Get PDF - Canadian Society of Cinematographers

Get PDF - Canadian Society of Cinematographers
$4 Januar y 2015
Bobby Shore csc
Scott McClellan: Cast No Shadow • Remembering Roger Racine csc
A publication of the Canadian Society of Cinematographers
The Canadian Society of Cinematographers
(CSC) was founded in 1957 by a group of
Toronto, Montreal and Ottawa cameramen.
Since then over 800 cinematographers
and persons in associated occupations
have joined the organization.
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.
Credit: Courtesy of Scythia Films
The purpose of the CSC is to promote
the art and craft of cinematography
in Canada and to provide tangible
recognition of the common bonds
that link film and digital professionals,
from the aspiring student and camera
assistant to the news veteran and
senior director of photography.
Credit: Jim Desautels
AC Lighting Inc.
All Axis Remote Camera Systems
Arri Canada Ltd.
Canon Canada Inc.
Clairmont Camera
Codes Pro Media
Dazmo Camera
Deluxe Toronto
FUJIFILM North America Corporation
FUJIFILM, Optical Devices Division
Fusion Cine
HD Source
Inspired Image Picture Company
Kino Flo
Kodak Canada Inc.
Lee Filters
Miller Camera Support Equipment
PS Production Services
Panasonic Canada
Panavision Canada
Rosco Canada
SIM Digital
Sony of Canada Ltd.
The Source Shop
Vistek Camera Ltd.
Whites Digital Sales & Service
William F. White International Inc.
ZGC Inc.
Bobby Shore csc Goes Bang Bang Baby By Fanen Chiahemen
Cast No Shadow: Scott McClellan Brings Light to Newfoundland Film
By Fanen Chiahemen
Crafting a Classic Look for Parks Canada By Matthew A. MacDonald
From the President
In the News
Best & Worst Advice
In Memoriam
Cams Part 2
Tech Column
CSC Member Spotlight - Thomas Burstyn csc, frsa, nzcs
Productions Notes / Calendar
Cover: A young girl dreams of becoming a famous singer in Bang Bang Baby.
Credit: Courtesy of Scythia Films
Canadian Cinematographer
January 2015 Vol. 6, No. 8
George Willis csc, sasc, [email protected]
Joan Hutton csc, [email protected]
Ron Stannett csc, [email protected]
Carlos Esteves csc, [email protected]
Joseph Sunday phd
[email protected]
Antonin Lhotsky csc, [email protected]
Phil Earnshaw csc, [email protected]
Alwyn Kumst csc, [email protected]
D. Gregor Hagey csc, [email protected]
Dylan Macleod csc, [email protected]
Bruce Marshall, [email protected]
Jeremy Benning csc, [email protected]
Kim Derko csc, [email protected]
John Holosco csc, [email protected]
Bruno Philip csc, [email protected]
Brendan Steacy csc, [email protected]
Carolyn Wong, [email protected]
EDITOR-IN-CHIEF George Willis csc, sasc
Susan Saranchuk, [email protected]
EDITOR Fanen Chiahemen, [email protected]
COPY EDITOR Karen Longland
ART DIRECTION Berkeley Stat House
Guido Kondruss, [email protected]
131–3007 Kingston Road
Toronto, Canada M1M 1P1
Tel: 416-266-0591; Fax: 416-266-3996
Email: [email protected], [email protected]
Canadian Cinematographer makes every effort to ensure
the accuracy of the information it publishes; however, it
cannot be held responsible for any consequences arising
from errors or omissions. The contents of this publication
may not be reproduced in whole or in part without the
express written consent of the publisher. The opinions
expressed within the magazine are those of the authors
and not necessarily of the publisher. Upon publication, Canadian Cinematographer acquires Canadian Serial Rights;
copyright reverts to the writer after publication.
Canadian Cinematographer is printed by Winnipeg Sun
Commercial Print and is published 10 times a year.
One-year subscriptions are available in Canada for $40.00
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2 • Canadian Cinematographer - January 2015
George A. Willis csc , sa sc
ecently I received an email from a film student asking whether he could
interview me as part of his course’s requirement. We met at the CSC
clubhouse and spent some time discussing many issues, the first of
which was directly related to the question “where do I go from here?”
I’m sure we have all experienced this moment in our lives when we have had to
make decisions that might have significant consequences. The worrisome uncertainty and the gnawing fear of committing to a strategy that could produce
somewhat less-than-expected results. The realization that after completing three
years in film school there is no guarantee of anything can be rather intimidating,
unless one is fortunate enough to have a connection in the industry.
Discussions of this nature are often prefaced by, “What if …” “Maybe I could
…” “Is it possible for me to …” and so on. In truth, there are no definitive answers that can be offered to assuage the pleading or the near panic that tends to
become evident in the eyes of the person looking and hoping for a sign that will
direct them onto the path to success.
In a world of rapidly and ever-changing technologies, I believe that one should
begin with the simple understanding that just because three years of film school
has been completed, there are no guarantees. I am of the opinion that film school
is akin to learning to crawl and being able to stand rather wobbly in some cases.
It’s definitely not self-supporting; that comes much later. Too often, I meet students who have an expectation that once they graduate, the freelance world is
waiting to snap them up. Wrong! This might sound harsh, but the reality is simply that film school is not a ticket to anywhere. It’s only a starting point.
During the ensuing discussion with this student, I suggested several approaches
to address a few of the concerns that arose. First, one should begin with the assumption, “I know nothing” and be prepared to learn. Become a sponge to soak
up anything and everything that might be offered by those who are qualified and
Secondly, I believe that the single most important word in the film business is
“attitude,” and I explained that I would rather work with and mentor a person
with limited knowledge but possessing a great attitude than someone who pretends to know everything but really knows nothing. They are a liability to me, the
production and themselves.
There are those who might choose to start their career somewhere up the middle of the ladder, however, I am a firm supporter of the notion that people need
to start at the bottom and work their way to whatever level is their personal goal.
Starting at the bottom should never be viewed as a negative, because each step is
a building block that creates a solid foundation on which to build a secure future.
This is not only true in the film and television industry, but with all endeavours.
see President page 7
tuesday, february 3rd, 2015
william f. white centre
800 islington avenue
toronto, ontario, m8z 6a4
William F. White International Inc.
streamlined marketing solution for the
company’s divisions, which include
SIM Digital, PS Production Services,
Bling Digital and Chainsaw.
Credit John Narvali
New York’s Last Film Lab Closes
Member News
avid Greene csc is among the
nominees for the American
Society of Cinematographers’
29th Annual Outstanding Achievement
Awards. Greene is nominated in the
television movie, miniseries, or pilot
category for his work in the Lifetime
TV movie The Trip to Bountiful. The
winners will be announced on February 15 at a gala in Los Angeles.
Film Lab New York, the last motion
picture film processing laboratory in
New York City, announced it would
cease operations as of December 19,
2014. The company, launched in 2011
as a joint venture between TechnicolorPostWorks New York and Deluxe New
York, provided laboratory services to
motion picture, television and commercial productions operating on the
East Coast and around the world. The
near-universal adoption of digital cinematography has led to declining demand for film laboratory services. The
closure relates only to film processing
and printing. Technicolor—PostWorks
New York and Deluxe NY continue to
operate all other services independently and as usual. Film Lab New York provided services to many of the world’s
top cinematographers and directors,
including Martin Scorsese, Woody Allen and Spike Lee.
David Kessler Named Deluxe
Entertainment CEO; Suzanne
Lezotte Joins SIM Group
TVA Group Acquires Vision
Postproduction company Deluxe Entertainment named David Kassler its
new chief executive in mid-November.
Kessler takes over from Cyril Drabinsky, who held the position since 2006.
Drabinsky will serve as the company’s
vice chair, according to The Los Angeles
Meanwhile, Suzanne Lezotte was recently appointed as director of marketing for The SIM Group. In this position,
Lezotte will take the lead in creating a
TVA Group, a subsidiary of Quebecor
Media, announced in November that it
had signed an agreement to acquire Vision Globale’s assets for approximately
$118 million. This transaction was
subject to approval by the Competition Bureau. Upon completion of the
transaction, the acquired operations
will become part of TVA Group within
the Media Group segment of Quebecor
Media. Vision Globale provides soundstage and equipment leasing and post-
Write to Us
Connect on-line with the CSC
4 • Canadian Cinematographer - January 2015
production services. The assets to be
acquired include Mel’s Cité du cinéma
in Montréal and Studios Melrose in
Saint-Hubert, which facilities are used
for both local and foreign film and television production, including American
Panavision Rolls Out Primo
70 Lenses at Camerimage
Panavision in late November
showcased its new line of Primo 70
lenses at the 22nd Camerimage International Film Festival. The lenses
are designed to work with today’s
larger sensor digital cameras. Panavision Primo 70 prime lenses are
available in 11 focal lengths: 27 mm,
35 mm, 40 mm, 50 mm, 65 mm, 80
mm, 100 mm, 125 mm, 150 mm, 200
mm and 250 mm. Super 70 zoom
lenses are also available in three
sizes: 28-80 mm, 70-185 mm and
200-400 mm. The Primo 70 series
are equivalent in size and weight to
standard Primos. Primo 70 lenses
are not compatible with film cameras. The internal mechanics retain a
familiar Primo feel. Floating internal
elements control breathing and allow the lens to perform from infinity
to close focus. Currently, Panavision has made Primo 70 mounts for
the Sony F55, RED DRAGON, ARRI
ALEXA (standard and Open Gate),
Phantom Flex4K and Phantom 65,
with other cameras being assessed
for compatibility. The Primo 70 series of lenses are available to rent
from Panavision worldwide.
Courtesy of Canon
Canadian Cinematographer welcomes feedback,
comments and questions about the magazine and
its contents. Please send your letters to [email protected]
Letters may be edited for clarity and space.
