors, and then,
eventually, a camera-trainee-PA on commercials. Working on commercials was a
great way to learn about lighting because
so many terrific DPs would come to work
with Circle.
Once I gained this experience I became
an IATSE camera trainee in 1991. It was
there that I started to work on dramatic material and eventually upgraded to 2nd AC.
All the while I knew that one day I wanted
to be a cameraman, too. I looked around
me at many of the successful cameramen
and asked them how they became DPs.
Many of them said that they owned their
own camera equipment, more often than
not a 16mm Arri SRII. One of the guys I
asked was DP Ron Orieux, who still owned
his camera and was interested in selling it.
I put together a business plan, scraped together the money and went for it!
During the time I had that SRII, I
found it was a terrific lever to help get jobs.
Many low-budget projects at that time were
still shot on film and I found that if I could
provide a camera to the production for a
modest cost it made it that much more attractive to be hired. I continued to work as
Pearson on location for I Am Legend Action
Unit photography.
CSC News -March 2007 •
9
a 2nd AC for another two years as well as
a little 1st AC work, all the while shooting
on the side whenever I could. Eventually
around 1994 I found the DP work overtook the assistant work and I forced myself
to give up the AC work for good. It was
important to never go back to assisting or
else it would take even longer to change
people’s perception of what I was doing
with my career. Eventually after I built up
my reel a little more I went back to Circle
Productions where I had first started and
let them know that I was shooting exclusively now and both Rob Turner and Fred
Frame were very supportive to hire me as
a DP for a number of commercial spots.
CSC: What was your first job as DOP?
Commercial, music video, short?
My first ‘shot’ as a DP was on The
Resurrected. I was technically one of two
camera trainees on this little (non-union)
low-budget horror film directed by Dan
O’Bannon, who wrote Alien. One day
the production needed a quick day exterior drive-by of a car coming around the
corner. The DP, Irv Goodnoff, handed me
his meter and said “So, you tell me you’ve
shot some stuff before, here ya go...”
So off we went to do this simple shot. I
was operating the camera as well, my first
operating of a 35mm camera and here
comes the car around the corner and I’m
looking through the eye piece and it’s getting bigger and bigger and I don’t really
know my lenses but the car seems to be
getting very close and suddenly I’m pulled
off the camera by the camera grip and the
car skids into the baby-legs and knocks
the camera over onto the car’s hood!
The driver had misjudged the wet
road and lost control of the vehicle. A
close call. But not a day goes by where I
don’t think of that moment and the lesson that sometimes even the most benign
action can turn on you. I certainly think
of that moment when I’m filming actual
stunt sequences.
What’s my first paying job as a DP?
I actually can’t remember. I was always
shooting at the beginning but I wasn’t paying too much attention to whether I was
getting paid or not. I was just so thrilled
that someone was letting me shoot!
CSC: What shoot has been your biggest
challenge? The most fun?
Shooting with Director Vic Armstrong, at right, on I Am Legend has been “an unforgettable experience”
for Pearson.
The biggest challenges of cinematography aren’t necessarily the biggest lighting setups.
On big lighting setups I plan and replan the setup on my own first, then go
through it with the gaffer and key grip,
usually several times to make sure we’re
not missing anything. Much rides on
the setup working right the first time,
as sometimes you just don’t have time to
change things back to the way you would
have liked to be. Other times you’re just
trying to get the director as many shots as
he or she has planned for a sequence in a
very busy day.
The biggest challenges in cinematography, I think, have to do with a moment
in a scene, or a small beat in the film.
Getting the tone right, the fill level on
an actor’s face just so, nailing the look of
a scene for a beat in the film that you’ve
anticipated from the script and direction
-- that is the biggest challenge. And, of
course, making every day.
The most fun I’ve ever had on a film
may have been on Free Willy 3. We were
working on a lake all summer long. I was
shooting the 2nd Unit for the film and
was working in and out of the water with
Walt Conti’s amazing robotic whales,
boats and underwater cameras. When it
got to hot you could just dive right in.
Blissful!
Shooting on the streets of New York
has been an amazing experience on I
Am Legend as well. It is bizarre to see the
streets of New York completely empty day
after day, and Vic Armstrong, the Action
unit director, is a legend!
CSC: Do you have a favorite style of cinematography, or do you just try to fit the
look to the story?
Every script in collaboration with the
director should dictate the style of cinematography and shape a film takes. A
period picture, genre picture and political
film would probably not be best shot with
the same style. As a cinematographer one
of my main challenges is to create the best
look for any given script. It is extremely
important to respect the intentions of the
writer, director and the story and let your
work be guided by these forces and added
to by your own study and experience of
art and life. There are many sources of
inspiration that I draw upon. Painters,
photographers, artists and fellow cinematographers are all a constant source of
inspiration. However, I do prefer a little
contrast in the frame.
CSC: You seem to have a lot of sequels
and horror thrillers in your resume. Any
special reason for this?
With the average cost of making a
movie on the rise it seems that Hollywood is relying more and more on the
11
The end of the world
may be at hand, but this
Russian Arm camera vehicle, used on location in
NYC, looks like it could
survive in any case.
pre-determined audience. We’ve are seeing
films made from diverse media as books,
graphic novels, video games and, of course,
the sequel and the ‘threequel’ and upwards.
It seems inevitable that with so many films
spinning off from other films that one
would occasionally work on a sequel. Well,
I seem to have hit a few in a row.
It’s also a case of what people see on
the reel. When they see that I’ve done a
certain kind of material they know what
they’re getting when they ask me to join
a specific project, thus begetting more
of that kind of project on the reel. The
trick is not to get pigeonholed. I would
love, for instance, to shoot a period piece,
a gritty docudrama or a political thriller!
I’d like to work on projects that have some
social relevance and have something to say
about the human race.
CSC: Who has been your mentor and/or
inspiration? Who has/have been the biggest influence(s) on your career?
Tobias Schliessler was a cinematographer I worked with as a camera trainee on
a tv series in 1992. He subsequently gave
me many career opportunities: a short film
shot in Nantucket, a project with artist
Mark Lewis which turned into five more,
second units on TV movies and Free Willy
3 and others. He was instrumental in helping me traverse the ground from unknown
entity to hirable shooter. His most recent
films Friday Night Lights and Dreamgirls
look totally different from each other, but
each suits its story’s requirements beautifully.
Steadicam operator Dave Crone and I
have worked together on many projects.
He has operated such films as Ronin, Stigmata, I, Robot and many more. His style,
organizational skills and talent are a constant source of inspiration. With his help I
was hired on I, Robot to oversee the ‘additional action unit,’ directed by Andy Armstrong. We started small working beside
the first unit in the stage cleaning up some
shots, but as Alex Proyas’ confidence in us
grew we were handed larger and larger sequences. Working on a film of this scale
was a terrific experience. And I was lucky
to have a terrific DP on first unit to work
with, Australian cinematographer Simon
Duggan. I have since worked with Simon
again on Underworld: Evolution,shooting
the Action Unit, directed by Brad Martin.
Andy and Vic Armstrong are two
brothers who specialize in shooting action
sequences for feature films. They both
have their own distinct style, but both are
amazing at choreographing and photographing action. All of these people I’ve
been privileged to work with inspire me.
CSC: What have you been doing recently?
Tell us some more about your work on I
Am Legend.
I’ve been in New York shooting the Action unit for I Am Legend, directed by Vic
Armstrong. The film stars Will Smith and
is directed by Francis Lawrence. The first
unit DP is Andrew Lesnie who is just a
terrific, warm and supportive guy.
The premise of the film is that a virusstricken, futuristic New York is completely
deserted, except for Will’s character...and
a few other creatures. We started shooting
in August of 2006 in New York, trying to
make the streets look empty - for real! The
production hired 120 PAs to lock up 10
block stretches of Manhattan at a time so
we could shoot with no pedestrians or vehicles other than Will’s car driving down
the street.
