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ro/ume 22, Ito. 9
Moy 2003
~pntents
2 - Presiden t's Report
Circle of Distinction
4 -
Awords
esc 2oo3
10 - Awards Spotlight
Andre Pienaar esc
11 - Kodak New
Century Award
Ron Oricux esc
14 - Fuji Award
Gerd Kurz
15 - Bill Hilson Award
Ivan Putora
16 - Remembering ...
Jeep & Ernie
22 - Technical Notebook
One More Thing
23 - Newsclips
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24 - Actio n Production Notes
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COVER PHOTOS: John Narvali
president's rernt
joan Hutton esc
Circle of
Distinction
he 2003 esc Awards Gala on
March 29 was another resounding success, and we extend our
warmest congratulations to all of this
year's winners and nominees. Whether
for the first time or the lOth, you were
chosen to join a special circle of distinction. To all those who submitted e.ntries,
thank you for caring enough about the
excellence of your work to enrol i.n U1is
much anticipated competition, and
thank you for helping the Society fulfil
its most important mandate- to foster
and promote the art of cinematography.
Unless )'OU have served on our selection
jury, you cannot know how difficult it i.s
T
to chose nominees and winners from
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2 • esc Ne.. I M1J7 2003
the broad spectrum of talent that challenges the jurors• visual acuity. it is trl~Y
an honour well earned to be among the
few to be selected by one's peers for creative and technical achievement.
Last year on the occasion of the
Society's 45th anniversary, Grant
McLean esc C.M., one or the esC's
founders, made a brief guest appearance on the podium to say he was
"astonished at the growth and strength
of the esc. which we founded so long
ago. To see that small beginning grow
into what you have accomplished
today, I find satisfying and remarkable.
You have done it by being Inclusive,
not exclusive." Mr. McLean, who
passed away last December, was referring to our inclusive membership policy, but he could have been talking
about the all-encompassing range of
behind-the-camera skills that the esc
recognizes in this Awards program. We
now have 13 competitive categories,
with the addition this year of
Docudrama Cinematography.
Now in our 46th year, the Society is
strong and viable as we march deeper
into the 21st century. The ft•ture is both
challenging and bright, offeri.ng us new
opportunities to grow and to build on
our past accomplishments. Gulded by
the positive direction or our executive
and membership, we will never be content with standing still. My thanks to
those hard-working executive members
for their many efforts, and to our sponsors, of course, who once again made
the Awards evening possible through
their generosity. Thanks also to the
members of the awards juries for their
time and expertise.
Special thanks is reserved for Susan
Saranchuk, our Awards Chair, who
once again worked long hours with
dedication and excellent taste to put
together th is year's Awards evening.
Yes, there was a sad note to the celebrations. We greatly missed the late
Gerd Kurz, the 2003 recipient of the
Fuji Award for contributions to the
esc, who died in February. His son.
Ken, honoured his father by accepting
the award on behalf of his family, and
presenter Taylor Ogston of Fuji Photo
Film C1nada brought the audience to
its feet with the singing or For He's a
Jolly Good Fellow.
There has been more sad news
since then. Full Life Member Eugene
Qeep) Boyko esc of Richmond, B.C.,
one of the CSC's original members i.n
1957, passed away in March, and Full
Member Ernie McNabb esc, recipient
of the esc Kodak New Century Award
in 1998, died last month. Tributes to
their lives a.nd careers appear in this
issue of CSC News. These were men
who made tremendous contributions
to the art and technology of dnematography, and their distinctive
places in the Canadian film industry
will be impossible to fill. Our sincere
condolences go out to Eugene's and
Ernie's families. e
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cinematographers who have
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in all forms. "
11
J)
Host Mortio Doylo
•we are fortunate to live In freedom and to congratulations also to Pierre Letarte, Roger
enjoy the unfettered opportunity to make motion Vernon and Walter Corbett on their 2002 Gemini
pictures for education and entertainment,• Awards. Winners of 2002 Prix Gemeaux were
President joan Hutton esc told the 2003 esc Bruce Chun, Ronald Plante, and Marc Gadoury,
Awards Gala in her opening remarks. ·we love our while at the ASC Awards In Los Angeles, jonathan
jobs, and tonight we arc proud to honour the tal- Freeman, Serge Ladouceur and Peter Wunstorf
ented esc members whose work as
were among IS nominees in three teloutstanding visual artists have earned
evision categories.
By Don Angus
nominations from our jury of peers.
• All of this acclaim adds a special
Photos by John Norvoli
"This is esc Prime Time,• she
shine to the CSC Awards. Our unique
said. "Time to put the cares of the world behind us awards honour the artistic and techn ical achievefor a few hours, and time to applaud the best in ments of cinematographers who have created masthe business."
terpieces In all forms- news, features, series, docIn her welcoming address to the March 29 umentaries, TV drama, short drama, music videos,
celebration, the president also noted " the recog- commercials, industrials, student films, and, new
nition that esc cinematographers are winning this year, docudrama. I believe this broad spectrum
both inside and outside of Canada for their of acknowledgement helps direct a brighter spotworld-class skills. We extend our congratulations light on the accomplishments of the men and
to Paul Sarossy for his 2003 Genic Award, and women behind the camera.
FRITZ SPIESS COMMERCIAl: Andre Pienoar m
sol< (left), presented by actor Harvey Atkin
4 • esc Nc~• 'M., zooJ
DOCUMUITARY: Mk~otllolood uc (left), prosenttcl by
Sandy (rowley, txtcullve dirtclor of the Documentary
Orgonlzotloo of <onodo
DRAMATl< SHORT: lruoo l'tllllp <S< (left), prmnttd
by Tom Swartz, president, Rono CGnado
MU$K VID£0: a.r-d Comrt <>< (ltft~
prt,..tod loy Msidool David Wicox
CAMERA ASSISTAHT AWARD Of M£Ril: Paola l)'OI<W.
prt1Hted by &'lie Kostlt<
"As wel l as honouring the remarkable accomplishments of our fellow cinematographers, we use this special
occasion to recognize the Individuals and companies who
~eep our Industry and our Soclet)' creatively and commercially strong. The generosity of our sponsors makes this
e'enlng possible. I wish I had the time to list by name all
the people who have contributed to our success, but there
Is one group I would like to single out for special appreciation - the esc execu tive, advisers nnd staff:
"VIce-Presiden t Richa rd St ringer, Secretary Ernie
Kest ler, Membership Chair Phil F.<~rnshaw, Treasurer joe
Sunday, Education Chair Harry Lake, Publicity Chair Bob
Broo~. Adviser Bob Socking. Adviser Sammy jacksonSamuels, CSC Editor Don Angus, and last, but certainly
not least , our Administrator and Awards Chair Susan
Saranc huk. who
undertak~s.
v--...
ROY TASH AWARD fOR SPOT H£WS:
Sloowll Foss (left), <TV
prtiHtH by Rni loidlwal, <TV Htwllltt
Jury Co-Chairs Bob Brooks and Jim Mercer.•
Ms. Hutton then invited •a heckle or two from the
audience. As you know, we have lost Ken Post and Gerd
Kur1 -and we miss the good-natured barbs they offered
from their tables from time to time. If one of our evenings
was In danger of taking Itself too seriously, Ken or Gerd
could be counted on to bellow a phrase or two to lighten
up the proceedings. Perhaps they cannot be replaced, but
we remember."
