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Canadian Society of Cinematographers
$4 Januar y 2014 www.csc.ca
Devil’s Knot
Paul Sarossy csc, bsc, asc
HFR
Ready for Its Close-up
or Work in Progress?
David Moxness csc
The Tomorrow People
Helicam Platforms Take Off
A publication of the Canadian Society of Cinematographers
The Canadian Society of Cinematographers
(CSC) 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.
FEATURES – volume 5, No. 8 January 2014
6
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Reconstructing Devil’s Knot
By Fanen Chiahemen
David Moxness csc Captures The Tomorrow People
10
By Fanen Chiahemen
14
Joan Hutton csc
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.
Courtesy of Remstar Films
The purpose of the CSC is to promote
the art and craft of cinematography
in Canada and to provide tangible
recognition of the common bonds
that link film and digital professionals,
from the aspiring student and camera
assistant to the news veteran and
senior director of photography.
HFR: Ready for Its Close-up or Work-in-Progress? By Ian Harvey
Columns & Departments
2
4
16
19
20
From the President
In the News
Tech Column
Camera Classified
Productions Notes / Calendar
Cover: Actors playing the murder victims cross a pipe into the forest. Egoyan says the pipe in
the film was reconstructed because “it felt like an iconographic moment in that place.”
Photo: Courtesy of Remstar Films
Canadian Cinematographer
January 2014 Vol. 5, No. 8
EDITOR-IN-CHIEF
Joan Hutton csc
EDITOR EMERITUS
Donald Angus
EXECUTIVE DIRECTOR
Susan Saranchuk
admin@csc.ca
EDITOR
Fanen Chiahemen
editor@csc.ca
COPY EDITOR
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www.csc.ca
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Guido Kondruss
From
The
PRESIDENT
Joan Hutton csc
W
hat a terrific way to start the New Year! Five CSC members have
been selected as nominees by the American Society of Cinematographers for their 28th Annual Outstanding Achievement Awards in
the one hour and half hour episodic series and the television movie/miniseries
categories. This is a record for the CSC at this significant industry event. I
would like to congratulate Pierre Gill csc, David Greene csc, Ousama Rawi csc
bsc, Matthew J. Lloyd csc and Jeremy Benning csc on their accomplishments.
The winners in their respective categories will be announced by the ASC on
February 1 in Los Angeles. We wish everyone the best of luck.
gkondruss@rogers.com
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2 • Canadian Cinematographer - January 2014
Another huge date to mark off in everyone’s calendar is the 57th Annual CSC
Awards Gala taking place on March 22 at the Westin Harbour Castle on
Toronto’s lake shore. I’m always astounded that our awards tradition, which
started nearly 60 years ago as a backyard barbecue with a couple dozen
cinematographers patting each other on the back, has blossomed into this
elegant event that attracts more than 350 people each year to celebrate the art
of cinematography and our industry in general. An underlying reason why the
CSC Awards Gala has been so successful is due, in no small part, to those sponsors of the CSC, who choose to support our event, both financially and in kind
to our event. Their unconditional “giving back” to our community is to be commended. These sponsors, with their contributions and through their presence,
can be seen at the Awards Gala each and every year. The CSC thanks you.
The CSC Annual Awards show is also a very organic entity that expands, contracts and shapes itself to changes in our industry. This year, it’s expanding the
competitive categories by adding an award for best cinematography in a Webisode to reflect our craft in cyberspace. The entry forms for the 57th CSC Annual
Awards are out and can be downloaded from the CSC website. I hope to see
you all at the Gala!
Another important event to watch in 2014 is the IMAGO Annual General
Assembly in Delphi, Greece, on April 25-26, when an historic vote is to take
place. IMAGO is essentially the European Federation of Cinematographers,
consisting of 34 full member European cinematography societies. IMAGO for
many years has been striving to become an international umbrella organization that represents cinematography societies from all over the world. The CSC
has long supported this push and has been a non-voting associate member of
IMAGO for several years. In April, IMAGO votes to expand its mandate to
include for the first time, non-European societies as full members with voting
rights. I will be in attendance in Delphi, where I hope I and the CSC will have
much to celebrate.
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In The News
Jeremy Benning csc; David Greene csc;
Ousama Rawi csc, bsc; Matthew J. Lloyd csc;
Pierre Gill csc
CSC Members among
ASC Award Nominees
The American Society of Cinematographers has selected its television nominees for the organization’s 28th Annual Outstanding
Achievement Awards. Among the nominees are: Pierre Gill csc
for The Borgias (“The Purge”); David Greene csc for Beauty and
the Beast (“Tough Love”); Ousama Rawi csc, bsc for Dracula
(“The Blood is the Life”); Matthew J. Lloyd csc for Alpha House
(“Pilot”); and Jeremy Benning csc for Killing Lincoln. Full details
on the nominees and categories can be found on the ASC website
(theasc.com). The winners will be announced at a gala on February 1 in Los Angeles.
In other news, John Holosko csc was honoured in October at the
Lodz Festival in Poland with a best 3D Music Video win for the
New York-based band Des Roar.
Film Schools Get 3D Funding
VANCOUVER
CALGARY
604-527-7262
403-246-7267
VANCOUVER
CALGARY
604-527-7262
403-246-7267
4 • Canadian Cinematographer -
TORONTO
416-444-7000
TORONTO
416-444-7000
January 2014
HALIFAX
The federal government in November announced a $595,000 investment to Emily Carr University of Art + Design in Vancouver
to help fund research into advanced imaging, stereoscopic 3D
and 3D printing and prototyping. The funds will purchase stateof-the-art motion capture, postproduction and 3D prototyping
equipment.
HALIFAX
902-404-3630
Meanwhile, NBCUniversal announced it had made a generous
902-404-3630
in Oregon, where he had
been living and working. A
memorial service was held on
November 11, which would
have been his 67th birthday.
Catherine Legault
Panavision
Unveils
New Primo
V Lenses
Optimized
for Digital
Cameras
gift to Sheridan College that will allow the college to incorporate
3D stereoscopic content production into the curriculum of its
film and television programs, including a new Bachelor of Film
and Television that launches in 2014.
Industry Honours
Renowned Documentarian
Peter Wintonick
Panavision in November introduced a new line of Primo
lenses, the Primo V series,
specifically designed to work
with high-resolution 35 mm
digital cameras. The Primo V
lenses are designed to bring
the look and feel of PanaviPeter Wintonick
sion Primos to digital cinematography, using the lens
elements from existing Primo
lenses. Primo V lenses take advantage of specific design adaptations to work in harmony with digital cameras. The Primo V
lenses are compatible with any digital camera equipped with PL
or Panavision 35 mount systems. They cannot be used on film
cameras. The internal transports and mechanics of the Primo V
lenses will retain the familiar Primo feel. A set of Primo V primes
will include 14.5, 17.5, 21, 27, 35, 40, 50, 75, and 100mm focal
lengths.
