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A PUBLIC ATION OF THE C ANADIAN SOCIET Y OF CINEMATOGRAPHERS
Canadian Publications Mail
Product Sales Agreement No. 478423
April 2006
Volume 25, No. 8
ALSO IN THIS ISSUE:
CSC AWARDS: Winners and Nominees
MORE AWARDS: Genies, ASC and Blizzards
PRESIDENT'S REPORT: On Solid Ground
EDUCATION: CSC Assisting and Lighting Courses
DISCUSSION: Kodak's On Campus Day
REMEMBERING: Dan Gibson csc
NEWS CLIPS: Report from CSC West
The Canadian Society of Cinematographers was
founded in 1957 by a group of Toronto, Montreal
and Ottawa cameramen. Since then over 800
cinematographers and persons in associated
occupations have joined the organization.
Our members now represent the film and
video community in all ten provinces. Our aim
continues to be to promote and foster the cause of
cinematography and the interests of the Canadian
film and video community.
We facilitate the dissemination and exchange
of technical information, and endeavor to advance
the knowledge and status of our members within the
industry. As an organization dedicated to furthering
technical assistance, we maintain contact with nonpartisan groups in our industry, but have no political
or union affiliation.
CSC EXECUTIVE
President: Joan Hutton csc
Vice-President: Richard Stringer csc
Treasurer: Joseph Sunday phd
Secretary: Antonin Lhotsky
Membership: Philip Earnshaw csc
Publicity: Nikos Evdemon csc
Education: Ernie Kestler
Director Ex-Officio: George Willis csc sasc
Membership inquiries: 416-266-0591
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CSC OFFICE
Canadian Society of Cinematographers
Executive Director: Susan Saranchuk
3007 Kingston Road Suite 131
Toronto, Ontario M1M 1P1
Tel 416-266-0591 Fax 416-266-3996
email: admin@csc.ca
Editor: Donald Angus (416) 699-9149
email: editor@csc.ca
Editor-in-Chief: Joan Hutton csc
CSC NEWS is a publication of the Canadian Society of
Cinematographers. CSC NEWS is printed in Toronto and
is published ten times a year. Subscriptions are
available for $75.00 per year in Canada and
$95.00 per year outside the country. Canadian
Publications Mail Product Sales Agreement No. 478423.
volume 25, No. 8
April 2006
Contents
2 - President’s Report
- On Solid Ground
1 4-
Cover Story
John S. Bartley csc asc
Lost... in Hawaii
8 - CSC Awards
4
Winners and Nominees
9 - More Awards
- Genies, ASC and Blizzards
10 - Education
- CSC Assisting and Lighting Courses
12 - Discussion
- Kodak’s On Campus Day
10
14 - Remembering
- Dan Gibson csc
15 - Members
16 - News Clips
CSC West Report...
and more
17 - Classifieds
16
(from left) Denny Clairmont, Stephen McNutt csc and Serge Ladouceur
csc at the March 11 CSC meeting at Clairmont Camera in Vancouver.
20 - Action Production Notes
- CSC Calendar
Visit: www.csc.ca
COVER PHOTO: Scene from Lost. © ABC
president’s report
Joan Hutton csc
On Solid
Ground
T
he CSC Awards Gala has come
and gone for another year, and
we congratulate all the winners
and nominees. Their names are printed as a simple list in this issue and we
2 • CSC News
/
April 2006
will have photos and more description
of the 2006 celebration in the Awards
issue next month. We are proud to
acknowledge the work of such talented individuals, especially since they
are among the dedicated professionals
who stayed the course during our
recent down times. The footing was
shaky for a while, but now we seem to
be back on solid ground. Canadian,
Hollywood and foreign producers and
co-producers know they can rely on
us, that we are really good at what we
do, and that our infrastructure is
world-class.
Our CSC members are continuing
to be recognized, both inside and outside of Canada, for their outstanding
visual skills. We offer congratulations
to Derek Rogers and Bernard Couture
for their Gemini wins and Bruce Chun
for his Prix Gémeaux. Couture also
was nominated for a Genie. Jan Kiesser
and Glen Winter earned ASC Award
nominations and Thomas Burstyn and
Rodney Charters were nominated for
Emmys.
We can confidently boast that we
have grown into an important organization of film and video professionals
whose artistic and technical expertise
behind the camera rivals the best in
the world. Success, however, takes
hard work and dedication, and I
express my sincere thanks to the CSC
executive, advisers and staff. Special
thanks to Awards Chair Susan
Saranchuk for her gift of organization
with grace and good taste, and to her
assistant Karen Longland and their
team of volunteers.
Thanks, of course, to our sponsors,
whose generosity makes this festive
evening possible, and to the members
of the awards juries in Toronto and
Vancouver for a tough job well done.
Special mention goes to Jim Mercer
and John Hodgson in Toronto and
Henry Lebo in Vancouver for chairing
the juries.
All of our awards presenters added
a large measure of celebrity and class
to the occasion, and provided us with
a reminder of how broad and collaborative our professional medium is. We
are grateful for their kind participation. We also appreciate the enthusiasm of Ken Shaw, CTV news anchor, in
returning as our host for a second consecutive year. His easy style and good
humour made for a smooth and fun
ride through the various categories.
Finally, congratulations to this
year's three special honourees - Rob
McLachlan csc asc, Ralph C. Ellis and
Bill White - for their many contributions to the industry and the CSC and
for proving that intelligence, dedication and hard work really do pave the
road to success. •
cover story
John S. Bartley csc asc
On Being Lost…
in Hawaii
By Roger Paul
'Moonlight at the beach comes from Dino lights'
Photo: © ABC
B
Tensions boil over as Dr. Jack Shephard (right, played by Matthew Fox )
scuffles with John Locke (Terry O'Quinn).
4 • CSC News
/
April 2006
y now, fans know the story behind the J.J. Abramscreated hit series Lost. An Oceanic flight from Sydney
to Los Angeles crashes on what appears to be a
remote island. Stranded, with slim hopes of being rescued,
48 people struggle to survive the island, its secrets, and
themselves.
Envy the cast and crew behind this hit series, which is
shot on the island of Oahu in Hawaii? They have sun, surf,
and non-stop partying on this incredible island. “Then we
have to deal with the elements, the long drive to locations,
the fact that Panavision isn't a sneeze away. Not to mention
how far it is to the post house,” Vancouver-based cinematographer John S. Bartley csc asc says dryly.
The ABC-CTV series is shot with two Panavision
Millennium camera bodies, two Panaflex G2s, O'Connor
heads, Primo lenses and Bartley's favourite filters by
Schneider in the 1:1.78 format with Kodak 5205 250 daylight for day exteriors and Kodak 5218 500T for night work
and interiors. “Although, for a recent Korean back story, I
used Kodak's 5229 500T Expression to give a little softer feel
and added a 1/2 coral filter for the day exterior scenes,”
Bartley explains. “I like to use the Schneider Tru-polars on
all day exteriors, to darken the ocean and sky.
