Get PDF - Canadian Society of Cinematographers

Get PDF - Canadian Society of Cinematographers

A PUBLICATION OF THE CANADIAN SOCIETY OF CINEMATOGRAPHERS
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September 2001
Volume 21, No. 1
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ALSO IN THIS ISSUE
ON CAMERA: The Primo Chol!e11Qe'
IN FOCUS: Hot Docs!
INDUSTRY NEWS: WFW Buys
PRESIDENT' SREPORT: The Video Track
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SERGE DESROSIERS esc
He Shoots ond Lance et compte Scores in 24p La nouvene generation
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Its innovative SXGA-based digital recording system lets you utilize the hottest nonlinear editing
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applications of the new multimedia world. Whether you're shooting commerct.als or music videos.
documentaries, TV episodics or the next blockbuster Independent film. this is the digital camera to
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HD Cln<tma
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Yllumo11, llo. I
StpllmHr1001
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2 - President's Report
The Video Track
4 -
Talking Pictures
Lance et fompte in 24P
8 - On Cam era
The Primo Challenge
10- In Focus
Hot Docs!
15 - Industry News
WFW Buys Cinequip
19- Film Clips
CSC Workshops
20 - CSC Calendar
Action Productio n Notes
CS< OffKI
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COVII PHOTO:
17obe1 Zimmer
PRESIDEnT's REPORT
JOAN HUTION lSI
Following the Video Track
First CSC digital video
workshop held July 14-15
e're back! After our usual
two~month hiatus, welcome to Vol. 21 No. I of
the esc Nt'IVS. From now through next
June we'll be dropping by your homes
or otfices every month with news for
and about Canadian ci nema tographers. In this issue, you will notice a
decided video navour. It was not necessarily plan ned this way, but Editor
Don Anl,'US likes to let members guide
his editorial agenda with their stories
about what they and the indusrry are
doing and why. This month, Montreal
DOP Serge Desrosiers esc talks about a
Quebec series and feature he shot in
Sony 241' HD, Peter Woeste esc tells us
of his trial shoot of a Stacyate SG 1
W
episode
with
Panavision's
Primo
Digital zoom lens on Sony's 24P
CineAita camera, and Zoe Dlrse
reports on Hot Docs! 200 I, which
included a panel discussion on film
versus v ideo in doc-umentary cine-
}
.§
~
l
matography.
There is nothing earth-shattering
In any of this. Video has been the pre(erred acquisition medium for documentary shooting for several years
now, and it was expected that the
eagerly awaited 24P HD camera systems would receive quick and extensive technical - and financial - evaluations in the production of series and
even features. That is not to say film is
dead. Far from it. Most features and
series are still s ho t in 16mm or 35mm
rilm, and innovative cinC'matogra phers are finding new - or old ways to shoot fil m at less cost. In our
June issue, Fran~ois Dagenais esc
talked about shooting a low-budget
feature in Super 16 for blowup to a
3Smm print, and how fellow cinematographers at Poland's Camerimage
Film Festiva l of Cinematography
" raved" about the look. And Daniel
Vincelette esc was in Winnipeg this
summer shooting the indy feature t>oor
St~perman
in Multivision, which
Vincelette said is uan Australian
process s imilar to
the old
Tcchniscopc in which we shoot with
modified 35mm cameras running at
the rate of two perfo rations per
frame instead of the us ual four. This
permits a not·tOO·ric h Ca nadian
production to originate on 35mm
--...iill~ instead of h aving to
s hoot Superl6m m or H_D
video. Film and development costs are c ut by half
and U1e post-production
costs should be si milar to
origi nating o n either o f
those two other formats."
Having noted a ll
this, we at the c~c are
committed to keeping
abreast of digital video as it
continues to widen its
VIDEO <OURSE: lnstru<1ors at the Rrst <S< digital video covne
in My inducl.d, from ltfl, Bob Brook.s esc, Harry lake esc,
David J. Woods, Marie Lewandowski and lance <orison.
2 • esc Nm> I S.'j>lemlxr 2001
horizons, not only in the
scope of our CSC News
content but also in our
educationa l endeavours.
