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VOL.13, NO.8
President: Joan Hutton esc
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Pauline Heaton: A Modern Mermaid
Interview by Joa n Hutton esc ... page 3
Sony Introduces New Products ... page 10
DW/-700 Dig ital Betaca m
BWV-D600 Betacam SP Camcorder
UWV 100 Professional Production Camera
Places Out of Time
by Lloyd Walt on ... page 13
Executive Reports .. . page 15
Production News ... page 16
Camera & Business Classifieds .. . page 19
COVER: Underwat er DOP Pau lin e Heat on with Wat ervisions crew.
Ph oto Credit: Craig Ibbotson
APRIL 1994
•• •• • • •• • • •• • • •• • • • • • •• •• • • • • • • •• • ••• • • • • • • • •
Interview by Joan Hutton esc
Edited by Natalie Edwards
Pauline Heaton: A Modern Mermaid
Working underwater, Pauline Heaton is in her element shooting everything from sharks to stars.
Hutton: How did you get started
with underwater shooting?
above water?
Heaton: I was on various
Canadian swim teams, I was
swimming since I was 12 and
swam threeorfourtimesaday,
got my scuba licence in '74 and
did almost every water sportwaterpolo, synchronized
swim-ming, tower diving. I
grew up diving in the
Caribbean and around high
school and swam on a team in
the mornings and at night on a
Canadian team. My two
hobbies were photography and
diving. I bought a still camera, a brand
new one, and a flash, and went on an
expedition down in Nassau and found
that stills definitely wasn't going to
capture a barracuda six or seven feet
long coming at you at breakneck speed
or sharks swimming by; you really
needed motion. So I signed up at Ryerson
for film and while I was in film school I
worked for various film companies.
Heaton: Well, focus is
different underwater and it
depends what port you're
using, depends on whether
you're going in and out of the
water, whether you're just
underwater, whether you're
anamorphic, whether you're
a longer lem, whether you're
wide angle and the range also
of ports is dome shaped, flat,
or a combination of both.
Hutton: Did you find that film school had
anything to offer you seeing that you had
already decided you wanted to do underwater
Heaton: Because I went with a purpose,
I got a lot more out of film school than I
think most people did. It allowed you to
get your hands on camera equipment,
sound equipment, studio space, mixing
boards, every inandoutofmakinga film
right thereatyourdisposaland that gave
me opportunities to start making my own
underwater films. It also gave me the
Hutton: How do the different
types of ports affect your focus?
background, such as understanding
densitometry and lab and theory of film,
all of that, a good background of the
basics of film right from film theory to
the very technical side. I took the school
cameras and they allowed me to put
them in underwater casings either I had
made or I had purchased and I bought
underwater lights from the States.
Hutton: Did you have someone who was a
great importance to helping you learn?
Heaton:: Stan Waterman was my
mentor. He's a five time Emmy Award
winning underwater cinematographer
and when I was about fourteen I went to
an underwater show and he took the
time to talk to me about going to film
school;hetookmeserious[ly]. Now Stan
and I are best of friends and we're worked
on quite a few projects together.
Hutton: What would you describe as being
the really difficult thing to get used to,
Heaton: Well, they all make it more
difficult because there's no real depth of
field calculation published for dome
ports. For flat ports there's actually an
equation adjustment that you can make
for land calculations. We actually have
designed underwater tape measures so
all we have to do is measure just like we
do on land for flat ports and then we look
at a basic plastic cinewheel underwater.
But the majority of the time we actually
work it out on our Macintosh.
Hutton: So it's very complicated.
Heaton: Yeah, very complicated.
Hutton: Why would one use a dome port
rather than a flat port?
Heaton: The dome port actually corrects
for underwater distortion. The beam
going through water, then air, into a lens
through a flat port actually becomes
distorted; to correct for that you use a
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Hutton: When you say distortion do you
mean the effect the water has where it enlarges
things or seems to enlarge them?
Hutton: Do you have more difficulty getting
accurate readings when the water isn't really
Heaton: If you fill a glass full of water
and stick a pencil in it, you will see that
the top of the pencil actually looks smaller
and it doesn't connect to the bottom part
because the light rays change as soon as
they go into the second medium. So a
dome port corrects for that, but you have
to have a dome port set up correctly for
every lens you use and for every camera
you use, otherwise you're not truly
placing the lens in the proper position
and then the calculations don't work.
Heaton: No. Your readings become
more constant when the water is not so
clear because it becomes like a room full
of smoke hit with light, imagine that. It's
more of a uniform light level. The smoke
breaks it all up into one big bright haze;
no matter where you walk in the room
you're practically getting the same light
meter reading. Well, it's the same
underwater. When light hits all that crap
in the water, it gives the same thing.
The dome corrects so the film sees the
corrected version and your eye sees the
corrected version through the lens. I look
through and if it looks totally out offocus,
well I'm going to look up and go, wait a
minute. But I'm not going to focus
through that back eyepiece, no way. I
mathematically work it out just like a
focus puller and I sometimes have a focus
puller riding on the side of the camera.
Most of the time we discuss the shot, we
work it out, we figure out our depth of
field based on that shot and we set it up
Hutton: And you just try to keep the actors
in that depth of field during that shot.
Heaton: We give them as much
maximum range as we can, whether it be
a decision of a certain dome or a certain
focus or a certain lens, we try to give
them maximum range while still giving
the look that the director wants. A lot of
times underwater they want fluid shots
but they still want eyeballs, right in on
the eyeballs and they still want that 90s
look. Theydon'twantthatold,get-whatyou-can, slap-a-wide-lens-on look.
Hutton: They don't want Sea Hunt
Heaton: No. No more Sea Hunt.
Hutton: How do you take exposures
Heaton: An underwater light meter.
Hutton: Do you use reflected readings or
incident readings?
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dome port.
Heaton:: Both. Those meters are set up
as reflective, but we actually carry grey
cards underwater and we sometimes
Hutton: How about the difficulty of trying
to light an actor who has a mask on his face in
front of his eyes?
Heaton: We have a guy who actually
roves with a light. He has to be on a
certain angle so that we don't see his light
in the mask but the actor always has his
face lit. That's a little secret of ours,
because how many people think of
putting a little inkie to light up those eyes
underwater just like they do on land.
A lot that I've learned from working
on sets above water, I've applied directly
to underwater, but the big fallacy is that
you can do a lot of things underwater
that you can do above water. We have
tried as much as we can. I mean we've
mounted focus knobs on the side of the
housing that there can actually be focus
pullers. We've mounted iris knobs so
there can actually be an iris pull. We
allow the housing to be able to take high
speeds. We built our housings to adapt a
video assist so we can run underwater
video cable to the surface. A lot of things
that they want on sets, housings for Arri
Ills, splashboxes for BLs and Panavisions,
state of the art equipment - well; we're
just making the canisters or the
equipment that will match, so if they've
already got an Arri III rented, for instance,
they won't have to rent another camera.
We're basically using HMis that are just
like 1200 watt HMis used above water,
except these lights go right in the water. ';
They mount on light stands. We take
flags underwater, we take lightstands
underwater, we take sandbags underwater. For us, it's just like a big set filled
with water because we're not thinking
about the water element, we're thinking
about how does that light look, how does
manta rays, you know you're shooting
it work, should we flag off the camera . turtles, etc. So then before you go in, you
more, should we flag off that area talk to the guide: he says this dive will be
between him and usrnorebecausernaybe about 135 feet, we should hang a couple
the water's kind of murky. I guess the of safety tanks, I tend to see a lot of rays
biggest problem underwater is mostly at 120. We make a decision, are we
the anxiety of the people who hire us and shooting rays or are we shooting turtles
because we might take an hour to get in and what do we do if something comes
the water but then we may not get out of swimming along like a whale shark,
the water for sixteen and a half hours.
what's the signal, what's the plan. Do we
everything and go for the whale
Hutton: How do you deal with that?
shark, which is probably what we would
Heaton: Well we're just so used to being
do because he would only swim by
in the water that we just stay in. We may maybe four times in a month and he's
hand our tanks up and have new tanks
about 40 feet long and pretty impressive.
handed down and we hand the camera
Hutton: Which do you prefer, documentary
up and it gets reloaded.
or drama?