“Often, moonlight at the beach comes from Dino lights.
However, when there is a lot of fire, I will switch to 18k HMI
lights without any gel (normally it is either Rosco or Lee) to
get more of a colour separation between the fire and moonlight,” he adds. “For those 'rainy' days, we've brought out an
old workhorse, Braun Kobold's 200-watt, 800-watt units,
which are water resistant.
Photo: © ABC
“When we are inside, Mole Richardson tungsten lights
and a mixture of Fresnel and Par lights from LTM are a staple, with those great LED lights from LitePanels for eye
lights and places where it is hard to get conventional light
units in. We also use Atomic flash units for effects shots and
flashes.”
The main location on Lost is what is called “the encampment.” Bartley explains that “it is where most of our survivors have set up home. A very nice piece of coastline just
along from the old surfing town of Hale'iwa. The waves
pound in there, so we try to set the ocean in all the shots
and have a lot of cheating to make that happen. In the winter, the sun is mostly in the western sky. So, it is relatively
easy to keep everything backlit. Sometimes, we will have six
pages to shoot but there are only 11 hours of daylight. It
makes for a busy day with economical setups and a very fast
crew.”
What really challenges Bartley is the back stories. Each
is designed with a different look. “On a recent episode
(#214 called “One of Them”), directed by Toronto-based
Steven Williams, the opening scene is an Iraqi bunker,”
Bartley recalls. “I set light through the windows, using 18k
HMIs supplemented with strobe flashers to suggest a war
going on outside, while the Iraqi soldiers are burning their
records.
“I was trying to go for a reversal cross-processed look for
the flashbacks in the episode, without post-production
time, so I tried to get the same look with lighting and
colour timing,” he explains. “In the interrogation scenes, I
• see page 6
Photo: © ABC
A dramatic night scene from the hit ABC series Lost.
In one of the many back stories on Lost, Sayid Jarrah (Naveen Andrews)
is an Iraqi soldier captured by American forces during the first Gulf War.
CSC News / April 2006 •
5
Photo: © ABC
Above: Lost DOP John Bartley
csc asc on location in Hawaii.
Mr. Eko (Adewale Akinnuoye-Agbaje) baptizes Clair's (Emilie de Ravin) baby in a scene from Lost.
• from page 5
saturated the background with green
light and added yellow to the faces. I
wanted the desert scenes to have a
cool wartime look
“This was the only episode where I
6 • CSC News
/
April 2006
managed to get to Los Angeles to
supervise the timing,” he adds. “It is
very difficult, being so far away from
your post-production, not to mention
the two hours time difference. I spend
a lot of time on the phone with dailies
colourist Peter Ritter at Complete Post
and Randy Coonfield at Matchframe
in Los Angeles.”
Bartley loves these back stories.
“We had one set in Nigeria. A young
Eko is playing soccer with his friends
when a small truckload of rebels
comes along and tries to force Eko's
brother to kill a villager. Eko takes over
the kill and the rebels take him away.
“The scene was shot in daylight,
with a red enhancement filter and
Tobacco two. The end result made us
feel like we were in Africa, instead of
the North Shore of Oahu. The location
helped,” he adds. “The background
was an old sugar refinery and banana
fields. We built a façade of a church,
where later in the back story Eko meets
with his brother, who is now a priest.”
For another flashback (#212 called
“Fire and Water”) directed by Jack
Bender and set in Brixton, England,
Bartley chose not to change the “look”
radically, except for a moment in a
dream, “a Christmas morning that
incorporates some of Charlie's dream
of his father's butcher shop, which
appears in the middle of the living
room. I added minus green gel to the
overhead lights to make it feel you
were in a butcher shop and then pink
to get the meat redder. The scene was
lit dimly and we wanted to see snow
falling outside the house windows.
That meant controlling the daylight
outside but still giving the special
effects guys room to put in the falling
snow outside.
“A lot of this episode takes place at
night on the encampment beach,” he
adds. “That meant being able to read
the waves in the background. Finding
a balance of being able to see the water
and not being too bright on the faces
is quite difficult,” he admits.
“Especially when you have two cameras going at the same time with different angles.”
Of course, there are always the “little things” that make the creative
juices surge - and they usually happen
on every episode. “Here, it was when
Charlie comes back to the camp after
setting a fire to cause a diversion so he
can steal Clair's baby,” Bartley recalls.
“We had a Steadicam bring him out of
the forest past Sayid, who asks for his
help. He keeps walking.
“It was a night scene. Not enough
light to read the actors. I took a deep
breath. We could fix it in post. Oops.
Still not enough light. It's a little
dark,” he sighs, shrugging it off. “It
happens. You roll with the punches.
“Fortunately, those 'punches' are
few and far between. Because we do the
show with rotating DPs (Michael
Bonvillain is his counterpart), we are
able to get many setups done in a relatively short day and it really helps
being able to do pre-production, help
the director and first AD plan the
shooting.
“And, of course, thanks to an
incredible crew. First-unit gaffer Jim
Grce and second-unit gaffer Mark
(Kiwi) Kalaugher have lights in place
almost before I ask for them. Operator
Paul Edwards, first AC Tony Nagy, key
grip Chuck Smallwood have learned
to anticipate what is needed. I would
truly be Lost without everyone there
to back me up on this show.”
(Roger Paul is a California-based
freelance writer specializing in the
technical side of the entertainment
industry. His work has appeared in
international trade publications as
well as mainstream magazines.) •
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 / April 2006 •
7
csc awards
2006
CSC Awards
Winners, Nominees
and Special Honourees
H
ere, listed first and in bold
type, are the winners in competitive categories at the CSC
Awards Celebration in Toronto on
April 8, followed by other nominees in
brackets:
Roy Tash Award for Spot News
Giancarlo Desantis, Suspect Pinned,
Citytv - CityNews
(Steve Boorne, Tsunami - Aftershock,
Citytv - CityNews; Max Trotta, Dave
Piedra, Chris Dunseith, Q.P. Man
Ablaze, Global Television)
Stan Clinton Award
for News Essay
Paul Wing, Poets, CTV Ottawa
(Randy Maahs, Cowboy Action
Shooting, CTV Ottawa; Brian Nichol,
St. Raphael's, CTV Ottawa)
Student
Riley Pearcy, Idaho, The Art
Institute of Vancouver
(Piotr Skowronski, The Sirens of
Bastogne, Confederation College,
Thunder Bay; Ahmad Tamimi, The
Shortest Dream, Vancouver Film School)
Corporate
John Hodgson, Automated People
Mover, CandleMaker
Communications
(Peter Warren csc, Garrison Guitars,
R + D Creative Inc.; Peter Warren csc,
MBNA, Affinity Productions)
Music Video
Christopher Soos csc, Sigur Ros
Glosoli, H.S.I. Productions
(Adam Marsden, Pilate Melt into the
Wall, Spy Films; Christopher Soos csc,
AudioSlave Be Yourself, DNA)
8 • CSC News
/
April 2006
Docudrama
William Reeve csc, Fighter Pilot:
Operation Red Flag, Montreal
Pacific Films Inc.