She closed her rema rks by Introducing the evening's
host -Martin Doyle - "an actor whose face is recognllable from dozens of television commercials and role.> In
TV comedy, drama and feature films. Martin, who has an
honours degree in Fine Arts and has taught acling In
Toronto, New York and Los Angeles, made his debut on
a thousand tasks and mo,·es
our Sti:lg,c Cl$ presenter of lo.Jt year's Fritz Spl~s Awaa\l fur
the occasiona l mountain to ma~e these amuing parties
happen. I hanks, of course, to the members of the awards
jury for a tough job well done, with special mention to
Commercial Cinematography.•
Doyle Immediately won the aud ience wi th his professional manner and good humour.
STAN QIHTDH AWARD FOR H£WS £SSAY:
Roncly Moohs (leh), OOH/CTV OtlowQ,
prestnled by Ben Chin, (8( News
STUD£Hl: JeH Moher, Shtrldcoo Collego (left),
prtsentod by JoH flowers, Ponovlslon Canoda
INDUSTRIAl: Rirhard Stringor m (not prtsent),
prtsented by Sam Ferrant~ VldeaS<opt (right),
oc<tpttd by Howard Wistman
C.SC Ntu't' i\io, ZO.H •
5
OO<UORAMA: Fran!oiS Dagenais esc (not present), presented by producer/director Laine
Drewery (right), a«epted by Gaston Bernier,
Kodak Canada, Montreal
TV SERIES: Nikos Evdemon m (not
p<esent), a«epted by Andreas Evclemon
"I've found that cinematographers
are kind of a fun bunch to hang o ut
with," he said, "although I don't really
understand half of what they're talking
about. I mean, I've laughed at what I
thought was a racy punch line when it
was actually a technical story. 'To me, a
"dolly" means something entirely d ifferent. And to matte box a scrim with diffusion off a one-half ProMist from an
HM l hot hezd wit b baby legs - that's
funny stuff.
"Most of my acting work has been In
television, and l have long been a great
admirer of the artistic and technical virtuosity of the director of photography. I
may listen to the director from time to
time, but l really pay attention to the
DOP. He's the one who makes me look
good. l mean, you can have a bad show
that looks good, but never a good show
that looks bad. A cinematographer's
lacon ic grun t is often golden, and
always to the point - whatever the
heck that may be. I've learned a couple
of other things about cinematographers: They are never completely happy
with their work. If they could do perfection over again, they would. ·n,ey are
also honourable professionals. Think
about it: Lawyers can be disbarred and
clergymen defrocked, but I've never
known a ci nematographer to be
delighted."
2003
TV DRAMA: Gregory Middleton <s< (not pres·
ent), presented by actor Rishmo Malik, a«epted
by agent Carl Lieberman
THEATRICAL FEATURE: Rene Ohashi m osc
(nat present), presented by odor Wendy
Crowson (left), ouepted by agent Dora Sesltr
6 • esc N'"' , Mo:~ zooJ
esc
Awards l>\!lnners,
Nominees and Special Awards
Honourees
Here, listed first and in bold type, are
the wtnners in competitive categories~
followed by other nominees in brackets:
CAMERA ASSISTANT AWARD Of
MERI'P. Paula Tymchuk (Kevin
Michael LeBlanc, Grlzz. Salzl)
INDUSTRIAL: Richard Stringer esc,
Qu<'Stion Everytl1ing, Mount Sinai
(Matthew R. Phillips,
l'nss It On, Bayer)
DOCUMENTARY: Michael Boland
esc, One World, One Family (Ma rc
Gadoury esc, Watemuu'k.~; Kirk Tougas,
Fix: The Story of nn Addicted City)
DOCUDRAMA: Fran~ois Dagenais
esc, Uudying Love (Douglas Munro esc,
Ghosts of Christmas Past, Richard
Stringer esc, Mnst£'fminds "Making
History")
STUDEN'!: jeff Maher,
Left Handed, Sheridan CoUege
Oonathan Bensimon, Tl1c Mnn wit/1 the
Red lkllloon, Ryerson Polytechn ic
University; jon Knautz, Ink, Vancouver
Film School)
MUSIC VIDEO: Bernard Couture esc,
David Charvet Leap of Faith (Michael
Balfry esc, Ziylan Kwan Violet; Paul
Tohon esc,
Daniel Bettingfield Gotit•
Get T11rougl1 This)
ROY TA.5H AWARD · SI'OT NEWS:
Shawn r-oss, G1ms & Roses Riot, CTV
Vancouver
(Brent Gilbert, Cmzy Goose,
CfV Vancouver; Jim Moule/
Wes Mei2/Kevin Horner/Darin
Saarela/Ray Vanderlinden,
f.rlton Fire, CFCN/Crv C1lgary)
STAN CLINTON AWARD -NEWS
ESSAY: Randy Maahs, Horse Logger,
C)OH/CIV Ottawa (Lyle Hart,
Guarrli"ns of Gaelic, CBC Halifax;
Randy Maahs,
T11e Dream Catcher, C)OH/
CfV Ottawa)
DRAMATIC SHORT: llnmo Philip
esc, Ice Coltt (Ch ristopher Ball esc,
Quality Viewing; 0. Gregor Hagey,
Filthy)
1V SERIFS: Nikos Evd emon esc,
Mutant X "Nothing to l'ear" Qames
Gardner esc, Witchblatle "Ubique";
Attila Szalay esc hsc, Smnllville
"Tempest")
1V DRAMA: Gregory Middleton esc,
T11e Snow Queen (Serge Ladouceur esc,
Tlw Case
of the Wllitei'lwpel Vampire;
Peter Wunstorf, Haullted, pilot)
FRITZ SPlESS COMMERCIAL: Andre
Pienaar esc sasc, GMC Royal Canadian
Engineers (!larry Parrell esc, Bacardi
Nigl1tslli{t; Ba.r ry l'arrell esc, Nokia
Police Station)
THEATRICAL FEATURE:
Rene Oh ashi esc asc, T11ty (Steve
Danyluk esc, The Skulls 11; Daniel
Vincelette esc, Le Marais)
SPECIAL HONOUREES
BILL llll.SON AWARD: Ivan Putora
"For outstanding service contributing
to the development of the motion
picture Industry In Canada.•
FUJI AWARD: Gerd Kurz
"For outstanding service tO
the Canadian Society of
Cinematographers.•
KODAK NEW CENTU RY AWARD:
Ro n Orieux esc
"For ouhtandlng contribution to
the art or cinema tography. •
!11 Appreciut/011
The 2003 CSC Awards celebration
was made possible through generous
patronage by:
Applied t.lec tronlcs, for door prizes
Arri Canada, for the table Ooral
creations
Bluesta r, for door prizes
Clairmont Cam era,
for hors·d'oeuvre
David J. Wood), for door prizes
and support
deluxe to ront o, for program
Fo ur Seasons Avia tion, for door
prizes
Fuji l'hoto l' llm Canada, for
after-dinner liqueurs, door prizes
and more
I.A.T.S.E. 667, for door prizes
Kodak Cana da, for reception
champagne, photography, door
prizes and Jury host
Titc Lab In lo ro nto, for support
Ma nta OS I', for pre-edit viewing
Pa nasoni c Cana da, for support
and door prites
Panavlslon Canada, for st udent
prizes, door p rizes and ~upport
!'recision Ca m era, for dessert
I'S l'roductlo n Services, for support
and door iHi7CS
Rosco Canndn, ror entertainment
throughout the evening
Sim Vid eo, for door prizes
Soho l'ost & Gra phics, for
production of the show tape
Sony of Cana da, for door prizes
Vid coscope, for production of show,
and door prltes
William F. White International,
for dinner wines and take-home gift
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Short Ends
Awa rds Chai r Susan Saranchu k
reported that 329 guests attended the
Awa rds Gala at Toronto's Westin
Prince Hotel. There were 138 entries in
competitive categories.