Advice comes in many different shades. When it’s good, it can become a career-making
credo, and when it’s bad, well, we can only scratch our heads in bewilderment. Canadian
Cinematographer asked full and associate members of the CSC the following question:
“What was the best and the worst advice you ever received during your career?” This is
part four in the series.
top DP, Robin Miller csc is known
for shooting stunning commercials for clients such as AT&T,
Ford, Budweiser and Disney. His film and
television credits include series Defiance,
Murdoch Mysteries and the feature Blur, to
be released this year. Miller is based out of
Best Advice
Towards the end of my assisting career, I
often worked with the late Derek Vanlint
csc, BSC. He was comfortable and secure in
his role as director and DP, and consequently Derek was generous with his knowledge
and role as a teacher. We were shooting a
commercial which consisted of several vignettes, and things had been going well. We
were a few hours ahead of schedule. I had
been riding him pretty hard over the past
few jobs with questions about what he was
doing and why, so I was surprised when he turned to me and
said, “Why don’t you have a go at shooting the next one?”
I was nervous, but I knew I was being handed a great opportunity. With the support of the gaffer John Hertzog, and
grip JC, I jumped in and I seemed to be doing all right. But
at one point Derek came up to me and offered this advice:
“Just make sure you like what you see.” I thought about this
for a moment, stopped thinking about ratios, backlights, fill
and all those other things we’re taught. I just leaned over and
put my eye to the eyepiece and asked myself, “Do I like it?”
That has been one of my guiding principles ever since. Thank
you, Derek.
Worst Advice
“Just shoot it!”
I was shooting my first movie. How I actually got the job
I’ll never know. I was knocking myself out doing 14-hour
days with no overtime or turnaround on a questionable,
low-budget Meatballs rip-off, but I was loving it all the same.
Somewhere into the third or fourth week, we were finishing
up some coverage on a scene we had just shot. It was late. I
was fussing with the lights, trying to get it just right, when
the producer walked up to the camera, looked at me and said
loud and clear, “What do you think you’re doing? If people
get this far into the movie, we’ve already got their money, so
what are we worried about? Just shoot it!” He was such a blatant picture of the low-budget producer cliché that I had to
laugh. Over the course of a career, as a DP I heard “Just shoot
it” many times, and some of the time it wasn’t bad advice.
However, every time I did hear it, I’d think back to that day
and chuckle.
Canadian Cinematographer - January 2015 •
Photos courtesy of Cinéfilms & Vidéo
Roger quitta Radio-Canada en 1964 pour fonder Cinéfilms
et se consacra a son métier de direction-photo et réalisateur/
producteur, mettant en images des grands ce monde dont Fidel Castro et René Lévesque et des réalisateurs tel que Oliver
Il connut une fructueuse carrière au privé jusqu’à sa récente retraite, allant jusqu’à gagner un prix gémeau pour avoir
produit le meilleur documentaire catégorie portrait avec sa
télésérie sur René Levesque et aussi le Lifetime Achievement
Award de la CSC.
Republished with permission from
Cinéfilms & Vidéo Productions Inc.
Roger Racine csc on the set of the
1950 film Les Lumières de ma ville
Roger Racine csc 1924 to 2014
’est avec des grands regrets que nous vous annonçons le décès de Roger Racine csc, le fondateur de
Cinéfilms, a l’âge de 90 ans.
Roger connu une carrière exceptionnelle et fut un des plus
grands pionniers méconnus du cinéma canadien français.
Directeur-photo de son métier, Roger commença sa carrière
a l’ONF en temps de guerre et participa en tant qu’opérateur
de caméra a des grandes manœuvres militaires au grand nord
canadien comme Operation Muskox.
Du public il passa au prive en devenant le premier directeurphoto professionnel canadien-français sur les longs-métrages
comme Aurore, Enfant Martyre et Le Gros Bill. De retour au
public en 1954, lors de la fondation de Radio-Canada, Roger
devint réalisateur de télévision, un media qu’il adorait, et fut
parmi les fondateurs de l’association des réalisateurs de Radio-Canada suite a la fameuse grève de la télévision de 1959.
It is with the deepest regret that we announce the death of
Cinéfilms founder Roger Racine csc at the age of 90.
Roger had an exceptional career and was one of the pioneers
of French Canadian cinema, albeit an unrecognized one.
A director of photography by trade, Roger began his career
at the National Film Board during the war and worked as a
camera operator, filming major military manoeuvres such as
Operation Muskox.
He left the public sector and became the first professional
French Canadian DP on such feature films as Aurore, Enfant
Martyre and Le Gros Bill. Returning to the public sector in
1954, when Radio-Canada was founded, Roger worked as
a director in television, a medium that he loved, and he became one of the founders of l’Association des réalisateurs
de Radio-Canada following the famous television strike of
Roger left Radio-Canada in 1964 to found Cinéfilms and
he devoted his career to cinematography, directing and producing, creating images of the likes of Fidel Castro and René
Lévesque, and working with directors like Oliver Stone.
He had a successful career until his retirement, managing
to win a Gemini Award for the TV mini-series documentary
René Lévesque, héros malgré lui, as well as a CSC Lifetime
Achievement Award.
Roger Racine csc in His Own Words:
Over the years, the CSC got to know Racine through
a number of interviews. Here are some revealing excerpts:
Roger Racine csc while shooting the military
expedition Operation Muskox, circa 1948.
6 • Canadian Cinematographer - January 2015
On how he got into the business:
My eldest sister used to take me to the Capitol Theatre [in
Ottawa]. We would go and see films like Tarzan. I got the
bug of the cinema from a very early age, so I went to the
National Film Board with my projector and some 8 mm
films and [there] was MacLean, and he was more or less the
See Racine page 22
President from page 2
An analogy that I would make is that of someone who is inexperienced in the culinary arts and wishes to throw a dinner
party. Where to begin? Does one just go out and purchase
food items and attempt to concoct a meal and hope for a favourable outcome? Of course not! It takes planning, knowhow and experience to know what works to ensure success.
Our industry is no different. For those who are anything less
than prepared, there is an old adage in our business: “You are
only as good as your last job.”
For anyone entering the film and television industry, I
would suggest attempting anything within reason, but understand what it is that you wish to accomplish. Take it one
step at a time and don’t bite off more than you can chew on
any occasion. Of course, try not to make mistakes, but if you
do, make sure that you learn from the experience so as not to
repeat them. Be alert, accommodating, and, above all, absorb
everything, and you should do well.
I wish all students good luck in finding that perfect career
CSC Annual General
Monday, February 2, 2015 at 6:30 p.m.
Technicolor Toronto
Boardroom No. 1
49 Ontario Street
Following the meeting we will have a light
dinner and refreshments, courtesy of the
good folks at Technicolor.
Great opportunity to meet and chat with
your fellow cinematographers! Hope to
see you there, CSC member!
It’s time to start thinking about entering that almost perfect film you shot!
Here are the categories for
Directors of Photography:
CSC Awards
is coming…
Entry forms are on the csc website:
Deadline is January 30, 2015
And don’t forget to nominate your 1st or
2nd AC for the Camera Assistant Award of Merit!
H Documentary
H Docu-drama
H Dramatic short
H Music video
H Performance
H Commercials
H Branded Content
H TV Drama
H TV Series
H Features
Here are the categories
for Cinematographers:
H Roy Tash (spot news)
H Stan Clinton (news essay)
H Webeo (web content)
H Corporate/Educational
H Lifestyle/Reality
H News Magazine
H Student Film
The gala is on March 28, 2015
at The Arcadian Court, 401 Bay St, 8th Floor,Canadian
Cinematographer - January 2015 • 7
csc Goes
ang Bang Baby could be what you get when you
cross a classic Elvis movie with a nuclear disaster
and some mutants. The film tells the story of a
teenager named Stepphy Holiday, who dreams of
escaping her sleepy town of Lonely Arms and becoming a
famous singer. It’s the 1960s, and she knows little about the
A-bomb or satellites. Her biggest problems are caring for her
alcoholic father and dodging the unwanted advances of the
town creep, while she fantasizes about her favourite matinee
idol. That all changes when a local chemical plant springs a
leak, spilling a mutation-causing mist, just before her famous
crush rolls into town.
8 • Canadian Cinematographer - January 2015
If it sounds surreal, it’s because it is. Bang Bang Baby is an
expressionistic period piece and daring fusion of styles. One
newspaper called it a “mash-up of teen melodrama, drive-in
romance and B-movie sci-fi of the 1950s.” At screenings it’s
been called part parody, an environmental piece and a campy
comedy. It’s a world of chalky pastel colours wrapped in a
menacing purple mist, with visual effects that include rear
projection and blue screen.
“The whole thing feels like a John Waters, David Lynch kind
of fever dream,” cinematographer Bobby Shore csc offers.
“It’s really odd and strange.”
In fact, writer-director Jeffrey St. Jules was inspired to write
Bang Bang Baby – his first feature film – more than 10 years
ago while watching Viva Las Vegas. He says he was initially
captivated by the madness of Ann-Margret’s performance,
but the darker elements developed in the writing process as
he explored the underbelly of escapism.
“I felt like it all came out of the story,” St. Jules says. “You’re
already in a world where anything can happen; you don’t
have to be beholden to reality. I wanted to make a movie
about her fantasies and nightmares, and the genres were just
ways to express those fantasies and nightmares. It seemed to
fit into the world of it for me so I went with it.”
St. Jules’ musings won over last year’s TIFF crowd – Bang
Bang Baby won the City of Toronto Award for Best Canadian
First Feature Film for its “ingenious mixing of genres, sophisticated blend of tones and ability to create its own strange,
tragicomic and original world” – a dream outcome, perhaps,
for a vision that was far from easy to realize.