(Damir Chytil csc, True Crime Scenes
II: Family Secrets, Cineflix Inc.; James
Jeffrey csc, First Canadians, BarnaAlper Productions)
TV Drama
Rene Ohashi csc asc, Stone Cold,
CBS/Brandman Productions/Sony
(Paul Sarossy csc bsc, Black Widow,
Enigmatico Films/Holland Park
Productions; Attila Szalay csc, hsc,
Masters of Horror “Haeckel's Tale,”
Showtime/I.D.T. Entertainment)
Robert Brooks Documentary
Michael Boland csc, Hard Rock &
Water, Morag Productions
(Jay Ferguson, Alter Egos, Copper
Heart Ent./National Film Board; John
Minh Tran, Mozartballs, Rhombus
Media Inc.)
TV Series
Glen Winter csc, Smallville
“Lexmas,” Smallville 3 Films
(Henry Chan csc, The Collector “The
Pharmacist.” The Collector 3; David
Moxness csc, Kevin Hill “Love Don't
Live Here Anymore,” ICON)
Dramatic Short
Colin Hoult csc, My Uncle Navy &
Other Inherited Disorders, Flog Films
(Adam Marsden , Waiting, Hell Ranch
Pictures; James Wallace csc, Drive,
Photon Productions Inc.)
Theatrical Feature
Bernard Couture csc, Le Survenant,
Pixcom
(Pierre Gill csc, Maurice Richard,
Cinemaginaire; Rene Ohashi csc asc,
Saint Ralph, Amaze Film &
TV/Alliance Atlantis)
Performance
Marc Gadoury csc, Canticum
Canticorum, Films Piche Ferrari
(Paul Tolton csc, Shadow Pleasures,
Eccentric Things Inc/Veronica
Tennant; Carolyn Wong, Fold, South
East Dance & Moving Pictures Festival)
Fritz Spiess Commercial
Adam Marsden, West Nile Standing
Water, Untitled Films
(André Pienaar csc sasc, Campbell's
Harvest Colour, Ruckus Films; Paul
Tolton csc Lotto Pianus Interuptus,
Spank Films)
SPECIAL HONOUREES
Bill Hilson Award
Ralph C. Ellis
Outstanding service contributing to
the development of the motion picture industry in Canada
Fujifilm Award
Bill White
Outstanding service to the Canadian
Society of Cinematographers
Kodak New Century Award
Robert McLachlan csc asc
For outstanding contribution to the
art of cinematography •
awards
THE GENIE, ASC AND BLIZZARD AWARDS:
AND THE WINNERS ARE…
G
iles Nuttgens, director of photography for Deepa Mehta's
evocative feature Water, was
the recipient of Achievement in
Cinematography honours presented at
the 26th annual Genie Awards in
Toronto on March 13.
Bernard Couture csc was among
the five cinematography nominees for
his work on the Quebec feature Le
Survenant, which earned him a 2006
CSC Theatrical Feature Award. He was
nominated for a Genie and a CSC Award
last year for Le Dernier tunnel.
The other cinematography nominees
announced by the Academy of
Canadian Cinema and Television were
Pierre Mignot for C.R.A.Z.Y.; André
Turpin, Familia; and Balazs Bolygo, It's
All Gone Pete Tong.
BEEBE, GREENBERG AND HOPE
CLAIM TOP HONOURS
AT 2006 ASC AWARDS
Dion Beebe, ASC, ACS took top honours for Memoirs of a Geisha in the feature
film competition at the 20th annual
American Society of Cinematographers
Outstanding Achievement Awards at the
Hyatt Regency Century Plaza Hotel in Los
Angeles on Feb. 26. Beebe also won the
Oscar for cinematography last month.
It was the first ASC Award for Beebe,
who was nominated along with Robert
Elswit, ASC for Good Night, and Good
Luck; Andrew Lesnie, ASC, ACS for King
Kong; Wally Pfister, ASC for Batman
Begins; and Rodrigo Prieto, ASC, AMC
for Brokeback Mountain.
Robbie Greenberg, ASC and Nathan
Hope claimed awards in the two television categories. Greenberg led the field
in the television movie competition
for HBO's Warm Springs. Hope won the
episodic television competition for the
episode “Who Shot Sherlock?” of CBS's
CSI: Crime Scene Investigation. It was the
fourth ASC Outstanding Achievement
Award for Greenberg, and the second
for Hope.
The other nominees in the television
movie competition were Alan Caso, ASC
for Into the West/“Wheel to the Stars”;
Thomas A. Del Ruth, ASC for Code
Breakers; Jan Kiesser, ASC, CSC for Reefer
Madness; and Bill Roe, ASC for Faith Of
My Fathers.
The nominees in the episodic arena
were John Aronson for “Freefall”/
Without A Trace; Jeffrey Jur, ASC for “Los
Moscos”/Carnivale; John C. Newby, ASC
for “Everything Old is You Again”/ Las
Vegas; and Glen Winter, CSC for
“Sacred”/Smallville. Winter won the
2006 CSC TV Series Award for
“Lexmas”/Smallville.
Special tributes were presented to
Richard Kline, ASC (Lifetime Achievement
Award), Sydney Pollack (Board of
Governors Award), Woody Omens, ASC
(Presidents Award), documentary filmmaker Fredrick Wiseman (Award of
Distinction), and Gilbert Taylor, BSC
(International Achievement Award).
MANITOBA MOTION PICTURE
INDUSTRY ASSOCIATION:
LANK, PACKER WIN
BLIZZARD AWARDS
Barry Lank csc and Gerald
Packer csc were cinematography
winners of Blizzard Awards presented by the Manitoba Motion Picture
Industry Association in Winnipeg on
Feb. 26.
In the category of Cinematography
Overall: Drama, Packer was nominated
for The Many Trials of One Jane Doe,
along with Keith Eidse for A Path in
Time and Steve Cosens for Seven Times
Lucky. Under Cinematography Overall:
Non - Fiction, the nominees were Lank
for Recreating Eden - Touched by Luck,
Richard Stringer csc for the NFB's
Letters from Karelia, and Fred
Mislawchuk for The Spirit of Norway
House Cree Nation. •
www.rosco.com/canada
Correction.
Calibration.
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Complete
Control.