Filmmakers across the country have been paying tribute to acclaimed filmmaker Peter Wintonick, who died in November at
the age of 60 from a rare form of liver cancer. Wintonick was
one of the nation’s most renowned international documentarians,
with a career that spanned more than 35 years. His best known
work included the 1992 documentary Manufacturing Dissent:
Noam Chomsky and the Media, which he co-directed with Mark
Achbar and on which he was a cinematographer; and the 1999
documentary Cinéma Verité: Defining the Moment, which he
worked on with the National Film Board. Wintonick, who was
born Trenton, Ont., but based in Montreal, was named Thinker
in Residence by the premier of South Australia in 2005. He then
went on to win the Governor General’s Award in Visual and Media Arts in 2006. A fundraising drive was launched in November
to help complete his last film, Be Here Now. Wintonick is survived
by his wife, Christine Burt, and daughter Mira Burt-Wintonick.
Courtesy of Panavision
Former ACS Federal
President and Cinematographer
Paul Onorato acs Dies
Former Australian Cinematographers Society Federal President
and cinematographer Paul Onorato acs passed away last month
Canadian Cinematographer - January 2014 •
5
6 • Canadian Cinematographer -
January 2014
Reconstructing
Devil’s Knot
Paul Sarossy csc, bsc, asc
and Atom Egoyan revisit
an infamous crime
By Fanen Chiahemen
Photos Courtesy of Remstar Films
T
he case of the West Memphis Three
was one of the most notorious murder
cases of the 20th century: three teenage
boys were convicted of brutally killing three
eight-year-old boys in mid-‘90s West Memphis,
Arkansas, as part of a satanic ritual. It also led
to one of the most high profile murder trials,
spurring at least four films
and numerous books.
Devil’s Knot, whose cast includes Oscar winners
Reese Witherspoon and Colin Firth, was shot on
the ARRI ALEXA and marks Egoyan’s first digital feature, a frontier he decided to cross with his
long-time collaborator director of photography
Paul Sarossy csc, bsc, asc, who recalls, “We went
to Deluxe together and were trying to decide
which way to go, and the
lab manager piped up and
said, ‘Before you decide,
you should realize our lab
has completely shut down;
we don’t process film anymore. If you make the decision to go film it’s quite
a new world out there.’ So
it really came down to that
conversation, and Atom
figured, ‘Well, let’s give it
a go.’”
So naturally, nothing
more than a compelling
script could prompt one of
Canada’s most celebrated
filmmakers to turn his lens
on the topic. “I was completely seized by the story
of this witch hunt that took
place in Arkansas 20 years
ago. And I felt it was full
of possibility,” Devil’s Knot
director Atom Egoyan says. Paul Sarossy csc, bsc, asc
Sarossy, who has been
He also acknowledged that
working in HD for years,
crafting a feature film version of the story would shepherded Egoyan into the world of digital by
be full of challenges, given all the versions of the “organizing an environment that was very familcase that had come before it. “It was a very dif- iar and filmic, so ultimately he was doing what
ferent type of film for me,” the director says. “A he has always been doing.” Indeed, Egoyan obfilm that would allude to many different genres serves that with digital “you end up having to
of storytelling – horror, murder mystery, docu- light as carefully as you would on film,” but he
mentary, courtroom drama – and we had to find took advantage of the speed that shooting digital
allows. “It meant we could work a lot faster. We
a visual way of representing them all.”
Canadian Cinematographer - January 2014 •
7
had 140 pages to shoot in five weeks. It was unlike any schedule
we’d ever worked on before. We knew the story would have to be
retold in the editing because it was so complex and the amount of
material was so intricate in terms of the various points of view.”
Whatever trepidations Egoyan had initially, Sarossy says, “he
ended up loving working with HD, and within days he was Mr.
Digital.”
The filmmakers’ next big decision became where to shoot, since,
visually, to Egoyan, West Memphis “wasn’t really interesting.”
But he says his goal was not necessarily to make the film locations
look like the real settings. “I wasn’t held to that,” the director
says. “I didn’t feel that was the responsibility of this film. I feel if
you want the exact location you can go to the documentary. I was
really trying to find what worked dramatically.”
The production instead scouted locations in Georgia where they
found stand-ins for the two key settings in the story – the forest
where the victims’ bodies were found and the courtroom where
the trials played out.
For the woods, “It was more important to find a thick overgrown
forest than the much lighter forest that you would find in Memphis, which didn’t have the dramatic contour I was looking for,”
Egoyan says.
And while the real courtroom was a “fluorescent-lit cinder block
and windowless space,” Sarossy says, the courtroom the production found was an old-fashioned classical courtroom with large
windows and tall ceilings. It ended up being “an absolutely perfect location,” Sarossy says. “We were able to have a fair amount
of control over the lighting, and in some cases more dramatic
lighting that allowed us to invest a little bit of visual interest into
what’s a fairly banal situation.”
The bonus was a balcony outside one of the windows where Sarossy could install a row of 18K HMI lights to create controllable
sunlight in the trial scenes, which took place over several weeks.
“We could mediate the effect of daylight in that space because it
was a daylight of our own making,” Sarossy says.
Sarossy, whose recent projects include The Borgias and Copper,
worked with a set of Panavision’s Primo Prime lenses, as well
as the occasional Primo Zoom. “It was quite a marked contrast
working in that manner because when you work on a TV series
the zoom just automatically goes on, and it’s a given that everything will be shot with a zoom just for the speed and efficiency
of things,” Sarossy offers. “But with Atom the shots are so well
worked out and known that you can actually plan a shot with a
Prime lens and work in that fashion, so it’s definitely interesting
from my point of view revisiting the discipline of a feature shoot
with Atom.”
Because so much of the film takes place in the courtroom, in the
interest of time, the crew had to forego conventional long master
shots with the camera gliding through the room. “I was shooting
in a much less rigid way than I normally would,” Egoyan recalls.
8 • Canadian Cinematographer -
January 2014
“There are scenes that are very immediate and almost shot in a
documentary fashion. We just had to move very quickly and were
using different skillsets from our other movies.”
Devil’s Knot does still feature some signature Egoyan composition. In the scene where one of the murdered boys’ mothers,
Pam Hobbs (played by Witherspoon), is informed that her son
is dead, the camera lingers above her, never quite showing the
stricken mother’s face. Egoyan fans may recall similar composition in the bus crash scene of The Sweet Hereafter.
“Very often, Atom shoots very tragic moments at a distance,”
Sarossy observes.