With no easy synopsis, St. Jules had to cultivate strong images for Bang Bang Baby from the very beginning, ultimately
obviating the need for lengthy conversations about the
narrative when assembling his crew and securing funding.
Shore recalls getting the call from his agent about shooting
Bang Bang Baby. “Jeff and I went to undergrad together 14
years ago in Montreal, and I hadn’t seen the guy since then,”
Shore says. Rather than discuss the film with the cinematographer, St. Jules simply sent the script and a look book, which
Shore says “was such a weird amalgamation of different types
of imagery, but somehow there seemed to be a very cohesive
nature behind it.”
St. Jules is admittedly taciturn and seems to rely on a mental database of movie images to communicate. “Jeff is one of
the smartest directors I’ve worked with, but it takes a while
to understand where he’s coming from and his thought process,” Shore says. “He would say one thing and I would interpret it one way and a day later I would come back with
ideas based on that previous discussion, and he’d say, ‘No, I
don’t think I want it to be like that.’ Then he’d pull up some
random clip from an Elvis Presley movie and say, ‘It should
feel like this,’ and then I would get it. And that became a
really fun process.”
Credit: Courtesy of Scythia Films
Actor Justin
Chatwin as a
rock and roll star,
the subject of a
young woman’s
fantasies in Bang
Bang Baby.
Credit: Kristof,
Together Shore and St. Jules
came up with a period backdrop for Bang Bang Baby that
borrowed from the works of
filmmakers like Douglas Sirk
– an aesthetic of locked-off
cameras, bold, saturated colours and lead actresses lit to
look almost supernaturally
beautiful. “I started to realize
how much Jeff wanted to play
with the idea of artifice and
how much he wanted to take
the tropes and techniques of
1950s filmmaking and apply
that to this movie. It was fun
to dive into this world where
everything could be stylized,
where you could really use
the lighting to enhance the
mood and tone of each scene,” Shore says, adding that they
had a tungsten-only rule on set – no HMIs or fluorescents,
which were not commonly used during that era of filmmaking. “We were using those previously accepted aesthetics as a
way to foreground the artifice of this story in this weird, meta,
self-referential way, kind of foregrounding the process and the
technique of making the movie.”
To get that period look, Shore fitted a RED EPIC with Panavision Standard Speeds from the 1960s, which he says “flare
really badly and maintain a super low contrast, and if you
shoot them wide open you get these really odd chromatic
aberrations around the highlights. But it just looked really
appropriate with shooting digital. Their resolving power is a
lot lower than new lenses. A period piece like Bang Bang Baby
should have a softer more classic look, and it would be better
to achieve that with the lens you’re using as opposed to using
filtration in front of a newer lens.”
With the mood in Bang Bang Baby swinging from whimsical to nightmarish, the director and DP had to make sure
they were always on the same page when approaching each
scene, so they crafted a document that Shore calls the “fantasy-nightmare scale. We drew a giant graph that had a line in
the middle. Plus 10 was fantasy, minus 10 was nightmare, and
zero was our baseline, Douglas Sirk-era look. We graphed the
entire script and we always had that as a reference on set to
help us decide how nightmarish or fantastical each scene was.”
During Stepphy’s fantasy sequences, Shore would add giant backlights to create a glow and halo around actress Jane
Levy’s head, lighting her gauzy and soft. Because the girl’s
fantasies are triggered by the appearance of the teen idol
she obsesses over, Shore would light him the same way. “No
matter where he was, we’d stick him in as much backlight as
Bobby Shore csc on the set of Bang Bang Baby.
possible. We used a lot of stage lights, like Leko lights and
Source 4s, things you can control easily. So wherever he was
we would take a Leko and point it right at him and then shutter it off so it didn’t really touch the rest of the set. It helped a
lot that he wore a nice white suit. We would just backlight it
to the point where the white suit would be overexposed and
For those scenes, Shore switched the lenses on the EPIC
to a pre-C Series 45-90 mm Anamorphic zoom. “It’s super
soft and low contrast, and you have to centre punch everything because it just is completely out of focus on the fringes,” Shore says. “It gives a different visual texture and has a
shallower depth of field than the spherical Standard Speeds,
which we wanted to use to really isolate Stepphy in her fantasy world by really making her the sole point of focus in
these shots.”
A few sequences in Bang Bang Baby are rendered in black
Canadian Cinematographer - January 2015 •
10 • Canadian Cinematographer - January 2015
Credit: Kristof,
and white, including the teen idol’s films that Stepphy watches regularly on television, and for those scenes Shore used a
Panavised Cooke 25-250 mm lens. “It’s an older, softer lens
and it has a lower contrast to it. We also ended up putting a
stocking behind the lens to give the highlights a glow and to
really give everything a bit of a softer feel to it. It’s a trick DPs
would use in the ‘50s for diffusion,” Shore explains. “They’d
buy black Dior stockings, stretch it behind the element of
the lens and glue it down and it would diffuse the image in a
very obvious way and make it very soft. It also had this weird
rainbow artefact, and anything that was overexposed would
have a white orb around it. I just felt like that’s how they shot
black and white in the ‘50s, so we’ll just approach it in the
same way.”
When Stepphy’s dreams mutate into nightmares, Shore
switched up the lenses again to the modern Primo lenses,
“which resolved a lot better, to give everything a more tactile,
sharper, immediate feeling to it,” he says.
The visual reference for the nightmare look actually came
from production designer Aidan Leroux, who years ago introduced St. Jules to the photography of Gregory Crewdson. “Crewdson would take photographs in mundane places
and through really stylistic lighting, costume and set design
would flip it on its head and portray the seediness and disgusting nature of these scenes,” Shore says.
To evoke that quality, Shore would employ a very theatrical
and expressionistic look on Levy, often placing her in half
light imbued with lavenders and deep blues. Sometimes he
would put her in harder light to create a greater contrast and
to enhance the dark, nightmarish quality of the scenes. “For
the last act, when the fantasy and nightmare worlds collide,
we changed our lighting style again to suit the tone. We used
no model light on her, just soft top light without any kind of
fill, and let bags form under her eyes,” Shore says. “It was far
from flattering, yet all departments were on board with it,
as was Jane. It was an interesting collaboration with wardrobe, which did a killer job of changing her from these really
brightly-coloured frilly dresses to colourless frumpy dresses
and pants. The makeup department also did a great job of
making her look dull and pale. And then instead of using 50
mm or 75 mm lenses for close-ups, we would use our 27 mm
Primo and shoot her close and wide without any filtration
and with harsher lighting.
“One scene that foregrounds this change well is the nightmarish birthing scene of Stepphy’s soon-to-be-mutant
child,” Shore continues. “We walked onto set, turned off
all the lights, stuck a 60-watt clear bulb in a lamp, which we
placed next to Jane, and just started shooting, knocking the
lamp shade around every once in a while to add some moving shadows to the shot.”
Much of the drama in Bang Bang Baby plays out in the
house where Stepphy lives with her alcoholic father, and that
Cast and crew on the
set of Bang Bang Baby.
location was a three-walled set with large windows that Shore
could shine big gelled lights through. “Jeffrey wanted a lot of
the movie to feel proscenium and almost theatrical so you
could never actually do full reverses on people. So we were
only ever looking in one direction on all sets,” Shore says. “We
had a grid above with a bunch of 2K Softlights and Lekos that
we would use for the more theatrical lighting, little pinpoint
sources here and there. But for the more fantastical scenes
it was just giant lights through windows and giant bounces
over the set walls. It was a bit of a challenge to achieve the
look with the EPIC because it doesn’t have the best dynamic
range and the highlights tend to blow out quickly. So it took a
lot of light just to achieve something naturalistic even though
we would have three 20Ks and a bunch of half Dinos and
so many lights burning at the same time to make it look like
there wasn’t really that much lighting going on at all.”
St. Jules wanted to carry the period drama aesthetic through
to the set pieces outside the house so that when the leak at
the chemical plant eventually sends a terrified Stepphy running into a forest, the crew approached the scene the way a
Sirk-era film might do it. “We thought how would they build
this in the ‘50s?” Shore says. “Well, they would build this
forest on a sound stage, just fill it with smoke and backlight
and just shoot it.
“We couldn’t afford to build a forest bigger than 20 feet by
20 feet so we hid the sound stage by pumping everything
with smoke,” he continues. “It’s supposed to be a mist leak, so
we just backlit everything with lavender gels on all the lights
to give everything a purple cast to it. So we used our limitations as a creative tool.”
Shore notes that the crew might not have been able to pull
off such set pieces had it not been for the support of the rental houses that supplied their equipment. “We got our camera
and lens package from Panavision when Stewart Aziz was
still working there. They donated the package for the equivalent of a case of beer. He was really supportive,” Shore says.
“William F. White also stepped up and donated a massive
lighting package,” the cinematographer adds. “I’ve done a lot
of features with Dan St. Amour there. They were all super
friendly and helpful. [Producer] Dan Beckerman also has a
really good relationship with those guys. Basically everyone
went to their respective vendors and people we used to work
with and begged, borrowed and stole. The generosity people
showed was pretty phenomenal.”
Credit: Courtesy of Scythia Films
Bright, bold colours
highlight the dreams
of a teenage girl in
Bang Bang Baby.
Meanwhile, on set every department muscled through the
gruelling two-month shoot, despite not having an adequate
budget, on sheer belief in the project, Shore says. “It was
definitely the hardest shoot I’ve been on,” the cinematographer reminisces with some measure of fondness. “Everyone
stepped up to help everyone else. You were never waiting
on the art department or the electrics or grips, especially
key grip TJ Richardson. He and his guys really carried this
movie on their backs. Whenever anything was vague in terms
of what department should take care of a particular task, the
grips ended up handling it and did a killer job. And that all
came from the fact that there was such an originality to the
tone and the approach to Jeff ’s script,” Shore says.