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1241 Denison St., #44
Markham, ON L3R 4B4
905-475-1400
Toll Free: 1-888-767-2686
Fax: 905-475-3351
CSC News / April 2006 •
9
education
2006 CSC Camera Assistants'
Course & March Basic
Lighting Workshop
Reports and Photos
By Ernie Kestler
CSC Education Chair
W
Richard Wilmot introduces the CAC class to
Steadicam assisting as well as designing and
executing a Steadicam shot.
Helmut Cremer takes students through the fine
points of a Panavision camera.
George Willis csc sasc conducts a lighting theory
class in the new CSC library/clubhouse at
William F. White in Toronto.
10 • CSC News
/
April 2006
hen Danya Abt of Brooklyn,
N.Y., mentioned to an editor friend one day that
she wanted to work as an AC, the
friend's immediate response was, “You
better take the CSC Camera Assistants'
Course.” Obviously the course's reputation has spread far and wide; last
year, there was a student from Paris.
Danya headed to Toronto for the
10-day 2006 course, from Feb. 17
through Feb. 26, to join 11 other
course participants from as far away as
Dartmouth, N.S., and Mont Laurier,
Que. Ontario was well represented
with students from Bowmanville, Port
Colbourne, Welland and Toronto.
The first two days of the course
were at PS Production Services, where
on Day 1 the class learned the duties of
1st and 2nd camera assistants. The
next day, students went over some
basic theories of cinematography, followed by an afternoon of camera prep,
slating and focus pulling. Days 3 and 4
found the class at Clairmont Camera,
where they went over tripods, heads
and testing cameras and lenses, and
jumped into hands-on experience
with the Moviecam, Arri III, Arri 535
and Arricam cameras.
The next morning (Day 5) they
were guests of Kodak for film screenings, which evoked an interesting
selection of questions from the group.
That afternoon, it was over to
Panavision Canada to check out the
Pan Arri III, Aaton 16 and Arri BL4.
On Day 6 they were back at
Clairmont, where not only did they go
over the Aaton 35 and Arri 435, they
also got to see the custom accessories
that Clairmont had on display as part
of their special demonstration. That
afternoon was spent doing paperwork.
The morning of Day 7 was a tour of
the film-processing facilities at
Technicolor, followed by a return to PS
to learn all of the Arri SR2 and SR3
cameras. The second Friday was an allday event at David J. Woods
Productions, starting with a general
overview of video, continuing with
hands-on basic procedures and a wide
array of cameras - the Sony PD150,
Panasonic DVX100 and the Sony
F900, to name a few.
That evening, Peter Benison csc,
John Holosko csc, and George Willis
csc sasc were kind enough to come out
and show their demo reels to the
enthusiastic group. The informal Q&A
which followed went on for a good
part of the evening. On Saturday the
class was back at Panavision, where
they were introduced to the
Panavision system. Hands-on there
included the GII, Platinum and
Millennium XL. The final day, Richard
Wilmot introduced Steadicam assisting as well as designing and executing
a Steadicam shot. The afternoon continued with Panavision cameras.
That evening, after 10 intensive
days, the students attended a wellearned wrap party.
The course would not have been
possible without the generous participation of the following CSC corporate
sponsors: Arri Canada, Clairmont
Camera, David J. Woods Productions,
Fuji Photo Film Canada, Kodak Canada,
Panavision Canada, Precision Camera,
PS Production Services and Technicolor.
Special thanks to Chris Jannetta, Jan
Madlener and Dean Tartaglia at
Clairmont, Von Bacnis and Penny
Watier at PS, Helmut and Phil Cremer,
Bruce Sparling and Ed Sheppard at
Panavision, Colin Davis and Steve
Raskin at Technicolor and David and
Diane Woods, Cavan Young and Adam
Telford at David J. Woods Productions.
Thanks also to the instructors: Lini
Campbell, Marty Carriero, Joseph
Chan, Jonah Claener, Gyorgy Darvas,
Margaret Demchenko, Chris Howell,
Chris Jannetta (at Clairmont), Andy
Jekabsons, Kevin LeBlanc, Andrew
Medicky, Juan Montalvo, Ted Overton,
Godfrey Pflugbeil, Adam Quinn, Brent
Robinson, Jeremy Tabarrok, Brian
White and Richard Wilmot.
The course participants were: Danya
Abt, Dwayne Alexander, Christopher
Chung, Donald Cook, Brian Dwyer,
Joshua Haley, Christine Jeoffroy, Thomas
Khan, Greg Oakley, James O'Bryan, Gino
Papineau and Tim Wadleigh.
Tim Wadleigh said, “I learned as
much in 10 days about camera as I
have in three years of film school.”
Christopher Chung added, “The exposure to the different facilities (rental
houses, testing bays, labs) and the
comprehensive practical advice of the
instructors presented in the CSC
course is an invaluable tool in gaining
a real-world understanding of the film
industry.”
And Danya Abt went back to
Brooklyn quite happy, having given
the course an “excellent” rating. •
George Willis csc sasc performs his lighting wizardry at the
March CSC Basic Lighting Workshop at William F. White in Toronto.
Basic Lighting
Workshop 2006
CLASS OF 2006: Students, a couple of instructors and the class mascot gather on the lawn at Clairmont Camera
in Toronto for the class photo of this year's CSC Camera Assistants' Course. Course co-ordinator Ernie Kestler is
fourth from the left. The mascot is a mannequin at Clairmont which the class adopted. Can you find him?
G
with light meters, gels and some basic
lighting exercises.
On Day 2, DOP George Willis csc
sasc demonstrated some lighting setups, showing the group what dramatic
lighting effects could be achieved using
only one practical light. Gaffer Heinz
Gloss was there helping George with
the lighting. From there, he went on to
show what could be done with some
Fresnels and other professional lights,
which were part of the wide array made
available for the workshop. Groups
were formed and each one conceived a
particular scenario and then lit it.
Several different scenarios were set up,
using the set which was there. George
lent his watchful eye to each set-up,
offering suggestions as everyone looked
on. This workshop strove successfully to
enable each participant to begin devel-
ino Papineau left his home in
Mont Laurier, Que., in midFebruary to drive to Toronto for
the CSC Camera Assistants' Course.
Three weeks later, the same drive would
take him to the CSC Basic Lighting
Workshop held at William F. White on
March 11-12. Several others among the
16 workshop participants came from
Montreal, too, but Byung Ho Lee beat
them all; he flew in from Seoul, South
Korea, to attend. The rest of the class
came from Montreal and all over
Ontario .
On the first day, Ernie Kestler presented the theories relevant to lighting and cinematography. The morning was capped off with a tour of the
White facilities, conducted by Jeff
Pettit. The afternoon was more of a
hands-on type of session, dealing
oping their own lighting style. Gilbert
Khoury said, “I love the whole thing.”
Suave Hupa concluded, “a must take.”