Hutton: Have you had very much experience
Heaton: I don't have a preference
with shooting at greater depths where you
It's really nice to be out there in
can only stay down for a certain length of
sea lions and killer whales
and you know we're going to go up to the
Heaton: Most feature film work doesn't
Arctic soon to go under ice and we just
require any kind of depth. When you get carne back from doing some work in
into the documentary then you're California with sea lions. It's fabulous to
restricted to your dive tables, to your be out there with nature. But, I also like
underwater computers, to built-in safety the challenge of being on a feature film
factors to how many dives you've done set working with people like Vilrnos
that day, all that kind of thing. The Zsigrnond asc. When he hands it over to
difference is like night and day. With you and says, 'you're on', that's a really
features we try to control every single great challenge and the technical side of
element like you do on a normal set. You me springs into action, being able to
control your lighting, your focus,
design and create with lenses and with
everything you possibly can, whereas in light.
documentary work, you're at the mercy
I did a commercial way back for the
of the elements, of the creatures, and you
and they ended up calling it
havetoworkasbestyoucan. Soyournay
not a commercial, but art. We took
have to go really deep or you may have to
sit around for a week until the weather Carolyn Waldo and Michelle Cameron,
clears; you might be in the middle of two synchronized swimmers, ten days
shooting something and you run out of before they won their gold medals and
air right at the time when the creature put them in a situation where we
shows up at the end of your tank, but if completely controlled the shaft of light
you have enough experience as time goes corning down on them. We also
on, you sort of work around those things, controlled the light reflecting back to
you don't get caught too often. You leave them, and used fill to highlight their eyes
a little film in your camera, you have a and sequined bathing suits. We selected
second tank up top, there're all kinds of the bathing suits, selected what
things you learn just from experience formations they were going to do, selected
the lighting arrangement. Everything
and basically you try to know as much as
you can about where you're going, the was as we requested and that combined
creature, what to expect, all that before with the artistic drawings from the client
showing roughly what he wanted, and
you jump in the water.
just letting us loose doing what we
For instance, when you're going to
wanted to do, the results were just
Cocos Islands, you know you're shooting awesome. Petrocan liked it so much that
baby whale sharks, hammerhead shark they made a three minute version ofit for
schools of 500, you know you're shooting industrial promotion.
"For us, it's just like a big set filled
with water because we're not thinking
about the water element, we're
thinking about how does that light
look, how does it work, should we flag
off the camera more, should we flag
off that area between him and us
more because maybe the water's kind
of murky." Pauline Heaton above
(right) shooting "Whale Music".
Hutton: You were saying you worked with
Vilmos Zsigmond asc, what projects did you
work with him on?
Heaton: Intersection.
Hutton: What were you shooting
Heaton: We shot two main sequences.
One was Richard Cere swimming in the
ocean with a sail boat going by. The
challenge was keeping Richard Cere
warm in a 54 degree ocean and shooting
him half in and half out of the water with
the sailboat going within ten or fifteen
feet of him, without having the sailboat
srnuck into him, and having the camera
in such a position where we could hold it
steady, still getting him and the sailboat
in the shot but not being too distorted by
the waves and the wave action. It was
challenging trying to get all of that to
happen at the sam~ time. And we also
did some underwater scenes where
Richard Gere swims through the shaft of
lightunderwaterdown into the blackness
and for that one we built an underwater
set. We took a xenon beam and bounced
it off a mirror, that was done by Vilmos's
gaffer and the rest we did underwater
with underwater HMI's and underwater
tungsten lights bouncing it and little fills
and different things like that to highlight
Richard's eyes, to give a gleam on the
bottom of the bubbles to give it a magical
tone. We even shimmered the bottom of
the surface of the water so it was like a
shimmering blue underneath. It turned
out quite nice on the big screen. Vilmos
was quite happy.
Hutton: What would you consider the most
interesting sequence you've ever done
Heaton: Once we flew up to Arctic Bay
and wentoutonanexpedition. Weended
up with aN a tional Geographic team and
we went eighty miles off Arctic Bay out
on the ice and lived out there for about a
month and we slipped in a crevice
opening and went about 16 feet under
the ice and shot narwhal. We were
fortunate enough to have the narwhal
come in real[ly] close and we sort of spun
together down into the darkness. I
remember finishing the roll and looking
up and seeing the edge of the ice and was
happy that I hadn't gone too far under
the ice because that was actually the edge
where the ocean ended and the ice began,
or the other way around, the ice ended
and the ocean began. If I had gone too far
under the ice, I probably wouldn't have
been able to figure out which way was
the way up.
Hutton: Divers could easily die that way.
Heaton: Normally what you'd do is
attach a rope to yourself, but because of
the ice flows moving through this channel
which was actually opened by an
icebreaker, the rope would have been a
much more dangerous situation so we
had to limit the depth and how long we
were down. But when you're spinning
around with narwhales spinning around
you, you get disoriented for a little while
and your concentration is on what you're
doing and not where you are.
George Margellos
Paul Roscorla
B. White / M. Sinclair
Emmanuel Lepine
Hutton: One of my greatest fears is being
underwater, especially with ice over my head,
so I have to hand it to you; I couldn't do that.
You were telling me another story about
hammerhead sharks.
Heaton: I was working on a show with
Peter Bentley who wrote Jaws and The
Deep and Stan Waterman from ESPN
Adventure World Series Special and I
had just slipped into the water and I
usually take a few seconds to clear my
mask and then check the camera and
make sure that the dome is fine and
everything is set. It was one of those
situations where there was a high current
so we were going along in a boat, and
then we rolled into the water. Whoever
rolls in right with you is going to be with
you, the next person is going to be quite
a ways away if he doesn't get in
immediately. Something happened to
the still photographer's camera and he
didn't join me immediately so I was by
myself and after I finished checking the
camera and clearing my mask I noticed
that I was completely surrounded by
hammer-heads. They were over me,
under me and all around me and the boat
was going away! I was quite thrilled
because we heard that they did school in
the area, but I found that my breathing
rate greatly increased and my heart rate
greatly increased and I had to talk myself
through the changes in the focus, the
changes in light meter, the changes in
depth, you know all of that because, one
my head and thenextminutei'vegotone
coming underneath my feet, and so I was
talking myself through, okay, change the
stop, change the focus, oh there's one
beside you .. .
Hutton: With no one to protect your back!
Heaton: With no one behind me, right.
I felt if I had to do it again I would have
concentrated on my breathing more
because my breathing rate increased so
muchitcreatedahugepatternofbubbles ~.;:
which resulted in them giving me more
space which of course didn't allow me to
get as close to them for shooting.
Hutton: It's like a nightmare surprise party.