“It’s the eye of God,” Egoyan explains of his decision in Devil’s
Knot. “The eye of some spirit looking down and having created this. There’s something supernatural about this entire crime
scene. The fact that these boys were found brutalized and mutilated, naked, bound by their own shoelaces, and yet, there’s not
a shred of evidence, no DNA, no blood, no footprints, not a
branch was moved – it was a completely undisturbed scene. I
wanted to convey that there is some other force at play. Certainly
this is a very religious community that believes they are watched
by God, and they believe in the presence of Satan and the presence of evil. It’s very much part of that culture. I thought it was
important to punctuate the documentary-style, on-the-ground
shooting, with these shots that were almost mystical.”
That scene includes a tracking shot that starts with the mother
collapsing to the ground and moves into the forest, where the
dark events occurred. Indeed, Egoyan says he wanted a more
“focused and theatrical” way of lighting the forest to play up its
otherworldly quality. In one night scene, the crew justified the
lighting from the police car headlights, creating an eerie light
from below, while the characters disappeared into the dark,
essentially swallowed up by the woods.
But Sarossy recalls that the best light they got in the forest happened almost supernaturally: “We had an incredible downpour
one day, and the entire production shut down for the duration of the storm. So we waited it out, and then this amazing
light emerged at the end of the storm. It was great,” he says,
laughing. “Nothing to do with me. It was simply what nature
provided.”
Clockwise from top left: Egoyan confers with actor Colin Firth on the set of
Devil’s Knot. Top right: James Hamrick plays Damien Echols, one of the
accused in Devil’s Knot. Middle: The production found an old-fashioned
classical courtroom that was “an absolutely perfect location” for the
courtroom, Sarossy says. Bottom: Devil’s Knot reconstructs the highprofile trial of the West Memphis Three.
Canadian Cinematographer - January 2014 •
9
David Moxness csc
C
a
p
t
u
The Tomorrow People
10 • Canadian Cinematographer -
January 2014
r
e
s
By Fanen Chiahemen
T
eleportation, telekinesis and telepathic communication are just
everyday realities for the Tomorrow People, a genetically advanced race of humans born with paranormal abilities. But this
race is forced to hide out in an abandoned subway station from
their rival faction, Ultra, a paramilitary group of scientists who
see the Tomorrow People as an existential threat. Unlike other supernatural
series like Smallville, Arrow and Sleepy Hollow, almost all of the ensemble
cast of The Tomorrow People, airing on CW, have special powers. David
Moxness csc (The Kennedys, Revolution), who alternates DP duties with
Dermott Downs, tells Canadian Cinematographer what this means for him.
Canadian Cinematographer: How would you describe the look
of the show?
David Moxness csc: We’re not too comic book-y. Some of the other scifi shows revolve around a comic book style with a lot of primary colours
and wide-angle lensing. We have a more naturalistic approach. The series
is set in the present day, in New York, so the environments that we choose
are very present day. There are no elaborate schemes to change the environment in any way. It’s just got a present day, real-world feel, and we spice it
up with flashbacks to tell the backstory of our characters.
CC: How would you describe the colour palette?
DM: It is colourful, but it’s not over-the-top rich, primary colours. I like
to play hot practicals and hot windows to give a lot of depth to the shots
and the framing. our colour palette is typically cooler gray muted tones for
our Ultra set, and Ultra characters are often in dark suits. In the subway
station sets I’ll use more sodiums and yellows and greens as accents in the
background and splashes on the wall.
CC: How did you visually offset the flashback scenes?
DM: My approach to the flashbacks is to go with a lower contrast feel.
I’ve typically been shooting the flashbacks with low contrast filters, adding a number two or even a number four low contrast filter to give it an
immediate different feel and different emotion by drawing some of the
contrast out of the original image. Also I’ve been using some sepia and
antique filters to shift it into that realm a little bit, so my present day work
is more contrasty and a little bit harder edged, and my flashbacks are soft
with more of an ambient light feel.
CC: What is your approach to the lighting?
DM: We have a traditional grip and lighting package supplied by Paramount Vancouver. We use mostly tungsten instruments. I have a whole
array of everything from 20-kilowatt Fresnels to lightweight Kino Flo fluorescents. We’re all incandescent based on our stage. We have a couple of
large translights that we have outside of our high-tech office set. A lot of
projection through the windows of the set to create a naturalist feel with
light coming in from the outside. We shoot two cameras quite often; it’s
just the way television has gone to be able to muscle through the material
in a day and get the coverage, so I tend to use as broad a source as I can
– large 8x8 and 12x12 soft sources. This allows me to get tighter angles
at the same time and look after our actors in a pleasing way in terms of
photographing them.
Canadian Cinematographer - January 2014 •
11
1
2
3
4
Some of our exterior shots end up being natural light. We use
large diffusion frames and negative blacks and what-not to shape
and control the light. I always put a little bit of an eye light to
make our characters pop.
CC: What is your role in selling the supernatural
elements like telepathy and teleportation?
DM: We often do quite extreme close-ups of eyes and ears and
that sort of thing to sell the telepathy. We’ve worked a lensbaby
lens into our arsenal and have used that as a bit of a motif for the
telepathy, so what we do is shift the focus plane between the eye
and the ear, or the ear and the person in the background. People
can teleport as well, and our actors and background performers
have gotten really good at that. If someone teleports, we do a
freeze, the camera holds still and then they’ll move to their next
position, and then we’ll pick up. So we do a lot of poor man’s
motion control in a way that will stop the camera mid-move and
then when the person has gotten to their second position, we’ll
continue the move, and the visual effects department will put
a little bubble in the middle to blend the start and stop of the
camera.
CC: Can you give an example of how you heighten
the tension in suspenseful scenes?
12 • Canadian Cinematographer -
January 2014
5
DM: Some of it is through lighting, of course, but my choice of
lenses is also important. In one scene, for example, we were in
the Ultra set, and one of our characters was going through some
rigorous mental torture, so to speak. And I shot it very close and
wide. I think my longest lens was 27 mm including the close-ups,
and I think it really shows the pain this guy was in.
CC: What other interesting tools were you using
besides the lensbaby lens?
DM: One motif we have established that’s pretty consistent is
for the fight sequences we’ll shoot on a sharp shutter, 90 or 45
degrees, just to sparkle up the those sequences. We shoot some
of our stunt sequences at a higher frame rate so we can do a little
speed ramp in the editing phase. Sometimes we use a low-angle
prism if that’s the right thing for a particular environment. And
we use a crane here and there if it seems to make sense for the
scene and location.
CC: Can you talk about your approach to
composition?