The workshop was made possible by
the generous support of the CSC
Education Fund, DSA - Design Sets
Assembly Ltd., Fuji Photo Film Canada,
Kodak Canada, Lee Filters Canada,
Panavision Canada, PS Production
Services, Rosco Canada, Tellavision and
William F. White. Special thanks to
George Willis csc sasc and Larry
Sacchetti and Ike Columbus at White.
The workshop participants were
Daniel Abboud, Suave Hupa, Christine
Jeoffroy, Christos Kalohoridis, Aaron
(A.J.) Kent, Gilbert Khoury, Byung Ho
Lee, Kenneth Molen, Gino Papineau,
Peter Pasqualino, Boris Penchev, Eva
Percewicz, Ali Reggab, Mike Secondi,
and Sandy and Mary Anna Thomson. •
CSC News / April 2006 •
11
discussion
Report by David Heuring
Kodak On Campus Day Draws
Students From Across Ontario
L
ative services rep at Technicolor in
Toronto, and Mark Branch, sales executive for Deluxe's Media Management
division in Toronto. The panelists discussed how the convergence of
advances in film stocks and digital technology are changing the art and craft of
filmmaking, using recent projects as
examples. David Heuring, a journalist
and former editor of American
Cinematographer magazine, moderated
the discussion.
Digital intermediate (DI) technologies were a prime topic, especially their
impact on schedules and budgets.
Montpellier noted that he could save
time and money by moving
more quickly on the set when
he knew that a digital intermediate would allow him to adjust
light, shadow, colour and contrast during post-production.
Packer noted that shooting on
film brings much more image
information into the post
realm, making digital intermediate technology much more
powerful and resulting in highquality images in any display
format.
One student asked how her
small student project could benefit from DI technology. The
Gerald Packer csc and Luc Montpellier csc (front row, left to right)
panelists agreed that while DI
returned to their alma mater, Toronto's Ryerson University, to parmight not be currently affordticipate in a panel discussion about workflow as part of Kodak
able for a small student film,
Canada's On Campus Day. Others taking part in the day-long
smart students would seek out
event included (back row, from left) Brian Damude and Shirley
information and insight about
Lewchuk of Ryerson University, Kim Snyder, Colette Scott and
DI in order to be prepared for
Johanna Gravelle of Kodak Entertainment Imaging.
the professional world where DI
costs
are
rapidly shrinking.
Montpellier and Packer are both
The
workflow
panel was preceded by
award-winning
cinematographers.
a
presentation
from Kodak's Ricky
Packer recently finished the third seaFigueroa
on
the
technical
aspects of digison of the now-cancelled CBC series
tal
intermediate.
Figueroa
compared the
This Is Wonderland, and Montpellier's
strengths
and
weaknesses
of
various digmost recent project was the feature film
ital
formats.
He
sorted
through
the thickAway From Her. Joining them on the
et
of
resolutions
and
encoding
methods
workflow panel were Eric Myles, crePhoto: John Narvali
uc Montpellier csc and Gerald
Packer csc recently returned to
their alma mater, Toronto's
Ryerson University, to offer wisdom to
current students and faculty. The cinematographers participated in a panel
discussion about workflow as part of
Kodak Canada's On Campus Day. The
event was presented in collaboration
with The Film School Consortium, an
association of Canadian film schools
dedicated to the advancement of educators and emerging filmmakers. More
than 300 students, faculty and staff,
some from as far away as Thunder Bay,
Ont., attended the event.
12 • CSC News
/
April 2006
behind some of today's technology.
The panel wrapped up with a selection of images from recent projects and
a demonstration reel of Kodak VISION2
film stocks.
Also part of Kodak Canada's On
Campus Day was a “Stop By, Shoot
Film” workshop, led by cinematographer Thom Marini, Steadicam-camera
operator David Cain and Kodak cinematographer Randy Tack. The workshop offered students a hands-on
opportunity to shoot a variety of Super
16mm stocks with several different film
cameras. Participating students will
receive a DVD showing the results of
their work.
Students and faculty could also try
out the Kodak Look Manager System
(KLMS), which uses a digital camera,
computer and software to allow filmmakers to previsualize, create, communicate and manage subtle nuances in
film looks from preproduction through
post. The system can simulate the
effects of multiple combinations of
Kodak films, in-camera effects, lighting
techniques, gels, filters, and post-production processes.
The On Campus Day also served as
an opportunity for teachers from
around the area to gather and discuss
issues facing educators and Kodak's role
in filmmaking education.
“Filmmakers have many creative
choices when producing and posting a
project today,” says Colette Scott,
worldwide education segment manager
for Kodak's Entertainment Imaging
Division. “The purpose of this event was
to help educators and students cut
through the hype, and learn about the
advantages of originating on film in
today's hybrid workflow environments.
We're pleased with the success of the
event, and we're planning similar
events at schools across North
America.” •
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remembering...
Full Life Member
Dan Gibson csc
T
he CSC sadly acknowledges
the passing last month of Full
Life Member Dan Gibson csc, a
respected nature filmmaker and
sound recordist. A celebration of his
life was held March 30 at
Yorkminster Park Baptist Church in
Toronto. He was 84.
Besides a long list of nature films
he produced, directed and shot,
Gibson also produced and was host
of a half-hour CBC Television series
called Canada Outdoors in the late
14 • CSC News
/
April 2006
1960s and early 1970s. Gibson usually presented two films per program
in this series, designed to attract
Canadians' interest in nature and
outdoor activities. Subjects included
canoeing, the preservation of the
muskie, water birds and birds of the
forest, and tourist adventures in
northwestern Ontario.
In 1967, Gibson produced a 10minute educational film entitled
White Throat, featuring the whitethroated sparrow. It was the first film
to feature sync-sound of birds
singing. It won numerous awards as a
trendsetter and sold hundreds of
prints. Gibson developed a special
parabola microphone to record the
sound for the film. The parabola
microphone is now in common use.
When the first digital sound
recorders came on the market,
Gibson gave up his Nagra and began
recording with the new equipment.
He could be found in Ontario's
Algonquin Park, paddling his canoe
with a parabola fixed to the bow.
His nature recordings were the
envy of the industry. He developed
the Solitudes recording label that
first featured natural sounds, then
added music. Solitudes is sold
throughout North America. He was
honoured at the Juno Awards for
having a Platinum recording.
Gibson, along with Ralph C. Ellis
and Jerry Kedey, formed KEG (Kedey,
Ellis, Gibson) Productions in the
1960s and over several years produced the television series, Audubon
Wildlife Theatre, Wildlife Cinema, To
the Wild Country, Wild Canada and
the feature film Wings in the
Wilderness, featuring Gibson and narrated by Lorne Greene.
Bob Bocking csc told CSC News
that Gibson was a friend and colleague, and “no single person influenced my life more than Dan. He
helped me in my career over the
years in many different ways. He
made it possible for me to pursue a
career in nature film production.