Heaton: Yeah. I had heard in the past
that they're not known to be aggressive
so that's the first thing that went through
my mind and then I proceeded to do my
Hutton: That's another job you can have,
Pauline, I don't want that one either. And
you were saying as well you dove all through
your pregnancy.
things that we've done right in our own
the facility. What we wanted to do was
provide state of the art equipment for the
picture industry in Canada so it
Heaton: I was fortunate that early in the
didn't have to be brought in, especially
pregnancy I had a lot of ocean dives to do
in lights; there wasn't proper dome port
and none of them were ever deep. Most
technology applied to lighting.
of them were 30 feet or up and
coincidentally, the more pregnant I got
Hutton: When you say dome port
technology what do you mean?
the less I had to be in the ocean, the more
I had to be in sets, and one of the last jobs
I wanted to go to the west coast
Heaton: I think since almost the
I did was actually in a 98 degree warm because I felt that the marine life. there beginning of scuba everyone understood
pool with an actor in three feet of water. would be a good place to establish an that if you're shooting through water,
When I was in the water all the weight underwater film business. I was very you have to try to correct for the distortion
was off my body; I was able to move interested in bringing into Canada, the oflight. What you're trying to do is bring
about much easier; the baby
all the light rays into the nodal
felt more relaxed, and I
point, or the focus part of the
definitely was more relaxed
lens as best you can without
being in my own element
causing too much distortion
again. I discussed this with a
to each of the light rays. So
fewmajorunderwa ter career
when you're lighting, you
women who decided for
wanttodotheopposite. You
mostly career reasons that
want to put the filament of
they wanted to dive through
the bulb in the centre of a
theirpregnancy. Oneofthem
dome in such a way that all
was Dr. Silvia Earle who is
the light rays that go through
quite a famous scientist and
the air and out into the water
she dove through her second
do not distort so that you get
and third pregnancies. She
an even, clean light that you
had given me a list of things
use barn doors to shade off
to do and not to do, like not
wearing a weight belt
The old method was taking a
Pauline Heaton looks on as her overseas assistant preps
obviously, putting your
light that used a reflector to
camera for "Ashes to Ashes".
tanks on in the water, don't
push the light through the
put them on and jump in, no
water. Wellhowmanylights
jumping in, sliding in.
underwater do you see where
new modern age of dome port there's really heavy centred lighting, hot,
Hutton: You were telling me one of the
technology, focus pulling, high speed hot spots, you know very red, very
things you had to remember was to breath.
video assist, HMI's underwater, all of uncontrolled. We wanted to bring that
Heaton: Oh yeah, a lot of times when
that, everything that you'd find on a set. new technology into lighting. We were
I'm under water I don't breathe. All I was asked to come out to Children of a
the first in the world tomarketalightthat
through shots I don't breath. Sometimes Lesser God and assist with the underwater
had accurate dome port technology and
when I'm trying to work out a problem and I ended up getting a big hug from
these lights ended up on films like Thelma
underwater I sit there looking at maybe a William Hurt and a thank you at the end
and Louise, Rockateer, Lethal Weapon III,
light, the way a light's hitting a subject for coming out and assisting with that
they ended up in Hollywood and right
and try tofigureoutwhatelse lean do to
production and I knew that I was being now they're in Hollywood, across
makeitlookgood,I'mnotbreathing. I'm appreciated and there was a need for
Canada, Orlando, Florida, on shows,
always the person with the most air left advisors for underwater filming. So I set
sitting as part of everyday packages to
ofmycrew,sowhenlwaspregnantihad up an underwater company in
rent for underwater lighting, everything
to consciously remind myself to breath a Vancouver and from money I earned as
from fountains to major underwater
a camera assistant, I built Watervisions.
Hutton: Now you run a business of
I have a facility here that's 3200 square
Hutton: Did you have a hand in the design
underwater cinematography, tell me a little feet. There's a machine shop, a test tank,
or you picked out someone else's design?
bit about your company and what it does.
offices, a camera room, editing room. It's
Heaton: No. I designed it all. We
a full facility and we've had all kinds of
Heaton: Well I noticed when I was
them originally for film, but
working in Toronto that nobody really shoots in here - rock videos and art films
then we were approached by the video
had state of the art equipment. What I and testing for features and all kinds of
did was I flew to Britain and learned
dome port technology. I went down to
Florida and saw a company that made
underwater housings and I talked to
companies in California and realized that
if I was going to make something that
could take high speed, video assist,
pulling focus, I would have to make it
myself. So the first Arri III housing we
actually made ourselves.
Hutton: That's pretty impressive.
35mm or 16mm
Color and Black & White
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people for a video version. And now we
sell the video version all over the worldKuwait, Hong Kong, Australia, all over
North America, Norway. This week
alone, we're talking to Korea, Boston, we
just sold two units today to Halifax and
we sold a unit to Greece three days ago.
Heaton: Danger Bay actually gave us our
first shot. JohnEckert,Jana Veverka two
great producers gave us our first crack at
doing an underwater show. Harold
Tichenor, production manager, gave us
our first job of actual shooting. Jana
Veverka approved our first script idea,
so we wrote a script for Danger Bay that
included some nice underwater scenes
that featured BC which wasn't all stab,
stab, kill, kill, Sea Hunt stuff. It was
actually a little more scenic. There was
drama but it wasn't like man trying to kill
man underwater with a knife.
The whole idea of the show was that
a whole bunch of wolf eels were being
killed, and a friend of mine, Vaughan
Raymond, said can't we do something
about it, can't we write a show and we
started to discuss it with Bill Caywood,
my husband at the time, and the three of
us put our heads together. We offered
two story ideas and Jana Veverka saw
some footage we shot with wolf eels and
she approved it, and CBC approved it
and Disney approved it and the next
thing you know we were doing the shot.
It turned out really nice. Everybody was
very, very, pleased with it. Paul Saltzman
was exceptionally pleased.
So Danger Bay was sort of our birth,
then, 21 Jump Street called us, MacGyver
called us, local features called us,
commercials started calling us, Toronto
started calling us to do features, Montreal
started calling us. Then we started
connecting up with Panavision,
Clairmont Cameras, William F. White.
What I offered those companies was: we
will provide the expertise, the equipment,
so if you get a call, we're the ones looking
after your clients for you, you don't have
to try to maintain underwater gear, you
don't have any kind of water testing
facility. Youdon'thavetoprovide. We'll
own the equipment. We'll co-rent it with
you, we'll work out a nice arrangement
and in that way because we represent all
of those companies, we have enough
business to maintain underwater gear
and enough money to skill-train people
working for us - electrics, grips,
underwater camera assistants.
Hutton: What's your typical size crew
when you're underwater?
Heaton: It ranges from about three or
four because Workers' Cornp requires at
least three, to up to about 30 people.
There's also boat support, you know,
generator operators up top, cable
handlers corning down, there's safety
people for actors, there's grips, there's
electrics, there's underwater camera
assistants, there's an above water camera
assistant when the camera comes out of
the water, there rnigh t be a second camera
assistant loading all the time depending
on the shot, there's people doing
communicating boat-to-boat, there's
usually a crew up top just like on other
sets, there's crew making food, there's
crew filling tanks, there's crew adjusting
weight belts, there's wardrobe people
getting people dressed up into suits and
undressing out of suits. I mean when
we're up to a 30 crew, every department
is involved with us directly with diving.
There's even a continuity girl saying the
spear was in his right hand and that kind
of thing.
Hutton: What are your future plans?
Heaton:: Well we've just added to our
list what we call All Environmental
HMI's, so we're going to continue to
update our equipment and train our
people to meet the demands of
underwater. We're expanding our
Montreal and our Halifax offices so that
we can have more equipment available
to more people and have more people
trained so that if I decide again to be
pregnant I can maybe hand over the
shooting to some of my crew. Basically
what we want to do is get Watervisions a
little bit bigger and a little bit more
prepared because we find that there's a
25% increase every year in all
departrnen ts.