This alone is a huge feat. And then we
did it again and again every weekend
until October to complete our stunt-driving sequence!
Then, we scaled down and moved to
Washington Square Park for the climactic
end sequence, set at night of course. We lit
up the better part of the park for two and
a half weeks with two 170’ condors with
18ks, a Musco, four HMI balloon lights
and a handful of other lifts and lights for accents. I don’t think it’s giving anything away
to say that there are some explosions at this
point in the film, but due to filming restrictions we couldn’t actually blow anything up.
Therefore all of the interactive light that the
explosions gave off fell to the lighting department. The lighting team had miles and
miles of cable running all through the park
to facilitate this feat. It finally dawned on me
what we were doing when my veteran gaffer
said, “I don’t think I’ve ever done a lighting
set-up this big before.”
Working with Andrew Lesnie has been
a terrific experience as well. Like Simon
Duggan, a fellow Australian, he is warm
and easy going. As a second unit photographer you are always looking to the first
unit DP for direction and support and Andrew is always there to give it. During prep
we shared a desk side by side so I was able
to spend a lot of time with him before we
started shooting. Our Action Unit started
shooting three weeks before the First Unit
did because we needed the extra weekends
and Andrew came out to operate on many
of those first weekends. He was our Oscarwinning ‘C’camera operator.
All in all it’s been quite a ride. As of
this writing we are heading into our last
10 days of Action Unit. I Am Legend has
been an unforgettable experience, mostly
because of Andrew and Vic, and shooting
in New York. (Release of the Warner Bros
film is targeted for late 2007.) •
Brian Pearson csc
Full Member, Director of Photography
Vancouver, BC
Specialties: Film, Features, Commercials,
Aerial
Awards: CSC Award - Best Cinematography, TV Series Dark Angel “Cold
Comfort”
Selected Credits: Features: 2nd Unit DP:
“Karate Dog”, “Stealing Sinatra”; “Scooby-Doo 2 - Monsters Unleashed”, “After
Alice”, “Urban Legend 2: Final Cut”;
“Sweethearts of the World”; “Tail Lights
Fade”; “Fear II - Happy Halloween”;
“Listen”; “Drawing Flies”; “Hardball”.
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13
Arri’s new D-20 Digital Camera combines the familiar features of film
cameras with state-of-the-art digital image capturing technology. The net
result is a camera that “feels” like what most DPs, operators and focuspullers are used to, while providing a data-rich stream of digital imagery.
Clairmont Camera compliments the D-20 with a huge selection of lenses
and a robust engineering station that’s matched to production needs.
Cinematographer Bengt Jan Jönsson and Digital Imaging Technician
(DIT) Michele De Lorimier share their experiences with the D-20 and
Clairmont Camera.
JÖNSSON: ”I first saw the D-20 in Arri’s
booth at the Cine Gear Expo last year
and knew immediately that I had to try
it. When I asked the rep when the D-20
would be available, he said that
Clairmont Camera had just taken the
first U.S. shipment. I pulled out my cell
phone, called them, and arranged for a
test shoot the following Monday in
preparation for an upcoming ad. The
test gave me the confidence I needed to
recommend the system for the
commercial. Needless to say, I was most
impressed. Based on my experiences I
have tried to integrate the D-20 into
digital jobs whenever possible.”
De LORIMIER: “The D-20 has been very
well received by crews because it
behaves more like a film camera than
the HD systems they have worked with.
It’s almost a transparent transition
because the lenses, filters, and
accessories are all the ones with
which they are familiar.”
JÖNSSON: “The first feature of the D-20
that really caught my attention was the
size of the CMOS sensor chip. Because
the sensor has the same proportions as
a 35mm frame it can use all the lenses
we’re used to and yield the results we
expect from them. I use the Revolution
lens quite a bit, and it’s able to perform
to its full potential with the D-20. Using
probe lenses with other cameras has
been limiting, and the selection of
Primes and Zooms is much smaller.”
De LORIMIER: “The D-20 has two
completely independent 4:4:4 or 4:2:2
HDSDI output pairs. This allows for
additional recording possibilities. On a
recent shoot we used two SRW-1
recorders and did two simultaneous
versions of the entire job. One was REC
709 and the other a partial raw mode.
We were able to send off in the editor’s
direction color correct tapes for
downconversion/dailies, and off to the
visual effects house went the log mode
version. After ingest at visual effects, the
log mode tapes were preserved as
masters for the final tape-to-tape. The
D-20 also has a CVBS output, giving a
downconverted NTSC/PAL signal with just
one frame delay for distribution on the
set. I have found this to be quite helpful.”
MICHELE De LORIMIER
could well be one of the busiest DITs
in the industry, as her mastery of
digital technology and familiarity with
a wide range of equipment keeps her
traveling to shoots around the globe.
Her experiences with the Arri D-20
and Clairmont’s support staff speak
volumes about production efficiency
and the bottom line.
JÖNSSON: “I also like the D-20’s optical
viewfinder, as it’s what I’m used to. It
gives you an accurate representation
of what you’re shooting, and essentially
eliminates an interpretive step (i.e. a
digital viewfinder that can be
maladjusted) as compared to normal HD
methods. I prefer its focus structure and
precision in determining depth of field.
The reflex viewfinder also lets you see
what’s outside of the recorded frame
area. Also there’s a real time NTSC signal
allowing you to see full frame top and
bottom and the Steadicam and crane
operators really appreciate this. And
there’s the flexibility of being able to
swing the viewfinder over to either
side of the camera.”
De LORIMIER: “From reliable cables
to QC’d decks and calibrated, wellmaintained monitors, Clairmont uses the
best of everything in its packages. I can
trust that everything has been serviced in
a manner that is unmatched. I have been
on shoots where production chose lesser
quality equipment from other sources,
which failed, and the down time lost on
the set with the entire crew standing
around cost them far more than what they
hoped to save on the lesser cost rental.”
JÖNSSON: “The fact that Arri has
designed the D-20 similar to the 435
gives you the feel of familiar gear along
with the digital technology. It’s a very
solid piece of equipment. From a DPs
point of view, it’s a real level of comfort.
De LORIMIER: “As much as I like the
BENGT JAN JÖNSSON is one of today’s crop of young cinematographers
who were formally trained on film (at the A.F.I.), and been an integral part of the
“digital revolution” for the past decade. He is likely the first person on the West
Coast to use the D-20 on a job, and has used it frequently ever since.
top notch gear at Clairmont Camera,
I love the service. I come from a rental
house background and know it takes a
great environment to keep staff on for
years and years. I truly believe this is
one of the greatest assets a facility can
have. Most of the employees have been
at Clairmont for a long time…from the
lens and camera technicians to the
office staff. This has a tremendous
effect on quality. For equipment, as
well as service, Clairmont achieves
a rare perfect morphing of film-style
expectations with the great potential
of digital capture and workflow.”
JÖNSSON: When you add up all the
features the D-20 brings to the table,
along with the advantages of digital
technology, I see bigger and better
things on the horizon. About 70% of
the work I do is commercials –with the
balance in TV and feature films—and
there are many opportunities to exploit
the capabilities of the D-20 in all of
these areas.”
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INDUSTRY EVENTS
Sim Video Hosts 2007
Technology
Open House
Television and film industry professionals were out in full force, as Sim Video
hosted its 2007 Technology Open House
at the Toronto headquarters.
The event showcased some of the hottest digital and high definition camera
products available on the market today,
giving producers and cinematographers
the opportunity to investigate newest tools
in the world of digital cinematography.