Dan was always there; he was my
mentor and friend.” •
CSC FULL
AND
CSC FULL MEMBERS
Nicholas Allen-Woolfe csc
Jim Aquila csc
Eduardo Arregui 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
Robert Bocking 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
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
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
LIFE MEMBERS
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
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
Jim Kozmik 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
Donald McCuaig csc
Robert McLachlan csc asc
Ryan McMaster csc
Michael McMurray csc
Stephen McNutt csc
Graeme Mears csc
Simon Mestel csc
Alastair Meux csc
Gregory Middleton 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
Steven Poster asc 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
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
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
Donald McMillan csc
Jim Mercer csc
Roger Moride csc
Dean Peterson csc
Roger Racine csc
Robert Rouveroy csc
Ivan Sarossy csc
Josef Sekeresh csc
Walter Wasik csc
Ron Wegoda csc
CSC News / April 2006 •
15
news clips
WESTERN REPORT
MARCH CSC EVENT AT CLAIRMONT
D
enny Clairmont was host
at a well-attended CSC event
at Clairmont Camera in
Vancouver on March 11, organized
by Darlene Choo of the CSC West
office. Some of the CSC members
attending were Henry Chan csc, Jan
Kiesser csc asc, David Geddes csc,
Dan Nowak csc, Steve McNutt csc,
Gordon Verheul csc, Serge Ladouceur
csc, Attila Szalay csc hsc, Associate
Kelly Mason and Brian Whittred csc.
Denny Clairmont talked briefly
about the HD camera systems that
Clairmont will soon start to introduce into Canada after four years
of successfully providing HD in
Hollywood. He distributed a paper
written about focus issues with HD
cameras and the modifications
Clairmont has done. (The paper will
be posted on www.csc.ca)
He then spoke about the new Zeiss
Master Primes and Clairmont's experience providing these lenses on
Rocky Balboa, a new Sylvester Stallone
movie shot by Clark Mathis. He said
the Master Prime lenses have no
16 • CSC News
/
April 2006
Photo: Richard Stringer
(from left) David Geddes csc, Gordon Verheul csc
and Jeff Denker of Clairmont Camera discuss the
new Zeiss Master Prime lenses which were
demonstrated at a March 11 CSC meeting at
Clairmont in Vancouver.
breathing because of their “dual float- THE PANASONIC HVX200
ing elements,” and also explained “A SERIOUSLY
that the Zeiss Master Primes used EVOLVED CAMERA”
cams for focusing instead of the helical threads that Zeiss has used in all
B.C.-based DOP/director John
of their previous lenses. He said that Banovich csc took time out during a
lenses with cams for focusing (Cooke trip to Toronto last month to deliver a
S4 lenses have cams) will not get stiff presentation on the Panasonic P2-techin the coldest conditions.
nology HVX200 mini-DV camcorder to
Denny then presented the new a group of CSC members at Sim Video.
Angenieux 15 to 40mm lens, which He was in Toronto for the World of
was put on to a Moviecam Super Lite Comedy Film Festival, in which a film
so people could see how well this he directed, Sharp as Marbles (CSC
new small zoom would perform for News, December/2005), was entered.
hand-held work.
That feature was shot with a Panasonic
Next stop was Clairmont's lens AJ-HDC27F VariCam.
projection room, where the Zeiss
Banovich started the evening disMaster Primes were put on to a lens cussion by suggesting that “we look at
projector to show there is no breath- the camera capturing and recording
ing of the image when the lenses are process with a new approach. Rather
focused, that the image is sharp than seeing our images captured and
going out to the edges, the contrast is recorded using a linear method, layexcellent, the exposure at the edges ing the information down sequentialof the image is better than non- ly, I propose we treat the camera as a
Master Primes lenses, and that the data management tool.
distortion is lower with
these lenses than other
low-distortion lenses.
Other well respected
lenses such as the Zeiss
T1.3 and Cooke S 4 lenses were projected so a
comparison could be
seen. Denny said that
the sharpest lenses are
not always the DOP's
pick because the DOP
has a certain idea how
he wants the picture to
look.
Later, Lorne Lapham
of Lorne Lapham Sales &
Rentals showed a selection of pro-sumer cameras - a Sony HVR-Z1U,
Panasonic HVX 200 and
a Canon XL H1 HDV. He
also showed his Cartoni
head and tripods for At a seminar at Sim Video in Toronto, B.C.-based filmmaker
these cameras, and some John Banovich csc talks to CSC members about the new
Cotelux lighting systems. Panasonic HVX200 camcorder.
“In the same way that an editor
can manipulate data and move it
around in post, we too can do the
same in camera. We are no longer
limited to tape speed and bandwidth
restrictions and therefore it is important to understand how the image is
created and then recorded.”
The HVX200 has the ability to
record both standard definition and
high definition in 720p (the
Panasonic standard) and 1080p (the
Sony standard), he said, and record a
multitude of variations to a single
medium - memory. “But what happens when we switch from one capture mode to another? The camera
creates a different path for the captured light information to travel, as if
to create a distinct circuit to allow for
the manipulation of the data to be
used in that configuration.”
Knowing what the final product
output will be, he said, “should help
you to determine how to configure
the camera to capture the best image
and efficiently use the recording
space. A 1080p image will use more
space than a 720p image. As well, 60
fps will use more space than 12 fps. As
well, keeping accurate and detailed
shot reports will be critical, which is
why the voice log and text meta data
are so helpful.”
Banovich stated that “because of
the wide versatility of the unit, it is an
obvious choice as a splinter unit, pickup or stunt camera to match to main
unit. A long-time member of my camera team, Chris Oben, has been working as the DIT on the TV series, The
4400, with Tony Westman csc as the
DOP, and they have been matching
one of my HVX200s (Banovich has
two) to the Sony F900 HDCAM.
“Everyone has been extremely happy
with the results of this little camera.
“I had shot some tests with the
two cameras side by side, trying to
match the look, the feel, the saturation and the sharpness of the
HDCAM. I found that if I set the
gamma to cine-like V and increased
the master detail to +2, the detail coring to +2 and the V detail to +3, it
gave the image the subtle extra
sharpness that is so indicative of the
Sony.”
• see page 18
CAMERA CLASSIFIEDS
FOR SALE: Canon HD Lens, HJ11ex
4.7B WRSD switchable, $33,000; UV
Filter, Pelican case; Porta-Jib
Traveller, $2500; Wally Dolly portable
dolly track, $1000; JVC 9" monitor
with Porta Brace case, $1200; JVC
TM910SU; Sony Pvm- 12" monitor,
$100; 2 Avenger 40" turtle C-stands
with griphead & arm, $170 each; 2
refillable sand bags, $20 each;
Skylite Premium large kit (2m x 2m),
$550. All in excellent condition.