This summer, Education
Chair Harry Lake esc organized the
Society's first digital video workshop,
held July 14-15 at David J. Woods
J>roductions in Toronto. lierc is his
report:
" On Saturday, Lance Carlson
talked about the basic Betacam setting up, running colo ur bars,
doing a white balance, checking
back focus on the zoom lens, etc.
Then everybody ch ipped in on the
importance of batteries. Bob Brooks
esc gave a lot of valuable asides to
shoot! ng in video, and with Bob
coming from a film background, as
do Lance and J, I think a ll the stud ents got a gOOd perspective on the
difference between the two media.
After lunch, Mark Lewandowski of
David J. Woods talked abo ut the
Sony PD150, a hot little digital camera that takes DVCAM or MIN J-DV
tapes and has an elaborate menu.
It's a great handheld camera t11at is
widely used on a lot of reality-type
s hows and even on low-budget features. J'art of t11e instruction were
ongoing question·and·answe r SC$·
sions, and David Woods ably handled several queries .
"On Sunday, we brought out the
Sony 241' HD camera, and jasper
Vrakking of David J. Woods took
everyone through the o peration of
Uu~· can1cra that most of lhc students
had come to sec and play with. We
took the camera outside to roll som e
tape and view the result, then we
brought it back inside where Rita
Lake had set up a small tabletop disp lay. After I lit that, we played witJ1
filters and such to see h ow they
affected the picture. J oan Uutton esc
and Bob Brooks were there to lend
their expertise to the proceedings."
Harry said the CSC would like to do
another workshop in the fall and the
annual CSC Camera Assistants Course
in Toronto may be amended to
include a day of HD video. " Many
thanks to David and Diane Woods,"
he concluded, " for supplying equipm en t, facilities, staff, food and
refreslunent.s, and, above all, their
enthus ias m ."
Thanks to you, liarry, for helping
us get our education program up and
running on the fast-moving video
track.
'
SUPEN/g.NIES
Rethink. Reload.
Works well with titles.
The DOP's aesthetics. The director's perspective. The producer's agenda.
There's a lot of creative opinions to satisfy on a film project.
Increasingly, there's one decision that looks good on everyone. Fujifilm.
An Interview SERGE DESROSIERS esc
with Shooting Shinny and Santa in 24P HD
"I could say I'm a fan of 24P, but every project has its own complexity."
the company now and she want·
ed to come up with something
new" for the series sequel,
Desrosiers said. "Her father,
Claude, didn't want to shoot HD.
He was really relentless on new
mediums and the complexity o f
focus in UO."
Oi rector jea n-Ciaude Lord,
who directed the original series,
sided with Ca ro line and the
director of photography. "He
said," Desrosiers quoted: .... I know
the j,'llys and I know they will
manage to do it, and if they say
it's not going to be a problem it
won't be.' And that's what we
basically told him, it's not going
to be a problem. •
So. 241' won the day. In addition, all 10 of the hour-long
~~~~. . . episodes were shot in 16:9 ratio
•
-~~'not
wUhout a battle" -and
erge Desrosiers esc is a believer in two DOP Serge Desrosiers m (right) at camera will be broadcast in the letterbox
format on Quebec's TQS television
great Qu~bec institutions - hockey and with ht AC Patrick Beaulac •• set of
!once tl c...,,..
network.
Pere NoH Now the Montreal DOl' figt~tes
that what the fastest game on earth and old
Derosiers claimed Lance el compte
Father Christmas really needed all <~long was
was "the first TV series in Quebec to
the 241' look of high-definition video.
be shot on 24P HO, in letterbox" (see eSC News, May/01),
It wasn't a sure thing in the beginning. Desrosiers told and Station nord, which wrapped in july, (;is the first
CSC News that 24P ~ID was not the unanimous choice for Canadian feature shot in 241'."
shooting La11ce er compte · La IIOIIvellc gi'rreration, the revival
Ue said he was the one who decided on 24P HO for
of the 1986 hit Quebec series Lance et compte (He Shoots! Station nord, a Christmas movie to be released in December,
He Scores!). The original slam-barn hockey series, somewhat after he went to the CSC meeting in Toronto last Jan. 22
sexy and profane for its time, aired IS years ago and was, of and saw the test screenings by Panavision and Richard
course, shot on film.