Yet St. Jules was always open to input from Shore and
other creative heads, which the director says enriched
the final product. “The reason we have the DP and the
production designer and all the creatives is so they can
bring their own thing to it and make it better than what
you would have imagined,” St. Jules posits. “In many
respects, what Bobby and Aidan brought visually is
better than what I would have imagined on my own.
All in all, I’m really happy with the way it turned out.”
Canadian Cinematographer - January 2015 •
Cast No Shadow
Scott McClellan Brings Light
Credit: Jim Desautels
to Newfoundland Film
12 • Canadian Cinematographer - January 2015
ilmmaker and St. John’s native Christian Sparkes
says he has always felt that children are a great
lens through which to see the world. “Because
it’s an honest lens,” the CFC Director’s Lab alumnus
says. Sparkes had worked with children on several films
and television shows, but he found the ideal material
for his first feature, Cast No Shadow, in screenwriter Joel
Thomas Hynes’ treatment of a summer in the life of a
troubled 13-year-old boy attempting to navigate his tumultuous world in a rugged seaside town.
Raised by an abusive and criminal father and preoccupied with thoughts of his dead mother, Jude Traynor
(played by the screenwriter’s son, Percy Hynes White)
uses his imagination as a coping mechanism, but he
also lashes out frequently and resorts to delinquency.
The lonely and neglected boy dreams up the source of
his troubles: an evil cave-dwelling troll, which the boy
must appease with trinkets he keeps in a treasure chest
in a crawlspace under his house.
Although Cast No Shadow goes to some dark and
unsettling places and features elements of fantasy and
thriller, it was shot against the autumnal beauty of Newfoundland, and months before principal photography,
Sparkes and cinematographer Scott McClellan – whom
the director had met a decade ago in the film program
at NSCAD University in Halifax – headed to Bell Island
to scout locations. “It is really one of the definitive landscapes in the movie,” McClellan says. “It has a couple
of little villages on it. Otherwise it’s very secluded and
sparsely populated.”
Indeed, the Atlantic backdrop was the perfect canvas
to explore some of the themes in the film, McClellan
says. “Jude is a small boy all alone in the world. So it was
important to show the dichotomy between the character and his setting by shooting these big wide vistas and
having him as this very small character in these settings,
expressing his loneliness in that way,” he says.
As the boy changes, though, the world around him
starts to look different too, as do the overtones of the
images that McClellan crafts. “There is something
very romantic about childhood, and that’s something
we tried to portray visually by having lush warm landscapes and warm colours and very comfortable inviting
places,” the cinematographer says. “It’s not until later
when he begins to lose hope, and that magic that has
been his world dwindles and things desaturate a little
bit and the palette becomes cooler.”
McClellan opted to shoot on a RED ONE with Zeiss
Super Speeds, a package obtained from SIM Atlantic
Canadian Cinematographer - January 2015 •
Scott McClellan
(with camera)
shooting on Bell
Island with director
Christian Sparkes
(right) and first AC
Andrew Hills (left).
Previous page:
Credit: Jim Desautels
Jude carries found
treasures to a
seaside cave to
appease a troll he
has dreamed up as
the source of all his
in Halifax at a reduced rate thanks to camera manager Jeff
Wheaton. “The nice thing about using Super Speeds with the
budget we had is that they are such fast lenses, they allowed
us to shoot in lower level lighting scenarios,” McClellan says.
With the RED, McClellan was also able to shoot virtually all
the daylight exteriors in natural daylight, with only the aid of
some negative fill and some bounce.
But Sparkes called the film Cast No Shadow partly because
the idea of shadows was “such a strong image in the film and
was very prominent in the script,” the director says. “The idea
of the shadow as an alter ego, a mirror image of yourself, but
a darker image of yourself. The idea is that if you cast no shadow you can keep the evil at bay.” The title of the film seems
to underline McClellan’s approach to the cinematography in
keeping with that imagery. “We always wanted shadow to be
a manifestation of Jude’s darker tendencies, his bad habits
and his faults,” he says.
The cave where Jude’s imaginary troll lives was actually a
cluster of Second World War-era ammunitions storage bunkers, built into Newfoundland’s Southside Hills. With no
power in the bunkers, McClellan relied heavily on batterypowered LEDs to simulate various lighting sources within
the cave. The director of photography used daylight balanced
1x1 LED panels to simulate early morning ambient skylight
in various backgrounds inside the cavern. The cinematographer also used battery-powered ARRI LoCasters on boom
arms in close-ups to simulate light from the lantern the boy
carried with him into the cave.
The lantern was in fact fashioned by gaffer Ryan Hernandez who outfitted it with a 300-watt bulb from a Fresnel. The
electrics then ran a cable hidden in the actor’s clothing as he
carried the lantern in wide shots “so we could get the right
exposure levels in these wide shots for the fall-offs that we
needed. And we would ND the camera-facing side of the
lantern so that the hotspot in the lantern wouldn’t blow out
14 • Canadian Cinematographer - January 2015
quite as much but still have a greater fall-off behind the light,”
McClellan says.
The other important location in the film is the crawlspace
where the boy keeps his treasure chest of trinkets. “It’s where
he’s the safest; he goes there to be alone with his imagination,” McClellan says. “There had to be a certain magic to
that place that didn’t exist anywhere else in the movie. When
we shot in there I warmed it up more than I regularly would,
softened it with filters more than I had the rest of the movie,
and I gave it a more comfortable cocoon-like quality that had
a hint of magic to it.”
Jude also finds some relief through a friendship with a reclusive woman named Alfreda, and an abandoned house on
Logy Bay was dressed with quirky lamps and candles to serve
as Alfreda’s home. “It was a very old house, but Xavier Georges, the production designer, really did a fantastic job dressing
the sets,” McClellan says, adding that he was able to go “with
a more candlelit light quality in there, and it really made the
home a very comfortable and inviting world for Jude.”
Shooting day for night inside the house, key grip Miles
Barnes and his crew would black out the windows and then
McClellan would carry the candles with Kino Flos. “We
used long two-bulb Kinos that we would diffuse and warm
up a little bit with some light CTO. And then we would really black wrap a lot of what that Kino was doing to eliminate
as much fill as we could and sculpt it into something that
looked more like a warm candlelight,” he says. “In the wide
shots we’d try and vignette the edges of the frame however
we could to keep everything very confined and cozy between
Alfreda and Jude.”
By contrast, scenes with Jude’s father, being a negative force
in his son’s life, were lit darker. “In a lot of scenes he is walking through shadow or standing in shadow,” McClellan says.
“Not necessarily his whole body but his face at least.”
In a scene that McClellan considers one of the best in the
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Canadian Cinematographer - December 2014 •
16 • Canadian Cinematographer - January 2015
of stalactites and stalagmites made by Xavier and his team.
And that helped us shape the wide shots into something
that looked like a more natural cave. For the lantern we hid
a 1K behind the wooden cut-outs and had the gaffer tilt the
1k to mimic the movement of Jude’s lantern swinging. And
Jude is lit very harshly by this lantern, and it’s the only time
in the movie you see any lighting like that. Everything that
was once romantic and idealistic is now seen in a harsh broad
spotlight. It’s an unforgiving light and shows everything for
what it really is.”
Despite the harsh realities that Cast No Shadow depicts,
the film swept the 2014 Atlantic Film Festival, winning six
awards, including Best Cinematography, Best Direction and
Best Atlantic Feature, an undoubtedly sweet triumph for
the cast and crew. “When you’re not paying people a whole
lot, sometimes there is a bit of guilt about pushing people
too hard,” the director says. “But everyone was passionate
about the film and stayed really engaged and did their
best work.”
Credits: Jim Desautels
film, Jude’s father comes upon his son in the kitchen and begins to verbally abuse him. “You see Jude in a late day sunlit
kitchen and Dad almost in complete shadow at one point
when he’s bearing down on Jude at his worst. And that was
something we really achieved through careful blocking,” McClellan explains. “It was a matter of putting Jude in a specific
place so he was lit better, and putting Dad where he was kept
shadowy. Sometimes Jude had return to help bring his level
up a little bit, and sometimes Dad had a bit of negative to
help bring his level down a bit. But there were no lights in
the room for that scene. There were two 1200s outside the
windows going through some light diffusion and we warmed
a quarter CTO and also a 575 coming through window.”
Tense scenes between father and son also played out during
car rides at night, and McClellan was careful with the way he
lit those. “One thing I don’t like about night driving scenes
is when it feels like the dashboard is lighting the characters.
For me it never really feels natural. It’s just too close to the
actors,” the cinematographer says. “So for these car scenes we
put the car on a low-rise flatbed so they didn’t have to drive;
they could focus on performances, and that allowed me to
light with lower levels. It was very simple; we ran everything
off of batteries for that and we mounted a couple of small
battery-powered brick lights to suction cup spigots on the
front hood of the car and on the back. And then I covered the
windshield with a silk and then some extra diffusion on top
of that, and we softened it up as much as we could.
“And then because we were driving in such rural areas where
there wasn’t a lot of ambient light or streetlights or light from
homes or anything, we put a 1x1 panel on a roof, shooting into the background dimmed with diffusion and then
dimmed that down as well,” McClellan continues. “And it
was just so you could pick up a little bit of what was happening in the background of the shot in terms of trees passing by,
just to give it more of a sense of movement.”