t In h er open ing rema rks, Susan
Saranchuk thanked the jurors for thel r
time, knowledge and talent. The juries,
co-chai red by Bob Brooks esc and Jim
Mercer esc, ind uded Peter Benison esc,
Robert Bocking esc, Mike Boland esc,
Damir Chytil esc, Steve Danyluk esc,
Bert Dun k esc, Phil Earnshaw esc, John
Gold i esc, D. Gregor Hagey, John
Hodgson, George Hosek esc, M.
jackson-Samueis esc, Martin Julian esc,
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esc, Milan Podsedly esc, Ron Stannett
esc, john Walker esc, Andrew Watt esc,
Jim Westenbrink esc, and Kit
Whitmore esc. She also thanked Kodak
Canada Entertainment Imaging fo r the
use of their theatre at Toronto head
office for viewing the entries.
t Susan told the CSC News that
Vancouver mernbers were busy work·
ing "so we had to hold a ll the juries in
Toronto for the first time since 1996.
Vancouver normally judges two cate·
gorlcs (dramatic short and documen·
tary) so we had to come up with a lot
more jurors in Toronto. We had 25
jurors this year, up from 14 in 2002.
The Awards jury developed a new
judging system, which was very sue·
cessfu l. The feature Olm entries dou·
bled this year to 18. In 2002there were
eight feature entries and in 2001 there
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as door prizes this year. Even so the
esc s taff had a hard time holding on
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room. Before the evening was through
the oversized reception-desk centrepiece was gone. I'm su re it found a
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t Treasurer joe Sunday phd brought
the evening to a close by thanking
Martin Doyle, "our eloquent and con·
gen ial host." He also thanked the pre·
senters for "adding wit, class and style
to our celebrations."
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awards srotfight
Andre Pienaar esc sasc
The Fritz Spiess Award
for Commercial Cinematography
here are now two Fritz Spiess
awards for commercial cinematography sharing places of
honour In the Toronto home of Andre
T
Picnaa.r esc sasc.
The first CSC recognition for best
commercial came in 1999, the premiere of the Fritz Spiess Award, for a
CIBC spot called Literacy, an Innovative work set in a 1930s logging camp
with the faded, flickering look of an
early newsreel film. J>ienaar, a magi·
performing arts category for his work
on Six Gestures (the Bach 6th Cello
Suite) with Yo-Yo Ma.
The GMC commercial, produced
by Imported Artists Film Company of
Toronto, was a big-budget project that
In only three shooting days in a Czech
Republic forest managed to capture
the feel of a scene from a wartime epic.
In constant rain and thick mud, with
lightning or artillery flashes overhead,
the Canadian army engineers build a
INASCENE for the GMC <ommer<iol shot doy·lor·night by Andre Pienaor m
trud<s and troops begin their pre<ario•s crossing of o pontoon bridge.
Andre Pienaar ts< sa.s<
S<IS(,
clan at making film look like historical
footage, went back to World War 11 for
his 2003 prize winner, a remarkably
realistic tribute to the Royal Canadian
Engineers and the GMC vehicles that
rolled to All ied victory in Europe.
Also on the trophy shelf of this
transplanted South African are the
1998 and 2001 esc awards for dramatic short, and the Gemini Award he
won in 1998 in the comedy, variety or
I 0 • esc N.... 'May 2003
pontoon bridge across a river whose
regular span lies in ruins in the background. Soon, soldiers and GMC
trucks are rumbling across, advancing
towards the liberation of Eu rope.
It Is a masterpiece of 30-second storytelling.
Pienaar told CSC News that the
scene was shot day for njght, a recommendation with which the ad agency
(MacLaren McCann) readily agreed.
"The story takes place at night and
the drama has a kind of secrecy about
it, along with the difficulty of travelling through the bush and the forests
and building this pontoon bridge, a
real Second World Wa r pontoon
bridge, at night. We only had three
days in which to complete this huge
shot list. It was logistically gigantic.
" I think we all felt that it would
probably take more like six nightS to
shoot something this big. so the director (Thed Lenssen from
Amsterdam) and I started
talking about day-fornight. However, we real·
ized that there were
going to be a Jot of lowangle shots, dramatic
shots with a lot of sky in
them, with men and
trucks and cranes jutting
up into the sky.
" I said, 'Bright day
skies which have grad
filters on are always such
a dead giveaway In dayfor-night. We would
have to avoid the sky
altogether for a convincing night effect, so how
about a sort of 1\vilight
Zo11e thing where there
Is no specific time just this weird time, a
dark moody time. So
long as we fill the sky with smoke,
we'll be OK.'
"Everybody Liked this Idea, so that's
what we went for. Day-for-no-specifictime!"
NEXT MONTH : T he full story of
th e making of the aw ard -wi nn ing
GMC commercia l, and a g limpse
into the life an d pho tographi c
philosophies of Andre Pieoaar. e
Ron Orieux esc
THE KODAK NEW CENTURY AWARD
For outstanding contribution to the art of cinematography
.T hank
Fom<rr), to features (Hounds of
you esc for everything all or you do to
Notre Dam~, War Brid~. Booty
recognize and Inspire
Call). The common denominathe pursuit of In novation and
tor is his anful ability to find
excellence. Kodak Is very ho ninnovative ways to tell stories.
oured to be pilrt of this celebra"Ron has earned many
tion." Diane Cappelleu o, sales
awards fo r his efforu. He earned
and ma rketing ma nager of
a Canadian Film Award fo r his
Kodak Canada Entertainment
work on the documenta ry
Imaging. told the esc Awards
Spartrt!C, a esc Award for the
Gala as she presented the 2003
television drama Due Soutlt, and
Koda~ New Century Award to
a Gemini Award for the drama
Ron Orleu.\ esc.
111~ First Cirri~. He has also col"The Koda~ New Century
lected numerous Gemini,
Award was Inaugurated 17
Cable Ace, and \'arlous other
years ago: she said. ·u is
nominations, as well as awards
designed to recognize a cineat countless fllm festivals.
matographer who has made
"Ron Orleux has made
e..traordlnary rontrlbutlons to
unique and incompilrable conadvancing th~ an of filmmaktributions toward advancing
ing. 1 his Is our way of saying
this important global form of
thank you to an artist who has
art. He is recogni1ed by proearned the admiration of his
du cers, directors and acto rs
peers In I he esc.
around the world as a collabo• 1 don't have to tell anyone
rator they wan t by their side
in this audience that Ron
on films that arc Important to
Orieux is n tnlented artist
them. lie has also inspired
who is compiling an extraordi· RON ORIEUX CSC recolvu tilt 2003 Kodat New Ceo"'Y Award
countless young cinematogranary body of work, • said fr. . OiarM <appdttto of Kodolt C.oodo Eott r t - Jroogiog.
phers to follow their dreams by
Cappellcuo. "But this part
the example of his work. He
might come as a surprise; Ron studied Humer, lllttrist !'rap. and Noolt) to cable represents the essence of what the
civil eng•neering 31 the Unh·ersity of mo\>ies (7111' ntsk"l!<'l' Ainll<'tl, Broken Kodak New Century Award is about British Columbia. In 1967, he
a relent less commitment to
went to work for a mining
advancing an Important an
compa_ny as an engineer.
form.
