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Canadian Society of Cinematographers
May 2009 Vol. 1 No. 2
Phil Earnshaw csc
Talks about the Degrassi Saga:
30 Years and Counting
The Hole in 3D | The 2009 CSC Awards Gala | Camera Courses & Workshops
A publication of the Canadian Society of Cinematographers, formerly CSC News
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.
The purpose of the CSC is to promote
the art and craft of cinematography and
to provide tangible recognition of the
common bonds that link film and video
professionals, from the aspiring student
and camera assistant to the news veteran
and senior director of photography.
8
2009 CSC Awards Gala host Marci Ien
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.
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Phil Earnshaw csc
3
CONTENTs
12
CSC Camera Assistants’ Course
v o l u me
1 ,
N o .
2
MAY 2009
2 From the President
3 Phil Earnshaw csc Talks about the Degrassi Saga: 30 Years and Counting
By Don Angus
It’s been 30 years since Phil Earnshaw csc shot a low-budget little show called Ida Makes a Movie
and helped launch the Degrassi phenomenon.
7
The Hole in 3D
By Michael Wale csc
Directed by Joe Dante, The Hole, with Theo Van de Sande DOP and operators Norbert Kaluza &
Michael Wale csc, was shot with 3D Red One cameras in Vancouver.
8
The 2009 CSC Awards Gala
Text by Don Angus; pictures by John Narvali
12
Camera Courses & Workshops (Times Three)
The CSC Camera Assistants’ Course, HD Hands-on Workshop and LED Lighting Workshop
By Ernie Kestler & Wyndham Wise, Roger Metivier and Lance Carlson
Industry News
21 Camera Classified
22 CSC Members
24 Production Notes/Calendar
17
Cover image Director Phil Earnshaw csc on the set of Degrassi.
Canadian Cinematographer
May 2009 Vol 1, No. 2
CSC EXECUTIVE
President: Joan Hutton csc
Vice-President: George Willis csc sasc
Treasurer: Joseph Sunday phd
Secretary: Antonin Lhotsky csc
Membership: Philip Earnshaw csc
Publicity: Nikos Evdemon csc
Director Ex-officio: Dylan Macleod csc
Director Ex-officio: D. Gregor Hagey csc
Education: Ernie Kestler
EDITOR-IN-CHIEF
Joan Hutton csc
CO-EDITOR-IN-CHIEF
George Willis csc, sasc
EDITOR EMERITUS
Donald Angus
EXECUTIVE DIRECTOR
Susan Saranchuk
admin@csc.ca
EDITOR
Wyndham Wise mfa
editor@csc.ca
ART DIRECTION
Berkeley Stat House
COPY EDITOR
Donald Angus
PROOFREADERS
Karen Longland
Paul Townend
WEBSITE CONSULTANT
Nikos Evdemon csc
www.csc.ca
ADVERTISING SALES
Donald Angus
donangus@sympatico.ca
CSC OFFICE
131–3007 Kingston Road
Toronto, Ontario
Canada M1M 1P1
MEMBERSHIP INQUIRES
Tel: 416-266-0591 | Fax: 416-266-3996
Email: admin@csc.ca
Canadian Cinematographer is a publication
of the Canadian Society of Cinematographers.
Canadian Cinematographer is printed by
Winnipeg Sun Commercial Print and is
published 10 times a year. Subscriptions
are available for $35.00 for individuals and
$70.00 for institutions.
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No. 478423
2 • Canadian Cinematographer - May 2009
From
The
PRESIDENT
I
n the March issue of CSC news, we ran
a photo given to us by Vi Crone, whose
husband Bob owned Film House in
Toronto, which was taken there in 1965.
Unable to identify everyone in the picture,
we asked for your help. In April, we received the following email from Robert
Millard, which has been edited for length.
“Boy, does that picture in the CSC News
ever bring back memories. The cut line
below the photo shows how much times
have changed. Many in that picture could
have come directly from work; a suit and tie
were standard uniform in those days… This
was just a regular CSC meeting, and the
purpose of us being in the Machine Room
was to see the newly opened mixing theatre
#1 at Bob Crone’s Film House. They had
two smaller mixing theatres as well. One of
them had two projector continuous screening facilities for 16mm and 35mm.
“I was a production film editor with the
CBC working on the third or fourth floor
of the Cassidy Building (as it was known for
many years), where several film-handling
departments of the CBC were located… I
was frequently in and out of Film House
on CBC business; not only that, but the
previous year I had been cinematographer,
director and editor on an amateur feature
film entitled Restless Journey using my
Auricon, and Film House had done all our
processing, sound transfer and printing.
The other man not acknowledged in the
picture – the one whose top of his head you
can just see above the lamphouse of the
looping projector – is Fritz Spiess csc.”
Robert was misidentified in the March issue
as Bob McLeod. Robert Millard is the man
standing dead centre flanked by Maurice
Jackson Samuels csc to his right and Roy
Tash csc to his left. The person standing
slightly behind him to his right is Ron
Wisman. If you have any archival photos
you would like to share with the CSC
members, please forward jpeg copies to our
offices at admin@csc.ca.
Degrassi Saga
30 Years and Counting
By Don Angus
T
here is a touch of irony in the fact that a dramatic show
about school kids should now be the granddaddy of
Canadian television series. Yes, it’s been 30 years since Phil
Earnshaw csc shot a low-budget little show called Ida Makes a
Movie and helped launch the Degrassi phenomenon. The show
keeps re-inventing itself; it’s in fact a series of series. And young
folks keep watching and wanting more.
Earnshaw has been part of the Degrassi family from the
beginning, as an award-winning director of photography and
director. He has shot over 100 and directed 50 episodes of the
prolific series that has won fans across Canada and around the
world. The collective total number of episodes – for The Kids of
Degrassi, Degrassi Junior High, Degrassi High, Degrassi Talks and
Degrassi; The Next Generation – soars towards 200.
Earnshaw was about two months out of film school at York
University in Toronto when he got a phone call from a woman
who was in the audience of a concert he was shooting with director
Guido Kondruss, who is married to CSC Executive Director
Susan Saranchuk. “This woman said, ‘I thought what you were
doing was really neat and I’m shooting this documentary about
a music school at Blue Mountain; it’s going to be called Blue
Mountain Crude.’ She could only pay me $50 for three days
work, but that was fine by me. It was my first professional job.”
That woman was Linda Schuyler, a school teacher who
became the co-creator of Degrassi, he said. “So we did the little
documentary and I got to know Linda.” That was that for the
next three years. Earnshaw got a job shooting news at Global,
working a year-and-a-half in Ottawa and a year-and-a-half in
Toronto before he quit because he wanted to do drama. “I ran
Canadian Cinematographer - May 2009 •
3
Photo by Steve Wilkie
Phil Earnshaw csc talks about the
Phil Earnshaw csc checks costumes.
into Linda at a party and she said that she and her partner (Kit
Hood) were doing a drama and looking for a cameraman. “I
wound up getting the drama, a kid’s film called Ida Makes a
Movie and it turned out to be the very first Degrassi. That was
1979. One thing led to another; the first year they did that
one film and then the next year they did three half-hours, the
next year they did six, the next year they did 12 – it just sort of
mushroomed into a series.”
Earnshaw said the name The Kids of Degrassi Street (1980–85)
evolved because “we shot Ida Makes a Movie at the home of a
friend of Linda’s, who lived on Degrassi Street in the east end
of downtown Toronto. The house became Ida’s home, and the
corner store was the Degrassi Grocery where the kids hung out.”
The Kids of Degrassi was done “very piecemeal,” he added, but
in total “we did 26 episodes. I said to Linda at the end of it all,
‘Wow, that’s quite a body of work we’ve done over six years.’ And
she said to me, ‘How do you know it isn’t just the beginning?’”
The DOP, who augmented his Kids paycheque with freelance
work on documentaries and industrial films during that time,
recalled that when he shot the first Degrassi series he “had a camera
assistant and one other helper; the writer, Amy Cooper, did
continuity; Linda Schuyler was making sandwiches and
transporting kids, and Kit Hood was the director. We lit the
whole thing with lights from my news kit – two 650s and a
1K and a couple of extra lights. When I got a 2K after several
is a
There
touch of
irony in the fact that
a dramatic show about
kids
should
school
now be the granddaddy
of Canadian
television series.
episodes, I thought I was in seventh heaven.” He shot the first
three episodes on his CP16, then took the plunge and bought an
Arriflex SR and a Cooke zoom. “That was better,” he said.
By 1985, the series was a Canadian hit. The “kids” in the
series, most of whom were not professional actors, grew older
and Schuyler and company moved on to the sequel. Degrassi
Junior High first aired in 1987 on CBC and PBS (through
WGBH Boston) in the U.S. There were 26 episodes in the
first two seasons and 16 in the third season, developing a cult
following for its realistic and gritty portrayal of teenage life.