In the final act of the film, the boy is confronted with the
consequences of his actions in a sequence that takes place in
one night, beginning at a local dance. “That’s when we went
from a warmer colour palette to a cooler palette,” McClellan
says. “So he starts at this dance where he is lit by these sodium
vapour-looking lights. Then he leaves the area, goes back to
his house which is now dark. You then see that the warmth of
crawlspace is now gone, and it feels like moonlight is lighting
a lot of it. Even when he goes back to Alfreda’s for the penultimate scene, it’s all now feeling like moonlight is lighting the
interior of the house instead of warm candlelight.”
When Jude finally visits the cave at the end of movie, he is
“left by himself with the cold realities of his circumstance,”
McClellan says. “And you just see his shadow on the wall of
the cave. For that we had an open-face 1K that we used to carry the lantern that the boy had, and we had it hidden behind
these set pieces, which were basically these wooden cut-outs
In Cast No Shadow a 13-year-old boy with a tough
life uses his imagination as a coping mechanism.
Bottom: Cinematographer Scott McClellan shoots the
final scene in a cave in the Southside Hills. “I hate
having bags on the camera while I’m working with
it, so I would challenge first AC Andrew Hills to make
me custom fitting bag covers that were easy to work
around. He rose to the challenge and since then I’ve
heard from other people that he’s still making these
covers, and they’re amazing!”
Canadian Cinematographer - December 2014 •
A Building of Destiny
Crafting a Classic Look for Parks Canada
n August 2014, I had the pleasure of working with a
phenomenal team on a video recreating the historic 1864
Charlottetown Conference that led to the Confederation
of Canada.
Parks Canada had commissioned the video for Province
House National Historic Site in Charlottetown, Prince Edward
Island, to replace one that had been made in 1999. The task
of producing this ambitious video fell to Tim Joyce of Sound
Venture Productions in Ottawa, who enlisted director Jocelyn
Forgues with whom I had collaborated several times before.
The new 15-minute video, called A Building of Destiny, will
be available in both English and French for the next several years and tells the story of the Charlottetown Conference and the role of Province House. The utmost goal was,
therefore, to produce a video that would stand the test
of time, and that would continue to resonate with audiences long after the cinematic trends of today have been
exhausted. With that in mind, I worked diligently with
Tim and, especially, Jocelyn, to develop a visual grammar for the project that would inform our decisions on set.
The video includes a host (Sonia Boileau) speaking directly
to the audience; scenes re-enacting historic speeches, meetings, and other events related to the historic deliberations
about the Confederation of Canada; and several graphic
elements, including maps, archival photographs, and paint-
Actors Josh Weale, Mathieu Arsenault, Dennis Trainor,
Jamie Cordes, Tim Wartman and Matt Putnam in a still
from the video.
18 • Canadian Cinematographer - January 2015
ings, all seamlessly integrated with the live action material.
We decided on a classic, deliberate look and feel for the project, intent on eschewing the more casual, handheld style of
cinematography that is quite popular today and which I felt
may date the picture. We did several things to achieve this,
including remaining on a dolly for most of the shoot. This
alone resulted in a very fine, deliberate style of composition
and camera choreography, made possible in large measure by
the incredible talent of key grip and dolly grip Peter Chartier.
For my lighting design, the idea was to light primarily from
outside the windows in our various interior locations. We
had the privilege of shooting in some gorgeous locations, including Province House, but also the Lieutenant Governor’s
residence. Lighting through the windows allowed us to maximize our use of these spaces, give the actors more flexibility
of movement, and achieve a consistent, natural look while
still being able to control the light. My main source for these
day interiors was a 12K HMI Fresnel.
For a major scene involving the Fathers of Confederation
in Confederation Chamber at Province House, we mounted
the 12K on a scissor lift outside a second-storey window
and aimed it at an angle down the length of the long table
in the centre of the room. This created a beautiful beam of
simulated sunlight on all the actors seated around the table.
To add texture to the background, we placed small mirrors
on the floor behind the table to cast scattered reflections of
the light on the wall; the effect was striking. The scene was
further augmented by fill from a Kino Flo and an 800W HMI
Joker through diffusion.
In lighting a scene in an elegant room at the Lieutenant
second, the fact that the Zeiss Super Speed lenses tend to
wash out at wider apertures.
This is an example of a commissioned video project where
the conventions of traditional cinematography and filmmaking were not luxuries, but necessities to achieve a particular,
classic look. It was an exciting project to work on and I hope
you have enjoyed reading about it.
16:9 H Digital Capture
ARRI ALEXA 2K H Zeiss Super Speed Mark III
Matthew A. MacDonald is a cinematographer based
in Ottawa, but originally from Halifax, Nova Scotia.
He became an associate CSC member in 2014.
Credits: India Joyce
Governor’s residence, which stood in for a restaurant where
George-Étienne Cartier, John A. Macdonald and George
Brown were meeting, we bounced the 12K into a 20’x20’
sheet of natural muslin positioned at an angle immediately
outside the windows, and augmented this with an 800W Joker through the window from outside and another 800W Joker bounced into natural muslin on the inside. The directional
800W Joker through the window served as the key light for
the host, who was seated in the foreground and who I wanted
to set apart visually from the historical drama unfolding behind her. Helping me achieve all this was a superb team of local technicians, but especially gaffer Jon Olts, a consummate
craftsman and artistic collaborator. Jon helped me immensely in refining my lighting designs and implementing my ideas.
As for the camera, we chose the ARRI ALEXA because of
its overall image quality, the elegant way it handles skin tones
and colour in general, and its incredible ease of use. To further achieve a classic look, I used a set of Zeiss Super Speed
Mark III lenses, which have a pleasing, slightly softer look
than some more modern lenses and render colours and flesh
tones beautifully. As for grading, I found that the built-in
ARRI LCC look gave us almost exactly the colour rendering
we wanted, which simplified our work on set and reduced the
need for tweaking in post. All of our camera, lighting, and
grip equipment was supplied by Affinity Production Group
in Ottawa, and I am very thankful for the assistance of Ron
Gallant and his team at Affinity.
Finally, for scenes involving only the host, we remained
relatively wide, shooting variously with an 18 mm or 25 mm
lens and positioning the camera closer to her. The idea was
to bring the host closer to the audience visually, lending immediacy to her presence. By contrast, for the re-enactment
scenes, we favoured slightly longer lenses in the 35 mm to
85 mm range. To further distinguish the two looks, I used a
1/4 black frost filter for the historical re-enactment scenes.
We had considered using haze, but that was not appropriate,
given the historic locations we were shooting in and the desire not to shower the valuable artefacts they contain with
mineral oil!
Throughout the project, I exposed consistently for T4 to
achieve a pleasant, manageable depth of field. This also gave
our actors, and first camera assistant Brian Sharp, some
much-needed breathing room. Two other considerations
were important in this regard. First, the desire for some depth
in the images to remain true to my idea of a classic look, and
Top: Cinematographer Matthew MacDonald (with camera)
rehearses a shot in Province House with first camera
assistant Brian Sharp (left) and director Jocelyn
Forgues (arm raised) looking on. Bottom: Preparing for
a shot in Confederation Chamber in Province House.
Canadian Cinematographer - January 2015 •
Credit: George Willis csc, sasc
…Cams: Part 2
tick a camera on pretty well anything and you have some sort
of “cam.” It can be as simple as
attaching a rope to the top handle of a
camera for a “Ropecam,” “Swingcam”
or a “Danglecam.” You pick the name.
At the other end of the spectrum are
custom rigs with price tags into five
20 • Canadian Cinematographer - January 2015
figures. No matter the cost or sophistication, rigs exist to provide those extra
special shots we crave as cinematographers. What follows are three cams that
I designed and built for those one-of-akind shots. I might add that these rigs
were built before digitization and the
ultimate cam, the GoPro, was invented.
By GEORGE WILLIS csc, sasc
I love wood, PVC (polyvinyl chloride)
and aluminum! They’re my favourite
materials for building rigs. Being easy
to use and machine, plus the option of
immediate modifications, made them
my construction choice for the “Woodcam.” With the camera almost always
a couple of inches off the ground, the
shot was to take off at a trot across a
street, mount a sidewalk, jump a 2-foot
hedge, cut across a lawn with the sprinkler going, as a ball gets kicked from
under the lens, down a small rockery,
over a child’s wagon, through a garage,
out a back door, climb four steps into
a house, with a sharp 90-degree right
turn into a kitchen, across a floor and
up to the refrigerator freezer door at 5
feet. All in one take please!
My first thought was to call one of
those super-fit Steadicam guys who can
make the camera “float like a butterfly.”
But I had confined spaces and tricky
turns to deal with, and this was definitely not Rocky with Garrett Brown
running up the front steps at the Philadelphia Museum of Art with loads of
room to maneuver. Nix the Steadicam.
I then figured that with the shoot a
week away, I could learn to run and
breathe over a long sustained period
of time while holding about 30lbs in
my right hand or I could pass the job
onto an up-and-coming marathonrunning camera operator built like Arnold Schwarzenegger. Both these ideas
of course were more comical than they
were ever practical.
My solution was a bit of trial and error.
I started by cutting two pieces of ¾”
medium density fiber board and connected them with four threaded rods.
I now had a basic “cage” in which to
mount the camera, a bare bones ARRI
III with a 200-foot magazine. Someone
suggested that I use a 400-foot mag to
get more takes per roll, and he wasn’t
kidding! I mounted a
wide-angle 14 mm lens to
the body, along with a basic motorized focus and a
custom-made French flag.
Framing the shot was going to be a problem, so I
mounted a small video
recorder/monitor to the
rig. So far so good!
After initial tests, a small
gyrostabilizer unit was
added to steady the rig on
the horizontal axis. Also, because the
rig was mere inches from the ground,
a “skid-plate” was attached to protect
the lens from damage. Just as I began
to joyfully think that this strange assembly might just work, I realized the
Woodcam needed an auxiliary handle
of some sort so that I could raise the rig
5 foot at the end of the shot. After all,
this was no Steadicam. The answer was
to add a “grab handle” onto the basic
frame to assist in lifting the assembly up
to the freezer door.