•uow did Ro n m3ke the transition Tnt.st, 17te l'11ssio11 of A)'lt Rand), to m ini"Congratulations, Ron. You have
from civil engineer 10 artfu l cinematog· series (Children of tlte Oust, Small earned this distinctio n, but we are sure
r3pher? I believe It was his destiny. One Sacrifices, Tile First Circle, Nothing LAsts that the best Is yet ro come."
of the pan ners In the m ining company
was also In the business of making
Industrial ntms.
"Ron decided to explo re the possi·
bilities of 3 n(-w C3reer pilth. He began
by shooting shon Industrial ntms, usually documenting construction and
mlnlng proJects. He soon ventured into
shooting ncwsntm and documentaries.
He earned his first dramatic credit in
I 976 for a ntm called Skip 1tacer.
OPTICS SI NCE 1893
"Ron Orteux has compiled more
Cooke Optics Ud, England. Voice:44·1 16·264·0700. f)oc4 4.JI6·264·0707
than 50 dramatic credits." Cappelletto
Canada, South America, US.A. Volc:e: 973-335-4460. Fax: 973..'135·4560
continued. " His gro wing body of wo rk
ranges fro m MO Ws (such as Nigllt of tlte
esc,
-
'The best is yet to come'
esc N'"" M., 1ooJ • r 1
Ron Orieux, esc
2003 Kodak New Century Award Recipient
Over t he past quarter century, Ron Orieux has
compiled over fifty dramatic credits, relentlessly
exploring innovative and artful new ways of telling
a story. A versatile cinematographer, Ron is
respected internationally by his peers as a valuable
collaborator. His unique and incomparable contributions to advanci ng th is global art form place him among t he
prestigious ranks of the Kodak New Century Award Gallery.
Gerd Kurz
TKE FUJI AWARD
In recognition of extraordinary contributions to the
GERD KURZ
"I
' m here to speak about our late
friend, Gerd Kurz, founder and
president of Precision Camera, a
technician and an inventor/' said
Taylor Ogston, vice-president of sa les,
motion picture and professiona l
video for hajJ Photo Film
Canada.
Holding up a vintage Leica
camera, Ogston continued:
"Gerd wou ld have told you
that this is among the finest still
cameras in the world, married to
superb optics from that same company. It was with such products that
Gerd began his career in Germany.
Then in the late '60s he moved his
family and his career to Ca nada. And
it was h ere that he beca me enthraiJed
with motion pictu re cameras and
their special lenses at a time when
the Ca nadian film industry was just
taking off.
"And h e was the right man, in
the right place, at the right time I4 •
esc Ntws' M•y 1003
esc
KEN KURZ Oeft) of Predslon (omero o«epls the 2003 Fup Aword on beholl of his lather, the lote
Gerd Kun, from Toylor Ogston of Fup Photo Film Conodo.
just as a professional, portable, video
technology was emerging. What
started out as electronic news gatherIng has gone on to change the very
fabric of image capture, the television programming landscape and
'This would have made
my father very proud'
even to make inroads into theatrical
exhibition.
"But that's just a thumbnail of the
technology and business side of Gerd.
He a lso gave us so much in terms of
his dedication to the people in the
industry. He was an Individual member of esc as well as a corporate sponsor of the Society. He regularly offered
hls business premises for annua l general meetings and other esc functions. He attended industry functions
here and abroad, a lways th irsty for
new knowledge, both In the acquisi-
tlon and the sharing.
"And he was a hell of a fun guy!
The stories, the jokes, the goodnatured kidding ..."
Ogston then asked the CSC Awards
Gala audience to stand and sing, For
He's a Jolly Good Fellow, and he
closed by saying: "Tha nk you,
Gerd. The Canadian Society of
Cinematographers wi ll always
be in your debt."
The Fuji Award for extraordinaty
contributions to the esc was accepted by Gerd's son, Ken Ku rz of
Precision Camera. He said the honour
of the Ftaji Award "would have made
my father very p roud," and he
described Gerd's death in February
(see CSC News, March/2003) as "an
enormous loss" to his family and the
film industry.
"It is moments like this that allow
my family and I to momentarily
replace the sadness In our lives with
an overwhelming sense of pride." e
Ivan Putora
THE BILL HILSON AWARD
For outstanding service in the development of the motion picture industry
T
he
Putora
Sharpness
Indicator wa>
first Introduced to
CSC News readers In
the September, 1996,
Issue by then
vice-president Lance
Carlson, reporting on
the test chart's debut IVAN PUTORA (riglot) CK<tpts tile 2003 Bill Hilson Aword fr011lill Whitt
at a 'toronto meeting l• t.....,tlonoj, 1M 1994 H•soo Aword wiMer.
of the Society the previous june. Carlson
called the PSI •a superb tool for use the development of the motion picture
both a< a focus chart and as an effec- Industry.
At that
meeting nearly seven
tive method of de termining the
years
ago,
l'utora
said he preferred the
sharpness o f a given lens or lens-filterfilm combination. I he system is term "sharpness indicator" to try to
equally effective for video and for still distinguish his design from other
charts on the market, as well as to sugcameras."'
The PSI, designed by CzechCanadian
inventor
Ivan
l'utora, was not really new in
1996. Putora developed It for a
universi ty thesis in Prague In
the mid '60s and the SMI"TE Jo•murl gest in a generic sense the several key
published an In-depth article about factors which contribute to the Image
the chan way back In 1969. It took quality over which the OOP has conrears of promotion and redesign for trol.
Since then, l'utora has published
the PSI to find its way Into the film
and video marketplace, but It now is The Theory of Sharpness Indica tor in
distributed worldwide by ZGC Inc. of the SMI'Tf.Jounwl (U.S.A.) in February,
1998, and in IMAGE Teclmology magaNew jersey, a
corporate sponsor.
The Putora Sharpness Indicator is zine (U.K.) in February/March, 1998.
considered to be the finest test chart In '11te article is available on the ZGC
the world, said Bill White, president of website at www.zgc.com.
ZGC says the several PSI test charts
William F. White International, in presenli ng the 2003 Bill llllson Award to " truly a re the moM advanced and
Ivan l'utora for outstanding service in accurate test charts available on the
market, perfect for
videographers, cinematographers, and
photographers
to
accurately evaluate
the sharpness and
resolution of all
types of motion picture, video, and still
esc
esc
of Wil"tom F. W~ite
The Sharpness
Indicators are made
up of test-targets
with concentric circles ot various frequencies printed on a Reference Field
Level background. The grey background has the same reflectance as the
average reflectance of the targets.