Our company does three things: we
manufacture underwater lights, we rent
underwater video and lighting
equipment and sell underwater video
equipment, and we shoot, and in all three
of those areas there is a 25% increase
every year. In order for myself to have a
family and a little bit of a life, and also to
meet the demands and costs of
maintaining underwater gear and also to
try to make more of a career for people,
I've got to expand. We would like as
much as possible the support from
Canadian producers and Canadian
shows to our people and to recognize
that underwater should be done by
experienced people as much as possible.
You never can tell what can go wrong.
The other thing is, I have a couple of
pet projects. One is a children's tv series,
which unfortunatelyTelefilm put on hold
for two and a half years even though we
had everything else in place. Right now,
we're doing a one hour special for Global
on salmon to build up a stock library that
we can eventually do that show with.
We do one or two benefits every year,
such as a little thing we did for Sesame
Street with kids and grey whales. It cost
us money to do it, but we thought it was
very important. And there was a seal up
in Telegraph Cove that became part of a
family and we suggested and arranged
for CBC and this land crew and everyone
to go up. Every year we try to do some
beneficial thing.
The main aim ofWa tervisions is to try
to get underwater, natural underwater
up on the big screen as much as possible
so people will appreciate it. Now
everybody else does it with documentaries. !think there's a whole different
world of people that should be seeing sea
lions and killer whales underwater and
that's the people who watch features, the
people who love tv movies of the week,
the people who love tv series. If you can
get underwater into those marketplaces,
I feel you're going to reach a much bigger
audience than the documentary audience.
That's the main goal of Watervisions.
Now, if we achieve that by having stateof-the-art equipment that people rent so
that they can do this or whether we go out
and shoot it ourselves, it doesn't matter
to us, the goal is to help the oceans and
help people to work in the oceans the best
we can.
WATERVISIONS ... Underwater Camera Systems providing
underwater DOP services, underwater consulting, underwater
assistants, dive teams, housing and lights (including Aqualights
and All Environmental HMis).
Recent credits include:
"Whale Music" (Feature),
"Crackerjack" (Feature)
"Highlander" (TV Series)
"Woman on Trial"
"Tom" (Feature)
"Shattered Vows" (MOW)
Commercials for Partners
"Nighttide" (MOW)
"Ganesh" (Feature)
"CBC Profiles (TV Series)
"Leolo" (Feature)
"Street Justice" (TV Series)
"Map of the Human Heart" (Feature)
THE BVW-0600
The DVW-700 is the world's first
component digital camcorder. The DVW700willenablefieldacquisitionofDigital
Betacam footage, allowing digital domain
production from camera head to the final
master tape.
The DVW-700 designed is based on
the integral Betacam series the BVW400A/D600. However, the V1R section
has now been changed to accommodate
a Digital Beta cam transport. The camera
portion is identical to the BVW-600 as a
10bit,36Mhz sampling digital processing
camera. The DVW-700 is slightly
different cosmetically, with overall
weight and size just slightly larger than a
The camera section of the DVW-700
and the digital V1R combine to bring the
most visually stunning field acquisition
outside of HDTV. With the recording
section capturing the huge depth of
modulation from the850+ TV line HyperHAD 1000, the pictures are awesome.
Even better they're digital. This
combination of a digital processing
camera and the Digital Betacam VTR
now represents the highest quality
available for field production. With total
camera control and custom "looks"
available for those who want to
experiment, the DVW-700 will rapidly
become the standard camera for high
end EFP.
Digital signal processing enhances
overall operational flexibility by adding
adjustments for variable DTL frequency,
skin tone DTL, a selectable linear matrix
tableandRGBvaluesforblackand white
levels. Setup parameters can be
memorized and then reloaded at a later
date or transferred to another camera
with the new "Set-Up Card" system.
Many other new features have also
been added to the DVW-700. The DVW700 can also be used as a studio/OB
companion. With the addition of a new
camera adapter and standard BVP-90
studio accessories, the DVW-700 quickly
becomes a fully functional triax studio
camera. The DVW-700 can also be
ordered in a wide screen switchable
configuration (DVW-700WS).
The BVW-D600 introduces a new
generation of integrated camcorders. The
BVW-D600 is the world's first one-piece
Betacam SP camcorder to adopt digital
signal processing (DSP).
The BVW-D600 shares many of the
characteristics of the BVW-300A/ 400A
cameras, but adds a new dimension to
image processing by adopting the HyperHAD 1000 CCD and an all-new digital
processing camera section. However,
the recording section, weight and size of
the BVW-D600 remains the same as the
BVW-300A/ 400A series.
The camera section of the BVW-D600
brings together the image quality of the
BVP-90 camera with the complete
operational control offered by digital
signal processing technology. By
adopting the Hyper-HAD 1000 CCD, the
BVW-D600 offers a stunning 850+ TV
lines of resolution with a modulation
depth of74% at SMhz. This represents a
significant improvement in overall
imaging performance. Digital signal
processing enhances overall operational
flexibility by adding adjustments for
variable DTL frequency, skin tone DTL,
a selectable linear matrix table and
numeric values for black and white levels.
All setup parameters can be memorized
and then reloaded at a later date or
transferred to another BVW-D600 or
DVW-700 Digital Betacam camcorder
with the new ,;Set-Up Card" system.
Many other new features have also
been added to the BVW-D600. This is
Sony's first integral camcorder that can
beusedasastudio/OBcompanion. With
the addition of a new camera adapter
and standard BVP-90 studio accessories,
the BVW-D600 quickly becomes a fully
functional DC triax studio camera. The
BVW-D600 is also the first Sony camera
or camcorder that can be ordered in a
wide screen switchable configuration
Sony of Canada is pleased to announce
the introduction of an important addition
to the new UVW Betacam series as well
as the entire Betacam camcorder line:
the UVW-100.
The UVW-100 is theworld'sfirstonepiece Betacam SP camcorder for the
professional market, designed as an entry
level machine for field production in
analogue component. Using the
experience gained from the very popular
BVW-300/ 400A series cameras, the
UVW-100 brings one-piece flexibility
and Betacam SP quality at a very cost
effective level.
The camera section of the UVW-100
has been designed around the proven lh''
Hyper HAD technology and processing
of the DXC camera line. Adding further
refinements and automated capability
to the UVW-100 assures that all levels of
production can take advantage of this
The UVW-100 shares many features
of its broadcast counterparts to assure
flexibility of use. A 26 pin VTR interface
capability comes standard, making it
easy to back up important scenes
simultaneously on an external VTR.
Viewfinder information includes
production features such as audio VU,
tape remain, white balance setting and
error message. Newer professional
features such as programmable gain
settings, audio tracing white balance and
clear scan are also standard features.
The UVW-100 will attract customers
who wish to realize the component
recording capability of the Betacam SP
format at a very attractive price. The
camera will also stimulate the demands
of customers who are upgrading from
U-matic or S-VHS. Sony now provides
component acquisition for every level of
Professional, Broadcast and EFP
For more information regarding the DVW-700, the BVW-D600, the UVW100 or any other Sony products, call Robert Willox, Product Manager,
Broadcast and Professional Cameras, Sony of Canada Ltd .. (416) 495-3335
or Bill Long, Sales Manager at Precision Camera. (416) 461-3411 or (604)
On Monday, April 25,
1994, members of the
esc and other invited
guests met at Panavision,
Toronto, to preview
Sony's latest digital
offering. The meeting's
location was symbolic of
a new order of motion
picture camera opera tors
who are looking more
seriously at video
technology. Themeeting
provided an opportunity
to handle the latest
cameras, listen to
representatives from
Sony and to screen two
videos about Sony's
Attending the meeting
from Sony were Mr. John
Quanz and Mr. Robert
Broadcast Products
Division along with Mr. Peter Slisarenko
from the Business and Institutional
The new digitizing processing
circuitry of Sony's digital camcorders has
been made possible through recent
advances in semiconductor technology.