“With technology continually advancing, events like this are extremely beneficial to clients. It gives them a chance to
check out and compare the multitude of
acquisition products available to them in
the convenience of one location,” said
Rob Sim, President of Sim Video. “Clients rely on our expertise. Having the
manufacturer’s representatives and our
own Sim Video staff available during the
open house allows clients to better evaluate the new technology and determine
how they can incorporate it into their upcoming productions.”
Making a buzz at the February 1st
event was the Panasonic HDX900 the
high definition version of the SDX900,
which gained extreme popularity as the
camera of choice for many specialty channel programs.
“The HDX900 was created with the
foresight of High Definition becoming
the new standard for production and
broadcast” said Kevin McKay, Regional
Account Manager in the Professional Imaging Group at Panasonic Canada Inc.
“That being the reality, Panasonic wanted
to create a user friendly camera that would
deliver the picture quality producers and
broadcasters demand at a price point that
wouldn’t break the budget.”
The HDX900 embodies all of that,
offering a variety of in-camera tools in-
cluding an upgraded 14 bit A/D conversion system and 12-axis colour correction
matrix which allows fine adjustments to
be made in specific color regions. Other
features such as Filmlike gamma, offer an
improved gamma curve to capture more
film-like pictures while the Dynamic
Range Stretching Function allows the
camera to automatically adjust the aperture in scenes with mixed light and dark
areas. This function helps cinematographers achieve the best balance between
shadows and highlights which has often
been a struggle in HD shooting.
Along with XDCAM HD, Sony
Canada and licensed Sony dealer Precision Camera Inc. also had the chance to
show off the latest version of the HDWF900 - the F900R. The F900, considered
a production staple when it comes to HD
production, was recently modified to decrease the size and weight of the camera
body (20% shorter and weighing 2.6 kg
less than the F900). The progressive scan
CCD sensor at the heart of the F900R allows image capture at a variety of frame
rates.
“Above and beyond improved imaging
tools, the reduced size and weight of the
F900R will make a significant difference
to camera operators shooting hand held,”
said Dave Keller, Sony Broadcast Account
Manager.
Bill Long, General Manager of PCI
went on to describe the many new functions available with the F900R: “The new
model has incorporated a number of image enhancement features including Soft
Focus for cinematographers looking to
achieve a more cinematic feel; Adaptive
Detail Control to enhance detail in highlight areas and; Skin Tone Detail which
allows cinematographers to enhance or
Rob Sim, President of Sim Video, has committed
to making the popular Technology Open House
that his company hosts an annual event.
Hands-on exposure to the latest digital video
and cinematography tools brings out producers
and shooters alike; Here, Helmfried Muller, csc
Associate, checks out an HD camcorder from
Panasonic.
Representatives from major manufacturers, including Carlo Beltrano from Canon Canada Inc.
were on hand to talk up the latest products at
the Sim Video Technology Open House in Toronto.
soften the details of an object (or talent)
based on specific colour tonality. The
camera also includes two HD-SDI outputs for convenient on-set monitoring.”
Sales representatives from major lens
suppliers were also on board for the 2007
Technology Open House showcasing a
number of HD and SD lenses. Fujinon
is debuting new HD lenses, including a
very long HD telephoto lens, this spring.
Canon’s popular line of HDgc lenses continues to expand, with nearly ten being
introduced over the last few years.
“The glass (lenses) you choose can
really make a significant impact on the
look of your production and while some
cinematographers prefer to simply work
with a zoom lens others will choose the
accuracy and precision that prime lenses
deliver,” said Carlo Beltrano from Canon
Canada Inc.
“Digital cinematography has evolved
so much over the years and the technological advances that have been made by lens
manufacturers means that cinematographers now have access to a wide range of
lenses specifically designed for HD applications,” said Stosh Durbacz, Canadian
Sales Manager, Fujinon Inc. “It’s important for us to be able to demonstrate the
capabilities and differences between our
lens products.”
Camera systems like the Thomson
Grass Valley Viper FilmStream were also
on exhibit. John DeBoer, Head of HD
Sales for Sim Video elaborated, “The Vipers have been extremely popular with
feature filmmakers around the world and
have had a similar draw here at Sim. Our
Vipers have been used almost exclusively
on MOWs like Marco Polo and Son of
the Dragon (Reunion Pictures) and most
recently for the feature production of
Nightwatching the latest project by writer/
director Peter Greenaway. Another major
client, Norstar Entertainment Inc., has
also used the Viper for their television series titled Would be Kings.”
Sim Video also gave the crowd a sneak
preview of some commercial test footage shot with the Phantom HD Camera. Created by Vision Research out of
Wayne, New Jersey, the Phantom HD
delivers 35mm depth-of-field imaging in
a high-speed digital HD camera. It is the
only HD camera at this time, capable of
shooting at an incredible 1000 framesper-second at full 1920x1080 HD resolution. Although the actual camera was
unavailable for the event, Sim Video has
two Phantom HD cameras on order – the
cameras should be in-house and ready to
rent by Spring 2007.
All in all, the event was a great success.
“The purpose of the event was to educate
and inform clients about the tools available to them and I think we achieved just
that,” said Sim. “The feedback we have
had from clients has been tremendous
and has reinforced our commitment to
making the Technology Open House an
annual Sim Video event.” •
Sim Video has offices in Toronto, Halifax, Vancouver, Los Angeles and San
Francisco.
Cinequip White Turns Up the
Heat at February Freeze
Billed as a pre NAB show, CinequipWhite held its Annual Trade Show, called
February Freeze, in mid-month.
The company’s Toronto location with approximately 16,000 square feet
of space and showroom facilities - featured new products and leading technology for the broadcast, theatrical, audio
and live entertainment industries. Over
50 exhibitors were booked to bring in
products from Japan, the Americas and
Europe. Cameras and camera accessories, including lenses, filters, supports
and power supplies, were shown, along
with new gear for lighting, teleprompting,
cable installations, grip/staging and more.
For example, Panasonic showed groundbreaking camera technology with their
new Series 2000 camera and introduced
a follow up camera to its AG-DVX200
– the HPX 500, a 2/3” DVCPRO HD
camcorder. Recording to P2 cards, the
camcorder shoots 32 high definition and
standard definition formats.
JVC recently expanded its ProHD
line-up with the full-res GY-HD250U
HD progressive camcorder. The “compact
shoulder” form factor encompasses full
60p record capability, choice of different
lenses with patented ‘Focus Assist’ mode,
and enhanced Cine Gamma image controls.
CinequipWhite also reps The ARRI
Group, which had recently introduced the
ARRIFLEX 416, a new Super 16 camera compatible with the same lenses and
accessories used by its 35mm cousins. Its
speed is variable from one to 75 fps, and
the mirror shutter can be manually adjusted from 45 to 180 degrees.
Of course, the popular CSC/CICA
Flea Market was on again this year, where
members and attendees could swap space
for cash – and vice-versa – by selling or
buying used equipment.
CinequipWhite serves the production industry in Canada through offices across the
country.
More than 16,000
square feet of space
was filled during
February Freeze, as
CSC and CICA members and trade show
attendees perused
the used gear shown
in the Flea Market.
17
A
t the recent Super 16mm Symposium, CSC members and attendees had a unique chance to see Super 16mm originated images, projected
in High Definition on the big screen, in
the large theatre environment at York University
Presenter Richard Stringer, csc, reported on the proceedings, saying that
“The phenomenal results made me realize
that standard def NTSC formats do not
show the full potential for Super 16mm.
It looks great on the big Hi Def screen!”
In general, Super 16mm is accepted and
used actively in HDTV distribution, even
in the U.S. (where 35mm is traditionally
shot), Stringer noted, adding that recent
U.S. shows shot on Super 16mm included: Sex in the City, Friday Night Lights, The
O.C., One Tree Hill, Tell Me You Love Me
and In Case of Emergency.