When a target appears to disappear
and blend with the background, it
indicates that the target is
beyond the sharpness of the
system being tl'stcd. Because
the targets 'pop' Into focus, this
system is far superior to standard Air Force bar-type charts. The
readings are repeatable and objective.
Tite circle targets are numbered from I
to 9 covering resolutions of 10, 13.3,
I8, 23.5, 31.3, 42, SS.S, 74 and 97
Lines 1>cr millimetre respectively.
Amo ng the Sharpness Indica tor's
uses are the ability to instantly determine the resolution of any lens/camera S)'Stem, set critical focus at any distance, set or check back-focus of any
lens/camera system, and compare reso lution between varlou) film and
video formats. •
'Most advanced and accurate
test charts on the market'
esc
cameras."
re~...
Eugene Boyko esc &
Ernest McNabb esc
Canadian Filmmaking loses Two of Its Finest
Both with Prairie roots and wilh contemporary careers at the National Film Board in Montreal, two brilliant
c inematographers and CSC stalwarts have passed from the scene. The CSC sadly acknowledges the deaths
of retired d irector/cameraman Eugene Ueep) Boyko esc, a native of Saskatchewan , on Ma rch 14 at age
80, and A lberto-born IMAX specialist Ernest (Ernie) McNabb esc on April 4. He was 63. Each stamped his
respective genius on Canadian filmmaking for all the world to see, and their outstanding contributions to
the art and technology of motion pictures live on.
cep Boyko, raised in Saskatoon, was one of the finest
and most prolific director/cameramen ever produced by
the NFB. Over a 32-year ca reer in Montreal and
, couver, he was behind the camera for dozens of the FUm
Board's influential documentaries and was especially recognized for one of the most entertaining, educational and visually dazzling films in the history of Canadian cinema - the
1967 Centennial tribute HelicoprerCa11ada.
The SO-minute film, the first full-length, widescreen
(J'anavision) production
ever to be filmed entirely from a helicopter,
l
was nominated for an
Oscar and won an Etrog
at the Canad ian Film
Awards. It took Boyko
18 months, 542 air
hours, 15,000 miles of
travel, and 131,000 feet
of 16mm and 35mm
colour film to complete
Helicopter Ca11adn.
From 1955 through
1958, Boyko turned out
some 30 wldely diverse hgene (Jeep) Boyko m
shows for the NFI3's
Perspective television series, including, appropriately,
Saskntchewan Traveller, which won the Canadian Film Award
for hest lV film in 1955. In 1957, he was one of the original
members- with membership number 31 -of the fledgling
Canadian Society of Cinematographers and was closely
involved with the Montreal chapter. He was also a member of
the Society of Motion Picture and Televi.sion Engineers.
In 1972, he joined the Nl'll Regional Production Unit in
Vancouver as technical producer. Administrative duties and
assisting others wiU1 their projects - he was a mentor to upand<Oming fLimmakers - gave him less time for his own
camera work, but he still shot a number of films, one helng
the half-hour Ca11nries to Clyriesdales that was notable for its
realistic photography. He retired in 1983 in Richmond, B.C.,
as a esc Full Life Member and later wrote to Roy Tash esc,
the11 Society treasurer, that "I had my turn and enjoyed every
• &yto see page 18
16 • CSC Neu>~ M<l)' 2003
rnie McNabb was presented with the esc Kodak New
Century Award in 1998 for outstanding contribution to
the art of cinematography. The CSC News story at the
time said Ernie "is to fMAX what film is to a camera. It's hard
to Imagine one without the other."
Today, the giant-screen format this inventive Quebec·
based cinematographer worked for years to perfect is a little
smaller with his loss. McNabb succumbed to pancreatic cancer after an Illness of only four months, passing peacefully
In bed after an adventurous career of buzzing
around In aircraft, diving under ice and scaling
E
mountains.
McNabb, who In
recent years ran his largeformat film company,
Kinomax Cine Inc., out
of Morin Heights, Que.,
came East to Montreal
from Edmonton - he
was born in Viking, Alta.
- as a youngster with his
family. He joined the
National Film Board in !mle McNabb est
I960 as a technician in
the engineering department, and stayed for the next 37 years.
At the NFB, he moved to production and found a niche in
nOil<Onventlonal cinematography, where he could make use
of his electronics background, his knowledge of movie cameras, his interest in technology, and his taste for physical
adventure. Over the years, his photographic diversity ranged
from tim~lapse to macrophotography, and various jobs
found him hanging out of airplanes and helicopters and even
diving under Arctic wate.rs for a 1975 NFB documentary. It
was the first-ever look at the underside of the polar ice cap.
He was camera and Wescam operator for the NFB's awardwinning film on the 1976 Summer Olympics in Montreal,
and fUmed underwater sequences for the NFB co-produced
documentary, 11•e Mystery of t11e Bay Bulls (1979), which
explored Canada's oldest sunken shipwreck. Even before that,
in 1973, McNabb worked on research and experimentation
that resulted in a den10nstratlon film in IMAX 30, and sub-
sequcntly wa' a consultant and designer on 30 film projects for the Disney
Epcot Cemer, Martneland, Columbia
l'icturcs and the Sudbury Science
Centre.
Titen carne the presentation in IMAX
30 of the Nl 8 fllm Tnmsitio11s at Expo
'86 in Vancouver, on which McNabb
was DOP and stereographer and for
which he helped pioneer the stereos<'Oj>ic lMAX camera rtg. Se' •eral more IMAX
and 35ntnt assignments as DOP and/or
stereogra1>hcr fo llowed, while along the
way he earned recognition for his equipment design work on IMAX's 48-framesper-.!eCOnd IC(hnology.
McNabb was president and CEO of
Klnornax Cine, a company formed to
help advance the large-format film
Industry. Klnomax Cine designed and
built spedall1ed flint equipment such as
helicopter moums and gyro-Stabilized
camera platfonns.
He is survived by his wife Susan and
daughter Heather.
16/35mm colour negative processing
Set up • Academy leader • Cleaning
Ready for transfer
Quotes for Video Post in conjunction wirlt
Deluxe Toron to
EYES Post Gro u p
Magnetic North
C O N T ACT :
Ed H igginson
cd~thclab.on.ca
AI Lindsay
al@lhdab.on.ca
Td:
Fax:
(416) 461 -8090
(416) 461 -0768
Toll free: 1·888 822· 2505
ON lO<ATlONol Algol fob to VtMrooola.
OOP &.It Mdloblo uc (loll) paeses ot ltoe
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wh~ Pt<-logt Sdooi.
c-•
CSC Associate l'er-lnge Schei of
Toronto, one of McNabb's close friends
and IMAX collaborators, visited him
ju;t a few hours before he died. He was
weak :md did not wane many visitors,
Schei told C:SC Nrw<, "but a few of his
old friends from the NFB had been there
the day before. When they arrived he
looked at them and said: 'What is this?
A production meeting?'"
Schel said McNabb's •understanding
of mechanics and physics made him a
C'K'3tlve and technical force when ~fAX
came to be.• lie said his association
with McNabb started on Eml!tgency, a
large-format film on which the latter
was DOl' and which opened the first
IMAX theatre In Montreal.
" It was during this time that I started
• NilldiJ see IDJ6 20
esc N,....