“Then everybody graduated to high school,” Earnshaw said
– to Degrassi High. “The cast and crew moved to a Centennial College campus that was closing down for a couple of
years for renovation, so we jumped in and for three years
we shot Degrassi High there. Just about the time we finished
[Centennial College] had all their reno money together and
they booted us out.” By this time, the producers “had burned
out on Degrassi … so they decided to stop and they stopped for
10 years.”
Photo by Stephen Scott
Earnshaw said that Schuyler, as a former teacher, had connections on the Toronto District School Board, which agreed to post
flyers in the schools inviting any aspiring actors to audition. “And
that’s how they found most of the kids. Only a couple of kids
made it from The Kids of Degrassi to Degrassi Junior High. They
collected all these real kids, and we moved to a school in the west
end of the city. We had the second floor of a functioning private
school, with four classrooms and a hallway; we had lockers we
would slide around to make it look like a different hall.
Paula Brancati & Shane Kippel
Degrassi High actually concluded with the 1992 production of the
90-minute television movie School’s Out, in which the Degrassi
kids spend one last summer together. About the same time, a
six-part documentary called Degrassi Talks aired. Degrassi
cast members travelled around Canada to talk to teens about
sex, drugs, alcohol and depression. Earnshaw moved on to
shoot the Canadian series Liberty Street, then Traders and The
Associates, where he dabbled with directing on a few episodes.
“I had directed two episodes of Degrassi High, right towards
the end of season five. That was really my first taste of
directing.” Meanwhile, Schuyler was busy producing series such
as Liberty Street and Riverdale.
Eventually, the Degrassi concept was dusted off when Schuyler
and original Degrassi writer and editor Yan Moore projected
that the baby daughter (Emma) of one of the Degrassi Junior
High characters (Spike), would be going into junior high at that
moment in fictional history. “That’s when Linda got the idea
to start it up again,” the DOP/director said. The Degrassi series
was revived by CEO Schuyler and Epitome Pictures’ President
Stephen Stohn as Degrassi: The Next Generation.
“This time [the production] was completely different because
they had a beautiful studio, professional actors, a good-sized
crew and terrific equipment,” said Earnshaw, who was asked to
direct many of the episodes while John Berrie csc, Gavin Smith
Phil Earnshaw csc
5
(continued from page 5)
csc and Jim Westenbrink csc have handled DOP
duties during the show’s eight seasons. Season eight
premiered on Oct. 10, 2008; “Linda is hoping to
keep it going for 10 seasons,” Earnshaw said.
Photo by Stephen Scott
Degrassi: The Next Generation deals with
mature topics such as relationships, online
predators, love, peer pressure, sex, drugs …
and various other heavy topics. The series is
broadcast on CTV and rebroadcast to the U.S
(on cable channel The N), Brazil, Australia,
Mexico, Peru, Chile and Poland. In 2006,
Program Partners acquired syndication rights
to the show, which now airs daily on local
American stations.
Degrassi Success Was
Unexpected Says
Co-Creator Linda Schuyler
N
ever in a million years” did Linda Schuyler and her cohorts expect that a low-budget short called Ida Makes a Movie would
morph into the Degrassi saga of episodic television. “I think if we
had expected that kind of success we would have been much more scared
at the beginning,” the Degrassi co-creator said. “But because we were just
a very small little group with very small ambitions, we were fearless. We
didn’t realize at the time that Ida Makes a Movie would become the pilot
for The Kids of Degrassi Street.” But when Ida wrapped, “we all knew that
something had happened. It was partially because at the time there was
not much live action being produced for young people. Most of it was
animated. We knew we had got some charming performances, the story
was really cute and everybody who worked on it – it was a very small crew
– were committed to making it work. We all had the feeling that we were
working on something that just felt really good.”
Now, she said, “We’re just starting preparation on season nine of Degrassi:
The Next Generation.” Will there be more episodes next year? “I have been
in this business long enough to expect nothing,” Schuyler laughed. “I just
take each year as it comes and I’m very grateful. If we were to keep going
into next year, which would be our tenth season, we’re hoping that we’ll
get up to 200 episodes. And that will be on the thirtieth anniversary of Ida
Makes a Movie having gone on air, which would be quite fun.”
Schuyler was effusive in her praise of Phil Earnshaw csc, who was director
of photography on Ida and either DOP or director on most of the
subsequent spin-off series. “Phil has been such an integral part of the
Degrassi team right from that very first Ida Makes a Movie. Phil just has
one of those wonderful personalities – he’s gentle, he’s kind, he has a
vision of what he wants and he sticks to it. He was the ideal person to
partner with. You need a special kind of personality when you’re working
By Don Angus
with young people all the time. Phil has that.”
Earnshaw said that even though the show
“is slicker now and looks more professional – they have more lights and more
equipment – it still has the same heart. It doesn’t
talk down to kids. The philosophy is that
it’s kids solving or discussing kids’ problems;
adults don’t come along and tell them what to
do and how to do it. The actors are all age specific, so if a 16-year-old is having her first kiss
on screen, it probably is her first kiss, so you get
kind of a reality from that which is really quite
charming. Working with so many young actors,
watching them grow as performers and as individuals, has been a real privilege for me. It was
never my career intention to become a director.
I’ve always been a cameraman at heart, but I
think the opportunity to do so much work with
these kids encouraged me to make the transition
to directing.”
Earnshaw has also directed Being Erica, Instant Star,
The Eleventh Hour, The Best Years, Dark Oracle,
Radio Free Roscoe and several episodes of the CBC
law enforcement drama The Border, now going into its third season. He won the 2004
Gemini Award for best direction in a children’s
or youth program for Degrassi: The Next Generation and received another directing nomination
in 2008. In 2001, he was nominated for a best
photography dramatic or series Gemini for The
Associates. There was a CSC Award in 1997 for
best dramatic short and CSC nominations for
television series (The Associates) in1995 and 1997,
documentary in 1990 and 1997, plus a Bessie Craft
Award for Cinematography in 1985.
Earnshaw has been a long-time member of the
CSC executive board, serving as membership
chair for the last several years. In recognition of his
contribution to the Society, he was presented with
the Fujifilm Award (now the President’s Award)
in 2004.
D
onald Munro, a production manager I have known
for several years, approached me last November. He
was putting together a feature to be directed by the
American Joe Dante (Gremlins, Looney Tunes: Back in
Action), which was coming to Vancouver. The Hole is about a
pair of brothers who stumble upon a mysterious hole in their
basement that leads to the darkest corridors of their fears and
nightmares. What made this project stand out for me was
the fact that it was to be shot in 3D, a format I had
not worked with before, so I jumped at the
opportunity, along with my first assistant
Doug Lavender.
The Hole (Theo Van de Sande
DOP; operators Norbert
Kaluza and myself ) was
shot with Red One
cameras housed in a
custom-designed 3D rig
made by Max Penner
at Paradise FX in Los
Angeles. The rig is
essentially a cradle that
holds two Red One
cameras that represent the
left and right eyes. The
cameras shoot through
a beam-splitter with two
Angenieux Optimo lenses
that are calibrated for focus and zoom as well as interaxial distance and convergence.
All these controls are linked by
microwave remotes that enable the
“stereographer” to shape the 3D space
during the shot. Much like a focus puller
with a remote unit that can pull focus during the
shot, the “stereographer” sits in front of a 3D monitor
station (two 17-inch Panasonic HD monitors mounted behind a
beam-splitter) and is able to create and adjust the 3D space as the
shot changes.
As a 2D operator, I found the transition to 3D quite painless
(that is until I had to help lift the rig, which weighs almost 150
lbs). While shooting I would use one viewfinder, in my case the
right camera. There is 3D viewing capability on the rig, but
it seemed much more comfortable and familiar to operate in a
conventional manner. Checking the gate, however, is a little different as the Red One records on flash memory cards.
They need to be transferred and viewed on a laptop to check
the phase of the cameras. This insures that
both cameras are not only rolling
but that the shutters are in sync,
or phase, for a seamless 3D
effect. Speaking of effect, the 3D is impressive.
Dailies were
viewed in
the Digital
Lab (designed
and provided by
Paradise
FX) on
a large
screen
HD television using active
3D glasses.
The Digital Lab, production offices
and studio were
all under one roof,
which made it quite interesting to watch the workflow as images were planned,
captured and cut together. Communication and the ability to communicate effectively are
vitally important throughout the filmmaking process and having
the production all in-house certainly aided in this endeavuor. Perhaps this is a sign of things to come, as we as filmmakers move
deeper into the digital realm, leaving behind film processing labs
and work prints. Time will tell.
What made this project stand out for me was the
fact that it was to be shot in 3D, a format I had not
worked with before, so I jumped at the opportunity.