In theory, the construction of the
Woodcam was relatively simple, but in
practice I was jolted by a rude realization – the thing weighed a ton. I could
barely lift it, yet alone run with it onehanded! Off with the French flag, lens
flares are kind of cool! Off with the gyro
unit, nobody would care if I developed
a hernia anyway. Bring on the smallest
and lightest weight video monitor that I
could find and try again!
I also had another little problem to do
with the 14 mm lens. If I took big steps,
my running shoes came into frame.
The obvious solution was to take
smaller steps, which we did. Guiding
the Woodcam while the first assistant
pulled focus and the grip carried the
batteries, we ran in mini-step unison, almost on our tiptoes all tethered together by the umbilical power cords. It took
14 takes to get it right, and we were not
exactly a pretty picture running in short
lock-step, but it all worked out well and
the Woodcam was very much worth the
standing at the edge of the
railing on deck. The distance from the deck to the
water is about 50 feet. The
shot calls for the camera
to follow the action as the
figure falls towards the
camera and splashes into
the water, holding the end
frame solidly.
Hmm… Not that easy of
a shot. First of all, the camera operator must be able
to follow the action with the camera in
the water, as a stunt person falls 50 feet
and splashes down about 3 feet in front
of the lens, and the final frame must
be partially submerged. Secondly, the
crew is floating in ice cold, 30-foot deep
water, holding onto a camera and waterproof housing weighing 90 pounds.
If that’s not difficult enough, the production is also budget challenged, so
there is no money to rent a Hydroflex
Aquacam with remote head, let alone
a medium-size crane arm mounted to
a barge or floating platform. A not so
easy shot has now become a very difficult one.
So how does one float the camera in
a locked-off position, operate and then
hold a rock-steady end frame with no
ready-made technology? Enter the
much cheaper “Floatycam.”
Here’s how I built it. At my local dive
store, I consulted with a dive buddy to
establish the float-to-weight ratio for
this particular situation. I then took
my design to Filmair, the company that
built the “giraffe” crane, and had them
weld a framework out of aluminum. A
little heavy, but this was the best material for the rig. The framework consisted of two cubes, with the ability of
one cube to rotate within the other, to
provide the camera tilt for the follow
shot. Attached to the outer cube were
two sub-frames that hinged down and
locked into position almost like wings.
The camera sits on a platform within
the smaller of the two cubes, which is
see Cam page 22
The Floatycam
A couple of years ago, the small foldup kids’ scooters were all the rage, and I
thought it might be fun to rig a camera
to one of them for an upcoming (kids’
drink) commercial. I bought a scooter
and did some basic modifications to
strengthen the chassis, but most of the
work went into building the camera
mount out of PVC and aluminum. Rigidity was required to hold and stabilize
an ARRI 435 and the “Scootercam” was
born. The mount could be adjusted to
face the front or the rear of the scooter,
the idea being to keep the small wheel
in frame, so that the viewer would know
that the camera was actually sitting on
a scooter. The main requirement, we
soon discovered, was that Scootercam,
because of the small diameter of the
wheels, had to run on a smooth surface. I added a counter-balance and an
outrigger wheel on one side to keep
the camera clear of the pavement and
harm’s way. Additional rigging was required to secure a small monitor on the
handlebars to act as a viewfinder. I only
used the “Scootercam for one shoot,
but it was great fun to design and build!
Being an underwater cinematographer and operator, I was called to discuss some second-unit shooting for
a feature. The producer said it was a
fairly simple night scene shot, where
the camera, with a wide-angle lens at
water level, shoots up the side of a ship
at harbour. The ship is painted black
and is silhouetted against an almost
black sky. The camera frames up on a
figure dressed in light-coloured clothing
Canadian Cinematographer - January 2015 •
Credit: Phots courtesy of Cinéfilms & Vidéo
a month, and I became
assistant to some of
the greatest filmmakers
who ever walked on this
On the film business:
If you come with a
project, a real, wonderRoger Racine csc, right, date unknown.
ful great project, the first
question they ask is, “Will it make monRacine from page 6
ey at the box office?” It hurts because to
administrator at this time. I said, “I’m me the first question we should ask is,
very much interested in film and I “Will it make a good film? Will it make
heard that you’re looking for posi- a film that will stay part of what our
tions.” The funny part of the story is descendants will see in 50, 100 years?”
that John Grierson came out of his of- The film business is a business, yes,
fice, with his Scottish accent, and he but it’s got to be more than a business.
says, “Well, show me those films, young Without substance it’s nothing.
man.” And I put the film on the projector, and he looked at maybe 10 minutes, On the power of film:
Film is one of the greatest instruments
and he said, “This young man seems to
have some talent, give him a job.” So for communication. It shouldn’t be
MacLean hired me at the salary of $60 used just for selling chocolate bars, it
Cams from page 21
adjustable in height. This will determine how far in or out of the water the
camera lens will be placed. With the
camera in place, the entire rig weighed
close to 150 pounds and it still needed
to float on the water surface.
A floatation test combined with some
rudimentary math allowed me to arrive at what kind of equipment would
be required to keep this monster afloat.
A trip to Canadian Tire resulted in the
purchase of eight small inner tubes
that were attached to the rig via some
crucifix-shaped adjustable arms. These,
in turn, slid into brackets on the main
frame and provided the necessary
buoyancy, which could be adjusted by
varying the inflation pressure. Once
again, it all sounded great in theory, but
I wasn’t able to test Floatycam until the
night of the shoot, which became a “do
or sink” situation.
Shooting black on black is fun at times,
but certainly not at night in a harbour,
in water at around 10 degrees Celsius,
with oily fumes wafting through the air.
22 • Canadian Cinematographer - January 2015
Floating in the water and looking up at
the ship certainly put a new light on a
situation – with very little light. The first
challenge was holding the very specific
frame steady while avoiding flares from
the lights. Trying to hold position in the
water during and after the stunt action
in a slight breeze proved to be impossible. Without an anchor we were drifting
all over the place. That’s it, an anchor!
We tied a sash to the rig, and sandbags
were attached to the sash cord. Standby divers then positioned them on the
murky bottom of the harbour channel.
This took some time, because the “anchors” needed to be constantly reset
until everyone was satisfied with the
Okay, here we go, this is it. Frame the
shot. Where the heck is the stunt person? Oh, there he is, the light speck
in the completely black frame. “Stand
by, roll camera.” Oh no, the frame is
even darker with the mirror spinning.
“Action!” Got him, got him. Well,
not quite. We discovered that even
while the video camera and monitor
should be used for education, it should
be used for culture, and it should be
used for getting people’s minds better,
not just their stomach, not just their
body. Because take the mind away
[and] we’re just a gorilla, you know?
On his hopes for Canadian cinema:
I think that Canada as a country will
have to find its own soul and its own
directors and writers and so on. And
I hope I live long enough to see that. I
would be a very, very happy person.
On last year’s screening of his
film Ribo ou “Le Soleil sauvage”
for the first time in North America at Montreal’s Cinémathèque
The only thing I have to say is thanks
for coming. Our profession is a means
of communication, and when it’s
non-communicable it is no longer
had been adjusted to allow maximum
brightness, the external LCD monitor
was not showing enough clarity for perfect framing. The solution was to “jury
rig” an old-style black-and-white tube
monitor that allowed the definition we
needed. The monitor sat in a small boat
floating next to the rig. As difficult as
the situation was, as I had to look at the
monitor set at almost 90 degrees to the
camera, I now at least had a very good
image and the next take was perfect.
Chalk one up for the Floatycam.
The rigs that I have built during my
career have added enormously to the
creative side of filmmaking and made
my professional life more interesting as
a result. The best part of the process for
me is the challenge and then devising a
viable solution. The next best thing to
designing is when I got to actually build
them myself.
Have you designed and built your own
rigs? Do you have pictures or diagrams?
Canadian Cinematographer would love
to hear from you about your inventions.
Email: [email protected]
No matter how much
camera technology
improves, your images
have been defined by
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of current lenses...
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The Most Advanced Cinema Lenses
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Canadian Cinematographer - January 2015 •
Blackmagic URSA Racks It Up a Notch or Two
hen Blackmagic Design first arrived on the scene
it attracted a lot of attention for what it offered
in a small box with its initial Cinema model. For
$3,000, it shot 2.5K, 12-bit RAW with 13 stops of dynamic
range into standard, removable SSDs. Not bad, but for many
it remained a “prosumer” model, not ready to take on the
REDs, ARRIs and Sonys.
Enter the URSA and the focus is back on the latest disruption from the California-based company. It’s quite the box of
tricks: first, it looks more like a “camera,” which addresses
the subtle snob factor that worked against the initial entries.
Second, it shoots 4K with a Super 35 sensor, offers 12 stops
and 12-bit RAW with 12G-SDI and internal dual RAW and
ProRes recorders. Third, the price: US $5,995for the URSA
EF and $6,495 for the URSA PL. Fourth, and this is really
interesting, it’s user upgradable.
That last feature isn’t trivial. In the digital world what you
launch this morning is already obsolete by evening because
someone has something on the go in a lab somewhere, hankering to eat your lunch. Engineering the camera so that a
reasonably mechanically-minded owner can unscrew four
holding bolts and get to the sensor and replace it themselves
Courtesy of Blackmagic
without special tools or an electronics degree is forward
“There’s no micro surgery required,” according to Bob
Caniglia of Blackmagic Design, which launched the camera
at NAB 2014. “It really is a user upgrade, though some resellers may offer it with clean rooms and expertise.” He said the
concept for URSA came out of customers’ feedback. The result is a body with a 10-inch flip-out LED screen monitor but
no Electronic View Finder. It sounds strange, and it will take
a little getting used to, as will the pair of 5-inch touch screens
that control the camera’s settings and functions along with a
row of buttons along the bottom.