I
May1003 •
I7
GROUNDED only •o..otarly, Jeep Boyko a< (left) tabs a bttok wltk lois dlopptt pilot
T1oe Boyko <r-
and ngiMtf dvtiog tloo sllootiog af the sped. . . 1967 NFI Iiiio Htlcapt~< C...k
· ~MPIWf /6
moment.• Ue added: • As long as they
keel> calling me I'll help anyone who
wants to pick my brains.•
6ruce Worrall esc was one or UlOSC
young clnematO!,'Taphers so honoured,
while he was a student at Emily Carr
College of Art and Design in 1986. "II
was through the school or one or lhc
teachers that I was introduced to Jeep."
the Vancouver OOP recalled for CSC
"I was applying to the Canada
Coundl for a grant to make a documentary In Nicaragua and jeep agreed
to look at a shon film I had made.
"I had an old projector but no
screening room, so we ended up in the
house where I was renting a roornJ
forced to project my fi lm against the
wall and baseboard. We both sat cross-
Nrn~.
legged on the noor, staring at an image
n ot much bigger than 8'xl0". I never
got the grant, but I was impressed with
someone or his standing taking lhe
t1 me to come down to my level and
offer his help. •
lloyko got the nickname jeep when
as a teenager he sang and played guitar In a band on a local radio station.
llronclcaster jack Wells tagged him
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with the name Jeep after a comic strip
character of that era called Eugene the
Jeep, and h stucL.
He worl.ed at many different jobs
across the country - salesman,
welder, union organlLCr and taxl drh•er In Vancouver. Once, a few days after
a fare left a camera In his cab, Jeep
came across a streetcar accident, took
some pictures and submilled them to a
Vancouver ncwsr>aper. He was paid SS
and the edllor encouraged him to pursue a career with a ca mera. He moved
back to Saskatoon and worked with a
local r>hoto studio to learn his craft.
His Orst contad with the NFB was
doing some stills for Grant McLean
(later esc) and Gordon Burwash on a
shoot In Sasl.atoon. In 1951 he joined
the camera department as a summer
casual, and stayed on for over three
decades. He worked his way up to
director/cameraman, and was part of
about 130 documentaries shot in
Canada, the Unlled States, Europe,
India, and Afghanistan. A number of
these rums won awards; Juggemnut,
shot In Ind ia, won a CI'A Etrog in
1969.
He also bui lt what was known
around the NFll as the Boyko Crane.
Designed to be mounted on a tripod, it
provided more camera nexibility on
locallon when h was Impractical to
bring in bulkier and heavier gear.
In Toronto, former N'FB colleague
john foster, another esc original
member, remembered Jeep as •one of
the NIB camera department's nnest
produCl,. He was excellent - fastidious and rncllculous.'"
Ills work on Nt'licopter Canada,
Foster sa id, was '" the world's first
extensive usc of a helicopter (a French
Alouette) as a camera mount. The film
delivered Incredible movement shots,
such as a close shot of a football centre
snapping the ball to the quarterback,
which cued the camera into Oight to a
long shot of the game and the stadium. It \\as Jeep's lo,•e of perfection
that made such mms sing.•
Jeep Boyko Is survived by his wife
Della (Del) and daughter Debbie, son
Lee and grandsons Gabe and Tim. Del
said her husband's health had failed
the last few years and then he fell and
broke his hlp and never recovered
from the distress or the operation . •
sco
The One
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ROSCO CANADA
12~ I Denison St., #4~.
Marlcham. Ont., L3R ~B-4
905-475- 1-400
Toll Free: 1-888-767-2686
Fax: 905-~75-335 I
• Me~ from fXYJf 11
FOR SALE: Arri SAil Super 16 camera. Pt
mount. 3 mags. 3 bans. b&w video assist.
5x7 matt box w/various filters. 12·120
Zeiss zoom T1.4. 5().300 Nikon zoom T4.
Sachller 7+7 Studio head w/legs; many
extras. original owner. great shape. Offers:
Jim Jeffrey (905) 274-2028 or
melville51@sympatico.ca
WANTED: Amateur photographer looking
for inexpensive studio lighting equipment:
also interested in a video camera. Call
John at (416) 759-9933 a.m. or p.m.
FOR SALE: 1994 28ft. camera trailer. This
is a black Pace trailer with 20 by 20 ft.
awning. dark room. viewing lounge. heat·
ing and air conditioning. Two counter tops
with lots of storage space. three access
doors. Great condition. Call Jim
Westenbrink at 416-315·5542 or e-mail
j.westenbrink@sympatico.ca
FOR SALE: Steadicam equipment: Master
Series film sled. case size 33'x22'x10' wt.
65 lbs.; Master Series film monitor: 4
Anton Bauer Pro Pack digital batteries:
12V·24V power converter; 12V-24V power
converter with two batteries/Lentequip; Thandle set (4 hex T-handle wrenches); mod·
ifications: quick release top stage; new
bearing upgrade in arm; larger antenna in
top stage. Support: vest bag (duffel); C.P.
Master Series operator's vest; case size
25'x21'x 9.5' wt. 30 lbs.; Master Series
articulated support arm: quick release arm
post clamp; 4 C.P. arm posts 4', 5', s·. 12';
C.P. T bracket. Accessories: case size
23'x15'x15' wt. 55 lbs.; PAG MC124 battery charger-quad; 1 power cables {chargers PAG); C.P. docking bracket; power
cables: Panavision 24v, Arri 24v. Arri 12v.
Moviecam 24v. Assorted: Preston MDR
bracket na. Contact 416-738-4542 or
george@georgicam.com
FOR SALE: 16mm Arrillex SR camera. 3 x
400 ft. magazines. Arriflex extension eye·
piece; Zeiss T-Star (T3.1) 1o-100 zoom
with fluid dampener. Zeiss Superspeed
T1.3 lenses (9.5. 12. 16. 25mm). Zeiss T2.4
8mm lens. 2 on-board batteries. belt bat·
tery, box battery, Arrillex 3 x 3 mane
box/sunshade. 16mm Arrillex ST camera. 2
x 400 ft. magazines. Arri angle viewfinder.
12- 12· Angenieux zoom. Cooke Kineta!
prime lenses (12.5. 25. 35. 50mm). variable
and governed speed motors. sync pulse
generator. Contact tingle@infinity.net
FOR SALE: Master Series/Elite 26-volt
battery upgrade, includes two on-board
batteries. charge cable, adapter and OC.4X
charger made by Lentequip. Never used.
Paid $2,600. asking $1,600. Low mode
cage with two sets of rodes. $400.
Panavision power cable. $100. 1Arri fourpin power cable. $100. Sold rig. must sell!
Call Rick at 905-472-2554 or email rl<earney@istar.ca
FOR SALE: Flashbulbs (all sizes. blue or
clear) and flash guns (single or multiple
shot units) and vintage photographic equipment available. Will ship anywhere. rea·
sonable rates. quick service. Call for a
quote: Larry Boccioletti 416-243-1439.
Toronto; emaillarbocci@interlog.com
FOR SALE: Aaton Super 16mm LTR 54
w/color video assist. 2 mags. 2 bat. ext
eyepiece. 5x6 matte box. 6 filters- NO 3-69 & polarizing filter. double fog, day for
night. Tl.S Cooke 9·30 zoom lens.