Stringer’s report continues:
“Most networks now list their acceptable HD formats (film and video) and
these are updated from time to time. The
PBS red book states Super 16mm may be
acceptable if properly transferred by a high
definition telecine.
“I thoroughly enjoyed
the symposium this past
weekend and look forward
to the next CSC event!” Jason Agar, LIFT
“There was a lot of surprise when Discovery HD USA declared that Super 16
was not an acceptable acquisition format.
This statement is on their website: “Super
16mm material: high definition datacine
transfers of this material do not currently
produce results that are acceptable for usage in Discovery HD Theater programs.
“Other networks have followed suit
with this decision, including certain departments of the BBC. The Canadian
HDTV website, CDTV, includes a comment that many broadcasters are not accepting Super 16mm for HD (Ed’s Note:
The www.cdtv.ca suspended operations
recently; the site is no longer active). They
do not mention that most Canadian networks include Super 16mm shows on their
HD channels.”
Stringer pointed out that new technologies - as well as ongoing improvements
in lenses, stocks, scanners, and digital intermediates – can make Super 16mm even
more desirable for HDTV use. Manufacturers are working on the issue, he added.
“In its research, Kodak has realized that
part of the misunderstanding is caused by
16mm imagery (especially shot under certain conditions) being degraded by compression used by HD broadcasters. Kodak
has joined forces with Teranex to create
new technology to address this issue and
at the same time manipulate grain levels
while maintaining fine detail.
“Arri has developed new scanning
equipment with improved registration
and sophisticated image control to get the
most out of film’s wide latitude.
In conclusion, Stringer updated a Canadian network survey of recent Super
16mm HD production, first noting that
“the CBC is pretty ambivalent about restrictions on formats right now. They are
broadcasting HD versions of Intelligence
and Above and Beyond. CTV is playing
Corner Gas, Instant Star, and Degrassi:
The Next Generation. Global is running
Falcon Beach. Alliance Atlantis (in the
midst of a take-over by Canwest) has no
problem with Super 16mm if it is transferred to HD properly. Right now AA has
National Geographic and Showcase HD
channels with History and HGTV to follow later in 2007. Arthur Cooper talked
about shooting G Spot at the Symposium
- it runs on Showcase HD.”
Stringer gave special thanks to all the
presenters and sponsors for the Super 16
Symposium, including York University,
Sim Video (for the HDCAM decks), John
Hodgson (for recording the event), Susan
Saranchuk (for getting all the details right)
and Ernie Kestler, for helping put the panels together.
The thanks that Stringer gave were
echoed after the event by attendees and
participants. “The CSC-S/16 symposium was brilliant! The
hosts and guests DOPs
were very informative.”
Roy Marques, csc Associate,
DP/Camera Operator
Sandy Thomson, for example, gave his
congratulations to all involved, saying it
was the best CSC event he’d ever attended, and joking that he goes back to 1970
– “though not continuously!”
Thomson, chair at the Thomson-Gordon Group of companies, decided to reenter the film business a couple of years
back, and chose Super-16 as his preferred
medium at the time.
“I have no doubts it was the right path
and the events of [the Symposium] simply
reinforced the decision,” he says now.
“I re-entered the business of filmmaking about two years ago after a hiatus of twenty five years and what changes
I found in shooting and post!. Once again,
I’m a neophyte. But it’s fun, and I’m looking forward to my ‘last career’ shooting
Super 16!” •
by Ernie Kestler, Education chair
I
nternational participation and a
comprehensive itinerary combined
to make the 2007 CSC Camera Assistant’s course a successful and rewarding
experience for all involved.
Course participants came from as far
afield as Mexico, in the case of Manual
Alejandro Rios Ceron, and a small town
on the border between France and Switzerland, in the case of Yohann Malnati,
who had moved to Toronto eight months
before the course. Other course participants came from Montreal, Winnipeg,
King City, Grimsby, and Toronto, ON.
A comprehensive itinerary for the
course, held February 16 – 25 in Toronto,
included the PS facilities on Commissioners Street; Clairmont Camera, Panavision
Canada, Technicolor, David J. Woods
Productions, and, for the first time, a visit
to the new Kodak Canada
Course participants had a full compliment of cameras to work with, including
the 35 Aaton, Super16 Aaton, Arri III,
Moviecam, BL4, SR2, SR2 High Speed,
SR3, SR3 High Speed, Arricam St, Panflex GII, Platinum, Millenium, Millenium XL, Panastar, Arri 535, Arri 435 and
PanArri 435.
Students learned how to test equipment with hands-on sessions at Clairmont, while paperwork and related duties
were also explained. A full day was spent
at David J Woods Productions, where students were given different perspectives on
the state of video production.
Interactive and informal evening
discussions with Peter Benison csc and
George Hosek csc, who both showed their
reels, were conducted. While at Panavision, instructor Richard Wilmot was assisted by Vanesa Ireson as he demonstrated Steadicam use. Steve Raskin conducted
Course participants and instructors in the CSC Camera Assistant’s Course gathered (at Clairmont Camera, one
of several sites that hosted important course activities) on a chilly day for a warmly–received class photo.
a tour of Technicolor where they viewed
the processing facilities and screened their
tests.
Silvana Marsella and Joe Segreti were
the gracious hosts as the class was among
the first to visit the screening facilities at
Kodak’s new home. The grand finale, a
wrap party at a local restaurant, was a sociable and sometimes argumentative evening,
as the Academy Awards were on TV.
Thanks to all the instructors for sharing
“This course ‘reeled’ me in to
the film world. The instructors all knew what they were
talking about, and the ‘toys’
we got to play with were top
notch, too!” George Simeonidis
their wealth of expertise: Daniel Aboud,
Pierre Bronconnier, Simon Brown, Marty
Carriero, Margaret Demchenko, Vanessa
Ireson, Kevin Leblanc, Ted Overton, Godfrey Pflugbeil, Ernest Spiteri, Kevin Stewart, Mike Williams and Richard Wilmot.
Special thanks to the CSC corporate
sponsors that help make the course a success: Penny Watier at PS Production Services; Denny Clairmont, Jan Madlener
and Dean Tartaglia at Clairmont Camera;
Johanna Gravelle, Silvana Marsella and
Joe Segreti at Kodak Canada; Colin Davis
and Steve Raskin at Technicolor; Helmut
Cramer, Phil Cramer, Jerry Papernick and
Bill Zacharuk at Panavision Canada; David & Diane Woods and Norm Hussey at
David J Woods Productions..
The course participants were: Alejandro Ceron, Jason Charbonneau, Micah
Edelstein, Richard Gira, Bruce Harper,
Jeffrey Hicks, Vincent Hilsenteger, Derek
Hutcheon, Boris Kurtzman, Yoann Malnati, Kar Wai Ng, Stephan Recksiedler,
George Simeonidis and Ryan Woon. •
19
AWARDS
The Jury
Is In,
the Gala
Is Next!
Jury-selected nominees for the
Canadian Society of Cinematographers Awards have been finalized, and awards will be presented
at the Gala Awards Celebration,
to be held Saturday, March 31,
2007 at the Westin Prince Hotel,
Toronto, ON.
If you haven’t already made
your plans for the evening, please
contact the CSC Office at 416266-0591 for ticket information.
Special honouree and specific category awards will be presented.