Stringer esc (sec eSC News, March/01). "I spoke to jeanIt was C1roline Heroux of Communications Claude Claude Lord, who was also directing the featwe, soon after
lieroux Plus who pitched 241' as the acquisiI left the meetin.g and told him the 24P
tion medium for the encore of Ltmce et compte,
looked
really good." Producer Pierre
By Don Angus
which wrapped May 30. "She is taking over
Gendron of Bloom Fi lms "was crazy
S
enough" to go along with the idea.
"We ended u ~ shooting this feature,
that we were supposed to shoot in
3Smm, in 24P because we had a CG I
(computer generated imaging) budget of
S400,000 to SSOO,OOO, a lot for a Qu~bec
feat ure. And one advantage of shoo~i ng
CGI in HD is that you don't have to scan
the mm firs t.
"We took some shots from Lance et
compte, I did a smaiJ editing, and sent
that footage off toE-Film in Los Angeles.
The result looked really beautiful. We
then went to see Scott MacDonald and
Stuart Hurst at l>anavlsion Canada and
they came up with a nice package. They
were really interested in doing the firs t
Canadian feature in 24P. •
Desrosiers said Station nortl was shot
in the l..aurentians north of Montreal,
with principal filming starting in April
during a three-week brea k in the production of La11ce et
compte. "We needed snow - and we had snow.• Shooting
on the feature resumed in June after the series wrapped at
the end of May.
The Panavision lenses used on Station nord were Nreally
beautiful," the DOP enthused. •we had the 6x27mm and a
nice Smm prime, which in video is illmost a 2.5 ratio that
equals a l4mm in 3Smm. We had the I I to 1, which is a
9.5 to IOSmm- a really big but really beau~i ful lens.
"I could say I'm a fan of 241~ but every project has its
own complexity. If we were shooting a feature with nice,
landscaped shots, then, sure, we would have shot il In
35mm. But since we were shooting a kids' Christmas movie
with a lot of CGI effects - reindeers appearing and disappearing - we really needed the help for CGJ, and also for
the budget, that shooting 24P can give. The CGI guys told
us that if you're shooting 24P HD we can do this, but if
you're shooting 3Smm we can't do this in the same budget."
Desrosiers said there was no CG I in Lance et compte. The
action on the ice is all real, and the camera crew had to
come up with some slippery moves to capture it all.
"We had seven days on hockey rinks, with dollies on icc
and a lot of people. We had this big day in Qu~bec City
with almost 13,000 spectators. They were there because of
the Lance et compte reputation. There was nothing else
going on in this arena except Lance et compte shooting, and
13,000 people came to see us."
The fictitious team in the series Is called Le Nationa le,
but their sweaters are intentionally similar to those of the
NHL Quebec Nordiques before they moved to Colorado in
1995-96 and promptly won the Stan ley Cup as the
Avalanche. In the series, the 001' revealed, the team owners refuse to sell the franchise to Colorado and stay in
Quebec. "People in Qu~bec City are going to be heartbroken with this series/'
For the hockey action, "we had five cameras and six
operators,• Desrosiers laughed. "I had one operator with
PUNCH·UP: Sti-ge Desrosiers esc, with comero,
gtll in dose lor o light scene in lmoce el compte.
At righl ore 1st AC Patrkk Beaulac and grip Marc
O.Ernsted, bath on skates.
PENAlTY SHOT: Dolly grip Marc O.Emsted pushes J>OPI operator Serge
Desrosiers csc as a scene focuses on a penalty shot. following the action.
from left, are boom operator Marco! Royer, 1st AC Patrick Beaulac. and 8·
com operator Martin Pilon, who was dressed as a referee.
skates on- we put an AC with him- to go ahead and do
some hand-held shots. Then when we had to do off-ice
shots, what was he going to do? He couldn't just go into the
crowd with his skates. So he passed the camera to another
operator who was In running shoes and went into the
crowd. The operator on skates was dressed in a referee's
shirt. Sometimes- in a slow-motion shot or something I'm sure we do see him.