As many as 540,000 gates can now be
contained on an LSI. The benefits of this
new technology will not be easily
understood by most people and rest
assured that the new applications
inherent in these new models are for
very serious to high end usage. ENG
cameramen will do just fine with the
camcorders for the time being. However,
the new DVW-700 camera featuring a
Digital Betacam recorder and the new
BVW-D600 with a Betacam-SP recorder
offer many camcorder benefits.
The need for operator readjustments
due to drifting on analog cameras is
dramatically reduced in digital cameras
due to digital signal processing. The
accuracy of camera set-up can be defined
with greater precision through digital
parameter values thereby reducing
variations between cameras. These
parameters can be stored on miniature
floppy disks and then shared or recalled
in any similar camera unit. These new
functions had to complement the criteria
laid down by Sony in its design of the
new cameras. The new cameras had to
be consistent with current analog
cameras for picture matching situations
and to be consistent in design. The new
cameras also had to take full advantage
of digitization of gamma, detail and
The new CCD chip used in Sony's
digital cameras is the
Hyper HAD 1000. Both
the DVW-700 and the
BVW-D600 use three 2/3inch FIT Hyper HAD 1000
CCDs. These CCDs were
available in the BVP-90
and BVP-375broadcasting
cameras. The Hyper HAD
1000 provides a horizontal
resolution of 850 lines, with
modulation, very low
smearing and minimum
aliasing. Sony opted for
pre-knee processing,
conversion for the RGB
signals and analog white
balance adjustment in
order to achieve a
exceeds conventional
analog cameras. Despite
the complexity inherent in the
digitization of non-linear processes, the
power consumption approaches the same
low power consumption of conventional
analog cameras. There are also new
lithium batteries which provide greater
power than conventional batteries.
The camera settings are performed .
through a menu control system, virtually
eliminating the need to adjust
potentiometers with a screwdriver, as
almost all potentiometers have been
replaced by semiconductors. A toggle
switch allow both users and those at the
engineering level to access separate
menus for customization.
The BSC-1 Setup Card, which
resembles a tiny floppy disk at 34mm x
22mm, can be easily written to and read
via a menu system allowing precise
memory of camera specification even
APRIL 1994 •
esc NEWS • I I
after a long period. This can be applied
to make it easy to set-up multiple camera
systems to provide matching pictures.
The precustomization of Setup cards
allows one to quickly change a camera
between several different operating
conditions. A testimony from a Sony
demonstration tape showed how Michael
deGruy, a 16mm underwater cinematographer, used his own customized
Setup card and a digital camera for
underwater shooting. The filmmaker in
question was not only amazed by the
clarity of the digital video image but by
the ease of set-up time using pre-defined
parameters from his Setup card.
Digital camera processing in Sony's
cameras allows adjustments for 'total
detail level', 'vertical detail mix ratio',
'pulse width (peak frequency) of the
horizontal detail signal', 'clip level of H
(black/ white) and V (black) detail', 'after
gamma detail (knee aperture) mix ratio',
'skin tone detail', 'crispening level' and
'level dependence'. Practical examples
of these improvements were seen in one
of two Sony videos presented on the new
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·or quali\'1 ca
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production~ ellicienc~ and eptivel~ simple.
spe , ·on world. DeC
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in the prodUc\1 ration (hal aiiOW\on~ Setacam
worry-lree ope our creat~VI\'1 · . r one-steP
concentrate on ~ether: the supen~~erythin9 ~ou
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Communication Products Group
Sony of Canada Ltd.
411 Gordon Saker Road
Willowdale, Ontario
M2H 256
Tel: (416) 499-1414
Fax: (416) 497-1774
Sony is a registered trademark of Sony Corporation.
Sony of Canada Ltd. is an authorized user.
digital cameras. One example was to
show the detail correction effect using a
background of letters against a white
background. The resulting correction
reduced the black halo effect commonly
seen as thick black edges surrounding an
extremely bright object. In another
example, a picture of a hand displaying
jewellery was shown to illus tra te the use
of accurate skin tone detail correction.
The use of digital processing allows more
accurate detection of signals within a
specified colour range. It provides very
natural skin tone reproduction without
affecting the ability to provide a clear
crisp picture in other areas of the frame.
The effect of selective gamma curves was
also shown in an example using a line of
dominosonablacktabletop. A5xgamma
curve was effective in maintaining the
detail of the dominos which ordinarily
would have disappeared into the dark
Cross colour suppression is another
major benefit of digital camera
processing. The new digital technology
uses a two-dimensional digital filtering
system to eliminate frequency
components of the Y signal which
correspond to the sub-carrier frequency.
On standard analog cameras this effect
can be seen as a moray effect. Other
features include auto black/ white
shading compensation, a self-diagnostics
system and even greater dependability
in the field due to the digital technology
packed into the ruggedness, design and
ergonomics of a BVW-400 camcorder.
Information on Sony's latest digital
camcorders is available from your local
Camera assistant Nigel Akam
checking out the new Sony
Sony meeting photographs by
Richard Hergel.
dealer. Thanks to Helmet Cremer and
Jeff Flowers at Panavision Canada and
Gerd Kurz and Bill Long at Precision
Camera for hosting the event.
One final note, Mr. Akio Morita,
Chairman of Sony, one of the men
responsible for enriching our lives by
helping to bring the world's first
videocassette system, the 'Walkman"
and Trinitron technology, is recovering
from a stroke. We would all like to wish
Mr. Morita a speedy recovery.
For further details contact your local authorized Rosco
dealer or Rosco laboratories Ltd.:
1271 Denison Street#66, Markham, Ont. L3R 485 Tel.(416) 475-1400 Fox (416) 475-3351
Offices in New York, Hollywood, London, Lisbon, Madrid, Sao Paulo and Sydney
You and your production t eam
move mountains to make an
image more memorable. At
Precision Camera we understand
your needs to find custom
Verylateonenight, whilereadingbythe
campfire on a remote beach in Lake
Superior Provincial Park, I had a startling
I was reading The Wabeno Feast, a
book by writer Wayland Drew. It was
the story of a couple canoeing on that
same coast. Each night the couple would
read from a journal written 150 years
before by a Hudson Bay employee on his
way to take over a post in the northwest.
In one passage he described a chilling
native ritual he had witnessed just before
dawn on an island near his campsite. It
was called a wabeno feast.
As I was reading I thought I heard
noises. I looked out over the water,
beyond the campfire's glow, and there
was the very island where this horrific
event took place.
It was twenty years ago that I read The
Wabeno Feast, but ever since I have been
fascinated by the concept of different
events taking place at different times on
the same landscape.
When I was asked to produce a film
commemorating the centennial of the
Ontario provincial parks, I was honored
that Wayland Drew accepted my
invitation to write the script. Wayland,
an author, teacher, and seasoned canoeist,
has camped in, and written about, many
parks, particularly Lake Superior and
Algonquin. He is also a recent winner of
the Lieutenant Governor's Award for
Using Gerald Kilian's book, Protected
Places, as a guide, we set out to illustrate
how our society has progressed from
fearing and destroying wilderness, to
valuing and protecting what remains.