The CSC 2007 Award Nominees are:
THE ROY TASH AWARD FOR SPOT NEWS CINEMATOGRAPHY
Sergio Magro
Rob McAnally
Thomas Michalak
Storm Damage
California Wildfires
Suicide Bomber
Global BC - CHAN
CTV News
CTV News
THE STAN CLINTON AWARD FOR NEWS ESSAY CINEMATOGRAPHY
Randy Maahs
Randy Maahs
Luke Smith
The Gifted Carver
H. Imbleau & Son
Caribou Matter
CTV Ottawa CTV Ottawa
Aboriginal People’s Television Network
STUDENT CINEMATOGRAPHY Roland Echavarria
Josh Fraiman
Errol X. Lazare
Battery Powered Duckling
Someone Came Knocking
The Heist
York University
York University
The Art Institute of Vancouver
MUSIC VIDEO CINEMATOGRAPHY
Adam Marsden csc
Adam Marsden csc
Adam Marsden csc
Billy Talent Devil in a Midnight Mass
Spy Entertainment
Buck 65 Devil’s Eyes
Revolver Films
Broken Social Scene Her Disappearing Theme Magnet Film Digital
DOCUDRAMA CINEMATOGRAPHY
Wally Corbett csc
Martin Julian csc
Martin Julian csc
Yours, Al
Real to Reel Productions
Digging Up the Trenches
Cream Productions
Hitler’s Last Deadly Secret: U-864 Cream Productions
ROBERT BROOKS AWARD FOR DOCUMENTARY CINEMATOGRAPHY
Michael Grippo csc
Matthew R. Phillips csc
Andrew Watt csc
Housecalls
Skylink - Aviation & Logistics
Remembering Arthur
National Film Board
Acme Pictures
Public Pictures Inc.
DRAMATIC SHORT CINEMATOGRAPHY
Bernard Couture csc
Serge Desrosiers csc
Bernie MacNeil csc
Triangle
Les Eaux Mortes
Solitude
Touareg Productions/Polaris Productions
MetaFilms
BBNS Pictures
PERFORMANCE CINEMATOGRAPHY
Mark Dobrescu csc
Michael Spicer Tony Wannamaker csc
The Velvet Devil
Roxana
Road to Rockstar
West Wind Pictures
Mossanen Productions
“Entertainment Tonight, Canada”
FRITZ SPIESS AWARD FOR COMMERCIAL CINEMATOGRAPHY
Ray Dumas csc
Dylan Macleod csc
Adam Marsden csc
Rogers Email
Ford FusionVertical
Inova Health Systems Cancer
TV DRAMA CINEMATOGRAPHY
Francois Dagenais csc
Norayr Kasper csc
Danny Nowak csc
Heyday!
Booky Makes Her Mark
Dragon Boys
Steam Films
Avion Film Productions Inc.
Spy Films
Triptych Media
Shaftsbury Films
Anchor Point Pictures
TV SERIES CINEMATOGRAPHY
Stephen F. McNutt csc
Battlestar Galactica “Occupation” GEP Productions Inc./
NBC Universal Television
Studios
David Moxness csc
Smallville “Arrow”
Smallville 3 Films Inc.
Rene Ohashi csc, asc
Kidnapped “Special Delivery”
Sony Pictures Television
THEATRICAL FEATURE CINEMATOGRAPHY
Yves Bélanger csc
Jan Kiesser csc, asc
Paul Sarossy csc, asc
Cheech
Beuowulf & Grendel
The Wicker Man
Go Films
The Film Works
Warner Bros.
SPECIAL
HONOUREES
AT
2006
CSC
AWARDS
BILL HILSON AWARD:
Helmut Cremer
“For outstanding service contributing to the
development of the motion picture industry.”
THE FUJI FILM AWARD:
Richard Stringer csc
“For outstanding service to the Canadian
Society of
Cinematographers.”
THE KODAK NEW
CENTURY AWARD:
Pierre Gill csc
“For outstanding contribution to the art of
cinematography.”
UNIQUE AWARD
OF MERIT:
Cathryn Robertson Strength
Bob Pritchard Prod.
“For work of exceptional quality that is
recommended by the jury.”
21
NEWS CLIPS
CSC Member
Nabs ASC Award
Genie Awards to
NFB, CSC Producer
David Moxness, csc, (left)
won the Episodic Television
award at the 21st annual
American Society of Cinematographers Outstanding
Achievement Awards gala in
Los Angeles, held at the end
of February.
It was the first ASC
nomination for Toronto/
Vancouver DOP Moxness.
As reported in the last CSC
newsletter, Moxness was
among five other nominees
for Episodic TV.
Moxness won for his work
in the “Arrow” episode of
Smallville, which airs on The
CW Network. His work on
the show has also been jurynominated for a CSC award.
Ed Burtynsky (left) and Peter
Mettler (DOP) at Cankun Factory
in China. Photo credit: Sanjay Mehta
c 2006 Mercury Films
Manufactured
Landscapes is the Best Canadian
Documentary of the year,
according to the Academy of
Canadian Cinema and Television.
The Genie Award-winning
doc follows renowned Canadian photographer Edward
Burtynsky through China as
he documents that country’s
massive industrial revolution.
Produced by Mercury
Films Inc. (Nick de Pencier,
csc and Jennifer Baichwal)
and Foundry Films Inc. (Daniel Iron), directed by Jennifer
Baichwal, and shot in Super
16mm by Peter Mettler, the
film was a co-production
with the NFB (Peter Starr,
Gerry Flahive).
An NFB co-produced
animated film, The Danish
Poet, won the Best Animated
Short award; it was also nominated for an Oscar® in the
animated short category.
CSC Reports on 2006
at AGM
The CSC held its 2006 Annual General Meeting on February 12, 2007, at
Precision Camera Inc. in Toronto, ON.
Reports from the CSC Executive, including President Joan Hutton csc; Vice
President Richard Stringer csc; Secretary
Antonin Lhotsky; Treasurer Joe Sunday
phd; Membership Chair Philip Earnshaw
csc; Awards Chairperson Susan Saranchuk
and Education Chair Ernie Kestler, were
received, following Opening Remarks
and Remembrances.
Joan Hutton began the meeting with
a minute of silence for members who
passed away during the year, making special mention of the passing of John Seale
csc, Dan Gibson csc, Terry Clairmont,
and Don Hall, saying they all will be sadly
missed.
No nominations were received for the
Executive Board, and so the current executive has agreed to continue in their positions for 2007. All the members of the
Executive Board were warmly thanked for
their dedication and hard work, as well as
administrator Susan Saranchuk, and CSC
News editor Don Angus.
Hutton described how Wm .F. White
had donated space in its building for a
long desired CSC Clubhouse, allowing us
to create a cozy meeting space with freshly
painted walls, couches and a conference
table. A library of books, magazines,
tapes, and photographs is being created,
and archival material is being organized.
During 2006, preparations for celebrations around the CSC’s 50th Anniversary
in 2007 led to the revamping of the logo
and masthead of the magazine. As well,
production of a commemorative photo
book and DVD with member’s interviews
was undertaken, Hutton noted.
CSC Secretary Antonin Lhotsky reminded members that minutes of all
meetings may be viewed upon request,
and that audio tapes are available for listening at the CSC Clubhouse at WFW.
The Vice-President’s report described
recent Society activities, including the
Technology Events at Sim Video, Panavision and CinequipWhite, as well as participation at informative industry events
held at Kodak Canada and Ryerson’s Rogers Communications Centre.
Stringer also noted that the new Clubhouse had already been used for some HD
camera tests, and that more workshops
and hands-on session were being planned
for 2007.
In his Membership Report, Philip
Earnshaw csc, noted that the CSC welcomed 17 new affiliate members, eight
new Associate members and six new full
members, bringing the over-all membership to 490.
The membership committee met twice
in 2006 to review submissions of those
who wished to upgrade to full membership, and following the bylaws and regu-
lations, unanimously approved the six
cinematographers for full member status:
John Badcock csc; Steve Cosens csc; Ray
Dumas csc; Karl Herrmann csc; Adam
Marsden csc; and Kim C. Miles csc.