DM: The camera (ARRI ALEXA) is pretty much always moving whether it’s a little bit on a slider or a long dolly track, just
to keep the background alive. I do try to shoot the Ultra scenes
6
7
closer and wider because we have great ceilings on that set and a
lot of chrome and glass and shiny floors, so that’s kind of an interesting space to be wide with the lenses. With the Tomorrow People I make it more conventional, not super long, but I compress
those locations and images a little bit more. I’m always aware of
when it’s become about the camera just moving and when it’s the
right emotions for the scene. My job is to make sure it’s about the
scene. But for the most part we’re always on the move with our
characters so it lends itself to constant camera movement.
CC: You shot the high-profile mini-series, The
Kennedys, for which you won a CSC Award. What
do you get to do on a sci-fi show that you don’t get
to do on a period piece like The Kennedys?
DM: I think with a period piece and drama it’s just a different
style of shooting. With a sci-fi, in some ways there are no rules. I
don’t have to treat all the telekinetic stuff the same way each time.
I don’t have to treat the telepathy the same. I can keep exploring
to try to find new ways to tell the story. With sci-fi shows there
are more opportunities for exploring visual language, and I think
the visual language is broader. In other words, there are more
techniques that one could employ to tell the same story. At the
end of the day it’s all about telling the story. Bottom line, no matter what the genre is, how do we best visually tell the story?
8
1. David Moxness csc (centre) on the set of The Tomorrow People.
2. Conferring with the cast of The Tomorrow People. 3, 4, 5 & 6: Stills from
The Tomorrow People. 7. Shooting on location in Vancouver. 8. On the set
of The Tomorrow People. Previous page: Still from The Tomorrow People.
All photos: Cate Cameron/Warner Bros. Entertainment Inc. © 2013 WBEI. All rights reserved,
except # 6: Jack Rowand/Warner Bros. Entertainment Inc. © 2013 WBEI. All rights reserved.
Canadian Cinematographer - January 2014 •
13
HFR
By Ian Harvey
Photo by Joan Hutton csc
Ready for Its Close-up or Work in Progress?
D
irector James Cameron calls High Frame Rate (HFR)
the “future of digital cinematography,” but others aren’t
so sure the technology is anything more than a novelty.
The only way to decide is to get a first-hand look, and that’s just
what 30 or so attendees at the Screen Industries Research and
Training Centre’s CSC Wisdom Lecture Series demonstration
and presentation did last fall.
What they discovered is that HFR 3D provides a powerful tool
for directors to enhance the story – if they learn how to master
it. The SIRT event was a chance to explore what HFR looks like
close up with a presentation on the background of film rate and
its evolution to what is happening in the exhibitors’ marketplace
from projector maker Christie Digital Systems and SIRT’s
Technology Director Bert Dunk csc, asc.
Cameron appeared on screen to introduce a series of sample
scenes shot at 24, 48 and 60 fps which he made free of copyright
for the industry to get a good look at HFR and its benefits. The
frustrating part for many eager to see the proof of HFR in action
is that so far we’ve only had one major feature release, Peter
Jackson’s The Hobbit: An Unexpected Journey, shot at 48 fps 3D,
which is a year old and drew mixed reviews.
Others were in the pipe: Ore Nyabagam (Nov. 13), billed as the
world’s first 2D HFR from Sri Lanka’s version of Bollywood,
Avatar 2 (2016), and The Hobbit: The Desolation of Smaugh (Dec.
13), but it’s still slim pickings for HFR mostly because of the cost.
Both Cameron’s footage and SIRT’s own collection of scenes
shown that night clearly illustrated the issue of artifacts like
shudder (also called judder), flicker or stroboscopic artifacts
when panning a scene in 3D or 2D at standard frame rates.
The scenes also illustrated how motion becomes stunningly
captivating when captured and shown in HFR and how slow
motion scenes captured at 60 fps can be double printed for even
more spectacular results.
Certainly there’s no getting away from the “enhanced reality” of
HFR, whether at 48 fps or 60 fps. It can look too much like
“video” with that “Soap Opera Effect,” noted Allan Fernandes,
product manager, entertainment solutions business Unit of
Christie, which is working with SIRT and a host of partners to
14 • Canadian Cinematographer -
January 2014
explore HFR from capture to exhibition. The Soap Opera Effect
(SOE) makes movies or other content look like it was shot in a
studio for a soap opera. It’s super crisp and real, and it looks fake
because it lacks subtlety.
HFR does sharpen images both in the foreground and
background, but as Dunk pointed out, it’s easy enough to increase
the shutter angle to lengthen the exposure and reintroduce
motion blur back into the foreground action while keeping the
background sharp.
One issue is light. HFR needs more light because each frame – at
48 fps or 60 fps – passes through the gate more quickly thus gets
less exposure. (The calculation on how to get an effective shutter
speed to introduce motion is fairly simple and the f-stop can be
adjusted accordingly: effective shutter speed = (frame rate times
360) divided by shutter angle.)
More interestingly, as both Cameron’s and SIRT’s footage show,
HFR all but eliminates that shudder effect on pans, even when
shooting through a wrought iron fence, which at 24 fps is
maddeningly distracting, but smooths over at 48 fps and is all
but gone at 60 fps.
Of course, HFR is nothing new, noted Fernandes, though
Douglas Trumbull’s attempts to make it a standard 40 years
ago were rebuffed by the studios, who feared film costs would
skyrocket and exhibitors who worried their projectors would
burn out running three times speed.
Go back to the dawn of cinematography, and while Edison’s
patent specified a frame rate of 36 to 40 fps, the cost of film
saw that rate halved, to 16 fps during the hand-cranked silent
era. When that proved too slow for sound in the mid 1920s, it
bumped to 24 fps, chosen as the slowest rate acceptable for sound
and cost to keep the bean counters happy.
In some ways, the industry is still stuck with a look – the film
look – which was defined in the 1920s. With HFR and higher
resolution – the standard of 1080p is shifting to 2K and 4K,
while soon 8K will also be mainstream – the challenge is to
manage the balance between spatial and temporal resolution. Get
it out of balance and you have SEO or at the other end, an image
that looks like it’s shot in an earthquake. It all comes down to
Bert Dunk, csc, asc at the Screen Industries
Research and Training Centre’s CSC Wisdom
Lecture Series demonstration and presentation.
temporal perception the way the human eye sees it and the brain
processes it.
Digital cinematography, Cameron says, is a new world where
the screen can be ever closer to reality as technology evolves: “If
cinematography is a window on the world, HFR removes the glass.”
Cameras have evolved and are HFR ready, noted Dunk. The
RED EPIC 5K runs up to 300 fps while the ARRI ALEXA can
run 120 fps with upgrade. The introduction of digital cinema
projection has been a game changer, Fernandes said, with some
90,000 digital projectors installed or ordered worldwide and
more planned. The good news is that only a small portion need
upgrades to handle HFR, while the majority of the installed base
are good to go with only software and some minor hardware
upgrades.