The story of this change can be found in
the landscapes of our provincial parks.
What a challenge! Two hundred and
sixty parks, each with a story of its own.
Wayland and his wife Gwen toured more
manufactured products that
perform the job and are priced
within your budget.
But there's more to Precision
than 70 parks as campers. He recorded
his impressions and sent me shooting
instructions. I followed his trail, notes in
hand. He even scripted in specific insect
activity, which I had to find. About 80
scenes of fish, wildlife and insects made
it into the film.
He also wrote to me: ''The best part
was simply visiting the parks a year ago
last summer, travelling into comers of
the province we otherwise would
probably never have seen ... What fun
that was! And it was essential to do it
because I would have had a very myopic
view of this splendid park system, even
after all I thought I knew."
Camera than just cameras. We've
got years of experience as industry
leaders in new products and new
product technology. There's our
dedication to customer service
and our dependability. And our
sales know-how you can turn t o
and count on.
We invite you to try our full line
of cameras. Power. Lighting and
Accessories as well as stateof-the-art Studio/ Production
Precision Camera Inc. No
problem is insurmountable.
32 16 Beta Avenue
Burnaby, B.C.
(604)29 1-0020
FAX (604)291 -2414
181 Carlaw Avenue
Toronto, Ontario
M4M 2S 1
(416)461 -341 1
FAX (416) 46 1-4869
We managed to duplicate Way land's
big view of parks, particulary in one
part of the film -a scene that confounds
everyone as to how we captured it on
film. In a grey Algonquin morning mist
the camera glides around a bend in a
river, then slowly moves upstream,
centimetres above the rapids. Up ahead
a waterfall funnels between a group of
large boulders. The camera silently
approaches, then lifts up to reveal a vast
forest beyond yet another twist in the
river. Ministry helicopter pilot Dale
Flieler created this effect by flying
I received for this project was the help I
got from Dale Randa of Nipigon District
Fire. Dale carried a heavy fish aquarium
through dense bush so that I could film
brook trout at a secret spawning bed. I
waded into the water, looking through
the camera which was in the floating
aquarium, its lens pointing down. Those
huge ten-pounders were literally
rubbing up against my legs.
Last Thanksgiving I took advantage
of the long weekend to make the 185kilometre drive north of Sault Ste. Marie
to film the Agawa pictographs in Lake
Superior Provincial Park. I took my son
You want to talk to someone
who knows your business as well
as you do.
You want the best equ ipment
for the job.
You want excell ent follow-up servi ce
because delays cost you .money.
You want a company you can count
on. We know that. Professionals like
you have been counting on Cinequip
for more than 20 years.
Production support statts here
tOBan1gan Or1 ve. l oronto M4H 1E9
Tel 467 ·7700 Toll free t -800 ·465-0160
to the site. The painted images on the
rocks have faded over the years, and
lights had to be used to enhance the
chroma, or vividness of the colors.
I learned when making the film, The
Teaching Rocks, that sacred sites such as
this must be approached with the utmost
respect. But, carried away by the weight
of the heavy load, I barged right past
these enigmatic symbols.
I put down my load as carefully as I
could on the slippery rock ledge and was
about the complain about a kink in my
neck. Jake stopped me and pointed to
my tripod rolling down into the cold,
clear water. We watched this valuable
tool get smaller and smaller. It settled on
a ledge about five metres below the
surface, rocking with the current and
threatening to slide off into the black
I couldn't do the job properly without
the tripod. I stripped down and look up
atthatgreyOctobersky. ''Yep,snowany
day now. I'm only going to try this once."
The dive felt like a perfect 10 as I
droppedlikeanarrow. Icaughtmyrings
sliding off my fingers as they quickly
shrank in the chilly waters. As I wrestled
the tripod to the surface, I remember
wishing our section had paid the extra
money 12 years before for the tripod
with the lightweight legs.
It took four months over the winter,
including weekends, to edit the picture
and story, including six weeks to edit
the digital stereo sound track. It normally
would have taken two weeks for the
sound but we ran into a steep and
slippery new-technology learning curve.
Editors Marsh Birchard and Peter Elliott
spent many 24-hour days on the project.
The hardest part of editing was
deciding which scenes to leave out. N eys
Provincial Park, for example, was a
World War. On a nature trail one can see
the rusted remains of some of the
structures that housed the German
POWs. A real surprise is an escape
tunnel still partially intact. In my
research, I located film footage taken of
the site during the war by the
International Red Cross.
juxtaposition of those images past and
present certainly suited the subtext of
the film- different events happening in
the same place at different times - but
the 1940s scenes jumped out too much
when edited into the story as a whole
and had to be dropped.
Another park incident I'll never forget
on Georgian Bay with the late Ojibway
elder, Fred Wheatley. Fred grew up on
the Thirty Thousand Islands and loved
to tell stories of life there years ago. He
would also include stories of how the
Ojibway people co-existed with
Just before we were to head home, a
grandfather rattlesnake slid up on shore
near our campsite. Fred talked to it as I
filmed. The snake was more than a meter
long and looked much friendlier than
those I had seen in movies. Alas, when I
looked at the developed film, this
Massasauga rattler didn't look as friendly
as I had remembered. Save it for another
It was on that trip that I remember
Fred saying to me, "It would be good if
you could get together and work with
one of my Ojibway students. You would
really like him. His name is Wayland
Lloyd Walton received a nomination for best
cinematography in an industrial for his work
on Places Out of Time at the recent CSC
Allan Piil (Associate) has been working as a Director of Photography and
lighting technician for eight years. As a graduate of Humber College's
cinematography program, Allan received the 1987 CSC award for best
cinematography in a student film for his documentary on flying. He also
received a special jury award for cinematography at the 1989 Yorkton
Film Festival. (416) 266-8582.
Andre Paul Therrien (Affiliate) is a Montreal based photographer/
Steadicam operator for film and video. Andre studied Visual Arts at the
University of Ottawa and graduated with Honors in photography from
Algonquin College. He has worked for ten years as an A/V and commercial photographer. For the past five years, Andre has been working as
cameraman/OOP and Steadicam Operator on commercials, corporates,
industrials and tv productions. (514) 465-7657.
20 copies of this edition are for
sale through the esc office.
The books are $65.00 each plus
shipping, handling and
applicable taxes.
To order call (905) 271-4684
or fax (905) 271-7360.
Spring is springing and it's
Multimedia time again. Slowly but surely
spring is showing its face and in addition
to expecting to find a bit more work
coming (yes there is genuine optimism
about'94), it's time to take a look at what
Vicom/Multimedia 94 has to offer.
For those like myself who are curious
about computer/digital imaging and
new media there is an abundance of
seminars from experts from all over
North America and Europe. They are
actually too numerous to mention here,
but most of you have probably received
a calendar by now. In fact, there are
three lighting seminars which may be of
benefit to members. There are two basic
courses by John Watt, a veteran lighting
designer from Britain (a founding
member of the Society of Lighting
Directors), who has worked for BBC,
Channel 4 and other international
networks. His first seminar is on how to
deal with a small studio of less than ideal
circumstances and his second is on the
art of lighting for light entertainment.
Well known Toronto based lighting
designer, Bentley Miller, one of the best
in Canada, gives an intermediate level
seminar on lighting for video.
Having a booth at the trade show
over the past several years has given us a
presence among show goers, a chance to
network with many of our sponsors and
a small but steady increase in new
members who find out about us there.