Health insurance was added as a
new optional member benefit, it was explained, and Earnshaw added that two
new sponsors, Image Pacific Broadcast
Rentals and The 3D Camera Company,
came on-board to show their support for
the CSC.
con’t on pg. 24
35mm/16mm Services | HD/SD Telecine and Editorial | Digital Intermediates
Laboratory Evans: 416.205.8155 | Laboratory Carlaw: 416.461.8090
Postproduction: 416.364.4321
23
from pg. 23 Other reports at the meeting cov-
ered the activities of the Education Committee, including lighting courses and the Camera Assistant’s course, and a review of Awards
recipients and nominees for the year.
Camera Assist Student
Now In TV Rotation
Toronto DoP Pasha Patriki, a CSC
camera assistant student in 2004, has
come a long way since taking the course.
His thirty second commercial, shot
and directed for a Russian online dating
community, captured a Best Low Budget
Commercial award at the Advision Awards
in New York. He’s also just finished work
on a PSA for the State of North Carolina’s
recycling program.
Meanwhile, a music video he shot last
fall hit rotation on Much More Music and
Much Loud, the music specialty channels.
My Little Secret was shot for recording
artist Tara Slone.
Patriki reports he has just upgraded his
equipment package, moving to a Panasonic HVX-200, so he can deliver true
HD imagery in 1080i or 720p, as well as
DVCPRO 50 and DV.
The camera records HD footage direct
to a digital data card or hard disk, eliminating the need to transfer the tapes to nonlinear editing systems. Patriki likes the new
camera (along with his 7” monitor, wireless
lavaliere package, and carbon fibre tripod)
for small fiction shoots (music videos, drama, low budget commercials), and shooting on-the-go projects (like documentaries,
making-of’s, etc).
Kodak Oscar®
Streak Continues
Any bets placed that Eastman Kodak
Company would keep a remarkable streak
alive at the 2007 Academy Awards® were
more than a sure thing.
For the 79th consecutive year, going
back to the first Oscar presentations in
1928, the Best Picture winners have all
been produced on Kodak film. Again in
2007, all five features vying for an Academy Award in the Best Picture category
were produced on Kodak film.
Martin Scorcese’s The Departed was
Named Best Picture of the Year for 2007;
the nominees included Babel, Letters from
Iwo Jima, Little Miss Sunshine and The
Queen.
All of the films nominated for the
2007 Oscar for Achievement in Cinematography were also produced on Kodak
film. The nominees were: Vilmos Zsigmond, ASC for The Black Dahlia; Emmanuel Lubezki, ASC, AMC for Children
of Men; Dick Pope, BSC for The Illusionist; Guillermo Navarro, ASC, AMC for
Pan’s Labyrinth; and Wally Pfister, ASC
for The Prestige.
“From the beginning of the industry, Kodak has recognized that cinema is
a form of artistic expression,” said Mary
Jane Hellyar, president of Entertainment
Imaging, and senior vice president, Eastman Kodak Company. “It is tremendously
gratifying that so many award-winning
artists continue to tell their stories using
Kodak film. We congratulate all of the
2007 nominees for their extraordinary
achievements and look forward to many
more years of partnering with the motion
picture industry in the creation of all its
exciting and compelling work.”
Oscar and Academy Award are registered trademarks of AMPAS.
New HD Lenses
from Fujinon
Fujinon will debut new HD lenses at
NAB2007, including a new HD telephoto
lens, called the widest long lens available,
and new compact ENG-type camera lens.
The new XA88x8.8BESM HD telephoto lens features 88x magnification
and a focal length of 8.8mm to 777mm.
It comes with Fujinon’s patented Precision Focus Assist (PFA) to help addresses
precise focus issues in HDTV production,
shallow depth of focus and the small size
and lower resolution of camera viewfinders.
It can capture images under extreme
low light conditions, supported with an F
number of 1.7 from 8.8mm to 348mm,
and it only drops to F3.8 at 777mm, the
company describes. At 258 (H) x 270 (W)
x 625mm (L) – with PFA, the XA88x8.8
is also quite compact.
The XA88x8.8BESM has Fujinon’s
DIGI POWER digital controls, featuring
F number limit, Quick Zoom, two-shot
presets and other digital functions. The
zoom/focus mode provides three distinctive rotational curves for zoom and focus
– helpful when switching between different production styles.
The XA22x7BES is a lightweight box
lens that features higher optical quality than standard ENG-type lenses, combined with the zoom and focus performance of a larger studio lens. With a focal
length starting at 7mm and ranging up to
154mm and superb F- stop ramping characteristics, it is well suited for shooting in
tight locations and smaller studios.
The wide angle of 7mm (68 degrees 49
minutes) is the widest in its class, and the
XA22X7BES will focus at a close 0.8m.
Panasonic, Panavision and
Deluxe Ink Multi-million
HD Agreement
Panasonic will supply Panavision and
Deluxe Entertainment Services Group
with more than two million dollars in high
definition products over the next year.
“In the past few years, we have seen
Panasonic products reach into ‘film-style’
television production, one of our core
businesses,” said Bob Beitcher, President
and CEO of Panavision, in announcing
the agreement. “The price/performance
ratio of these products – including cameras, VTRs and displays – is impressive.
As HD origination expands around the
world, it makes logical business and technology sense for Panavision to offer a
range of Panasonic equipment to our customers.”
Under a new agreement among the
companies, Panasonic’s HD products
– including cameras, recorders, production monitors and plasmas - will be available at Panavision’s and Deluxe Entertainment’s operations worldwide. Panasonic
will provide both companies with a wide
range of HD equipment including leading DVCPRO HD camcorders (including
shoulder-mount, hand-held and VariCam
HD models); HD VTRs, a full line-up of
LCD HD monitors and new 65” 1080p
plasma displays.
“The substantial investment by Panavision and Deluxe Entertainment in
Panasonic’s production-quality HD cameras, recorders, and monitors for their
prominent customers is a testament to
the extraordinary quality and flexibility
that we can bring to the production and
post-production of motion pictures, television series and television commercials,”
added John Baisley, President of Panasonic
Broadcast U.S.A. “Panavision has a wellestablished, worldwide reputation
con’t on pg. 26
CAMERA CLASSIFIEDS
FOR SALE: 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
WANTED: One or two 400 ft Mags for
Arri “S” 16mm by member of 669.
Please contact Enrique 604-313-9736 or
delrio_fam@hotmail.com.
FOR SALE: Panasonic HVX-200 camera.
Low hours, like new. 8 months left on Canadian warranty. $4900.00. Call David @
416-920-7979.
FOR SALE: Sony DSR 570WS with Canon
lens YJ 18X9B4 IRS Head Drum Operating
1364 hours, tape transport 613 hours, total
operating 1877 hours. Package includes:
Porta Brace with rain cover, Circular Polerizer filter, 1/2 Black Promist filter. Some
minor cosmetic wear and tear but in good
working condition. C$15,000. For more
info and pictures contact Mike Sorel at
(403) 451-4484 ext 273 or mike@corkscrewmedia.net
FOR SALE: Sony DSR-500WSL DV CAM
camcorder hours: A=1435 B=0776
C=1810 Eng + French manuals. $4,400.
Canon YJ18x9BRS zoom lens $2,200.
Canon YJ12x6.5B4 zoom lens $4,000.
Sony UVW-100 Betacam SP camcorder,
Fujinon S16X6.7BRM- 18 zoom lens, Porta
Brace soft carrying case $1,250. Contact
Nick de Pencier, Mercury Films 416 5162661 mercfilm@istar.ca.
FOR SALE: Field and post-production
equipment. Cinematographer’s personal
Betacam camera and film sound equipment: Neumann mics, Micron wirelesses,
etc. Sony BVW400 camera, tripod, lights,
grip. Full list at www.saltwater.ca/equipment
FOR SALE: David J. Woods Heads Up
LCD eyeglasses kit for viewing NTSC
video. Custom power pack – uses (NP-98)
Sony batteries – one included. Original value over $1,000, priced to sell at $300. Aluminum water resistant / crash box for Arri
2C with 400 mag. Replaceable plexiglass
window, $150. Selection of lead lining to
avoid x-ray damage when travelling with
film stock, $50. Non-folding rolling spreader, $20. E-mail: richard@stringercam.com.