• sa page 6
CSC Neu•s' Sqx.omb<Y 1001 •
5
OIRISTMAS CREW: 11M c-a IHII ao l~t Clorist010s fe<~ture Stotioo o«d
lndoded, framlt ft to right, 2od Au Yeronique Poulin 011d Do•inique 14aola<,
3rd A( Sylvain Albert (video assist), DOP Serge Desrosiers csc, aod 1st AC
Patrkk BHula<.
"I was on a dolly (fitted) with little
skates. I would take the A<amera on
to the rink and shoot a sequence with
players shooting pucks into the net.
Tilcn, when we needed to do off-ice
shots of this sequence, I would nm
with the ACs and the grips and the
other ca rneras.
"Something really funny: When I
was on the dolly I was going with the
actors, but a puck goes where it's got to
go. I would pan and follow the actors;
I wou ld know that the 8-camera was
o n my left, but I sllll go panning. The
grip~ and the camera operators are
lying down In front of me so that I
don't see them in the camera. I'm panning and panning. and they lie down.
Olen I get to the director and the
script assistant. They are all falling
down, boom, boom, boom.w
Desrosiers said the A- and B-eamera~ were Sony HDW-F900 24J>
(Cin eAita) unit~ and the o ther three
were Sony's earlier HOW-700 models.
"Wha t 1 decided to do on the hockey
sequences was shoot at 30 frames per
6 • esc N"'' , Scpctrnh« 2001
'If we were shooting
a feature with nice,
landscaped shots, then,
sure, we would have shot
it in 35mm.'
'That's the advantage of
24P, the luminosity
that you can get."
second with all five cameras, setting
the 24J>s on what we call 60i. This is
ba~lcali)' the thermal video image
which goes back to 30 frames per second. Then they put a film look on the
images, because the images are really
bare, a real video look. They would
add motion blur in post.
"I saw the footage taken in the
rink and everything looked really
nice. With the 24P we did a lot or
nice ligh ting effects not possible in
regular video. The c lipping in the
whites doe~n't occur as much as in
regular video. We had a lot of highkey situations 3nd even low-key situations. I even had the director come
up to me and say, 'You don't have any
lighting in there, do you see that?'
And I showed him the monitor, and
he was really impressed with the
luminosity or the image without any
lighting.
•we did a lot of sequences lit with
lust one c3ndle, and we did a lot of
wide shots In restaurants at night
where we didn't even put in a light.
We did the wide shots with candles
and the lillie practicals in the restaurants, and then we went in and did
the close-ups. That's the advantage or
241', the luminosity that you can get.•
The DOP said that "we were lucl..-y
to get two 4K Mole Beams from Mole
Richardson In Los Angeles for Lance tt
compt~. and they were really beautiful. They are 5mall beams, two feet In
diameter. We had two of them in the
hockey arena with two 12Ks and two
6K Pars for backlighting and fill-in
where we had ou r actors. I had lightning strikes c reat ing flash e ffec ts
when a player got a goal. We d idn 't
bring any lighting on to the ice, we
wou ld lust go o ut there and shoot. No
light on the came ra a t all.
•we also had six Xenon followspots already In the arena, so we used
them. I had six follow-spot operators
who, evcf)' time there was a goal,
would follow the player. We e'•en followed him with the Mole Beams; they
are really ~trong.
•we were looking for a searchlight
effect," Desrosiers conti nued. "What I
would have liked is that when there
wa s a goa l, you do a down light alo ng
with the little follow-spots. But we
couldn' t d o a down light in an arena.
5o whac we have done In post Is bring
down the luminosity of the Image
every lime a guy scores, and then
what IMpJ>fnS h we see these searchlights following the plarer and the
cffl'<t b as II we had a down light. It
lool\ good"
Oc\10\ll'l\ !>aid most or his experience ha\ be~n with film, but he bas
bl-..•n shooting \'Ideo for fi,•e years. He
was 1>01' on the CBC series Dim
((.'01-rr (i/rl on the f ngllsh network)
lor three year\, using the HDW-700
camero~. • I he only thing new about
241' Is the motion blur o r the film
effe<t when we transfer the tapes.