24 • Canadian Cinematographer - January 2015
On the left side, there are all major settings and buttons; on
the right are the feedback settings such as format, frame rate,
shutter angle. It also tracks time code, levels, audio waveform
and a spectrum scope for focus. There’s a carry handle on
top and a shoulder plate add-on option but that’s basically it,
though Caniglia says third-party manufacturers are already
jumping on bolt-ons to allow customized rigs.
The data is captured to dual recorders with dual CFast card
slots, which can be swapped out during capture. When the
first card is full, the second card will kick in while the full
card is swapped out for a blank media. Recording rate is up
to 350 MB/s.
The URSA is now Blackmagic’s top-of-the-line camera
product, which kicks off with a U$995 pocket cinema digital
16, the aforementioned Cinematic camera and a studio camera now priced at US$1,999, the production 4K camera with
a Super 35 sensor and many of the URSA features without
the LCD screen, the Broadcast version optimized for Ultra
HD with a B4 lens mount, broadcast lens control connection
and an onboard ND filter wheel. There’s also an HDMI version with no sensor.
It also runs with standard cables, Caniglia notes, meaning
no more searching for the right proprietary cable.
The body is larger to accommodate cooling for faster frame
rates and to keep the internal fan quiet, and the size also allows a cinematographer, AC and soundperson to have access
without crowding each other out.
Working with the URSA is a bit weird at first, reports West
Coast DP Kholi Hicks, who prides himself on “making ambitious projects on a micro budget” (see his URSA clip at /, because you keep looking for the
viewfinder. “Yet there’s an almost zero learning curve and
that LCD is really bright and big,” he says. In a forum posting
he called it “dah bear” because it was so big, but said he soon
started to get comfortable with it. “The dummy side has the
touch button screen so you don’t have to mess around.”
Still, he says, it is a strange-looking beast: “It’s like a Handycam from circa 1995 especially when that screen is folded
out.” It doesn’t act like his grandfather’s Handycam, though,
and that’s the story. “What I found is that you lose the urge
to walk away and check the client monitor,” he says. “I don’t
know how much time I spent doing that before. The 10-inch
screen is right there; you don’t have to walk away, you can see
everything in the shot.”
There’s sometimes a little lag on movement but not enough
to make it a problem, and he says he test drove an early-stage
model before it went into production. He also liked the
portability, being able to hoist it as a handheld camera while
the balance with the lens on was good and the weight also
see Tech page 26
The Cooke Look
One Look. All Speeds
British Optical Innovation and Quality Since 1893.
T: +44 (0)116 264 0700
Canada, South America, USA:
T: +1-973-335-4460
Thomas Burstyn CSC, FRSA, NZCS
My favourite film is The Conformist, directed by Bernardo
Bertolucci, cinematography by Vittorio Storaro asc, aic. I
love the collaborative spirit between director and cameraman so evident in their work. The light and colour in the
paintings of Bonnard, Vuillard and the Nabis School. Also
the light of J.M.W. Turner and John Singer Sargent.
At 16 my mom suggested I channel my love for photography into filmmaking. She thought I should become a director. Thanks, Mom!
When I was 16 years old I landed a summer apprenticeship
with Dennis Gillson at the National Film Board of Canada.
Mr. Gillson was a knowledgeable and tolerant teacher and for
decades after he always took the time to respond to my technical conundrums.
lights and represent the pinnacle of that special
director/cinematographer collaboration I find so fulfilling.
Also, working with director Gaylene Preston on the New
Zealand low-budget mini-series Hope and Wire. We shot the
film according to my Simple Cinema© philosophy to great
success. Achieved six hours of complex drama in eight weeks
of stylish shooting (10 hour days) for $3 million.
Basking in Paul Newman’s respect on Where the Money Is
and weathering Harvey Keitel’s abuse on City of Industry.
I live for the collaboration between director and cameraman, and inventive solutions to storytelling that rely on
imagination and courage. Taking the photographic road less
The politics and bureaucracy of my job make me crazy.
Vittorio Storaro asc, aic for his baroque approach, Haskell
Wexler asc for his simplicity and Christopher Doyle for his
inspired craziness.
Digital acquisition in all its forms have helped democratise
and liberate cinema.
All four films I made with director John Irvin (Crazy
Horse, City of Industry, When Trumpets Fade, and The
Boys and Girl from County Clare) are personal high-
SELECTED CREDITS: Some Kind of Love, Defiance,
Tech from page 24
comfortable. “It wasn’t tippy at all side
to side,” he says. “And it felt good on the
There will be some learning curves for
those used to working with ARRIs or
26 • Canadian Cinematographer - January 2015
This Way of Life, Hope and Wire
REDs, but they aren’t too steep.
The big selling point, he says, is that
the URSA is a clean rig that can be used
on a tripod or separated and shoulder
held as a run and gun. “I’ve started using it for sketches when I look at a job
so we can see what to expect,” he says.
“The monitor is really liberal and easy
to position and I don’t have to constantly fiddle with it.”
Ian Harvey is a Toronto-based journalist who
writes for a variety of publications and covers the
technology sector.He welcomes feedback and
eagerly solicits ideas at [email protected]
Edmonton Film Cooperative wants your unused Arri 35
mm camera. Do you have film cameras languishing on a
shelf? Give it a new life, give it to a film coop and we will
give you a healthy tax credit. Have a 35BL, a 235, a 435
gathering dust because everyone is Red cam nuts? Have
other great camera accessories? Let us know, let’s make
a deal.
Contact Andy @[email protected]
and work a great deal.
Visiting Vancouver for a shoot? One-bedroom condo in
Kitsilano on English Bay with secure underground parking,
$350 per week. Contact: Peter Benison at
604-229-0861, 604-229-0861 or
[email protected]
FOR SALE : Preston FI+Z (RF) remote follow focus package.
Includes: MDR1, 2X DM1 motors(Jerry Hill style),
Microforce zoom control, Iris controller, hand unit, speed
booster (12v-24v)+ fast charger.
Panavison, RED, Arri power cables/run cables. + brackets/
various lens gears/marking discs.
ASKING $9,000 for more info and a detailed spec list
please contact: Greg Biskup (647) 405-8644, [email protected]
DEDO KIT FOR SALE 3 X 24 Volt, 150 watt heads
Multi voltage input Power supply with North American and
European power cords
3 – 3 pin supply cables
3 – 3 pin extension cords
3 – light stands
1 – light stand extension
Contained in a rugged Pelican 1600 case.
All in full working order.
Selling for $2500 or best offer. This kit new sells for $3500.
If you’ve worked with these lamps you know what they can
do- nothing like ‘em.
The kit is owned by a retired documentary DP based in
Vancouver and photos of the kit are available. Please
contact me if you’d like to purchase or for more information
and I’ll put you in touch. Ian Kerr csc tel 604 307 4198
Cooke Speed Panchro 18mm 1.7/T2. “C” Mount, Nice
condition. From United Kingdom #572079, asking $1,800.00
Barry Casson csc Office: 250-721-2113
[email protected]
Canon Wide angle Lens J11A X 4.5 B4 IRSD and Canon
Servo Zoom Control ZSD-300 Value 27 000$ Asking only
3 000$ Elmo Suv-Cam SD ELSC5C and accessories New
Value 1 200$ Asking only 100$, Anton Bauer UltraLight &
Ul Soft Box Asking only 150$, Frezzi HMI Sun Gun & Frezzi
Soft Box Value 1 700$ Asking only 400$, Porta Brace
Rain Slicker for Pro Camcorder RS-55 like New Asking
only 150$, Script Boy Wireless T.C. System needs minor
repair Asking only 100$, Shure Mixer FP33 & Porta Brace
audio mixer case Asking only 450$, Sony Monitor SD
PVM-14N1U new Asking only 50$, 2 Camera Canon Dig
Rebel 10Mp XTi, Sigma 70-300 F4-5.6 Super C-AF, 4 Canon
Batteries and accessories Asking only 550$, Porta Brace
monitor Case for Panasonic BT-LH910 like new Asking only
100$ [email protected] or call 514 831-8347 Panasonic AJ-HDX900P 290 drum hours, $7500.00
Canon KJ16ex7.7B IRSE lens, $5000.00
CanonJ11ex4.5B4 WRSD lens, $4500.00
Call Ian 416-725-5349 or [email protected]com
Asahi Pentax spotmeter(just serviced) 425.00
Minolta Colormeter III F 750.00
Spectra Professional IV 250.00
Spectra Professional IV A 300.00
Minolta SpotmeterF(need repair) 100.00
Bernard Couture: [email protected];
Professional U/W housing from renowned world leader
2006 Sony HVR-A1U camera with 0.7x wide adapter and
all accesories.
2006 AmphibicoEVO-Pro housing with .55x wide
conversion and flat port. Rare model built in small quantity.
Most camera functions accessible.About 60-70 dives.
Complete overhaul and pressure tested by factory in 2010.
3.5’’ LCD Monitor, rebuilt in 2010. 2 compact Discovery
10W HID lamps by Amphibico with batteries and chargers.
Spare o-ring for all. Soft and hard carry cases. All in good
E-mail or call for photos and more information.
514-941-2555, [email protected]
Transvideo Titan HD Transmitter and Re¬ceiver kits.