There are still challenges. HFR 3D needs strong light to push it
on the screen, and HFR at 48 fps or 60 fps means much more
data. “The sound guys are also talking about 22 speakers, so
there’s more data there,” said Dunk.
As it stands, an HFR 3D with R and L images and full sound
is about 500 Gb. Getting that to stream smoothly is the next
challenge, Fernandes noted. The emerging standard is a
throughput of about 500 megabits per second at 2K, but the
next challenge is already on the horizon.
Are you 3D blind?
You’ve heard of colour blindness? How
about 3D challenged?
Before the presentation at SIRT participants
were tested by Bert Dunk
csc, asc
and an
assistant to measure their capacity to “see”
3D. The results were surprising. Using a
Stereo Optical Co. Stereo Fly Test kit, which is
a soft, padded book with a 3D fly on one side
and a series of graphics on the other, subjects
wearing 3D glasses were asked how much
detail they could spot. Those with the highest
scores were highly “3D” sensitive; those with
low scores were 3D challenged. Research
generally suggests that about 3 per cent of
people do not see “binocularly at all,” while
another 7 per cent are 3D challenged.
Existing projectors can only handle 4K at 30 fps, meaning
they can’t process 4K HFR which will be the main bottleneck
for higher capture resolutions, said Fernandes. As a tool,
however, said Dunk, it’s another way for a director to direct the
audience’s attention as part of the story telling experience. It’s what
the creatives do with the tool that will determine its success
or failure.
Canadian Cinematographer - January 2014 •
15
Tech Column
Helicam Platforms Take Off as Technology Improves
B
ean counters rejoice. Technology has spawned
a cinematographic tool that producers, directors and directors of photography can all appreciate, and it won’t eat up half the budget.
Radio-controlled helicopter camera platforms may not have the
total cool factor of shooting out the side door of the real thing
but they are not only more affordable but often more maneuverable and able to capture unique perspectives their full-sized
siblings cannot.
They’ve been around for a few years as the boom in RC controls
and drones took wing, but it’s in the last year or so that a perfect storm combining state-of-the-art automated gimbals, lighter
camera bodies and more powerful batteries and motors is pushing the envelope for cinematic capture.
The machines themselves look relatively simple: a central platform with multiple arms radiating out, each with a rotary engine
and blade mounted on it. Appearances are deceiving, however.
Take the S800 from DJI Innovation. It’s a six-engine platform
that ranges from $3,000 to $6,000, depending on how you load
it up. Add in a Zenmuse gimbal, wireless video transmitters and
receivers for real-time streaming of the shot, extra mAh batteries
and other goodies, and you’re north of $12,000 and climbing
to $20,000.
Still, compared to a crane or a helicopter, it’s a bargain. In the
hands of a skilled operator – and here’s the key to New Age aerial
image capture – it’ll carry a GoPro HERO3 or a DSLR for seven
or so minutes of capture before it will need a battery change.
There’s also a new, fly-out-of-the-box, entry-level product, the
quad motor Phantom Vision, which debuted at NAB 2012 and
features an integrated Wi-Fi camera shooting 14 Mp and 1080p
for about $1,250, and offers up to 25 minutes of flight time.
“We’ve got three National Geographic shows and Discovery
16 • Canadian Cinematographer -
January 2014
shows using an S800, and I hear Michael Bay (No Pain, No Gain)
is also interested,” said Nicolia Wiles DJI spokesman. DJI’s
lineage is impressive. It was a start-up making software for fullsize, rotary wing drones used in commercial-industrial work such
as power line inspection or geological survey.
Texan Colin Guinn had been working with piloted choppers to
shoot video to promote his clients’ custom built homes when he
saw the potential for unmanned drone platforms and developed a
DSLR platform using DJI’s software to control it. Camera shake
was still an issue so he went to DJI’s principals to talk about how
to eliminate the problem.
They applied the drone’s software system to a gimbal-platform,
and today Guinn is CEO of DJI Innovation which claims a 70
per cent share of the $10,000 and down market with entry level
to the S800 EVO Hexacopter.
Martin Laporte, director of R&D at KoptR Image in Montreal,
builds, sells and services rotary drones and works with DiziFilms
to provide helicam service and pilots for productions, in addition
to their work in the industrial sector. They’ve worked on shows
like the U.S. Travel Channel series Insane Rollercoaster Wars.
“In the last year things have changed a lot,” Laporte says. “The
cameras are better, the gimbals are better – like the new Movi –
the platforms too. But really, it all comes down to the operator.
I’d say out of the box, 60 per cent of the work is the machine itself
but 40 per cent is the operator, the magician behind the curtain.
There’s a lot of calibration and skill needed to make it work in
setting it up.”
He uses the F800 probably 70 per cent of the time, he says, but
also has an octocopter for bigger payloads such as a RED or a
Sony SS 700. “Most of the time, you want to match the camera
to the system they’re using on the ground,” he says. “You want
the same encryption and colour match.”
Photos courtesy of HeliVideo Pros.
Lenses also make a difference since they’re glass, therefore heavy
and cut into the payload which shortens flight time. Obviously,
given shake and control issues, long glass isn’t an option so wide
is pretty much standard.
Rich Cochrane and Justin Hannewyk of HeliVideo Pros in
Vancouver, which also services locations in Calgary, Toronto,
Canadian Cinematographer - January 2014 •
17
Ottawa and the United States, says weight is becoming less of a
factor but it still factors in. Their preferred lenses are the compact
Zeiss Prime 2.1, not just because of their clarity but also their
weight factor. As the technology improves, though, they say, the
drone camera platform is breaking out.
They shoot a myriad of cameras, from the RED Epic and Scarlet,
through Canon C300, C500, Sony FS100, FS700 to Canon 5D
Mark II or Mark III, with up to a 15 pound payload. They’ve
also racked up some impressive clients, including commercials
for Nokia and Subaru and TV shows like Arrow.
“This is working at 400 or 500 feet maximum and operators are
licenced by Transport Canada,” Cochrane, who has 25 years as
a pilot in the full-sized world, says. “The key is safety. We have
a redundant standard, so if we lose a blade we can still fly safely.
You can’t just start flying. It takes a lot of experience. We guarantee we’ll get the shot.”
Indeed, while the risk is not as great as a full size rotary wing
aircraft, there are inherent dangers which must be contained – as
in any shoot involving moving objects.