The onl) problem that occurs ..;th
241' b the Oiderlng ellect in the
vtcwhndcr; It lool..s lile an old ,;deoaulsttd film .
•we didn't "orl woth a video engi·
nwr (on I moe~ ,., cumpu or Station
norJI for me It was useless because
we I..new we were gol ng to colourtime the show through a DaVind or
1>plrlt or something. We didn't need a
guy sayi ng. 'Look you're 1/8 of a stop
OVCrCXjXJ>ed.' What I~ an 1/8 Of a
slOt>? We Cllll wrrcct It by colour-timInK II. We were \hOOting two cameras
hand-held ;~lmo~t all the time. We
wuldn't .olw,oys have wires. The ACs
calll-d the opening, the T-stop. Once I
set mine, the othN camera set his and
IOmcllml'S hl' \\Ould tell me It was a
little bit darl. I \\Ould ~)'.'Open it up
and \\e'll colour-time lt.'"
On '"'"~ rt «lmpr~. •,.e shot with
a Canon 5.~·to-~~mm zoom lens on
the 241' cameras, "hlch is a relatively
small lens at about 30 to 35 pounds.
On the other cameras, we had a basic
Ill) lcm from <anon called an 18X.
"I \hoot Jt almost 600 ASA. I don't
have any grain In the Image. The
Image I\ llean. \ometim~ at night I
go 10 almmt 900 \\A - 900 or 800
~.\ h vet) quill and dear.
"l>.:pth of field -..111 always be a
problem In Ill), just because of the
~ILe of the chip. The CCO chip resembles a ~ui>fr 8 negauve; really small
for depth of field You have to work
long foul lcnsc>. When you do work
wlde-dfljCie len~c~. you have to help
your~l·lf with the lighting. You have
to crea te .m lighting In video, more
tlun In fi lm . In film you wou ld never
really cnrc about JD lighting. •
resco
BACKDRO
PS
Digitally Painted
Day/Night Backdrops
for Film & Video.
_ ON CAMERA
Peter Woeste esc
PRIMO CHALLENGE
P
TAKES
THE
eter Woeste esc, director of photography for the sci-fi series
Stt11gate SG I, was a bit tentative
when PanaviSion Canada as~l'<l him to
give their Primo Digital 100m lens
with Sony's 24P ClneAlta system a try.
But he decided to accept the challenge, and his initial hesitation gave
way to excitement.
"HD and 241' cameras have been in
development for a few years, and have
been mostly used for shooting news
programming.• the cinematographer
said. "Stargate has a very particular
look, so any variances In lighting and
picture quality would be picked up
right away, so we were a little hesitant.
But when l'anavislon offered to supply
us with gear to test their lemes and the
24P Sony camera, I was
By Micol
curious to see the
results.·
The opportunity to test the system
presented itself during the last show of
the fourth season. "The episode
'Entity' was perfect because It lncorporn ted new scenes with story segments
from previous shows," explained
Woeste. "This structure gave us an
opportuniry to compare, side by side,
Kenes shot with the new lenses and
Kenes shot on 16mm.•
Panavision teamed up with Sony in
1997 to help develop a camera system
for cinematographers to create filmquality images from a 24-frame
camera. They started with an IIDW1'900 as a model, designed prima rlly to
support ENG sryle hand-held shoots,
and developed a lens mount that
would support the new Primo Digital
lenses. The 1.9 lenses offered a much
greater depth of field and 2.5 times the
performance of their best cine lenses.
To achieve their optimum performance they require shooting at thei r
maxi mum aperture; \Omethlng that
Woe~te instinctively discovered.
ceo
"I chose to
shoot wide open to
achieve a narrower
depth of field," he
said. "I found that
the camera had a
narrower contrast
range. Thirty-five
milllmet re film i~ a
lot more forgiving (ost of Stargote SGI. Photo tourt"y of Showta NetwO<ks
if you 0\'ercxpose
or underexpose it. With 241> I couldn't slze of the camera, but It was partly
O\'erexpose more than 2 stops or It due to the faa that we were shooting
would become completely wh1tc. 1 on a fixed standing set that was conalso noticed that at 6 or 7 stops from structed and lit to accommodate
absolute b lack, the middle greys shooting in 16mm format. 'I he camera
looked a lot whiter than with 3Smm h fairly lightweight, but the lens
makes the camera very long. ;owe had
or 16mm film."