Contact Mark Nieuwenhof, Apollo
Media Inc. 416-529-8634.
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 416-481-5429.
FOR SALE or RENT: Arri IIC and Arri
III cameras. Arri IIC camera body,
Cinematography Crystal motor, Arri
IIC conversion to PL mount, Arri IIC
conversion to Nikon mount, Arri 400
magazine x 2, Arri 200 magazine x 3,
Sony MP-1 batteries w/4-pin shoes,
smart cable, Summa Powertop battery + charger, Pelican case; Arri III
camera body, c/w dovetail, camera
plate, 2-4p XLR, 1 - BNC, carrying
handle, NTV G/G, BP-3, RHG, CCD
c/w 12V cable, CEI base, Klydesdale
camera case, Arri III 400 magazine x
4, Klydesdale case. Very good condition. Best offer. Contact Henry
Less, 416-849-4875; e-mail henryless@rogers.com
FOR SALE: Sony BVW-D600 BetaSP
camera; 3 lenses: Fujinon TV Zoom
Pegasus III, 1:1.7/8.5 119mm, A14x8.5
Berm 28mm; Sony D600 - 01263 microphone unit; Tiffen 77mm Haze 2A filter;
camera bag w/ strap; Porta-Brace
jacket; 5 batteries included, Hours: A1692. B-856. C-2884. $18,000 Cdn. OBO.
Contact Ian Cook/Ian Herring 604-5312244 or iherring@parallaxfilm.com
FOR SALE: Steadicam - Hollywood
Lite, excellent condition, configured
for Aaton; Bauer batteries, highresolution LCD display. Supports 4
to 16 lb camera, comes with carrying case, $2,800. IDX Delta 4 NP1
charger - charges four NP1 batteries at a time. Great condition. One
NP1 Battery - still holds a good
charge, $100. Pictures available by
email: hd24p@johnbanovich.net
604-726-5646
FOR SALE: Paillard Bolex H16
Reflex, excellent condition, recently checked; comes with Pizar 1:1,5 F+25mm carrying case, instruction
book, cable release. $1,400 obo.
Contact Marc Strange, 416-4058583 or e-mail roark@rogers.com
FOR SALE: Cameraman's own
Moviecam Superamerica 35mm
camera body w/short viewfinder, PL
mount (1.85/TV ground glass); mount
& body covers; transport case, and
much more. For details, contact
Barry Lank csc (204) 452-9422 or
barry@lankbeach.com
TO SUBLET: Pied-a-Terre in Los
Angeles. . . . Several of us 'out-oftowners' share a West Hollywood
apartment and are looking for another partner. Quiet building with balcony facing sunny courtyard pool and
hot tub. Furnished, fireplace, secure
parking, phone, fax machine, voice
mail, cable-TV, DSL internet . . .all
ready to go at $460 US/mo. We use it
as a drop-in centre while on business
in LA. Call Peter 416-698-4482 or
peter@peterbenison.com
Camera Classifieds is 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 News / April 2006 •
17
• from page 17
It is important to design a workflow system before you start shooting, he added. “There are many possible ways to deal with the data and
you will find yourself getting a little
lost and confused once in production
if you and your team are not completely clear on a method.
“Lastly, I think it is important to
recognize that although there are
several similarities to the physical
design and menu structure of the
(Panasonic) DVX100A, I have seen
numerous notable mistakes made as
a result of the overconfidence of
users coming from the DVX to the
HVX200. This is a seriously evolved
camera and it is not as simple as
turning it on and shooting. I would
suggest you treat it as a junior version of the 27F/H VariCam.”
Gearing up for HD
PURCHASE CREDIT PLAN
coming soon to
Videoscope
Gord Haas and Larry Au 1.416.449.3030
Videoscope is a premier dealer for the
Sony Broadcast and Communication
Solutions Group
Photo: Don Angus
Self-proclaimed “lab rats” Ed Higginson csc (left) and Al Lindsay react appropriately to the Elvis busts
they received at their surprise retirement party and “roast” last month, hosted by Deluxe Sound and
Picture and The Lab by Deluxe. The evening included a hilarious Power Point slide show featuring the
careers, truths and myths, recreations and fashions of Ed and Al, two of the most beloved figures in
the film business. The first slide confused them with Frank and Gordon, the two beaver spokespersons
for Bell Canada's Winter Olympics TV ads, and the uproariously funny show went on from there. The
CSC wishes the very best for Ed and Al on their retirement. The film laboratory they founded, The Lab
in Toronto, was acquired by Deluxe last year.
KODAK EI APPOINTMENTS
GRAVELLE, MEHRASA
AND SNYDER TO
NEW ROLES
Johanna Gravelle and Patricia
Mehrasa have been appointed
Country Manager and Sales Manager
for Distribution Products, respectively, for Kodak Canada Entertainment
Imaging.
Gravelle will oversee all Canadian
operations for the Kodak division,
which is a primary supplier of film
and hybrid post-production products and services for the motion picture industry. She reports to Ann
Turner, Americas Regional Business
General Manager and Vice-President,
Entertainment Imaging. Mehrasa
will oversee sales for distribution
and post-production products and
services. She reports to Gravelle.
“Johanna Gravelle and Patricia
Mehrasa both bring deep, broad experience and passionate commitments
to serving the interests of our customers in their new roles,” Turner
said. “They are both dedicated to
advancing the future of our industry.”
Gravelle succeeds Kim Snyder,
who has been promoted to General
Manager and Vice-President for
Origination products at Kodak headquarters in Rochester, N.Y. Both
18 • CSC News
/
April 2006
Gravelle and Mehrasa have been
with Kodak for 15 years.
KODACHROME SUPER 8
FINAL PROCESSING
DATES ANNOUNCED
Eastman Kodak Company has
announced that Kodak-certified processing of Kodachrome Super 8 film
will no longer be available after
August 1, 2006. This move follows
Kodak's announcement last May that
it would exit the manufacture of
Kodachrome Super 8 film. At that
time, the company alerted customers
that they would have approximately
one year to process their Kodachrome
Super 8 film with Kodak.
Sales of Kodachrome 16mm film
(cat #1402494) will continue, unaffected by this announcement, although
the “processing-costs included” option
for this film (cat #5053327) is no
longer available. According to Kim
Snyder, general manager and vice-president for Image Capture products,
Entertainment Imaging, at Eastman
Kodak Company, “The rationale to discontinue Kodachrome Super 8 film
was entirely driven by marketplace
dynamics.”
Kodak remains committed to
providing Super 8 camera users a
range of products and creative
choices. As such, Kodak added a new
colour reversal film to its Super 8
portfolio last year. An alternative
product for Kodachrome users,
Kodak Ektachrome 64T (film code
7280) combines high image quality
with excellent colour reproduction.