Photo by Ed Araquel
7
The 2009 CSC
Awards Gala
Text by Don Angus
Pictures by John Narvali
Courtesy of Kodak Canada
Willis segued to a ceremony honouring the 25th anniversary of
the first IMAX camera to ride into space aboard the NASA space
shuttle Challenger, which took off on April 6, 1984, and landed
April 13. “The images photographed by the IMAX camera on
that flight became a vital part of the 1985 IMAX film The Dream
Is Alive, directed and produced by Graeme Ferguson,” Willis
said. At the CSC Awards ceremonies in 1985, Mr. Ferguson and
IMAX co-creator William Shaw accepted the Bill Hilson Award,
presented that year to IMAX for its outstanding contributions
to the motion picture industry. “As a token of appreciation,”
Willis said, “IMAX presented the CSC with a commemorative
Canadian flag that had been flown on the Challenger as part of
the shuttle’s Official Flight Kit.”
Marci Ien Canada AM
“T
he talents of CSC members and other Canadian
cinematographers continue to place them among the
finest in the world,” President Joan Hutton csc said
in her welcoming remarks at the 2009 CSC Awards Gala.
Actually, the words were delivered by Vice-President George Willis
csc sasc; Madame president was at the event but was suffering
vocal hoarseness caused by laryngitis. The annual celebration
of cinematography was held at the Sheraton Centre Hotel in
downtown Toronto on April 4.
“I say ‘other cinematographers,’” Willis continued, “because it
reflects the CSC’s new policy of inviting member and nonmember cinematographers residing in Canada, and Canadian
cinematographers living outside the country, to participate in
the awards competition. A committee of prominent Canadian
cinematographers decided to amend the regulations governing
the Society’s annual awards, he explained. “For the first time in its
52-year history, the CSC is including cinematographers outside
of the membership in all categories.” Student and News categories
were already open to non-members.
Jim Mercer csc told the rest of the story, describing the flag’s
roundabout route back to the CSC Awards stage. “The flag,
framed and inscribed by NASA, turned up during my most
recent visit with Robert Rouveroy csc … president of
the CSC during the 1980s who retired to live in his
native Holland. He said he had no place to put the flag
after the 1985 presentation by IMAX – the CSC had no
clubhouse at that time – so he took it home. The flag was forgotten
until Rob found it not long ago and gave it to me to be displayed in the CSC Clubhouse at William F. White’s. So it is my
privilege tonight to present this flag to you, George, for safekeeping and exhibition.”
Willis introduced the evening’s host, broadcast journalist Marci
Ien, early edition host and news anchor for Canada AM and
anchor of CTV Newsnet on weekday mornings. Ien’s monologue
was both serious and witty, with an appreciation for the work
of camerapersons in both film and television. If it weren’t for
moving pictures, Ien said, “we would miss the immediacy and
intimacy of feeling like we are actually on the scene of the story.
That feeling begins and ends with the camera. The same is true
of theatrical and television drama and comedy. No matter how
collaborative the process of making movies, the camera is always
central to the action.”
Three special awards were presented in addition to the 13
competitive awards, winners of which are listed in the sidebar. The Bill Hilson Award, for a person who has made an
outstanding contribution to the motion picture industry,
was presented to Canadian-born Kino Flo inventor Frieder
Hochheim; the President’s Award, for an individual making
an outstanding contribution to the CSC, went to Nikos
Evdemon csc; and the Kodak New Century Award was
presented to Pierre Letarte csc for his outstanding contribution
to the art of cinematography.
Lance Carlson, a filmmaker, teacher and former vicepresident of the CSC, presented the Bill Hilson Award “to a
Canadian whose genius has literally illuminated the world of
cinematography.” Frieder Hochheim of Hollywood, by way
of Winnipeg and Toronto, is the inventor and builder of the
amazing Kino Flo system of compact, portable, low-energy,
high-output, colour-correct, flicker-free fluorescent lighting.
Hochheim, who founded Kino Flo Inc. in 1987, graduated
with a degree in motion picture studies from Ryerson Polytechnic in 1977 and worked around Toronto as a freelance
gaffer until he moved to Hollywood in 1983.
CSC vice-president Willis presented Nikos Evdemon with the
President’s Award, citing Nikos’s love of cinematography and
his 40-year career in Canadian film and television, including a remarkable 28-year stint with the CBC. He has won
two CSC Awards and four Gemini Awards. “In recent years,”
Willis said, “Nikos has served as publicity chair on the CSC
executive board and has volunteered his impressive computer
and web-building skills to the CSC, beautifully redesigning
the look and functionality of the Society website.
“His web innovations and upgrades provide members
not only with links to their personal websites but also the
ability to post samples of their work to a direct-access
Demo Reels site within www.csc.ca. The CSC is proud to
present the President’s Award to Nikos in recognition of
his many hours of work on site improvements, which have
been hugely beneficial to the CSC, and for his participation in other projects such as last year’s 50th anniversary
commemorative book.”
Gaston Bernier, sales manager, production, Kodak Canada,
presented the Kodak New Century Award to Pierre Letarte.
The Montreal cinematographer joined the National Film
Board of Canada in 1965 and through the 1970s shot documentaries for directors such as Denys Arcand, Gilles Carle
and Paul Cowan, whose Going the Distance received an Oscar
nomination for feature documentary in 1979. Letarte lensed
the controversial NFB film Not a Love Story: A Film about
Pornography (1981), directed by Bonnie Sheer Klein.
Perhaps his most famous film, John N. Smith’s The Boys of
St. Vincent, was shot in 1990. Letarte and Smith left the
Film Board shortly after The Boys, and the film became
their calling card in Hollywood. It led Letarte and Smith
to make Dangerous Minds (1995) starring Michelle Pfeiffer,
Sugartime (1995) with Mary-Louise Parker, and Jane Austen’s
Mafia! (1998) with Lloyd Bridges. Back home, the pair made
the Canadian television miniseries Random Passage (2002),
Prairie Giant (2006) and The Englishman’s Boy (2008).
Letarte won the Gemini Award for best cinematography for
Random Passage and was nominated for the other two. His
most recent feature film with Smith, Love & Savagery, is in
post-production.
THE
C ANADIAN S OCIETY OF
C INEMATOGRAPHERS
2009
CSC
Award
Winners
2009
The Roy Tash Award for Spot News
Cinematography presented by Marcia
MacMillan, anchor, CTV NewsNet –
Cheng-Hsian (Sean) Chang, Tibetan
Horseman Riot, CTV.
SATURDAY, APRIL 4TH
, 2009
The Stan Clinton Award for News
Essay Cinematography presented by
Marcia MacMillan – Randy Maahs,
Regional Contact “Rideau Boat Tour,”
CTV.
Presents the
CSC AWARDS
The Dominion Ballroom
Sheraton Centre Hotel
123 Queen St. West
Toronto • Ontario • Canada
5:30 • RECEPTION
7:30 • DINNER AND AWARDS
Optional Black tie
ADMIT ONE
$180.00 (& GST)
Corporate / Educational Cinematography presented by Marcia
MacMillan – Kelly Wolfert, “Tourism
BC: Summer 2008,” Barbershop Films.
Student Cinematography, sponsored
by Panavision Canada and presented
by Panavision’s Stewart Aziz,
vice-president of marketing, Eastern
Canada – Stephen Whitehead, Emes,
Ryerson University.
Lifestyle/Reality Cinematography, sponsored by Sim Video Productions
and presented by Paul Lewis, president and general manager, Discovery
Channel Canada – Richard Wilmot, Holmes on Homes: “Lien on Me,”
Make it Right Productions.
Docudrama Cinematography presented by Paul Lewis – Jeremy Benning,
The Great Sperm Race, Cream Productions/Blink Films/Discovery Channel/
Channel 4.
The Robert Brooks Award for Documentary Cinematography presented
Paul Lewis – Frank Vilaca, Aftermath: Population Zero, Cream Productions/
National Geographic.
Music/Video/Performance Cinematography presented by Charlotte Arnold
and Dalmar Abuzeid from CTV’s Degrassi: The Next Generation – Brendan
Steacy for Shelby Lynne’s Anyone Who Had a Heart, Picture Vision Pictures.
Dramatic Short Cinematography presented by Charlotte Arnold and
Dalmar Abuzeid – Ray Dumas csc, The Cello, Canadian Film Centre.
The Fritz Spiess Award for Commercial Cinematography presented by
Charlotte Arnold and Dalmar Abuzeid – Douglas Koch csc, Subaru
“Sumo,” The Corner Store.
TV Drama Cinematography presented by Hélène Joy from Durham County
and Murdoch Mysteries – David Greene csc, XIII, XIII Television
Productions/Prodigy Pictures.
TV Series Cinematography, sponsored by Technicolor Toronto and
presented by Hélène Joy – Ousama Rawi csc, bsc, The Tudors “Episode
201,” Peace Arch Entertainment.
Theatrical Feature Cinematography, sponsored by Deluxe and presented
by Hélène Joy – Gregory Middleton csc, Passchendaele, WhizBang Films/
Rhombus Media.