Looking ahead, batteries remain the biggest hurdle but that too
is evolving, driven by the demand from the auto industry. Gimbals with brushless motors and software automated controls have
made pan-tilt controls smooth as silk, while wireless technology
Photo courtesy of HeliVideo Pros.
put the DOP right inside the viewfinder in flight, though HD
streaming can be problematic over distance.
“It’s not the go-to tool for the industry yet, but I think people are
seeing the potential,” Hannewyk says.
Ian Harvey is a veteran Toronto-based journalist who writes for a
variety of publications and covers the technology sector. He welcomes
feedback and eagerly solicits subject matter ideas at ian@pitbullmedia.ca.
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Technicolor On-Location
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18 • Canadian Cinematographer -
January 2014
Technicolor_CSC_MagazineAd_b6 2013-03-11
technicolor.com/toronto
Edmonton Film Cooperative wants your unused Arri 35 mm
camera. Do you have film cameras languishing on a shelf? Give it
a new life, give it to a film coop and we will give you a healthy tax
credit. Have a 35BL, a 235, a 435 gathering dust because everyone
is Red cam nuts? Have other great camera accessories? Let us know,
let’s make a deal. Contact Andy @ rentals@fava.ca and work a
great deal.
Short-Term Accommodation for Rent
Visiting Vancouver for a shoot? One-bedroom condo in Kitsilano
on English Bay with secure underground parking, $350 per week.
Contact: Peter Benison at 604-229-0861, 604-229-0861or peter@
peterbenison.com.
Liberty Village Office Space Approximately 1,250 sq ft of fully
furnished, turn-key office space in prime Liberty Village location
available to established television or new media production company in shared office setting. Features include glassed boardroom, 2
closed door offices, internet access, alarm system and shared kitchen. Please reply by email to john@hlp.tv or call John at 647.891.4027
Equipment for Sale
Cooke Speed Panchro 18mm 1.7/T2. “C” Mount, Nice condition
From United Kingdom #572079, asking $1,800.00 Barry Casson
csc Office: 250-721-2113 bcasson@speakfilm.com Canon Wide
angle Lens J11A X 4.5 B4 IRSD and Canon Servo Zoom Control ZSD-300 Value 27 000$ Asking only 3 500$ Sony Camera
Handycam HDR-HC7, 2 Sony Batteries NP-FH100, Sony Wireless
Mic ECM-HW1, Tiffen Filter 37mm UV, Century-Precision ,55 WA
ADAPTER 55WA37, KATA Rain Cover KARC18 Value 2100$ Asking
only 350$, Elmo Suv-Cam SD ELSC5C and accessories New Value 1 200$ Asking only 200$, Anton Bauer UltraLight & Ul Soft
Box Asking only 150$, Frezzi HMI Sun Gun & Frezzi Soft Box Value
1 700$ Asking only 400$, Porta Brace Rain Slicker for Pro Camcorder RS-55 like New Asking only 150$, Script Boy Wireless T.C.
System needs minor repair Asking only 200$, Shure Mixer FP33 &
Porta Brace audio mixer case Asking only 450$, Minolta Lightmetre + Adap.5° 4F Asking only 250$ , Beachteck passive dual XLR
adaptor DXA-5Da like new Value 369$ Asking only 150$, Sony
Monitor SD PVM-14N1U new Asking only 75$, 2 Camera Canon
Dig Rebel 10Mp XTi, Sigma 70-300 F4-5.6 Super C-AF, 4 Canon
Batteries and accessories Asking only 800$, Porta Brace monitor
Case for Panasonic BT-LH910 like new Asking only 100$ andrepaul@me.com or call 514 831-8437 Panasonic AJ-HDX900P 290
drum hours, $7500.00 Canon KJ16ex7.7B IRSE lens, $5000.00
CanonJ11ex4.5B4 WRSD lens, $4500.00 Call Ian 416-725-5349 or
idscott@rogers.com
Canon Wide angle Lens J11A X 4.5 B4 IRSD and Canon Servo
Zoom Control ZSD-300 Value 27 000$ Asking only 3 500$ Sony
Camera XDCAM EX1, 2 Sony Battery BP-U60, 1 Sony Battery BPU30, 1 Sony Wide Conversion Lens X 0,8 VCL-EX0877, Sony AC
Adaptor / Charger BC-U1, 2 Sony SxS 8Gb, 4 E-Film MxR, Porta
Brace Camera Case PB2700IC All in very good condition Value
10 700$ Asking only 3 200$ Porta Brace Rain Slicker RSEX1,
Like new: 125$, Porta Brace Lens Cover LC-M, Chroziel Matt
Boxe S1001, Chroziel Sunshade S1001FF, Chroziel Adaptator S1001158SR, Chroziel Step-down Ring 80mm S100180, Tiffen
Filtre 3X3, FX#1, FX#2, Polariser, Grad ND9 Value 1 545$ Asking
only 400$, Sony Camera Handycam HDR-HC7, 2 Sony Batteries NP-FH100, Sony Wireless Mic ECM-HW1, Tiffen Filter 37mm
UV, Century-Precision ,55 WA ADAPTER 55WA37, KATA Rain
Cover KARC18 Value 2100$ Asking only 350$, Elmo SuvCam SD ELSC5C and accessories New Value 1 200$ Asking
only 200$, Anton Bauer UltraLight & Ul Soft Box Asking only
150$, Frezzi HMI Sun Gun & Frezzi Soft Box Value 1 700$ Asking only 400$, Gitzo Tripod carbon finer legs GI 1380/38/7kit Value
1 200$ Asking only 500$, Porta Brace Rain Slicker for Pro Camcorder RS-55 like New Asking only 150$, Script Boy Wireless
T.C. System needs minor repair Asking only 200$, 3 x ETC Par
Source Four Light with GP TVMP Light Stand Adaptor Asking only
175$, Eartec TD-904 Pro intercom EATD904 Value 1 050$ Asking
only 300$, Shure Mixer FP33 & Porta Brace audio mixer case Asking only 450$, Minolta Lightmetre + Adap.5° 4F Asking only 250$
, Beachteck passive dual XLR adaptor DXA-5Da like new Value
369$ Asking only 150$, Sony Monitor SD PVM-14N1U new Asking only 75$, 2 Camera Canon Dig Rebel 10Mp XTi, Sigma 70-300
F4-5.6 Super C-AF, 4 Canon Batteries and accessories Asking
only 850$, Porta Brace monitor Case for Panasonic BT-LH910 like
new Asking only 100$ andrepaul@me.com or call 514 831-8347
Asahi Pentax spotmeter (just serviced) 425.00 Minolta Colormeter III
F 750.00 Spectra Professional IV 250.00 Spectra Professional IV A
300.00 Minolta Spotmeter F(need repair) 100.00 Bernard Couture:
p.bc@sympatico.ca; 514-486-2749 Professional U/W housing from
renowned world leader Amphibico. 2006 Sony HVR-A1U camera
with 0.7x wide adapter and all accesories. 2006 Amphibico EVO-Pro
housing with .55x wide conversion and flat port. Rare model built
in small quantity. Most camera functions accessible. About 60-70
dives. Complete overhaul and pressure tested by factory in 2010.