The art department for the series, trouble fitting into tight spaces.
We also lacked the proper rnoni~hot In Burnaby, B.C.,
had some additional tors, which made It Impossible to do
Marotti
concerns, Woeste ron- an)' handheld or steadlcam work.
tinued. •rven with the narrower depth PanaviSion did pro,•idc us with a mooof field, the art department was wor- itor that could convert the Image, but
tied about how the surfaces of the It was equipped for new~. 'Kl every
walls and other standing set piece' time I turned it on it would cast this
would appear. When we played it back strange light on set. We opted not to
In NTSC. however, we discovered tha t u~e It too often," he laughed.
Did the l'rimo Digital lenses and
there wasn't much difference from
241' pass the challenge?
Sony
film.•
" I was really impres\Cd and wouldAfter a few adjustments to compensate for these differences, Woeste n't hesitate to use it agam," enthused
noticed some other added features. Woeste. He added: " I don't think it
"You can really customize the cam- will surpass the use of .lSmm In the
era,• he explained. "It gives you the ncar future, but that is mainly because
abi lity to set multiple variations in the there is a lot more equipment and
gamma cu rve, and best of all it retains tools for shooti ng with fi lm. It> appllyour settings on a computer chip, cation is definitely with television prowhich can be removed and inserted in duct ions because of Its cost . It really is
other cameras. I would just insert the a lot cheaper than shooting film and
chip in another camera on another you don't give up all that much."
Woeste is currently shooting. in
standing set and not ha,·e to make
adjustments to achie"e continuity in 16mm,thc fifth season of St<~rgat~SGI.
lie has directed a few episodes, which
the look."
Woe;tc did encounter some chal- he hopes to continue.
lenges with the size of the camera, but
he cha lked It up to it being a test run. (Micol Ma rotti is a Toronto-based
"We had some limitations with the w rite r a nd publicis t.)
JAMES CHRESSANTHIS
.•..•..••.uLife with Judy Garland: Me and My Shadows" {ABC)
VITTORIO STORARO, ASC/AIC ..~~Frank Herbert's Dune" (Sci-Fi)
HASKELL WEXLE~ ASC .......................~~6, *" (Hso)
On your 53rd Annual
Emmy Awards nominations
for cinematography for
"Mini Series or Movie"
ClAIRMONT
CAMERA
FILM& DIGITAL
HOLLYWOOD
TORONTO
VANCOUVER
818-761-4440
416-467-1700
604-984-4563
www.clairmont.com
HOT DOC S!
Projecting the Creative World of Documentaries
Toronto's Hot Ooo (onodion International Documentary Festival, •North Ameri<o's largest doc fest,•
presented its eighth oMuol program lost Apn1 30-Moy 6 to the applause of capo<ity audien<es of the
Royal and Bloor cinemas. Over 70 compelling and provocative non·fidion films from (onodo and
abroad were screened. In addition, over 1,000 delegates from 25 countries oHended the extensive
industry program. CSC Associate Zoe Oirse, o noted documentary cinematographer and director, was
there, and she took time out from her busy, globe-Ironing schedule to put together this report - port
one of two. In fact, she delivered the copy and photos to the CSC News just scant hours before flying off
to Latvia on Aug. 8 to work on her latest documentary projed.
ho.> 2001 llot Docs Industry
program Included a strit~
of filmmaker discussions
focmlng on the creative
a~pt'Cts of OlmmaUng. On
tho.> agenda were a series or
produeel1' seminars, a one-day session
called Cutting Truths on the "dlgltdl
revolution." a half-day session called
Klcl.start that was geared towards
emerging to mld<areer documentary
filmmakel1, and a day-long symposium entitled "lmag(m)ing Change."