CSC Award winners not in attendance were Cheng-Hsian (Sean) Chang, Richard
Wilmot, David Greene csc and Gregory Middleton csc.
9
and the
winner
is…
Dalmar Abuzeid, on the right,
& Charlotte Arnold Presenters
Degrassi:The Next Generation
Kelly Wolfert
Corporate/Educational
Paul Lewis Presenter
Discovery Channel Canada
Frieder Hochheim
Bill Hilson Award
Frank Vilaca
Robert Brooks Award for Documentary
Jeremy Benning
Brendan Steacy
Docudrama
Music/Video/Performance
Ousama Rawi csc, bsc
Marcia MacMillan
Pierre Letarte csc &
Gaston Bernier Kodak Canada
TV Series
Presenter, CTV NewsNet
Kodak New Century Award
Douglas Koch csc
Hélène Joy Presenter
Randy Maahs
Fritz Spiess Award for Commercial
Murdoch Mysteries & Durham County
Stan Clinton Award for News Essay
Stephen Whitehead
Ray Dumas csc
Nikos Evdemon csc
Student
Dramatic Short
President’s Award
11
x3
Camera Courses & Workshops
The CSC Camera
Assistants’ Course,
February 13–22
By Ernie Kestler
& Wyndham Wise
T
he 2009 CSC Camera Assistants’ Course – led by CSC
education chair Ernie Kestler – began on Friday February
13, 2009 at PSProduction Services, Toronto, where Ted
Overton and Marc Pierce spent the day going over the duties and
responsibilities of the first and second camera assistant as well as
the logistics of how the camera department functioned.
On day two, at PS, John Lindsay shared his wealth of
photographic knowledge with the course participants, thus giving
them a solid foundation of the theories that related to the cameras
with which they would be working. That afternoon, John and
Ernie went over the basics of camera prep, followed by hands-on
exercises of slating, camera operation and focus pulling. Ted
returned on day three at Clairmont Camera, and went over the
tripods and heads currently in use. That afternoon Ted went over
testing cameras and lenses, and the group shot some actual tests.
The next day, again at Clairmont, Simon Brown and Godfrey
Pflugbeil demonstrated Arricam, Arri BL4 and Moviecam.
On Wednesday (February 18) we were the guests of Kodak
Canada at its Toronto office. Sylvana Marsella and Joe Segretti
showed several films and answered the questions that arose. The
same afternoon, the group were guests of Technicolor Toronto
where they screened the test they shot and were shown how the
film should be delivered as well as the chain of events of the film
being processed and prepped for transfer. Colin Davis, Steve
Raskin and Bruce Britnell fielded questions.
We found ourselves back at PS the next day where Ernest Spiteri
and Lem Ristsoo demonstrated the Arri SR2, SR3, Arri 435 and
Arri 535. That afternoon the students also got a sneak peek at the
Red One camera. On Friday we were guests of David J. Woods
where we had a pretty intensive day. The group got the basic
theories of video, white-balancing, monitors, accessories, mini-DV,
Sony PD150, Panasonic HVX200 and an introduction to
data management delivered to them by Cavan Young. That
evening three directors of photography joined us for an informal
session where demo reels were screened. The students were also
treated to a screening of a 3D film (complete with 3D glasses).
Peter Benison csc, Dylan Macleod csc and Martin Julian csc
answered technical as well as logistical questions and shared their
knowledge, much to the delight of everyone there.
Saturday, the beginning of the wrap-up weekend of the course
found the participants at Panavision Canada. Helmut Cremer
went over the Panavision system with them, with Phil Cremer
there to lend a hand. Sunday morning the group saw what
was involved when assisting for Steadicam. Brad Hruboska,
complete with his Steadicam rig and all its accessories, took them
through the paces. In the afternoon the group continued with the
Panavision system, and Helmut had Greg Coxhead there to help
out. That night the course came to a close with a wrap party at a
downtown restaurant.
Thanks to instructors Simon Brown, Helmut Cremer, Brad
Hruboska, John Lindsay, Ted Overton, Godfrey Pflugbeil, Marc
Pierce, Lem Ristsoo, Ernest Spiteri and Cavan Young. Special thanks
to Jan Madlener and the staff at Clairmont Camera, Alicia Pearson at FujiFilm Canada Inc., Silvana Marsella and Joe Segretti at
Kodak Canada, Stewart Aziz and the staff at Panavision Canada,
Penny Watier and the staff at PS Production Services, Colin Davis
and the staff at Technicolor, David and Diane Woods and the staff
at David J Woods Productions, Peter Benison csc, Martin Julian csc
and Dylan Macleod csc.
Participants in the 2009 CSC Camera Assistants’ Course
M
egan MacDonald, Toronto: Megan attended Ryerson
University to study film. Since graduation, she has been
working in the industry on and off as much as she can as a
camera assistant, mostly seconding. “I’ve been working on shorts,
but I worked on a feature in the fall that was shot with the Red One.
That was more exciting. A friend I work with took the course a
couple of years ago and told me about it. I am in the process of applying to the union and I thought this would be a really good background to have on my résumé. It makes much more sense to work
hands-on with the cameras and play with them instead of
just reading the manual. It makes it so much more real and
concrete, and it definitely increases your skills. Ernie has such a
good perspective, mixing the right amount of realism with the
right amount of idealism for the industry. I want to be career
assistant, eventually maybe an operator, but we shall see.”
Ryan LaLonde, Saskatoon: Ryan, “I graduated from high school
and immediately went into grip/electric at a local television
station. I’ve been doing it for a while. I want to get into the
camera department, and this seems the way to do it. I found out
about the course from a DP, Andrew Forbes, who is a [associate]
member of the CSC. He took it a couple of years ago and said
it was a great way to get started. It’s awesome and a lot more
hands-on than I thought it would be. I’ve learnt about being
an assistant, and also operating and DP-ing. Ernie’s been great,
and all the other instructors have been more than I expected.
It’s great.”
Peter Osborne, Ottawa: Peter, studied business and film
at Queen’s University. “I found about this course from a professor of mine at Queen’s who used to be an operator. He
recommended I take it. I’ve been interested in cinematography
and I needed technical experience. I would like to eventually DP or direct. The course is great, and I’ve learnt so
much. I had never had hands-on training with cameras to the
detail that I have this week. Now I have a pretty good knowledge
of the basics and what questions to ask. It’s been more than useful in every aspect, even if I don’t end up as a camera assistant.
Ernie’s really friendly and helpful, and it’s always
useful to meet people if you hope to get anywhere
in this business.”
University to study film. “When I was in Kingston, still in high
school, I went to work at the local television station and learn to
love the camera. I went to Queen’s, but that course is not really
about production, more about theory and history of film. I found
out about this course surfing online. I learned about the CSC and
asked some people who told me it was a good workshop. And I
find it awesome. I like the hands-on approach and the coolest
thing is that they let you play with the cameras, take them apart
and put them back together again. I really like the technical side
of the business and this course has taught me a lot.”
Elise Queneau: From Tours in France, Elise Queneau graduated
from a college in 2008 where she studied cinematography. She
came to New York on a work permit and now hopes to remain in
Toronto. “I have a friend who took this course three years ago. I
knew some stuff before, but it’s always good to learn more. Ernie is
a good teacher. I have applied for the training course at the union,
but before that I hope to find work. I want to stay in Canada
because I heard that there are more things happening now.”
Johnny Ya Chen: From Shanghai, China, Johnny came
to Canada to study at Seneca College and went to York
University for film production. He is now working in the
television industry as a camera operator at TVO. “I found
about the course on the IATSE 667 website. It’s a great course,
short and compact, and fits into my schedule. The point of taking the course, for me,
is that I have been working in television for
18 months but I am still interested in finding film work, features or shorts. I want to
learn more about working in the camera
department.”
Ana Cunha: Ana went to film school at Confederation College in Thunder Bay about six years
ago and worked on a few shorts. She had to find
a job to pay off her student loans, but now wants
to get back into the business. “I know a couple of
people who had taken this course when I was in
college and so it has always been in the back of my
head. When I thought about getting back into the
business, I thought about this course. My next step is
to explore the union and possibly joining. I’m enjoying
it. It’s sort of like a refresher course for me, because
there’s a lot of things I had forgotten.”
Kyryll Sobolev, Toronto: Kyryll went to Queen’s
13
Top
Ten
Dos
&
Don’ts
HD
When Shooting with HD
1. Develop a good working relationship with the DOP. Don’t be afraid
to ask questions or let him know
your concerns. Experiment, learn,
play and ask as many questions as
needed until you understand how
your particular craft affects other
departments.
2. Regardless of the format – be it
film, HD, Red One, or other digital
media – talent counts. Enthusiasm
beats experience hands down, but
have both and you have true talent.
3. Less is more. You don’t need to
cake on the makeup (it will read
like they have too much makeup)
and match the skin tone.