Kodak Ektachrome 64T requires E6
processing.
LOOKING FOR ANGELINA
OPENS IN TORONTO THEATRE
Looking for Angelina, directed by
Sergio Navarretta for Platinum Image
Film, opened in Toronto on March 24
at the Cineplex Sheppard Grande
(Yonge St. at Sheppard Ave.). Looking
for Angelina, shot by Toronto-based
DOP Peter Benison csc, is based on
the true story of Angelina Napolitano
(played by Lina Giornofelice), a 28-
year-old Italian immigrant and mother of four, who killed her abusive husband Pietro (Alvaro D'Antonio) in the
“Little Italy” neighborhood of Sault
Ste. Marie, Ont., on Easter Sunday,
1911.
After a three-hour trial, Angelina
was sentenced to hang. The ensuing
global media frenzy surrounding the
events of the trial and the discrimination it highlighted in Canada's
legal system are the subjects of the
film. The signatures of hundreds of
thousands of petitioners from
around the world arrived at the
office of Canada's Justice Minister
demanding her release.
Shot in 14 days entirely on location in Sault Ste Marie, and with the
help of hundreds of local talent,
this period piece film is in half
English and half Italian (authentic
Neapolitan dialect) with English
subtitles, and marks the first time
the story has been told on screen.
Following the transcript of the original trial, courtroom scenes were
shot in real time with multiple cameras on the original site.
KODAK RELAUNCHES
AD SITE
FOCUS ON SPOTS
FOR HDTV
Kodak has re-launched their
Getnoticed.com web site (www.getnoticed.com) and added an array of
informational content geared towards
the advertising community. New editorial includes real-world stories about
creating visually compelling commercials, a question-and-answer section
that cuts through the marketing hype
surrounding format choices, as well as
a glossary of terms, and calendar of
events.
One section of the site focuses on
stories that discuss the creative decisions made in the production of a
spot or campaign. This area also features an on-line exclusive article with
such influential cinematographers as
Bill Bennett, ASC, Paul Cameron,
Allen Daviau, ASC and Wally Pfister,
ASC discussing the art and craft of
shooting 30-second stories for airing
in HD format. •
CSC News / April 2006 •
19
ACTION PRODUCTION NOTES & CSC CALENDAR
British Columbia, Prairies
DREAM ME A MURDER (MOW); Op: Craig Wrobleski csc;
to April 6, Calgary.
EUREKA (series); Op: Neil Seale; to July 14,
Vancouver.
THE 4400 (series); DOP: Tony Westman csc;
to July 26, North Vancouver.
JUST A GIRL (MOW); DOP: David Frazee csc;
to April 12, Vancouver.
THE LOOKOUT (series); DOP: Alar Kivilo csc asc; B-Op:
Mark Willis; to May 19, Winnipeg (HD).
LOVE AND OTHER DILEMMAS (feature); DOP/Op:
Michael Wale csc; to April 11, Burnaby.
NIGHT AT THE MUSEUM (feature); 2nd-unit DOP:
David Geddes csc; B-Op: Glen Dickson; to May 3, Burnaby.
ROGUE (feature); 2nd-unit DOP: Danny Nowak csc;
to April 29, Vancouver.
SISTERS (feature); Op: Chris Tammaro csc;
to April 11, Vancouver.
SPLIT DECISION (pilot); DOP: Attila Szalay csc hsc;
B-Op: Kevin Hall; to April 11, North Vancouver (HD).
STARGATE ATLANTIS (series); B-1st: Grizz Salzl;
to Oct. 1, Burnaby.
STARGATE SG-1 (series); DOP: Peter Woeste csc;
to Oct. 1, Burnaby.
UNDERFUNDED (pilot); DOP: Stephen McNutt csc; Op:
Ryan McMaster csc; to March 6, Vancouver (HD).
WHISTLER (series); 2nd-unit B-2nd: Trevor Wiens;
to April 16, Langley, B.C. (HD).
WHITE NOISE 2: THE LIGHT (feature); DOP:
Brian Pearson csc; to May 3, Vancouver.
Ontario, Quebec, Atlantic
AWAY FROM HER (feature); DOP: Luc Montpellier csc;
to April 7, Toronto.
BOB GRATTON: MA VIE, MY LIFE (série-vidéo): DOP:
Eric Cayla csc; au 20 juin, Montreal.
CHEATER'S CLUB (feature); DOP: Alwyn Kumst csc;
April 2-19, Hamilton (HD).
CIRCLE OF FRIENDS (téléfilm-vidéo); DOP: Daniel Villeneuve
csc; 10 avril au 5 mai, Montreal.
FUGITIVE PIECES (feature); DOP: Greg Middleton csc;
April 25-May 25, Toronto.
GHOSTLY ENCOUNTERS (series); DOP/Op: Gavin Smith csc;
to April 30, Toronto.
LANCE ET COMPTE - LA REVANCHE (serie-video); DOP:
Serge Desrosiers csc; au 16 mai, LaSalle, Que.
ME AND LUKE (MOW); DOP: Russ Goozee csc; B-Op:
Michel Bisson csc; April 2-21, Mississauga, Ont. (HD).
RUNAWAY (pilot); DOP: Michael Storey csc; Op:
Glenn Warner; to April 11, Toronto.
SAW III (feature); Op: Brian Gedge; May 1-June 12, Toronto.
STEP (feature); DOP: Andre Pienaar csc; Op:
Andriss Matiss; to April 7, Toronto.
SHOOT EM UP (feature); Op: Keith Murphy; 2nd-unit DOP:
David Herrington csc; 2nd-unit 2nd: Marcel Janisse;
2nd-unit B-Op: Philippe Champion; to May 1, Toronto.
SOPHIE PAQUIN (série-vidéo): DOP: Ronald Plante;
4 avril au 20 septembre, Montreal.
THE STATE WITHIN (mini-series); DOP: David Perrault csc;
April 10-Aug. 3, Toronto.
ULTRA (pilot); B-Op: Perry Hoffman; to April 7, Toronto.
THE WAY (pilot); Op: Harald Ortenburger csc;
to April 4, Toronto.
WEIRDSVILLE (feature); DOP: Adam Swica csc; Op:
Colin Hoult csc; 1st: Gottfried Pflugbeil; to April 7, Toronto.
Schedule of Meetings and Events of Interest to CSC Members
TORONTO
April 28-May 7 - Hot Docs Canadian International Documentary Festival
May 27-28, 9 a.m.-5 p.m. - CSC Intermediate Lighting Workshop. Visit:
www.csc.ca/education
Check www.csc.ca for the latest information
20 • CSC News
/
April 2006
© Kodak Canada Inc., 2006. The Genie Award statuette was designed by Sorel Etrog.
The 26th annual
Genie Award
winner for
Achievement in
Cinematography.
A proud sponsor of the Genie Awards