3.5’’ LCD Monitor, rebuilt in 2010. 2 compact Discovery 10W HID
lamps by Amphibico with batteries and chargers. Spare o-ring for
all. Soft and hard carry cases. All in good condition. E-mail or call for
photos and more information. 514-941-2555, daniel@dvdp.ca
BL IV Camera Kit $8,950 Or Best Offer
Arriflex Bl4 Body With Pl Mount, 4 Perf Movement, Variable Shutter,
Full 35Mm Gate, Arriglow Module And Arriglow Groundglass In Red,
Cei Color 4 Video Tap Camera And Elbow, Cei Electronic Reticle Generator, Bl4 Viewfinder Extension, Wideangle Eypiece With Heated
Eyecup, Powercable For Heated Eyepiece, Arriflex 4 X 5 Swingaway
Mattebox, Arri Ff2 Follow Focus With Extension, Whip And 2 Gears,
15Mm Arri Sliding Baseplate Set With 2 X 18” And 2 X 12” Stainless Steel 15Mm Rods, 5 X Arri 1000’ Bl Magazines, 2 X Arri 400’ Bl
Magazines, 3 X Double Power 12 Volt Batteries, 2 X 12 Volt Charges,
Power Cable, Cases For Camera, Mags, Mattebox, Etc.,Film Test Has
Been Shot. gandalf-merlyn@shaw.ca, 604.566.2235 (Residence),
604.889.9515 (Mobile)
FOR SALE 4X4 Petroff Mattebox, barely used. Can be used with
15mm rod support or clip-on. INCLUDES: Single stage (option to add
two more stages); 1X 4X4 tray + 1X 4X5.65 tray; Petroff Eyebrow;
Zacuto lens donut; 15 mm rod support bracket; 85 mm ring adapter.
Bought originally for $650 CDN asking $450 (firm). GREG BISKUP p.
647 405-8644. Email: greg@biskupcine.com 2 Arrilite 2k’s like new
very little use with 4 way barn doors, 5 scrims, 4 2k bulbs, 3 1k
bulbs and Arri case in very good condition $1100 Call 416 712-1125
or mfp123@rogers.com Duncan MacFarlane 2- Transvideo Titan HD
Transmitter and Receiver kits. $3000ea. 2 for $5500. Similar in style
and operation to the Boxx Meridian. 1- Angenieux 25-250 T3.9 Arri
PL mount, std film gears on focus, zoom, and iris (32 pitch-mod 0.8),
lens support and collar, shipping case included $2900 1- Tamron
300mm F2.8 Arri bayonet mount with PL adapter, std film gear on
focus (32 pitch-mod 0.8), 42mm filters: clear, 2 x 85, shipping case
included $900 1- O’Conner 50 fluid head with Mitchell, Mini-Mitchell, 150mm ball bases and tie-downs, 2 quick release plates extra
hardware (pan module needs fluid) $400Contact: stephen.reizes@
gmail.com
JVC GY-DV300 Broadcast Quality camcorder. 4x3 or 9x16
switchable 750 horizontal lines with several extra batteries and carrying case. Plus and external Shure VP88 stereo microphone with
Rycote bracket and wind screen with high wind cover and extra mic
cables. Asking $ 1200.00. Contact Robert Bocking csc 416 636-9587
or rvbocking@rogers.com for more information.
1) Panasonic 3D Professional Full HD Video Camera (AG3DA1) The AG-3DA1 is the world’s first professional, fully-integrated
Full HD 3D camcorder that records to SD card media. The AG-3DA1
will democratize 3D production by giving professional videographers
a more affordable, flexible, reliable and easier-to-use tool for capturing immersive content as well as providing a training tool for educators. At less than 6.6 pounds, the AG-3DA1 is equipped with dual
lenses and two full 1920 x 1080 2.07 megapixel 3-MOS imagers to
record 1080/60i, 50i, 30p, 25p and 24p (native) and 720/60p and 50p
in AVCHD. Camera is very new. Includes Kata Carrying case, 4 batteries. To view photos/questions email frank@tgtvinc.com or
call 416-916-9010. Asking price: $17,500 (includes tax). Will ship
out of province.
2) Proline 17 inch Teleprompter Included is both PC AND Mac
versions for our industry leading Flip-Q teleprompter software. FlipQ automatically “Flips” the secondary output on your laptop so both
the operator and talent will see perfect reading left-right text. The
ProLine 17 standard LCD panels are the lightest weight, lowest
profile designs in their class. In addition, they offer both VGA and
composite video inputs adaptable with any computer output or application. They also offer flexible power options including 100-240V
AC or external 12v DC input. Price includes Tripod attachments and
Pelican carrying case. Complete tool-less set-up. To view photos/
questions email frank@tgtvinc.com or call 416-916-9010.
Asking Price: $2,000 (includes tax).
Sony PMW-F3 with S-Log firmware. Excellent condition low
hours. Kaiser top handle. Screen Protector. 32GB SxS “A
series” high speed card $7900.00 Photos available Gemini
4:4:4 solid state recorder (uncompressed) with eSata and
ThunderBolt, accessories, cables, drive readers and case.
Includes 512GB and 3x 256GB solid state drives. Excellent
condition $ Photos available $4400.00. Contact John Banovich
604-726-5646 or JohnBanovich@gmail.com
Nikkor AF-S VR 500mm F 4 IS ED Lens. Super rare and very hard
to find!!! Serial # 204153 Perfect condition. Not a scratch on it!!!
Only one year old. Included Hard Shell Case, Lens Hood, Lens Strap,
Case strap. Come with Manfrotto Carbon Fiber tripod, Jobu head and
Jobu Mounting Bracket. Asking price $9000.00 gandalf-merlyn@
shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile)
BL III Camera Kit $3750 Or Best Offer gandalf-merlyn@shaw.
ca, 604.566.2235 (Residence), 604.889.9515 (Mobile) ARRIFLEX BL3
BODY WITH PL MOUNT, 4 PERF MOVEMENT, VARIABLE SHUTTER,
FULL 35MM GATE, VIDEO TAP ELBOW, 2 X ARRI 400’ BL MAGAZINES, 2 X POWER CABLE, CASES FOR CAMERA, MAGS.
Equipment for sale!! All equipment in excellent shape!!