4. Regardless of the format, remember you are here to tell a story.
5. Good makeup is good makeup and
bad makeup is just bad makeup;
good lighting is good lighting and
bad lighting is just bad lighting. The
same rule applies for any format.
6. The goal is to perform a more
complete makeup application that
will defuse imperfections and even
out the skin tone, including any
exposed areas, i.e. the neck, chest,
ears and beard.
7. Be cautious when using any product with shine. Sometimes, but
not always, it reads too hot, i.e. lip
balm can read like lip gloss.
8. Do not over powder. The powder
will read on camera.
9. Always check your makeup on set
under the lighting, on camera, and
adjust as necessary.
10. Art Rules!
A Hands-on
Workshop,
February 11
By Roger Metivier
R
esolution is what is changing in the
acquisition and post - production
of the film and television business.
For many years, the industry has strived
for sharper and clearer images, cleaner
blacks, finer grain, etc. With the advent of
HD, the industry has achieved these goals.
At first producers were afraid to use film
DOPs on HD shoots. But film DOPs have
taught the digital world how to use the
format. The Red One is in better hands
with a film DOP because he or she is
used to lighting with light meters, not
monitors,and using a fixed ASA rating.
Alwyn J. Kumst csc is a well - known DOP
in Canada and around the world. But
what you may not know is that, years ago,
Kumst took a makeup course so he could “properly evaluate the quality of makeup on set.” So
it seemed like fate when he was approached by NABET 700 CEP to talk about film and HD
as it relates to the craft of hair, makeup and wardrobe.
“I was very interested,” Kumst told me. “I approached NABET and met in their
boardroom (Toronto). I thought just talking about this would not be interesting enough, so I decided to develop an event. I created a program, and Panavision
agreed to host the event at its Toronto offices, providing the cameras and accessories.
William F. White supplied dollies and grip gear, and Cargo Cosmetics supplied the
makeup and Annesley Broadhead, their training and education manager for Canada.”
Together with Traci Loader, vice-president of makeup at NABET 700, the pair put on a
two-hour demonstration applying HD makeup.
“I was contacted by Alwyn to support this event,” Broadhead said. “Cargo has a line of
cosmetics that we created for makeup artists working in HD. We already do a lot of work in
the industry, so this was a natural fit for us to get involved. We did a makeup presentation
with tips and tricks for filming in HD, what to do, what to avoid, colours and textures on
different skin tones and traditional makeup versus using airbrush techniques.”
Kumst enlisted the support of Dylan Macleod csc and Colin Hoult csc. Dylan gave an overview comparing HD formats to SD (standard definition) formats. “Alwyn putting this event
together was great because we all have to collaborate on set,” Macleod said. “Often times we
get thrown together without the opportunities to communicate in advance. For me, it was
nice to be able to share information from the cameraman’s perspective. Personally I learned a
lot by watching the makeup demo. I think what this does is make our industry better, because
if we can work together in our off time to become better at what we do, the whole industry
gets better.”
Steven Lynch, makeup artist and department head, also participated in the workshop.
“I didn’t know we were going to
have a practical or hands-on session until we got here,” he said.
“Listening to the DOPs talk about
the cameras and the lighting and
HD TV in general went well beyond
what I was expecting. We don’t have
a chance for a DOP to stop and show
us on set what a filter does. I think
most of us in this business are visual people, so I really gained a lot.
Colin Hoult csc, Dylan Macleod csc & Alwyn J. Kumst csc
For instance, they showed us a HD image of someone and a
SD image. You could just look and see the detailed difference,
the beard stubble really stood out on the guy in HD and not
on the SD.”
NABET has held other seminars on makeup and wardrobe, but
this one was different because of the hands-on aspect. Hoult
said, “Today we are giving hair, makeup and wardrobe people
the chance to actually work with HD cameras to see where the
pitfalls are. This is a hands-on chance to experiment and see the
results on screen for themselves. A chance to see what works
and what doesn’t. It’s important to note that today we explained
the entire production and post-production work flow and how
what they do on set can affect the process all the way along. One
example of what we did was using different type patterns – stripes,
checker patterns and herringbone – that drive HD cameras crazy because of how they capture the image. Sometimes it will look fine on
the HD monitor but once transferred to SD, a problem appears.”
LED Lighting
Is Cool
Workshop, February 21
By Lance Carlson
HD, Red One cameras, or other digital formats require that you
have experience working on a project before you get the job,
which is one of the reasons this seminar was so important for
NABET members. “When people are being interviewed for an
HD shoot,” Kumst explained, “the first question is, ‘Have you
any experience working on an HD project?’ If someone says ‘no,’
they lose the job. I think some people who have been around
longer may feel intimidated by the new technology. After today,
they would feel confident that their technique is good. After all,
good makeup is good makeup, and bad makeup is bad makeup.”
Traci Loader summed up the day this way: “ Our goal was
for makeup artists, hair and wardrobe, to understand how the
camera format and lighting affects their jobs. I believe we reached
our goal.” Kumst agreed. “I am surprised at how many people say
they have learned something because these are people who have
been on film sets for many years. Some of them have taken some
film courses, yet they feel that the demonstrations we did here
today were more practical and helpful.” Kumst was so pleased
with the HD seminar that he has agreed to organize another one
for NABET, next time for the scenic department, which will run
sometime after the summer rush.
Always check your makeup on set, under the lighting, and make adjustments
as necessary.
Frieder Hochheim
T
he Toronto one-day LED Lighting Workshop came
about as a result of a presentation I made at the Planet
in Focus Film Festival in October 2008 on low-energy
approaches for independent filmmakers and subsequent
discussions with its sister organization, Green Screen Toronto.
The purpose of the LED workshop was to offer a platform for
manufacturers and dealers to interact with end users – lighting
directors, cinematographers and videographers – to explore some
of the currently available low-energy light fixtures, primarily
LED, but also fluorescent, in a way that hasn’t really been done
before. The workshop was facilitated with the cooperation of
Radio Television Arts at Ryerson University, and the support of
Green Screen Toronto, who co-sponsored the event and whose
mandate can be found in the sidebar. It thus became a mutually
beneficial opportunity for all sides to learn about the use of LED
fixtures in professional video and television production. We did
not test film stocks, as our plate was full enough with the video
and cinema digital cameras we had.
Brad Dickson, chief lighting director and trainer at the CBC
helped spur this initiative. Brad has been researching LED
15
The Green Screen
Toronto Initiative
Green Screen Toronto aims to facilitate
the long-term growth of Toronto and
Ontario’s entertainment and creative
cluster through industry-wide participation
under a unique partnership arrangement
by creating a mechanism that is adaptive
to new environmental demands affecting the industry. This industry association
has come together to establish standards,
guidelines and resources that will keep
the industry at a competitive advantage
by establishing the most advanced Green
Screen Protocols in the creative industries.
At a time when demand for green
solutions and standards are extremely
high both within the industry and among
the public at large, the OMDC through
the Entertainment and Creative Cluster
Fund has recognized the timeliness of
this initiative and is providing funding to
spearhead one of the most exciting and
innovative initiatives in the film and
television industry. This initiative is
intended to position Toronto and
thereby the province of Ontario on
the leading edge of sustainable green
production locally, nationally and globally.
Green Screen Toronto aims to create a
set of sustainable best-practice protocols
leading to a certification program for the
Toronto film and television industry, using
a third-party verification mechanism, under
which green-abiding productions would
be accredited.The project will also create
a Green Best Practice Guide as well as a
Green Resource Guide for Ontario-based
productions.The moment for implementing sustainable best practices in the
industry has come and is recognized by all
of us who contribute to it and believe in a
thriving future for this industry.
Primary Partner: Planet in Focus:
International Environmental Film & Video
Festival. Founding Partners: Toronto Film
Studios/FILMPORT, IATSE 873, City of
Toronto, FilmOntario, DGC Ontario,
Deluxe, Panavision Canada, ACTRA
Toronto, CFTPA, PSProduction Services,
Comweb/Whites, NABET, and funding
support has been provided by the
OMDC Entertainment and Creative
Cluster Partnerships Fund.
fixtures for many years and has already equipped the French
news studio in Toronto exclusively with LED fixtures. His
most recent coup was lighting the CBC sports studio at the
Beijing Olympics to the delight of sportscasters and interviewees who were cool as a cucumber until they stepped
outside into the 35-Celsius degree heat. It was the envy
of every other sports network in the world who will most
likely be replicating the set-up from here on.
I was made aware early on – just after the workshop was announced and when registrations began coming in – that a
lack of attendance would not be a problem. Interest was high,
and Green Screen Toronto even cut off registrations about a
week before the day of the workshop. With questions already
coming at me about next year’s workshop, I guess I will have Participant on screen for a colour
correction lesson.
no option but to plan accordingly.