In the past we have tried to have
evening screenings in conjunction with
the show and they were critical if not
numerical successes. This year we will
take a more conventional approach and
have our regular May meeting on
Thursday evening May 26 with Stuart
Hurst of Matsushita Canada presenting
their new Panasonic Digital Signal
Processing S-VHS camcorder. This
camera is already a hot seller and should
be of interest in particular to those who
shoot industrials and news. With the
trade show closing at seven o'clock, the
timing is perfect for an afternoon-evening
of networking and equipment
Lance Carlson
Vice President
One of the benefits of membership in our
Society is displaying the impressive CSC
membership certificate, on which one's
name has been hand lettered by a
calligrapher. After this it is signed by the
President and Membership Chairman,
and then embossed with our official gold
seal. The rich navy blue and gold lettering
makes it suitable for display in either a
gold or gold and blue frame.
According to our records, all members
should by now have certificates. If for
any reason you do not have one, either
or Canada Post lost it, or you lost or
damaged it yourself, please let me know.
We now have the procedures that are
necessary to produce them in place and
will gladly supply any that are required,
without charge. Just give me a call at
(416) 932-3485 and leave a message if I'm
not here or fax me at (416) 932-3486, and
it will be taken care of.
While packing and shipping a
certificate framedinglassoutside Toronto
would be prohibitively expensive, those
in this area who would like to have this
done for them, on an actual cost basis,
please let me know. In this case you
would have to pick your certificate up
from either Precision Camera at 181
Carlaw Avenue, in the east end, or my
homeat6 Tarlton in the midtown area,or
our office at 89 Pinewood Trail in
Mississauga, to the west.
Jim Mercer esc
Membership Chairman
Stuart Hurst of Matsushita
Electric Canada Ltd. will present
the newest Panasonic Camcorder
the 3CCD Digital Signal
Processing AG-DP800
"The Supercam" in conjunction
with Multimedia 94 at the
Metropolitan Toronto
Convention Centre,
Room 2020 (Street Level)
Thursday, May 26 at 7:30 pm
Refreshments, lots of great
information and fantastic prizes; esc
hats and T -shirts, passes to the john
Watt lighting seminars and 3 YPM
subscriptions which qualify for a
chance to win one of these cameras.
APRIL 1994 •
esc NEws • IS
Director of Photography Matthew
Phillips recently shot a music video for
RailTec' s song "She's So Clean". Matthew
shot the song about the life of a stripper
in silhouette with high contrast lighting.
He chose high speed 5296 to shoot in the
strip club to capture the lowkey lighting.
It'splayingonMuchMusic. JohnKonye
assisted. Matthew Phillips was the
recipient of this year's best industrial
Double Happiness, a low budget
Canadian feature about the generational
and cultural gap between a young,
irreverent Chinese-Canadian woman
and her old-world Hong Kong immigrant
parents finished shooting in Vancouver
on April 15th. Double Happiness was
written and directed by Mina Shum and
shot by Peter Wunstorf, who last month
won best cinematography in a drama at
the Alberta Motion Picture Industry
Association for his work on Road to Saddle
River. His camera crew included operator
Greg Middleton (recipient of 1994 CSC
Award for best cinematography in a
dramatic short), first assistant Robert
DeCoste, second assistant Francis
Kramer and camera trainee Pia Massie.
Return to Lonesome Dove: The Series is
in production for 21 one-hour episodes
in Alberta. It is set in the 1870s and is the
story of the adventures of Newt Call, a
character from the original Lonesome Dove
mini-series. The series will be produced
on two full western town sets located "45
minutes from Calgary, Alberta and 125
years away." Director of Photography
Ron Stannett esc, operator Armin
Matter, first assistant Michael Soos, and
second assistant Kirk Chiswell began
the eight month shoot on April 26th.
Director of Photography James
Crowe, focus puller Akira Nishihata and
assistants George Tsiakalakis and Jackie
Hampton did some additional shooting
onShe'sMy Baby,a feature film by director
Jim Purdy. She'sMy Baby,shotinToronto
last fall with additional shooting in March
of this year, is the story of a young
Philippino woman who becomes
indentured to an Asian gang.
Mario A. Madau is producing and
shooting 13 half hour programs called
Listen Up. Vision TV has bought the
series for broadcast in the fall season.
The show is about the spiritual meaning
or message in music written and
performed by Canadian artists. The
format of the show is half
performance, half interviews.
He is also shooting a 16mm scifi movie for Alexander Wolf
Productions. The low budget
movie required some "lowtech" innovations to make it
looknon-lowbudget. Thethree
sets - interior spaceship, alien
planet terrain and cave,
required rear screen projections,
miniature spaceship shots, cave
explosions and an alien blob
that moved around trying to
absorb our hero. Reportedly a
"hoot''! Mario has also finished
a music video for "The Rhinos"
and a pilot for a psycho thriller
feature that he and partner Ted
Ellis plan to shoot this fall.
Paul Sarossy esc just completed shooting Dark Eyes,
an ABC/ Alliance TV pilot
starring Kelly McGillis. The
twelve day shootwentvery well
except for a week long hiatus in
Above: Paul Sarossy esc shooting "Exotica" car 'dolly'
Above right: George Tsiakalakis, James Crowe, Akira
Nishihata and Jackie Hampton on set of "She's My
Centre right: Camera crew from "Dark Eyes"from left
to right, Andrew Cull, Drew Potter, Paul Sarossy esc
and Lawrence Bortnick.
Bottom left: "Double Happiness" camera crew from
left to right, Mina Shum, Peter Sunstorf, Greg
Middleton, Pia Massie, Robert DeCoste and Francis
the middle, allowing for the star to recover from a
case of chicken pox. As a result of this delay, Michael
Soos (focus puller) had to honour other commitments
after completing the first three days; his shoes were
ably filled by Drew Potter who finished the shoot.
The camera team included Andrew Cull (second
assistant), and Lawrence Bortnick (trainee) with daily
work by Mark Willis (second unit/ camera), Richard
Egan (second unit focus), Brian Gedge (Steadicam),
Chris Alexander (Steadi-focus) and David Perkins
(focus). The highlight of the shoot was working on
the soundstage in the police 'squadroom' set.
Production designer Barbara Dunphey's wonderful
maze of glass walls required three generator trucks
worthoflightingto be fired up at all tirnes,aseven the
tightest close-up had miles of visible background.
Joan Hutton esc with GeoffOiiverofKodakat
the Gemini Awards this year. Kodak was the
recipient of the Outstanding Technical
Achievement Award in acknowledgement of
their XTR200T (5293/7293) film stock. The
award was presented by Joan Hutton esc.
CCD Package Sony DXC 537 Hyper-HAD™ CCD Camera, plus
Sony BVV-5 Betacam SP Recorder
• Electronic Shutter with Clear Scan TM
record on oxide or metal tape
• 750 TVL
Exotica, a feature Paul Sarossy esc
shot for Atom Egoyan last summer has
just been invited to Competition at the
Cannes Film Festival this May. It will be
amongst 23 films from around the world
competing for the Palm d'Or.
o).; $250.00 per day
-weekly rental also available.
Or, you can save onDVR I0 D2 Recorders at $750 per day
BVW 75 Recorders at $425 per day
BVW 50 Field Recorders at $225 per day
BVW 22 Players at $1 00 per day
Send your production news and stills
to the esc for inclusion in the next issue
or fax this information to (905) 271-7360.
• CSCCAPS are available in
unbleached cotton, one size
fits all.
• CSCT-SHIRTS blackor
white, sizes large and extralarge.
$15.00 each plus $2.50
for shipping.
In Toronto Call (905) 238-0654
Fax (905) 238-6182
4580 Fieldgate Drive, Unit 4 (rear)
Mississauga, Ontario
L4W 4K4
(416) 461-3089 or (905) 271-4684.