FOR SALE: Arri SRII camera, excellent
condition: SRII camera body (metered);
magazine 40 ft.; Zeiss 10-100mm T2.0 II
BA-auto; Zeiss 9.5mm T1.3; right-hand
grip on & off (flat plug);
con’t
25
support LS.6 for Zeiss 10-100 & 2x Mutar; clap
ring for Zeiss 10-100mm T2.0 II; guide rails
(give lightweight support); Arri variable speed
unit VSU; custom case (for 16mm camera
package). $19,900 plus taxes. Call 613-2553200 cell.
FOR SALE: Sony DVW700 Digital Betacam
camera, excellent condition:1 Sony viewfinder; 1 Sony battery case; 1 Sony tripod adaptor;
1 8x160mm Canon zoom lens. $19,900 plus
taxes. Call 613-255-3200 cell.
FOR SALE: 52 filters 4 x 5.6, Enhancer, Neutral Density, Black Promist, Ultra Contrast, Soft
FX - 85, 8N3, 6, 9, Regular Fogs, Corals, Sepia,
Black Net, Low Light, Day for Night; 8: 6.6 x
6.6. ND Soft Grads, Sunset, Twilight, Sky Blue;
5: 4x4 Circle Diffusion; 3: 4 1/2 Round Polas;
3: 138 Round Polas. Contact Bob Saad at 416481-5429.
Camera Classifieds
A FREE service to CSC members.
If you have items you’d like to buy
or sell, please e-mail your list to
editor@csc.ca
from pg. 24 for offering high-precision camera
systems and associated production products, and we are delighted they are moving
to Panasonic as a key digital camera systems
supplier for both tape-based and tapeless
solid-state memory-based P2 products.”
“The digital image processing we perform at Deluxe requires the highest quality tools available,” said Cyril Drabinksy,
CEO, Deluxe Entertainment Services.
“We believe that Panasonic’s range of
well-engineered HD video equipment fulfills the demanding requirements of both
ourselves and our customers.”
Panavision and Deluxe Entertainment
are both owned by MacAndrews and Forbes
Holdings, Inc., Panasonic Canada Inc. is a
principal Canadian subsidiary of Matsushita
Electric Industrial Co., Ltd., (MEI).
PS Presents
Industry-Builders Award
Wayne Grigsby and David MacLeod
of Big Motion Pictures Ltd. are the winners of the 2007 PS Industry-Builders
Award, it was announced by Douglas Barrett, President and CEO of PS Production
Services Ltd.
The award was presented by PS
Founder and Executive Chairman, Doug
Dales, together with last year’s inaugural
recipients, Epitome Exec’s, Linda Schuyler
and Steven Stohn. “This award is for Wayne Grigsby’s
tireless commitment in leading the Atlantic Film Festival through significant
restructuring and growth,” said Barrett,
“and to his business partner, David MacLeod, for his voluntary efforts as Found-
ing Chairman of the Nova Scotia Motion
Picture Industry Association. The award is
unique because it honours those individuals who have enhanced the Canadian Film
and Television Industry through exemplary dedication and volunteerism.”
“The key component of this trophy is
my first Angénieux lens from France, now
thirty years old,” said Dales. ”It has seen
its way through nearly as much Canadian programming as the CRTC, and I’m
proud to turn it over to two very worthy
individuals, permanently mounted as part
of this beautiful statuette.”
Big Motion Pictures Ltd. is an independent production company based
in Chester, N.S. Grigsby and MacLeod
launched the company in 1999 and have
since introduced multiple acclaimed Canadian titles, including Task Force: Caviar
and Trudeau: The Early Years. IPBR and ICBR Support
Silent Sound Media on
Rock Doc Production
Image Pacific Broadcast Rentals
(IPBR) Vancouver, and Image Central
Broadcast Rentals (ICBR) Toronto, were
a critical part of the recent Silent Sound
Media documentary production of Juno
Award-winning band, Alexisonfire.
Shot with four separate Sony HDWF900/3 HDCAM high definition cameras,
using exclusively Fujinon HD lenses, the
concert footage is the major performance
portion of a 90 minute documentary,
produced by Meg Spevak and directed by
Marc Travares. It’s their 4th year student
thesis project, as the two are in their final
year at Ryerson University’s School of Radio and Television Arts.
The production team also utilized numerous Panasonic AG-HVX-200 HD P2
cameras to cover backstage during six soldout Toronto performances in December,
2006. The band was also chronicled on
its headlining tour across the U.S., which
will also be integrated into the final documentary.
Richard Grunberg, Ryerson University
School of Radio and Television Arts Professor, introduced the students to IPBR/ICBR
National Operations manager Dale Rechner, in hopes of finding some guidance and
assistance for this major endeavor.
ICBR operations manager, Anthony
Sacco, was instrumental in putting together a high definition camera package
that suited the production’s needs and
budget. IPBR/ICBR recruited Stosh
Durbacz of Fujinon Inc. to participate
in the project which utilized Fujinon’s
HA18x7.6BERM, HA16x6.3ERD, and
HA22x7.8ERM High Definition lenses.
Footage of the performance is to be highlighted at this year’s NAB in Las Vegas at
Fujinon’s Product Booth.
Silent Sound Media is an emerging
production company that was created as a
way of collaborating with up and coming
Canadian talent. Distort Entertainment,
and Bedlam Music Management, Alexisonfire’s management team, were also valued team members on the project. IPBR/
ICBR says it embraced the opportunity to
participate in the educational production
process, noting the producers are future
leaders in Canada’s film and video production community. •
CSC FULL AND LIFE MEMBERS
CSC FULL MEMBERS
Nicholas Allen-Woolfe csc
Jim Aquila csc
Eduardo Arregui csc
John Badcock csc
Michael Balfry csc
Christopher Ball csc
John Banovich csc
John Bartley csc asc
Stan Barua csc
Yves Bélanger csc
Peter Benison csc
Dean Bennett csc
John Berrie csc
Thom Best csc
Michel Bisson csc
Cyrus Block csc
Michael Boland csc
Raymond Brounstein csc
Thomas Burstyn csc
Barry Casson csc
Eric Cayla csc
Henry Chan csc
Marc Charlebois csc
Rodney Charters csc asc
Bruce Chun csc
Damir Chytil csc
Richard Ciupka csc
Arthur Cooper csc
Walter Corbett csc
Steve Cosens csc
Bernard Couture csc
Richard Crudo csc asc
Dean Cundey csc asc
Francois Dagenais csc
Steve Danyluk csc
David De Volpi csc
Kamal Derkaoui csc
Kim Derko csc
Jacques Desharnais csc
Serge Desrosiers csc
Jean-Yves Dion csc
Zoe Dirse csc
Mark Dobrescu csc
Wes Doyle csc
Guy Dufaux csc
Ray Dumas csc
Albert Dunk csc asc
Philip Earnshaw csc
Ian Elkin csc