Transvideo 6' color LCD man 4:3-16:9. cinema products remote focus unit -all of the
above with cases. Paid $64.000 • asking
new low price C$29.900. Also. Ronford F15
head - $3000. Ambient201 timecode slate
· $1700 w/cases. and other ace. Call for
list. Alexander at cell {204) 981-3403; stu·
dio(204) 582-5728. or email: Lexicon-pictures@shaw.ca
FOR SALE: Bolex H16 Reflex 16mm camera with 2 lenses. lOmm Switar f1.4 and
50mm Switar f1 .6; good condition. excel·
lent student camera. Phone: Graeme 905·
851-5053; email: wacokiwi@aol.com
to learn about Ernie and the unique
qualities he brought to the film industry. He knew what he was doing, and in
the years of working with him as an
assi.stant and later as a DOP I never
heard him raise his voice or get mad.
"He was relentless in his pursuit of a
proper solution to a problem or situation. There was no point in bringing a
half-baked solution or proposition as
he would pick It apart. I learned that
early and it became a foundation of
mutual trust."
One problem that challenged
McNabb's ingenuity, said Schei, was
"the Jack of helicopter camera mounts
to properly isolate the inherent high-fre-quency vibration artefacts from the
final image. He came up with a technical solution and co-operated again with
Wescam founder Noxon Leavitt (who
was a gyro-stabilization consultant for
1rmrsilio11s) In making a mount for the
NFB. In typical fashion, Ernie looked for
a better and more compaCt solution.
Another prototype was designed and
put into use for the Japanese IMAX film
Ymrgtu: Tire Great River of Clri11n.
'"'Kinomax's Kinornount was born,
and after some modlflcatlons that Emie
and I implemented, it was nown to
Venezuela's Angel l'alls. By this time, we
were working together like clockwork,
and even though he was the DOP Ernie
hardly ever looked through the camera.
He knew what 10 expect by the lens chosen and how I pointed and operated the
camera. A non-verbal comn'lunlcation
and simple hand gestures often relayed
the T-stop and other elements. To his
credit, there was no ego to battle and he
was perfectly willing to accept another
proposed shot or solution to a problem
if it appeared to be a bit better suited. As
always on location, he became well
respeCted by the local crew.
"From the rain-forest climate of
Angel Falls we flew to the High ArCtic
for some aerials around Resolute Bay,
the last location where we worked
together. Ernie went to Guatemala and
I had already agreed to be the DOP on
a Dutch IMAX film shot on several
continents. We had firn1 plans for the
next three 15/70 films currently in the
\VOrks at various stages, but now his
loss has created a void I do not know
how to fill." •
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®
..PA NAV /5/0 N
I '
' I
C A N A D A
Toronto
Tel: (416) 444-7000
Vancouver
Tel: (604) 291-7262
esc N...., May llJOJ • 2 I
Fil'ln Origina: lion
on a Doe Budge-e...
one 'In-ore "lbing
beep slate for a reference point. We Vision2 stock. I started to look into
even used a non-time-code OAT for Aaton time code because Mark Wright,
the Russia shoot . We transferred the the director, wanted to start and stop
picture MOS so no extra lab charges the Interview camera unobtrusively to
were Incurred for sync up. Then Kelly save stock and get only the salient
Saxberg, the director and editor, dlgl· pol nts o n camera. But 1 realized the
technology would get
tlzed the sound and
By Richard Stringer m
very complex, require
lined up the sync
extra gear and the post
points or clapper slates
to match the picture. She said it was facility would have to do the sync up
easy to do, certainly simple to deal at Increased cost. l'risma Ught was try·
with In production, with no complex lng to sell the Idea of film origination
equipment and she saved money but could only achieve this through
along the way.
economic practices.
Right now I am applying simple
So I decided not to get caught up in
methods like that to a corporate film technology. Like my Russian shoot, we
that Toronto's l'rlsma Light is produc- will use simple gear - actually the
Ing for Scotlabank. This is a film shoot sound recordist, John Ma"in, will use
thut will take place in Toronto, his old 1/4" Nagra. He will be running
- c.a mcra and sound running at per· Montreal, Calgary, Barbados, and In perfect crystal speed with my
feet speed wllh a clapper board or Mexico. I aon using Kodak's new 7218 Aaton. We will use a efficient beeper
slate for II-roll >hooting.
But how will the director get his
unobtru~lve start and stop on the
Interviews? I will give Mark Wright a
camera on-off switch. When he feels
he wants to get a statement on camera, he will start the camera. When he
has what he wants he will signal me to
tall slate. Then I will take the beeper
slate up to the viewfinder eyepiece and
push the button; the device will emit a
bright light,. This will fog the film and
nt the same time a beep goes to the
tape. Thl> Is a sim ilar device to the Arrl
Ill. bloop light of yesteryear, which
fogged the Olm at sta rt-up and sent a
beep down the "pilotone• cable
(before crystal sync).
So the pictures are transferred
MOS, then the sound will be digitized
to the computer and the staff edilor
will do the synchlng at a reasonable
Internal cost. And no difficult-to-read
time-code slate to deal with!
In this day and age, when technology can become very complex and
costly, I like to be able to think back,
remember techniques from simpler
and put them to good advantage
times
Camera
!
Generators
I
Grip
I
Li ghting
In t<XIay's production world. e
ast month I wrote an article
(From Russia . . . with Film)
about how to make film origina·
tlon possible o n a documentary budg·
ct. I forgot to mention one technique
which helped cut costs with synchlng
ru~hcs. llefore non-linear computer
edlllng, when tape-to-tape was In fash·
lon, film rushes always had to have
the sound married to the picture to
give a final >ync sound result on the
!ape. Tills Involved tlme<ode slating
o r specially systems like the Aalon
llme<ode formal and !his would cost
e 'ua for the lab to sync the sound to
the plclurc.
What we did with Letters from
Kt~rl'lill was shoo! the old fashioned
way - we used 10 call it "crysta l sync"
L
~ Bringing Equipment Rental
" Choice to Canada for 30 Years
VANCOUVER
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newscli[s
IOOOmm T4.5 telephoto, the Aaton AMinima, and- if you happened to be
there as it raced through the office on
its way to a job - the low-profile Fries
Mitchell camera.
lEM WAS THERE, TOO
As CSC Course Instructor
Denny Clairmont (untre) demon.strotes on
Arri<om STat Clairmont Camero Toronto.
Our apologies to Lem Ristsoo for
leaving him out of our list of Instructors at the 2003 esc Camera Assistants
Course in Toronto Feb. 1-Feb. 9 (CSC
N<~vs, March/03). Lem, the 2002 recipient of the esc Camera Assistant
Award of Merit, is a valuable part of the
esc·s ongoing educational program.
For good measure, here is the (complete) list of this year's instructors:
Robin Bain, Marty Carriero, l~od
Crombie, Margaret Demchenko, Pete
Janes, Kevin LeBlanc, john Lindsay,
Kaelin McCowan, Dave McKane, Ernie
Sebastien Loffoux ol Arri Canada (right) shows
off the features of on Arri<om LT at Clairm011t
Meershoek, Ted Overton, Renee
Pilgrim, Lcm Ristsoo, David Rumley
and jeremy Tabarrok.
Camera Toronto.