A specially designed 'Optical Film Kit' forcolorcorrectionofvideomonitors. 1
Each kit comes completed with two large 60" x 48" sheets of optically clear, I
coated color correction film, together with applicators for proper handling, I
and instructions for installation. The film is designed to lower the monitor
color temperature, normally in excess of6000° Kelvin, allowing a technician to I
balance the monitor to standard studio tungsten light sources.
Available from Rosco and authorized Rosco Dealers everywhere.
FORSALE: NagraQuartzCrystal Generator Model TGX for
Nagra III's or IV's. Also Nagra
mic preamp Model BSII. It converts line input to mic channel.
Call Ron Wegodacsc (514) 8456731.
WANTED: 16mmSyncCamera in good condition. Prefer
Eclair NPR or ACL but open to
anything. Also a Bolex of any
model, prefer reflex viewing but
not essential. Please call Glen
Winter (604) 980-2104.
FOR SALE: Lowell Softlight
1500 with barndoors and case,
$450; 6 plate flat bed Moviola
M86A editor, $4,750; Ni-cad
12-14V overnight charger, 4-7
AHr, 120-220V, $125. Call
(604) 253-0047.
FOR SALE: Pan-Arri lie with
Cinema Products flat bed motor
in Steadicam lo mode cage,
Panavision front, four bolts and
it's a BNC hard front or Arri B
lens with adaptor, crystal speeds
12 , !6, 24/25, 30, 36 and 48
frames plus, variable speeds from
18 to 22 frames for "improving"
door adapted for video assist Phillips camera presently in place
but a CCDWateccouldeasilybe
substituted; 2 Arri long throat
with BNC mounts, the 18mm
lens is F2.8, but the 24, 35 and
55mm are all Tl.4 and alllenses
have gears for both iris and focus
so they can be adjusted bywireless
remote controlled motors while
shooting, 3 excellent cases. This
camera is in mint condition must be seen to be believed. It did
not get much use because most of
my work was on TV series or
features and we either used my
Arri BL or the production's
Panavision package. $36,500.
($Cdn.) NoGSTorbrokerageto
pay. Call Bob Crone (604) 9216500.
FORSALE: AatonPackageSuper 16/16, with built-invideo tap,
light meter, regular and extension eyepiece, 2 magazines, 2
batteries, recharger, Canon 8 64mm Super 16 zoom lens,
Nikon 50 - 300 zoom lens, fil- FOR SALE: BVP-7 SP with
ters, tripod, cases, two Fujinon 14-1lens, new heads FebCinekinetic dollies and ruary15, 1994. Asking$24,000.
Cinesaddle. Call David in To- Also miscellaneous items: 2 Cineronto at ((416) 961-3001 or fax 60 7 AH belts, 10 NP-1B with
(416) 961-3895.
charges,AC-500, SRD-52 zoom
handle, Century Precision wide
FOR SALE: 35 BL 1-2-3 Body angle .5, .7. Call Bernard Couof One (overhauled by Arri New ture at (514) 466-9451 or fax
York in '91 for $25 ,000 US). (514) 466-8870.
Some Two wiring- including
heater, electronic tach and foot- FORSALE: Fourwirelessmicroage counter. Three- pull down phones type MICRON model
with quieter sleeve bearings as TX501 and MR510, transmitused in the BL Ills; 4x 400 ft. ters and receivers in the 174.56,
magazines, TV ground glass and 175.0, 176.62 and 179.56 Mhz
wide screen ground glass; video band. 3 black and 2 skin coloured
assist eyepiece relay lens and TRAMS and 1 Sennheiser micromodified Watec CCD camera, phone.
Connections for
regular eyepiece and pistol grip, condensor mikes. Complete with
Steadicam lo mode handle, 4 mobile distribution amplifier, type
excellent hard cases , Zeiss ADA 114-1, power supply modDistagon T1.4lenses 18, 25,35, ule, cables and dipole antenna.
50 and 85mm, and blimp all Mint condition. All serious offers
geared for radio controlled re- considered. Ingrid Cusiel, tel:
mote iris and focus motors. This 01131-20-616-0742, fax: 01131camera has been well maintained 20-683-7439 or write: 2 de
and has not had a lot of use since Helmersstraat 103hs, 1054CG
it was rebuilt. Unusually good Amsterdam, Holland.
for its vintage. Lightest of the
Arris, perfect for the Steadicam FOR SALE: Bolex Reflex CamOperatorwho likes to arrive ready eras. Regular and Super 16mm,
to shoot. $65,000.($Cdn.) No spring or motor drive, crystal or
GST or brokerage to pay. Call variable speeds, variable shutter,
Bob Crone at (604) 921-6500
full accessories. Trade for Aaton,
Arri ... considered. Call Grigor
(416) 604-4696.
WANTED: Arriflex BLI body,
zoom lens, blimp housing, and
prime lens blimp housing, 400 or
1000 ft. mags. Call Mark Job
(514) 453-6312.
FOR SALE: Eclair ACL- new
high power crystal motor, 25-2529.97, crystal pre-set speeds, plus
11 pin Fisher connector for Arri
variable speed control or cinema
onboard battery system, C mount
plus special Arriflex adaptor
mount for Arri standard and Arri
bayonet ... and more. Best offer.
O'Connor 50 fluid head tripod
with heavy duty legs and heavy
duty spreader. $850 or best offer.
Call (514) 453-6312.
Loaded, very little use, with power
supply. Recently checked by Arri.
Notimecode. $5,200ortradefor
16/35mm cameras. Call Greg
(416) 604-4696.
FOR SALE: Century Precision
Optics300mmlens. FitsArriSR
andAaton 16mmcameras. $700
. Call Peter at (416) 698-4482.
assorted Tiffen Filters: 138mm,
4-1/2", 3"x3", Series 9. Also 6,
6"x8" Lee graduated filters with
ftlter-holder for Arriflex Production Matte-Box. For further information please call Fritz Spiess
esc at (416) 225-5970.
CASES. Ideal to help protect
your meters, viewfinders, cellular
phones and lenses. Smart looking
and durable. Call Lori at (905)
Listings under Camera Classifieds
are free to CSC members. Word
from our "Fleamarket" Chairman
Sammy Jackson is that there will
not be an equipment sale this
spring. If you have items that
you'd like to sell, please fax your
listing to (905) 271-7360 or call
the esc office for additional information.
Thursday, May 26, 1994 at 7:30pm
at the Metropolitan Toronto Convention Centre.
Room 2020 (Street Level). See Vice-President's Report on page 15 for details.
It could well be the most original, profoundly
intelligent, incredibly difficult shoot ever attempted.
Then perhaps we'll chat about the huge array of
Eastman films - the most extensive range of niche films
Which is probably why people get that glazed look
when you try and describe it.
out there. We'll explain how the digital world meets film
with Cineon Cinesite and how HDTV Telecine lets the
expressiveness of film stay true for tomorrow's TV.
And at the risk of sounding immodest, we'll also
Let's just say it's our mission at Kodak to replace that
look with one of admiration and envy. So smile smugly
and tell them that anything's possible when you know
mention that nothing beats the EXR Film System when
what resources are available to you.
they're shooting for film display. In the end, they'll
Then give them our number: 1-800-GO-KODAK. We'll
know that we're behind them all the way. After all, when
probably start by telling them
everyone's working towards the
about EXR films. Because loading
same goal, things tend to get
the best is shooting it right.
done. Funny how that happens.
Putting ideas in motion.
· i:astman
© Kodak Canada Inc., 1994