Michael Ellis csc
Carlos Esteves csc
Nikos Evdemon csc
David Frazee csc
Marc Gadoury csc
James Gardner csc
David Geddes csc
Ivan Gekoff csc
Laszlo George csc
Len Gilday csc
Pierre Gill csc
John Goldi csc
Russ Goozee csc
Steve Gordon csc
Barry Gravelle csc
David Greene csc
John Griffin csc
Michael Grippo csc
Manfred Guthe csc
Thomas Harting csc
Peter Hartmann csc
Pauline Heaton csc
Brian Hebb csc
David Herrington csc
Karl Herrmann csc
Kenneth Hewlett csc
Edward Higginson csc
Robbi Hinds csc
Robert Holmes csc
John Holosko csc
George Hosek csc
Colin Hoult csc
Donald Hunter csc
Joan Hutton csc
Mark Irwin csc asc
Maris Jansons csc
James Jeffrey csc
Silvio Jesenkovic csc
Daniel Jobin csc
Pierre Jodoin csc
Martin Julian csc
Norayr Kasper csc
Glen Keenan csc
Ian Kerr csc
Jan Kiesser csc asc
Alar Kivilo csc asc
Douglas Koch csc
Charles Konowal csc
Rudi Kovanic csc
Ken Krawczyk csc
Les Krizsan csc
Alwyn Kumst csc
Jean-Claude Labrecque csc
Serge Ladouceur csc
George Lajtai csc
Marc Laliberte Else csc
Barry Lank csc
Henry Lebo csc
John Lesavage csc
Henry Less csc
Pierre Letarte csc
Philip Linzey csc
Walt Lloyd csc
J.P. Locherer csc
Peter Luxford csc
Larry Lynn csc
Duncan MacFarlane csc
Dylan Macleod csc
Bernie MacNeil csc
Glen MacPherson csc
Harry Makin csc
Adam Marsden csc
Donald McCuaig csc
Robert McLachlan csc asc
Ryan McMaster csc
Michael McMurray csc
Stephen McNutt csc
Simon Mestel csc
Alastair Meux csc
Gregory Middleton csc
C. Kim Miles csc
Gordon Miller csc
Robin Miller csc
Paul Mitchnick csc
Luc Montpellier csc
George Morita csc
Rhett Morita csc
David Moxness csc
Craig Mullins csc
Douglas Munro csc
Stefan Nitoslawski csc
Dan Nowak csc
Rene Ohashi csc asc
Ron Orieux csc
Harald Ortenburger csc
Gerald Packer csc
Rod Parkhurst csc
Barry Parrell csc
Brian Pearson csc
David Perrault csc
Barry Peterson csc
Bruno Philip csc
Matthew Phillips csc
André Pienaar csc
Edward Pietrzkiewicz csc
Ronald Plante csc
Randal Platt csc
Milan Podsedly csc
Hang Poon csc
Andreas Poulsson csc
Pascal Provost csc
Don Purser csc
Joel Ransom csc
Ousama Rawi csc bsc
William Reeve csc
Stephen Reizes csc
Derek Rogers csc
Brad Rushing csc
Branimir Ruzic csc
Robert Saad csc
Victor Sarin csc
Paul Sarossy csc bsc
Gavin Smith csc
Christopher Soos csc
John Spooner csc
Ronald Stannett csc
Barry Stone csc
Michael Storey csc
Richard Stringer csc
Michael Sweeney csc
Adam Swica csc
Attila Szalay csc
Christopher Tammaro csc
Jason Tan csc
Gabor Tarko csc
John Tarver csc
Brian Thomson csc
Paul Tolton csc
Bert Tougas csc
Chris Triffo csc
Sean Valentini csc
Derek Vanlint csc
Gordon Verheul csc
Roger Vernon csc
Steve Vernon csc
Daniel Villeneuve csc
Daniel Vincelette csc
Michael Wale csc
John Walker csc
James Wallace csc
Tony Wannamaker csc
Peter Warren csc
Andrew Watt csc
Jim Westenbrink csc
Tony Westman csc
Kit Whitmore csc
Brian Whittred csc
Ron Williams csc
George Willis csc sasc
Richard Wincenty csc
Glen Winter csc
Peter Woeste csc
Bill Wong csc
Bruce Worrall csc
Craig Wrobleski csc
Yuri Yakubiw csc
Ellie Yonova csc
FULL LIFE MEMBERS
Herbert Alpert csc asc
Robert Bocking csc
David Carr csc
Christopher Chapman csc
Robert Crone csc
Kenneth Davey csc
Kelly Duncan csc dgc
Kenneth Gregg csc
Brian Holmes csc
Maurice Jackson-Samuels csc
Douglas Kiefer csc
Naohiko Kurita csc
Harry Lake csc
Douglas Lehman csc
Douglas McKay csc
Donald McMillan csc
Jim Mercer csc
Roger Moride csc
Dean Peterson csc
Roger Racine csc
Robert Rouveroy csc
Ivan Sarossy csc
Josef Sekeresh csc
Walter Wasik csc
Ron Wegoda csc
27
Production notes AND csc calendar
British Columbia, Prairies
Ontario, Quebec, Atlantic
As of March 17th, the new address for I.A.T.S.E. Local 669 is 3823 Henning Drive, Unit 217, Burnaby, BC, V5C 6P3 PH: 778-330-1669 FAX: 778330-1670. The 1-800-531-3855 remains the same. The Calgary IATSE office is temporarily closed; direct any correspondence or communication
to the B.C. Office.
Cadavres (Feature Film): DOP: Bernard Couture; to Mar 23, Montreal, QC.
4400 Series 4 (Series): DOP: Tony Westman, csc; Op: Micheal Wrinch; to
July 24, North Vancouver, B.C.
Blood Ties HD (Series): DOP: Danny Nowak, csc; Op: Chris Tammaro, csc;
to Mar 23, Maple Ridge, B.C.
Men in Trees – Season 1 – 35mm: DOP: David Geddes, csc; Op: Keith
Thomson; to Apr 3, North Vancouver, B.C.
Smallville – Season 6 (Series): Glen Winter, csc; Op: David Moxness,
csc; to Apr 12, Burnaby, BC
The Hulk (Feature Film): DOP/Op: TBA; to Oct 12, Toronto, ON.
Ice Planet (Series): DOP/Op: TBA; DELAYED, Toronto, ON.
Murdoch Mysteries (Series): DOP/Op: TBA; to Sep 15, Toronto, ON.
Rent A Goalie – Season 2 – HD: DOP: James E. Jeffrey, csc; Op: Kim Derko, csc;
to Apr 5, Toronto, ON.
Too Young to Marry (MOW HD): DOP: Stephen Reizes, csc; Op: Jeffrey Hohener; to Mar 19, Ottawa, ON.
Twitches 2 (TV Movie): DOP: Manfred Guthe, csc; Op: TBA; to May 18, Toronto,
ON.
The Quality of Life (MOW): DOP: David Frazee, csc; Op/st: Lou Gruzelier;
to Mar 3, Burnaby, B.C.
Horsemen (Feature Film): DOP: Eric Broms; Op: Gilles Corbeil; to Mar 22,
Winnipeg, MB.
Schedule of Meetings and Events of Interest to CSC Members
TORONTO
Saturday, March 31: The 2007 CSC Awards Gala will be held at the Westin Prince Hotel in Toronto. For information and tickets, call (416) 266-0591.
Thursday, March 22 - 25: Canadian Filmmakers Festival, various, Toronto, ON www.canfilmfest.ca
March 27-April 1: Clairmont Camera Toronto is presenting an Open House and a series of demos and training seminars featuring the exciting new Arri
D-20 digital camera. Special sessions for CSC and/or IATSE members are scheduled. For more information, call 416-467-1700.
Tuesday, March 27: Clairmont Open House. RSVP to Iris at 416-467-1700
Thursday, April 19 - 29: Hot Docs 2007, various, Toronto, ON www.hotdocs.ca
Tuesday, April 24 – 27: ShowCanada 2007 Conference and Trade Show, Niagara Falls, ON www.showcanada.ca
The Canadian Filmmakers Festival is a non-profit organization devoted to the celebration, promotion and advancement of Canadian filmmaking talent. By
exclusively featuring Canadian films, our goal is to provide filmmakers with valuable showcasing and networking opportunities and to offer the public homegrown productions to view and enjoy.
Check www.csc.ca/calendar for the latest information

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