Panasonic AJHDX900P High Definition Camera, Panasonic Stereo
Microphone, Canon Zoom Lens 8x160 (J20a x 8B4 IRS), Dionic 90
Anton Bauer Batteries & charger, Anton Bauer mini fill light 12 V,
Marshall 7” HD-SDI LCD Monitor & accessories, 2 x Porta Brace
camera bags, Sony Digital Betacam (DVW700) and accessories,
Sachtler fluid head VIDEO 20 III & Sachtler tripod legs fibre & fibre
case. Call 613-255-3200, Total $ 25,000.Panasonic BT-S950P 16:9 / 4:3 SD Field Monitor for Sale (Excellent Condition) - $100. Portabrace included Please contact Christian
at (416) 459-4895 or email cbielz@gmail.com
OWN A PIECE OF CINEMA HISTORY: selling a vintage Bell &
Howell 2709 camera with mags. THE film camera of the 1920s and
‘30s; assorted other goodies. Contact: dkoch198@hotmail.com.
VIDEO & AUDIO GEAR FOR SALE: (2) HVX-200 Panasonic P2 Camcorders $1,500 each; (1) DSR-1500 Sony DVCAM recorder, $1,500;
(1) Sony DSR-1 DVCAM dockable recorder $1,000; (3) Sony PVV-3
Betacam recorders $500 each; (3) Mitsubishi XL25U video projectors $500 each; (1) Mackie 1604VLZ audio mixer $500; (1) Glidecam
PRO2000 camera stabilizer $200; (1) Glidecam DVPRO RIG camera
stabilizer $300; (1) Yamaha P2075 amplifier 75W stereo/150W mono
$500; (3) HVR-Z1U Sony HDV camcorders $1,000 each; (1) Sony
DSR-300 DVCAM camcorder $1,500; (1) For-A VPS-400D 8 input SDI
switcher $2,700; (2) Sony WRT822/WRR861 wireless transmitter/
receiver – no mic - $750 each; (2) Sony BRC-300 remote control P/T/Z
cameras $1,990 each. Call Ted Mitchener at ZTV Broadcast Services
905-290-4430 or email ted@ztvbroadcast.com.
Services
Flicker-Free HMI & Hi-Speed Cameras available with
operator/gaffer (Toronto)
Includes a new ARRI M18 1800W lensless HMI with Arri 1000Hz
Flicker-Free Ballast, stand, and lots of head cable. It’s as bright
(or brighter) than a T5 but runs on household AC 120V and draws
less than 20Amps. We also have the Sony FS700 Super-35 CMOS
sensor high-speed camcorders with PL, Nikon, Canon, or Pentax
mounts. Great for overcranked product shots on a budget. 60fps,
120fps or 240fps @ 1080p and 480fps @ 720p. Other camera/grip/
electric & 3D support gear available as well. Contact Tim at 1-888580-3274 ext.700 or tim@dashwood3d.com
Need your reel updated? Looking for an editor? I am a CSC
associate member who is also an editor with my own FCP suite. I
am willing to trade my edit suite time in exchange for rental of your
gear, or shooting advice, or both. Please send email to miurabucho@
gmail.com.
Do you travel between Toronto and Hamilton for production every
day? Need a place to: screen dailies, host your production office
that’s close to both? Hill’s Production Services www.hillsvideo.com.
We are a full Service Production Company with cameras and edit
bays for making EPKs. Some grip gear, if you find yourself in the field,
short of one or two items. Hill’s also has office space and a mobile
screening room. Located just off the QEW in Burlington, check us out
905-335-1146 Ask for Rob Hill.
Camera Classified is a free service provided for CSC members. For all others, there is a one-time $25 (plus GST) insertion fee. Your ad will appear here
and on the CSC’s website, www.csc.ca. If you have items you would like to buy, sell or rent, please email your information to editor@csc.ca.
Canadian Cinematographer - January 2014 •
19
Camera Classifieds
Equipment Wanted
CSC Member Production Notes
30 Vies IV (series); DOP Marc Gadoury csc; to April 4, Montreal
100 (series); DOP Philip Linzey csc; to January 24, Langley
Arrow II (series); DOP Glen Winter csc & Gordon Verheul csc (alternating episodes); to April 17, Vancouver
Beauty and the Beast II (series); DOP Bruce Chun csc & David Makin csc (alternating episodes); to April 22, Toronto
Continuum III (series); DOP Blk 2 Gregory Middleton csc; Operator/Steadicam Greg Fox; B Cam Operator
Brenton Spencer csc; to April 11, North Vancouver
The Divide (series); Data Management Technician Marc Forand; to April 10, Toronto
Fargo (series); Matthew Lloyd csc; to April 4, Calgary
Hannibal II (series); Camera Operator Peter Sweeney; to March 20, Mississauga
Hemlock Grove II (series) B Operator/Steadicam Keith Murphy; to February 25, Mississauga
Motive II (series); DOP Ryan McMaster csc (alternating episodes); to January 24, Burnaby
Once Upon a Time in Wonderland (series); DOP Attila Szalay csc, hsc; to February 21, Burnaby
Reign (series); DOP Paul Sarossy csc, bsc, asc; B Operator/Steadicam Andris Matiss; to April 10, Toronto
Remedy (series); DOP Stephen Reizes csc; to January 23, Toronto
The Strain (series); B Camera Operator J.P. Locherer; to April 30, Toronto
The Tomorrow People (series); DOP David Moxness csc (alternating episodes); to April 7, North Vancouver
Supernatural IX (series); DOP Serge Ladouceur csc; Camera Operator Brad Creasser; to April 20, Burnaby
Wayward Pines (series); DOP Gregory Middleton csc; to February 14, Burnaby
Working the Engels (series); DOP Thom Best csc; Camera Operator Peter Battistone; to January 9, Toronto
You and Me (series); DOP/Operator Christopher Ball csc; First Assistant Eddy McInnis; to March 21, Halifax
CANADIAN SOCIETY OF CINEMATOGRAPHERS
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Calendar of Events
JAN
FEB
20-30, International Film Festival on Art, Montreal,
artfifa.com
16-25, Sundance Film Festival, Park City, Utah, sundance.org
24, CSC Awards entry deadline, csc.ca
7-16, Victoria Film Festival, Victoria BC,
victoriafilmfestival.com
MAR
28-6, Cinéfranco, Toronto, cinefranco.com
20-1, Rendez-vous du cinéma québécois, Montreal, rvcq.com
27-March 2, Kingston Canadian Film Festival, Kingston,
ON, kingcanfilmfest.com
20 • Canadian Cinematographer -
January 2014
22, CSC Awards, Westin Harbour Castle Conference
Centre, Toronto, csc.ca
APR
24-May 4, Hot Docs, Toronto, hotdocs.ca
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