KODAK DIGITAl CINEMA
first Installations Coming Soon
ARRICAM AT CLAIRMONT
CSC Members at Training Courses
Eastman Kodak has announced the
commercial availability of its digitalbased Cinema Operating System
(COS), which enables the industry to
Denny Clairmont and Sebastien
l.affoux of Arri Canada were the coinst"ructors of two Arricam workshops
at Clairmont Camera Toronto on
March 26-27. DOl's and camera technl·
clans received in-<lepth training with
both the ST and the LT cameras,
Including the current range of LOS
lenses and the Arri Wireless Control
System. Laffoux provided
the
Canadian "sneak preview• of future
Arrlcarn technology, the new liming
Shift Box.
Among attendees were several esC
members, including Bert Dunk esc asc,
Philippe Champion, Marcel janisse,
Tony Lippa, Lem Ristsoo, and Pierre
increase advertising
revenue
and
enha nce the movie-going experience
with more entertaining pre-show con·
tent. "Our operating system allows
exhibitors and screen advertisers to
schedule and deliver pre-show entertainment and advertising over a digital
network to all screens in a rnegaplex or
multiplex," says Kodak's digital cinema
operations manager, Sean Lohan. "We
anticipate making the first commercial
installations during the second quarter
of 2003."
Branconnier.
KODAK IMPROVES TELECINE
Introduces Calibration System
After ''class," the event became
more informal as Denny and
Sebastien, joined by Terry Clalrmom
and the Toronto staff, hosted several
opeo houses. Guests were introduced
to the Wilcam W-1 2 high-speed camera, the Clairmont squishy lens, the
long-distan ce Macro lens, the
Kodak has introduced an innovative new telecine tool for filmmakers
and post-production professionals. 1l1e
Kodak Telecine Calibration System
(Tes) provides a more efficient way to
capture the richness in shadow and
highlight details when film images are
transferred to digital video format. The
result is that transfers are more consistent, wh ich better reflects the creative
intentions of the filmmakers, and efOciency in the telecine suite is
improved. "Tes Is one more way to
help filmmakers achieve their creative
goals." says Kodak's Robert Mayson,
general manager and vice-president of
image capture. "This new tool helps to
ensure that the richness and vibrancy
of the images re<:orded on film are
reflected in the post-production
process."
KODAK WINS EPA AWARD
PTR Helps Reduce Ozone Depletion
Eastman Kodak Company has
received the 2003 Stratospheric Ozone
Protection Award from the U.S.
Environmenta l Pro tection Agency
(EPA) in recognition of Kodak's com·
mitment to reducing ozone-depleting
chemicals th rough the development
of Particle Transfer Roller (IYrR) technology for cleaning motion picture
fi lm.
The Stratospheric Ozone Protection
Award, presented as part of the April 22
Earth Day cclebrat1ons worldwide, recognizes a commitment to helpi ng prevent the release of ozone-depleting
chemicals. Kodak was one of only four
companies worldwide honored in
2003.
The Particle Transfer Roller was
developed by Kodak in 1989. It is a specially molded soft polyurethane roller
that captures dirt and dust through
contact adhesion without the use of
solvents. Prior to 1990, nearly all
motion picture fllrn was cleaned offline in ult rasonic cleaning machines
that used a solvent known as 1,1,1trichloroethane
for
particulate
removal.
Kodak developed and promoted use
of PTR film cleaners that could remove
dirt and dust from film online during
conventional film printing at labs and
while motion pictures are projet'ted at
cinemas. As motion picture Aim glides
over the PTR, dirt and dust from the
film stick to the roller. The process
Improves motion picture film quality
while eliminating the use of environmentally damaging solvents. •
esc NtwSI May 2003 • 23
AcTION PRODUCTION NOTE~
British Columbia, Prairies
ANDROMEDA
CALENDA R
SMJ{feature); DDP: Mark Irwin esc asc; 1st: Doug Pruss: to
{series); Op & 2nd-unit DOP: James Wallace; 8-
2nd: Trevor Wiens; to Dec. 11, Burnaby.
BAmESTAR GAIACTICA
& CSC
May 23, North Vancouver.
SrARGATE SG-1 {series);
{mini-series): DOP: Joel Ransom esc:
DOP: Peter Woeste esc: to Oct. 1.
Burnaby.
Op: Ryan McMaster esc: to June 13. North Vancouver.
WALKING TALL {feature);
THE B ELTWAY {MOW);
Aug. 26, Richmond, B.C.
B-Op: Brian Whinred esc; to May B.
DOP: Glen MacPherson esc; June 9·
Vancouver.
THE CHRIS ISAAK SHOW{series);
DOP: Randal Plan esc; 2nd:
Ontario, Atlantic
Garth Longmore: June 2. Vancouver (HDTV).
THE BIG DANCE (MOW); OOP:
DEAo LIKE ME {series): DOP:
14. Toronto {HOTV).
Tony Westman esc; to July 23.
Burnaby.
DEGRASSI (series);
I A ccusE (feature);
DOP: Mark Dobrescu esc; 2nd: Jason
OOP: Gavin Smith esc; May 26-Nov. 7,
Toronto.
Habicht; to May 1. Moose Jaw.
Doc {series);
Jusr CAUSE(series):
to June 18. Toronto (HOTV).
DOP: laszlo George esc: B-Op: Kevin
Ousama Rawi esc bsc: to May
OOPs: Barry Bergthorson esc. Thomas E. Ournan;
Hall: May 12-June 20. Vancouver (HOTV).
LAMONT's M ACCABEES (MOW);
MORE THAN MEETS THE fYE(MOW);
May 26-June 27. Toronto.
DOP: Eric Van Haren
OOP: Thomas Burstyn esc;
Noman asc; Op/SC: Keith Murphy; to May 20. Winnipeg.
SHATTERED CITY: THE HALIFAX ExPLOSION (mini-series);
Our OF ORDER (series); OOP: Rob Mclachlan esc
Rene Ohashi esc asc: Op: Glenn Warner; to May 9. Halifax.
asc; to May
23. Vancouver.
SLEEP MuRDER (MOW);
PAYCHECK (feature);
2nd-unit Op: Paul Mitchnick esc: Op/SC:
DOP: Marc Charlebois esc: May 7.
June 9. Atlantic Canada.
Junichi Hosoi; to July 16. Vancouver.
SouL Fooo (series);
ROMEO (series):
Baird; B-1 st: Oemetri Portelli; to Aug. 11. Toronto.
DOP: Michael Wale esc: May 5-Sept. 26.
Vancouver.
ST11EET TIME 2
SCOOBY Doo: M ONSTERS UNLEASHED (feature);
1St: larry
DOP:
DOP: Mike McMurray esc; Op/SC: lain
(series); OOP: Bert Ounk esc asc; Op/SC: Rod
Crombie; 1st: Paula Tymchuk; May 5-Sept. 4. Toronto.
Portmann: 2nd-unit DOP: Brian Pearson esc; to July 25.
W ELCOME TO MOOSEPORT (feature);
Burnaby.
July 3. Toronto.
B-1st: Jim Saysana; to
Schedule of Meetings and Events of Interest to CSC Members
TORONTO
Wed., Sept. 24 -It's coming! The 2nd annual Kodak!CSC Fall Classic Charity GolfTournament.
At Woodington Lake Golf Club, Tonenham, Ont.: www.woodingtonlake.com
For info, cal l the CSC at (416) 266-0591 or e-mail admin@csc.ca
Check www.csc.ca