'"th accomplished documentary filmmal.en such as Colin low (Crt}· of
&old, Un/1-rrv, In rlrt IA/J}nlll/r), Rob
Epstl'ln {PtlTO,'(faplr 175, nli' Cd/11/o/d
(;/QSd), Jill Freidberg (Tiris Is IV/wt
Ormocmcy LooA~ Likt) and Sorlous
Samura (Cry Fr(etown).
1 here was also a huge demand for
the two masters classes taught by
Albert Maysle~ (Gmy Gartlens) and the
10
• esc "'"'' , &r<<m~><r 2001
ueath c team of O.A. Pennebaker and
Chris lledegus (Startllp.com). The popular \ilero-\ieetlngs had broadcasten
host one-hour meetings with 15
delegates, and In the Rendezvous sessions I00 Olmmakers met with 20
International flnanders for I S·minute
from \ustralla, Canada, Denmarl.,
finland, I ranee, (,~rmany, Ireland,
Sweden, the UK and the USA were
pitched. Th(:se "ere selected from 119
submbslon~
Last )'Car, I had my project chosen
for the pitch WS\Ion . I, my producer
period~.
Harry Sutherland or l'rlsmallght West,
By far the most popular e\'ent in and Cnho.>rlne Ol>en or the CBC's
tht' lndu~try program was the 2nd Pt1SSiondlr £>"' for 'ewsworld had a
Ooc.ument~ry Forum, which is based
ner.-e-racl.mg IS minutes to ·sen·
on Amsterdam's prcstig1ous FORUM Ma.tdllt< l'rnl<klll, m)· upcoming docu·
for International co-financing of doru- mentary about the unlll.ely nse to
m~nt~ric.-s TaiJng place o•·er two days
power of a former Canadian and
at the former Ul.ralnlan
Unl•e"u> of \iontreal pro<~ntre on College St. In
fessor who became president
By Zoe Dirse
downtown roronto, It was
of l.atvia, a former Soviet
a roundtable pitch forum
Bloc republic which Is now
to a'~llt producers from around the an Independent nation. Ahhough I
world In raising co-financing from the did not walk away with any cash In
lnterrwtional market. IA•st year, some hand, there was considerable lntcrclt
C$1.5 million wa~ raised from 53 from th e Scandinavian countrl c~.
brondc.t)ICI\. 'I his year, 36 projects German y, Franc:c and Australia to
purchase the documentary once it was
finished. Having finally secured
Canadian funding, l am about to start
principal photography this fall and
hope to have an air date next year.
In addition to these events, there
was a Doc Shop that included an ondemand videotheque a nd a video
library of over 1,200 documentaries as
well as all the films submitted to Hot
Docs. During the festival, the Rogers
Industry Centre at the Revival Club on
College St. served as a hub for meetings, information and registralion. All
the afternoon cocktail parties that
were hosted by various broadcasters,
embassies and produclion houses were
held there. They proved to be great
venues to meet fellow filmmakers, producers and broadcasters in an informal
setting and to discuss the day's events
and to get the "reviews" on what films
to see.
Many busin ess ca rds were
exchanged at these gatherings, and I
met several cinematographers there
and at various industry sessions and
screen ings. Among those I encountered were Robin Bai n, lance Carlson,
Pa ul Cowen, Ali Kazimi, Deborah
Parks, Robert MacDonald, Richard
Stringer esc, john Walker esc and
Naomi Wise. They were there either to
introduce their own films Uohn
Walker's Tire Fairy f"a ith, Paul Cowen's
Give Me Your Soul), or to see fi lms they
had shot or participated in, meet
potential employers, pitch ideas for
their own projects, and get a sense of
the cu rre nt documentary climate.