Our opening presenters included Frieder Hochheim (winner of the 2009 CSC Bill Hilson
Award), a Ryerson grad and president of Kino Flo, and Dr. T.Y. Yang of Osram/Sylvania, who
led off the morning at the Eaton Theatre. After coffee, Brad Dickson and Bentley Miller, both
enthusiastic users of LED fixtures, described how they have been using LED for a few years
now. In Brad’s case, the French news studio is all LED lighting and four more studios within
CBC are going to be converted soon. He proceeded to describe how he utilized an all-LED
set-up in the CBC sports studio at the 2008 Summer Olympics in Beijing. Bentley showed
numerous commercial and television special applications with his arsenal of LED fixtures.
In the afternoon the actual workshops were fired-up and ready to go. In Studio “A” Brad and
Bentley, with their considerable experience with LED fixtures, analyzed a basic lighting setup with
charts from DSC Labs, Vectorscope from RTA, and a 42-inch plasma monitor from Panasonic;
and, oh yes, actors from ACTRA and makeup artists. In Studio “B,” George Willis csc, sasc and
Tony Wannamaker csc, two very savvy DOPs with very little real experience with LEDs, were given
not only LEDs but tungsten, HMI and fluorescent fixtures to mix and match and generally play
and have some fun.
Studio “C” was also buzzing with activity, as news/documentary guys Colin Alison and Scott Brown led
with some basic interview setups (LEDs), surrounded by sponsor/supporter tables with product demo
and literature available. The day wrapped up back in the theatre with a panel discussion comprised of
manufacturers,dealers, lighting directors and DOPs. It was lively and very positive and hopeful for more
workshops like this as more and more LED products begin to roll out over the next few years.
I spoke to Frieder Hochheim following his presentation, and he was gracious. “Thank you for
organizing a great event,” he told me. “The interaction with the attendees and the other manufacturers was valuable to me as a designer. We all try to do our part to lessen our carbon footprint. Your seminar created a great opportunity to address and explore our current green
options. The advancement of new lighting technologies is accelerating and another seminar within
a year’s time would be worth pursuing.”
And Frank A. Iacobucci, secretary/treasurer for NABET 700 CEP, said this about the workshop:
“This is a note to all who attendedthe LED workshop on February 21 at Ryerson. I learned so
much about the craft of lighting and marveled at the incredible level of mutual respect the lighting
technicians, designers and engineers showed each other. I must add that I was extremely impressed
with the organization and delivery of this workshop. It was well structured, but flexible enough
to accommodate everyone. Lunch was excellent and the panel was solidly conducted and very
inclusive. I felt people were included and even the less relevant questions were addressed
courteously. I really hope that this is the beginning of a dialogue that will flourish in the coming
months and years, not only as the discussion may pertain to greening the industry, but towards
creating an even more professional atmosphere in our industry. I am humbled by the outstanding
contributions of all the volunteers and stakeholders.”
INDUSTRY NEWS
Lyne Charlebois
2009 JUTRAS AND GENIES
Announced March 29 in Montreal, Le Prix
Jutra winners were André Turpin for best
cinematography for It’s Not Me, I Swear!,
The Necessities of Life best picture, Lyne
Charlebois best director for Borderline and
Bernard Émond, with the participation
of Benoît Pilon, best screenplay for The
Necessities of Life.
In the acting categories, Isabelle Blais
won best actress for Borderline, Natar
Ungalaaq best actor for The Necessities of
Life, Angèle Coutu was the best supporting actress for Borderline and Norman
D’Amour took home the supporting actor
Jutra for Tout est parfait.
Overall, Luc Picard’s Babine won five
awards, Borderline four and The Necessities
of Life three. Cruising Bar 2 was the top
Quebec film at the 2008 box office and
Léa Pool’s Maman est chez le coiffeur was
presented with Sétant le Plus Illustré à
l’extéreur du Québec, an award given
to the film that achieved the greatest
international success at festivals and
outside of Quebec.
Announced April 4 in Ottawa, the Genie
Award winners were Gregory Middleton
csc for best cinematography for Fugitive
Pieces, Passchendaele best picture, Benoît
Pilon best director for The Necessities of Life,
Bernard Émond best original screenplay
for The Necessities and Marie-Sissi Labrèche
and Lyne Charlesbois best adapted
screenplay for Borderline.
In the acting categories Ellen Burstyn won
best actress for The Stone Angel, Natar
Ungalaaq best actor for The Necessities of
Life, Kristin Booth was the best supporting
actress for Young People Fucking and
Callum Keith Rennie took home the
supporting actor Genie for Normal.
In total, Passchendaele won five Genies, The
Necessities of Life four and The Stone Angel
two. Director Yves-Christian Fournier won
the Claude Jutra Award for Tout est parfait
and the producers of Passchendaele (Niv
Fichman, Paul Gross, Francis Damberger
and Frank Siracusa) were the Golden
Reel Award winners for the top-grossing
Canadian film at the domestic box office,
with a take of $4.4 million in 2008.
FAMED BRITISH
CINEMATOGRAPHER
JACK CARDIFF DIES AT 94
British director and acclaimed cinematographer Jack Cardiff, who won an
Oscar® for his work on the 1947 film by
Michael Powell and Emeric Pressburger,
Black Narcissus, died at the age of 94 at
his home in Cambridgeshire, England.
He began his career in the silent era as a
clapper-boy and production runner in the
1920s, before finding fame as a cinematographer for the legendary producing/
directing duo of Powell and Pressburger.
He shot the duo’s The Red Shoes (1948),
widely regarded as the best film ever made
about ballet, with its astounding 18-minute dance sequence that Martin Scorsese
called “painting with a camera.”
In 1937, he was DOP on Wings of the
Morning, the first film in Britain to be shot
in Technicolor. He eventually graduated to
directing, adapting D.H. Lawrence’s Sons
and Lovers to the screen in 1960, receiving an Oscar® nomination for best director. He was awarded an Honorary Oscar®
for his work in 1961, and the ASC gave
him its International Award and the BSC
its Lifetime Achievement Award in 1994.
17
He won two Golden Globes, for Son and
Lovers and Black Narcissus.
We make the movies
“Intelligent” Products,
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Some of the most notable movies Cardiff worked on as a DOP include Caesar
and Cleopatra (1945), Alfred Hitchcock’s
Under Capricorn (1949), John Huston’s
The African Queen (1951), The Barefoot
Contessa (1954), War and Peace (1956),
The Prince and the Showgirl (1957; Marilyn Monroe called Cardiff “the best in the
world”), The Vikings (1958), Fanny (1961;
Academy Award nomination), Death on
the Nile (1978) and Rambo: First Blood
Part II (1985).
Cooke Close
Thurmaston, Leicester, UK
T: +44 (0)116 264 0700
F: +44 (0)116 264 0707
E: lenses@cookeoptics.com
www.cookeoptics.com
The Sony PMW-EX3 (SxS Media)
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camcorder with solid state recording
Features:
Interchangeable Lenses
Time Code In/Out, Genlock
Shoulder Pad/Cheek Pad
“Simplicity,” he once said, “that’s the
secret of good lighting and good cinematography. Always keep it simple.”
FUJIFILM ANNOUNCES
FORMATION OF ITS NORTH
AMERICAN MOTION PICTURE
GROUP
FujiFilm U.S.A. Inc. and FujiFilm Canada Inc. have announced plans to consolidate U.S. and Canadian Motion Picture
Divisions to form the FujiFilm North
AmericanMotion Picture Group, effective
April 1, 2009, to consolidate of U.S. and
Canadian operations, drive synergies,
sharpen focus on innovative customer solutions and improve operating efficiency.
PMW-EX3
Demonstrations available
In stock
The new organization will be headquartered in Los Angeles, with offices
in New York, Toronto and Vancouver.
Kevin Masuda has been named President,
North American Motion Picture Group.
Mr. Masuda will retain his global role as
general manager, FujiFilm Motion Picture
Film, International Marketing, Photo
Imaging Products Division, and will
continue to plan and direct the Group’s
long-term global strategies.
CLAIRMONT CAMERA OFFERS
PURE REACH PERISCOPE LENS
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PRECISION CAMERA INC.
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without affecting the focal length or
and 24 jobs were trimmed at Canada AM.
Its parent company, CTVglobemedia,
forecasts a $100 million loss in 2009.
Over at debt-ridden Global, the secondlargest private broadcaster, on top of
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sharpness. Offering right angle or straightin shots, it’s most useful for miniature, car
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images.
The 36-inch Pure Reach Periscope
delivers 1:1 transparent image quality,
equivalent on film to mounting the prime
lens directly on the camera. Accordingly,
the Pure Reach’s shots inter-cut seamlessly with non-periscope footage. Focus
and T-stop are controlled at the Arriflex
lens, using standard control mechanisms.
Developed by Star Wars VFX Oscar®
winner Robert Black, the 36-inch Pure
Research Periscope lens has been employed
in a variety of important films, including
The Lord of the Rings and King Kong.