$3000ea. 2 for $5500. Similar in style and operation to the
Boxx Meridian. 1- Angenieux 25-250 T3.9 Arri PL mount,
std film gears on focus, zoom, and iris (32 pitch-mod 0.8),
lens support and collar, shipping case included $2900 1Tamron 300mm F2.8 Arri bayonet mount with PL adapter,
std film gear on focus (32 pitch-mod 0.8), 42mm filters:
clear, 2 x 85, shipping case included $900
Contact: [email protected]
Panasonic 3D Professional Full HD Video Camera
The AG-3DA1 is the world’s first professional, fullyintegrated Full HD 3D camcorder that records to SD card
media. The AG-3DA1 will democratize 3D production
by giving professional videographers a more affordable,
flexible, reliable and easier-to-use tool for capturing
immersive content as well as providing a training tool for
At less than 6.6 pounds, the AG-3DA1 is equipped with
dual lenses and two full 1920 x 1080 2.07 megapixel
3-MOS imagers to record 1080/60i, 50i, 30p, 25p and 24p
(native) and 720/60p and 50p in AVCHD. Camera is very new. Includes Kata Carrying case,
4 batteries. Asking price: $17,500 (includes tax). Will ship out of province.
To view photos/questions email
[email protected] or call 416-916-9010.
Proline 17 inch Teleprompter
Included is both PC AND Mac versions for our industry
leading Flip-Q teleprompter software. Flip-Q automatically
“Flips” the secondary output on your laptop so both the
operator and talent will see perfect reading left-right
text. The ProLine 17 standard LCD panels are the lightest
weight, lowest profile designs in their class. In addition,
they offer both VGA and composite video inputs adaptable
with any computer output or application. They also offer
flexible power options including 100-240V AC or external
12v DC input.
Price includes Tripod attachments and Pelican
carrying case. Complete tool-less set-up.
Asking Price: $2,000 (includes tax)
To view photos/questions email
[email protected] or call 416-916-9010.
Sony PMW-F3 with S-log firmware. Low hours, Excellent
condition. Kaiser top handle, 32GB high rate card.
$3500.00. Gemini 4:4:4 Solid State recorder now PRORes
capable, with eSata and Thunderbolt readers, lots of
accessories, case, 512GB and 3x 256GB solid state drives/
cards. Excellent condition. $3000.00 IBE-Optics HDx35 PL to
B4 adapter comes with power cable and soft case. Used on
F3 and Alexa for superb results. $3000.00. Willing to sell
everything as a complete package for $8500.00
Available for everything.
Contact John Banovich
604-726-5646 or [email protected]
Nikkor AF-S VR 500mm F 4 IS ED Lens. Super rare and
very hard to find!!! Serial # 204153 Perfect condition.
Not a scratch on it!!! Only one year old. Included Hard
Shell Case, Lens Hood, Lens Strap, Case strap. Come
with Manfrotto Carbon Fiber tripod, Jobu head and Jobu
Mounting Bracket. Asking price $9000.00
[email protected], 604.566.2235 (Residence),
604.889.9515 (Mobile) Panasonic BT-S950P 16:9 / 4:3 SD Field Monitor for Sale
(Excellent Condition)
- $100.Portabrace included
Please contact Christian at (416) 459-4895
or email [email protected]
VIDEO & AUDIO GEAR FOR SALE: (2) HVX-200 Panasonic
P2 Camcorders $1,500
each; (1) DSR-1500 Sony DVCAM recorder, $1,500; (1) Sony
DSR-1 DVCAMdockablerecorder $1,000; (3) Sony PVV-3
Betacam recorders $500 each; (3) Mitsubishi XL25Uvideo
projectors $500 each; (1) Mackie 1604VLZ audio mixer
$500; (1) Glidecam
PRO2000 camera stabilizer $200; (1) GlidecamDVPRO RIG
camera stabilizer $300;
(1) Yamaha P2075 amplifier 75W stereo/150W mono $500;
(3) HVR-Z1U Sony HDVcamcorders $1,000 each; (1) Sony
DSR-300 DVCAM camcorder $1,500; (1) For-A VPS-400D
8 input SDI switcher $2,700; (2) Sony WRT822/WRR861
wireless transmitter/receiver – no mic - $750 each; (2)
Sony BRC-300 remote control P/T/Z cameras $1,990 each.
Call Ted Mitchener at ZTV Broadcast Services
905-290-4430 or email [email protected]
Looking for a unique shooting control room? Rent our 32 ft.
1981 Bus complete with control room and audio.
HDSDI fiber boxes for long runs. Great for keeping warm
on those multi camera shoots. Rob Hill – 905.335.1146
Need your reel updated? Looking for an editor? I am a CSC
associate member who is also an editor with my own FCP
suite. I am willing to trade my edit suite time in exchange
for rental of your gear, or shooting advice, or both.
Please send email to [email protected]
Do you travel between Toronto and Hamilton for production
every day? Need a place to: screen dailies, host your
production office that’s close to both? Hill’s Production
Services We are a full Service
Production Company with cameras and edit bays for
making EPKs. Some grip gear, if you find yourself in the
field, short of one or two items. Hill’s also has office space
and a mobile screening room. Located just off the QEW in
Check us out 905-335-1146 Ask for Rob Hill. CAMERA CLASSIFIED IS A FREE SERVICE
For all others, there is a one-time $25 (plus GST) insertion
fee. Your ad will appear here and on the CSC’s website, If you have items you would like to buy, sell
or rent, please email your information to [email protected]
Canadian Cinematographer - January 2015 •
CSC Member Production Notes
30 vies V (series); DP Marc Gadoury csc; to March 27, Montreal
Arrow III (series); DP Gordon Verheul csc (odd); to April 20, Vancouver
Bates Motel III (series); DP John Bartley csc, asc; to February 24, Vancouver
Beauty and the Beast III (series); DP David Makin csc and Michael Story csc (alternating episodes); Data Management Technician Marc
Forand; Trainee Alan Ruth; to February 8, Toronto
The Drop (series); DP Mitchell Ness csc; to March 20, Toronto
The Expanse (series); DP Jeremy Benning csc; to March 4, Toronto
Fargo II (series); DP Craig Wrobleski csc; to May 20, Calgary
Flash (series); DP C. Kim Miles csc (odd); to April 10, Vancouver
The Good Witch (series); John Berrie csc; B Camera Operator Paula Tymchuk; to February 29, Toronto
The Interior (feature); DP Othello Ubalde; to January 30, Toronto and Salt Spring Island
iZombie (series); DP Michael Wale csc; Camera Operator Greg Fox; to January 27, North Vancouver
Lise watier, une vie à entreprendre (documentary); DP Serge Desrosiers csc, Montreal
Marilyn (mini-series); Camera Operator/Steadicam Keith Murphy; B Camera Operator Peter Sweeney; B Camera 1st Assistant Kevin
Michael Leblanc; to February 6, Toronto
Motive III (series); DP Ryan McMaster csc (even); to January 30, Burnaby
Pinkertons (series); DP Thom Best csc; to March 16, Winnipeg
Proof (series); DP Bernard Couture csc; to April 27, Vancouver
Reign II (series); B Operator/Steadicam Andris Matiss; to April 13, Toronto
Remedy II (series); DP Stephen Reizes csc and D. Gregor Hagey csc (eps 207-8); to January 21, Etobicoke
The Strain II (series); DP Colin Hoult csc (alternating episodes); B Camera Operator J.P. Locherer csc; to April 29, Toronto
Supernatural X (series); DP Serge Ladouceur csc; Camera Operator Brad Creasser; to April 21, Burnaby
When Calls the Heart II (series); DP Michael Balfry csc; to March 5, Burnaby
Calendar of Events
22-Feb. 1, Sundance Film Festival, Park City, Utah,
30, CSC Awards entry deadline,
2, CSC Annual General Meeting, Toronto,
3, February Freeze, William F. White Centre, Toronto
15, ASC Awards, Los Angeles, theasc.com6-15, Victoria Film Festival,
Victoria BC,
18-19, ACTRA Conference, Toronto,
19-28, Rendez-vous du cinéma québécois, Montreal,
25, CSC Lens Testing Module Workshop, Toronto,
26-March 1, Kingston Canadian Film Festival, Kingston, ON,
7-8, CSC Camera Assistant Workshop, Toronto,
19-29, International Film Festival on Art, Montreal,
28, CSC Awards, Arcadian Court, 401 Bay St, Simpsons Tower, Toronto,
10-19, Cinéfranco, Toronto,
23-May 5, Hot Docs, Toronto,
25-26, CSC Lighting Workshop, Toronto,
$4 September 2013
Canadian SoCiety of CinematographerS
$4 march 2014
$4 Januar y 2014
Wine with
Peter Benison csc
John Bartley csc, asc
Checks into the Bates Motel
Craig Wrobleski
evil’sy Kno
Paul Saross
csc: Capturing
56698 94903
CSC_March_2014.indd 1
19/02/2014 18:06
New series
csc, bsc, asc
One-year subscriptions are availableLen
insCanada for ness
$40.00 for individuals and
dAVId moX
$80.00 for institutions, including HST. In
U.S. rates are $45.00 and $90.00 for
institutions in U.S. funds. International subscriptions are $50.00 for individuals
and $100.00 for institutions.
V02 #03
56698 94903
indd 1
Blu-ray: The war That
4.indd 1
28 • Canadian Cinematographer - January 2015
07/08/2013 17:20
The documentary-style camera
ALEXA image quality
up to 200 fps
Single-user ergonomics
perfect shoulder balance
in-camera grading
Safe, future-proof
Why separate work and family? Sony’s outstanding line-up of production cameras all work
together, thanks to Sony’s powerful new XAVC codec. Experience complete compatibility and
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cinema, Sony has a family member that will work for you. Come meet the whole family at Vistek.
*not all logo or highlight functionality is applicable to all models.
Direct: 416-644-8010 • Fax: 416-644-8031 • Toll-Free Direct: 1-866-661-5257 • [email protected]
The Visual Technology People
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