The exact number of layoffs and the
areas most affected remains unclear
at this point. But it already has been
announced that there will be a cutback in
the number of episodes shot for popular
shows such as Little Mosque on the Prairie
and The Border.
The CBC follows the nation’s largest
private broadcaster, CTV, which chopped
105 jobs in November 2008 primarily at
MuchMusic, MuchMoreMusic and MTV;
118 newsroom jobs at A-branded stations;
DAVID CRONENBERG
RECEIVES FRANCE’S
LEGION D’HONNEUR
David Cronenberg has received the medal
of Knight to the French National Order
of the Legion of Honor, France’s highest
civilian award. The ceremony was held
April 1 in Toronto, with Francois Delattre,
France’s ambassador to Canada, bestowing
the honour on behalf of French Republic
President Nicolas Sarkosy.
CBC FOLLOWS CTV AND
GLOBAL WITH STAFF CUTS
At the end of March, CBC/Radio-Canada
announced cutting costs to help make up
for a $65 million shortfall in its 2008–09
operating budget, including reductions
in prime-time entertainment, variety,
documentary, current affairs, news and
entertainment programming, elimination
of 800 jobs in its television and radio
operations, and more repeats of all
programs. With the decline in ad sales, the
Mother Corp. has predicted a $171shortfall in its operating budget in fiscal 2009–
10 without the cutbacks.
The CBC management will make the
staff cuts over the summer months and
is offering voluntary retirement packages.
19
While at the NFB, he worked on
classics such as the Oscar®-nominated A
Chairy Tale (1957) with Claude Jutra,
Evelyn Lambert and the legendary Norman
McLaren, and Universe (1960), another
Oscar® nominee and one of the most
honoured films made by Board.
He also shot two early English-Canadian
features in Greece in English for Ernest
Reid Productions – Reid was a former
NFB producer – Sex and the Single Sailor
in 1966 (released in Boston in1967, then
Montreal in 1970) and a year later Mother
Goes Greek. There is no recorded release
date for that one.
C a n y o n D e s i g n G ro u p :
CSC News — J1904
02/25/09
01Final
While at Granada TV, Taylor photographed
many up-and-coming actors in England,
including Sean Connery, Patrick McGoohan
and Alan Bates. His assignments and productions took him across Canada and around
the world. The last 10 years of his professional career were spent setting up Bell Canada’s
audiovisual department. In retirement, he
lived in Newcastle, Ontario, and was the
president of the local historical society.
Deluxe
The award recognizes Cronenberg’s CAMERAMAN HERBERT
cinematic accomplishments and the ser- TAYLOR DIES AT 81
vices he has rendered to the cultural
relationship between France and Canada. A successful photographer, cinemaCronenberg’s films have always played tographer and filmmaker whose career
well in France, and in 1996 his intensely included years at the National Film Board
controversial Crash was given a Special of Canada(NFB), Crawley Films, Granada
Jury Prize at the Cannes Film Festival. TV in England, UNESCO and CJOH-TV
He joins an elite club whose membership in Ottawa, Herbert Taylor died March 19 at
includes Steven Spielberg, Gilles Carle the age of 81 in Toronto.
Clint
Eastwood.
1904 CSC News and
2.09
01F:1
2/25/09 10:32 AM Page 1
Vancouver-based 35-mm MOS camera package:
Arri 35 III 3rd generation specs. 130fps motor,
N35 4 perf movement, CE high-speed base and
accessory box, PL mount, custom Jurgens optics
with color tap and frameline generator; 2 x 400’
mags; FF2; 5x6 matte box; two dual 12v batteries
and chargers. All gear ships in four cases.
Well maintained former Clairmont package.
Contact Adam Braverman: 604-418-0241;
adam_braverman@hotmail.com.
Equipment for Sale
Sony BVW-400a Betacam SP Camcorder
Camera used by professional cinematographer
(one owner), never rented out. Comes complete
with Fujinon A15x8BEVM-28 lens, Petroff matte
box with 4x4 and 4x5.6 filter holders, remote
zoom and focus control for lens, 6 Cadnica NP-1
batteries, Sony BC-1WD battery charger, PortaBrace fitted cover w/ rain jacket (like new) and
Sony factory hard shipping case and manuals.
Lens and camera professionally maintained
by factory technicians. Usage hours are: A –
1,918 hours; B – 1,489 hours; C – 4,286 hours.
$10,000.00 obo. Contact: Craig Wrobleski csc
(403) 995-4202
Aaton XTR Super 16 pkg: including body,
video relay optics, extension eyepiece, three
magazines, Cooke 10.5-mm–60-mm S-16 zoom
lens, Zeiss 9.5 prime lens, 4x4 matte box, 4x4
filters (85,85N6, polarizer, ND6, clear), follow
focus and cases $22,000; Nikon 50–300 -mm F4-5
E.D. lens w/support, $1,000; Zeiss 35-mm prime
lens set (Arri std. mount): 16 mm, 24 mm, 32 mm,
50 mm and 85 mm, $4,500; Kinoptik 9–8-mm 35-mm
format lens c/w sunshade $1,400; Arri 35-mm IIC
camera w/ turret for Arri, standard Arri bayonet
and Nikon mounts, level 7 variable speed motor,
3x 400ft magazines w/ loop protectors, periscope
viewfinder, matte box(takes 3x3 filters) IIC hi
hat. Package including transport cases $3,500;
Ronford 2004 fluid head (150-mm bowl) with
Sachtler tall and baby legs, $5,000. stringercam@
shaw.ca or mike@imagegearinc.com
batteries and chargers, four A&J hard cases,
remote controls and antenna signal boosters,
spare power cords, connectors, etc. BNC cables
in winder, two stands, dolly carts and doorway
boxes with storage drawers. Contact: Robert
McLachlan: office: 604-926-5253; cell: 604-761-4041;
rmclachlan@mac.com.
DVW700WS Digital Betacam with viewfinder
and two widescreen zoom lenses. Canon J1 5x8
B4WRS SX12 and Fujinon 5.5-47. Very low hours on
new heads. $16,000, plus taxes. Contact: Michael
Ellis: 416-233-6378.
Betacam SP Camera package. BVP550 Betacam SP
camera with BVV5 recorder, complete with Fuijinon
15x8 broadcast zoom lens, “Red Eye” wide-angle
adapter, 6 IDX Li-Ion batteries, IDX quick charger
with AC adapter, flight case, soft carry case, Sony
monitor and 10 fresh Beta SP tapes ($140 value).
$2,500. Call Christian: 416-459-4895.
Arri III clear rain cover with carry bag (Like
new, very little use.) $100. Anton Bauer Lifesaver
“Interactive Logic Series” dual charger in excellent
condition, minimal use with AC power cord and
two Proformer batteries (need to be re-celled)
$150. Hard-shell transport case for broadcast or
16 mm, good condition $40. Petroff 3x3 filter tray,
$30. Photos available. Contact: John Banovich:
604-726-5646 or John@GreenEarthFilms.net.
Pro Bono
Looking for HD videographer to work pro bono on
a gay 15-minute film entitled Epiphany. Based
on a real event, and dealing with the relationship
between spirituality and sexuality, the script tells
the story of an ex-religious who visits a massage
parlor and experiences a “revelation” of sorts.
Shooting begins in May and extends into the
fall, depending upon the availability of the cast
and crew. It has a distributor and is scheduled
to premier in March 2010. The script is available
upon request. Interested persons are asked to
contact Andrew Adams at 416-551-3584 or at
argadams@hotmail.com.
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.
Page 1
HDV � XDCAM � HDCAM
Videoscope is your
One-Stop Shop
For Sony Professional HD Cameras
�
�
�
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HDW-F900R
Experienced Sales Reps and Camera Specialists
Recording Media for all Sony platforms in stock
Sony-trained technicians in our Service Department
Support from our Rental Division
For demos and consultations: 416-449-3030
Larry Au
lau@videoscope.com
Gord Haas ghaas@videoscope.com
Joe Freitas jfreitas@videoscope.com
Photo by Roger LaFleur
Two Complete Video Villages for Sale $2,000.
At this price, these units will pay for themselves
in less than five weeks on a normal television
series. Cost to create new would be over
$5,000. Plus these very sharp, robust AC/ DC
monitors are no longer available! Includes
four x 9inch Sony AC/DC monitors, four 12V
Sony DVW700 Digital Betacam camera. Excellent
condition. One Sony viewfinder, one Sony battery
case, one Sony tripod adaptor, and one 8x160mm Canon zoom lens. $19,900 plus taxes. Call
613-255-3200.
Elmo TransVideo TRV16 16-mm film-to-video
converter color CCD. Converts mag or optical film
frame, color, iris, focus adjustments. Excellent
working order. Best offer accepted. Contact: Bea:
feldab@rogers.com.
1474.VideoscopeCSC-Oct08 9/19/08 3:11 PM
Factory-sealed Fuji film stock. Three x 400ft.,
35-mm 500ASA, 250ASA and 160ASA. Regular
price, $500 per roll. On sale for $340 per roll. Also
can sew various types of heavy-duty material.
Repairs and zipper replacement on equipment
and ditty bags. Lori Longstaff: 416-452-9247;
llong@rogers.com.
Sony DSR-130 Mini DV/DVCAM Camera. ENG
rig in excellent condition, comes with softshell carrier. Includes DXC-D30 head, DSR-1
DVCAM VTR, Canon YJ 18x9 KRS internal-focus
1x/2x lens (servo/manual), DXF-701WS ENG
viewfinder, condenser mic and Anton Bauer
battery. DSR-1 hours: A:233; B:133; C:327. Recent
factory servicing, reports and pictures available.
$8,500 obo. Justin Guimond: 604-568-8023,
justin.guimond@gmail.com.
Betacam SP D30 camera, PVV3 Recorder Back,
Fujinon 16X, 9-144 zoom lens, six batteries, charger,
power supply and case, Sony PVM 80Q 7 1/2inch
monitor and case. $3,500. Contact: Joan Hutton:
416-693-9776.
CAMERA CLASSIFIEDS
Equipment for Rent
PDW-700
PMW-EX3
www.videoscope.com/cameras
21
Sony logos are the property of Sony Corporation of Japan. All rights reserved.
CSC MEMBERS
CSC FULL MEMBERS
Jim Aquila csc
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Stan Barua csc
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Peter Benison csc
John Berrie csc
Thom Best csc
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Michael Boland csc
Raymond A. Brounstein csc
Thomas Burstyn csc, frsa, nzcs
Barry Casson csc
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VANCOUVER
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Robert Holmes csc
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Mark Irwin csc, asc
James Jeffrey csc
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Martin Julian csc
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Jan E. Kiesser csc, asc
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Douglas Koch csc
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Les Krizsan csc
Alwyn J. Kumst csc
Jean-Claude Labrecque csc
Serge Ladouceur csc
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J.P. Locherer csc
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CALGARY
403-246-7267
TORONTO
416-444-7000
David A. Makin csc
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Donald M. McCuaig csc, asc
Robert B. McLachlan csc, asc
Ryan McMaster csc
Michael McMurray csc
Stephen F. McNutt csc, asc
Simon Mestel csc
Alastair Meux csc
Gregory D. Middleton csc
C. Kim Miles csc
Gordon Miller csc
Robin S. Miller csc
Paul Mitchnick csc
Luc Montpellier csc
George Morita csc
Rhett Morita csc
David Moxness csc
Douglas Munro csc
Kent Nason csc
Mitchell T. Ness csc
Robert C. New csc
Stefan Nitoslawski csc
Danny Nowak csc
Rene Ohashi csc, asc
Harald K. Ortenburger csc
Gerald Packer csc
Barry Parrell csc
Brian Pearson csc
David Perrault csc
Bruno Philip csc
Matthew R. Phillips csc
Andrè Pienaar csc, sasc
Zbigniew (Ed) Pietrzkiewicz csc
Randal G. Platt csc
Milan Podsedly csc
Hang Sang Poon csc
Andreas Poulsson csc
Don Purser csc
Ousama Rawi csc, bsc
William Walker Reeve csc
Stephen Reizes csc
Derek Rogers csc
Brad Rushing csc
Branimir Ruzic csc
Jèrôme Sabourin csc
Victor Sarin csc
Paul Sarossy csc, bsc
Michael Patrick Savoie csc
Gavin Smith csc
Christopher Soos csc
Michael Spicer csc
John Spooner csc
HALIFAX
902-404-3630
Ronald Edward Stannett csc
Pieter Stathis csc
Barry Ewart Stone csc
Michael Storey csc
Michael Sweeney csc
Adam Swica csc
Attila Szalay csc, hsc
Christopher D. Tammaro csc
Jason Tan csc
John P. Tarver csc
Paul Tolton csc
Bert Tougas csc
Chris Triffo csc
Sean Valentini csc
Roger Vernon csc
Daniel Villeneuve csc
Daniel Vincelette csc
Michael Wale csc
John Walker csc
James Wallace csc
Tony Wannamaker csc
Peter Warren csc
Andrew Watt csc
Jim Westenbrink csc
Tony Westman csc
Kit Whitmore csc, soc
Brian Whittred csc
Ron Williams csc
George A. Willis csc, sasc
Glen Winter csc
Peter Woeste csc
Bill C.P. Wong csc
Bruce Worrall csc
Craig Wrobleski csc
Yuri Yakubiw csc
Ellie Yonova csc
CSC ASSOCIATE MEMBERS
Joshua Allen
Don Armstrong
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Kenneth Walter Balys
David Battistella
Gregory Bennett
Jeremy Benning
Jonathan Benny
Andrè Bèriault
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Christian Bielz
Francois M. Bisson
Christophe Bonniere
Scott Brown
Richard Burman
Lance Carlson
Jon Castell
Mark Caswell
Maurice Chabot
Cèsar Charlone
Stephen Chung
David Collard
Renè Jean Collins
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Rod Crombie
James Crowe
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Sarorn Ron Sim
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Andrè Paul Therrien
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Y. Robert Tymstra
Frank Vilaca
John Walsh
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Douglas H. Watson
Roger Williams
Richard Wilmot
Peter Wayne Wiltshire
Kelly John Wolfert
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Peter Wunstorf asc
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CSC Affiliate MEMBERS
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Location, Location
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CSC FULL LIFE MEMBERS
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Technicolor Toronto
Your downtown
laboratory and
post facility
Grace Carnale-Davis
Director of Sales
grace.carnale-davis@technicolor.com
Vancouver
604-689-1090
23
Toronto
416-585-9995
Montreal
514-939-5060
www.technicolor.com
Production Notes
The Border season III (series); DOP Gavin Smith csc; to October 15, Toronto
Boy Who Cried Wolf (TV movie); DOP Robert McLachlan csc, asc; OP Michael
Wrinch; to May 12, Vancouver
The Bridge (series); DOP Thom Best csc; OP David Sheridan;
to August 30, Toronto
Chabotte et fille (series); DOP Marc Charlebois csc; to June 15, Montreal
Le Concert des voix (documentary): DOP Daniel Vincelette csc; to May, Montreal
The Dealership (pilot); DOP Gerald Packer csc; OP Andris Matiss;
to April 18, Toronto
Defying Gravity (series): DOP Stephen McNutt csc; OP Tim Spencer;
to June 17, Vancouver
Degrassi: The Next Generation season IX (series); DOP Jim Westenbrink;
begins May 19, Toronto
Dino Dan (series): DOP/OP George Lajtai csc; to July 19, Toronto
Everything She Ever Wanted (TV movie); DOP Mathias Hemdl; OP Colin Hoult csc;
1st Assist. Gottfried Phlugbeil; B cam OP Rod Crombie; to May 10, Toronto
Flashpoint season II (series): DOP Stephen Reizes csc; OP Tony Guerin;
to August 1, Toronto
Flicka 2 (home video); DOP Ron Stannett csc; OP Michael M. Soos;
to May 14, Burnaby, BC
Go Girl (series): DOP Milan Podsedly csc; OP Marvin Midwicki; B cam OP Peter
Battistone; to May 1, Toronto
Little Mosque on the Prairie season IV (series); DOP Yuri Yakubiw csc; OP Frank
Polyak; begins May 13, Toronto
Love Child of Andy Warhol & Yoko Ono (feature); DOP Derek Rogers csc; OP
Carol Savage; to May 6, Toronto
Musée éden (pilot); DOP Yves Bélanger csc; to May 31, Montreal
The Phantom (miniseries); DOP Pierre Jodoin csc; to May 31, Montreal
Ring of Deceit (TV movie); DOP Daniel Villeneuve csc; to May 15, Montreal
Riverworld (TV movie); DOP Thomas Burstyn csc; OP Randal Platte csc;
to May 29, Vancouver
The “Socalled” Movie (documentary); DOP Marc Gadoury csc; to July, Montreal
Sur traces de Marguerite Yourcenar (documentary): DOP Stefan Nitoslawski csc;
to June 30, Montreal
Yamaska (series); DOP Daniel Vincelette csc; to December 10, Montreal
Calendar of Events
May 6–7, Toronto Documentary Forum, 416-203-2155, www.hotdocs.ca
June 5–7, nextMedia, Banff,AB, 403-678-1216, www.nextmediaevents.com
June 7–10, Banff World Television Film Festival, Banff, AB, 403-678-1216, www.
banff2009.com
June 16–21, CFC Worldwide Short Film Festival, Toronto, 416-445-1466, www.
worldwideshortfilmfest.com
June 17–21, Toronto Italian Film Festival, 416-885-5551, italianfilmfest.com
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