• stfJ (XJI)8
12
FOR RENT: Arri 5358. body and 4x400ft.
mags; Aui 435ES. body and 4x400ft mags;
Arri 35-111. body and 4x400ft. mags; Arri IIC.
body and 400ft. mag and 200ft. mag. Call
Hen!'( Less at 416-678-5377
FOR SALE: Prime lenses for Arriflex. will fit
35mm Arri 2C or t6mm Arri S; Zetss 16mm
T2.3. $750: Schneider 50mm & 75mm. Cooke
Speed Panchro 32mm T2.3. $250 eadl; Kilar
telephoto F4. combination 400mm & 600mm
with 2X convener (800 & 1200mm). S750; var·
ious filters (12) 3x3. 4x4. $250; new large
16mm matte box $400. small matte box with
glass & gel filters and holders. $200; high·
speed 35mm Arri 2C motor $400; wooden
babylegs St00; call (604) 92t·8260
FOR SAL£: Arri Super16 SAil with built in
Cinematography Electronics speed control;
video assist (b&w built in); supe1 wide-angle
eyepiece: heated eyecup; long eyepiece; right·
hand grip; 3 magalines: Zeiss T2.0 t2·t20
LOOm; Zeiss T1 .3 9.5mm. 12mm. t6mm, 25mm
lenses; 5x6 matte box; 4 mattes; clip-on matte
box: eyebrow: follow focus II: lightweight fol·
low focus; 2 whips; speed crank; 2 block bat·
tlllies; 4 oo·board batteries: Sachtllll7t7 fluid
head: Sachller standatd legs; baby legs; hi·
hat: 10 cases; 30 assorted filters; documental'(
mane box; many extras. $49.000. Kevin Hall
(604) 250·804t [email protected]
FOR SALE: Aaton magnetic OX St6mm 400'
magazine: Optar Smm St6 hi-speed. Arri 8
mount; Arri lightweight follow fOCI!s unit. E·
mail: [email protected]
FOR SALE: 2·35mm Prime lenses; Aaton
mount. 85mm Contax (Zeiss) T1.4 and t35mm
Contax (Zeiss) T2. $600 eadl - mint condi·
tion. (604) 291 -t550
FOR SALE: Canon Xll. still under warranty,
metal case. extra J.hour new battel'(. filters
and all the toys; S6.000. If interested. contact
Walter: [email protected]
FOR SALE: Aaton LTR Super16 (immaculate).
3 magsJbatts .. Canon 11.5·135 lOOm. Sachler
tripod and portable wheels. bars. mane boxes
and lots or other exuas; US$15.000 or best
offer. Contact: [email protected] or
[email protected]
FOR SALE: Eclair NPR 16mm. Eclair and C·
mount. 2 x 400' mags, t2-120mm Angenieux
lens. Beauviala aystal sync motO<. battel'(.
case. Series 9 filters. change tent. lens hood.
assoned film stock. Overhauled by Cineasst.
fall 2000. hardly used since. S5.400 or best
offer. Contact: Rob 5t9-336·5745
[email protected]
Camera Classifieds is o FREE scrv1cc
to CSC member s If you hove items yov'd
to buy or sell. plrose fox yovr list to
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Film Dead? Him Revolt Versus Digital
Revolulion, the question was asked:
"Has the digital revolution improved
the quality of films and the lives of
their maker..?" 1 here were many cine·
matographcrs In au endance and a
heated dl~cusslon emued. I will out·
line ~omc the key points of this hotly
debated dlscus~lon in a future edition
or esc New.~.
The festival screened 70 non-fie·
lion fi lms from Canada and around
the world. They were screened in thiee
distinctive programs - the Canadian
Spectrum featured 28 documentaries
chosen from 350 entries; the
lntematlonal Showcase premiered 2i
documentaries from Australia, Bosnia,
Her1egovlnn, Brazil, France, Germany,
Iran, the UK and the USA; and this
year's Nati onal Spotlight focused on
Nordic documenta ries featuring pro·
d uct lons from Denmark, Finla nd,
• see page 14
Denny Clainnont on why he
ordered forty sets of Cookes:
"By the time we get them all, it will be 520 lenses,
far and away the biggest lens order r ve ever placed"
"E
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veryone·s f.....
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with the focus helical,"
says Denny Clairmont. "From
3 to 4 feet, ifs a substantial
turn of the barreL From 4 to 5
feet, a noticeably smaller turn
- and so on."
"Of course, it's one thing to suggest trying cams. It's another
thing to design and build a cam
system that works - and works
smoothly. llttL they did. it:'
·~one of those earty meetings,
I ran some test footage that we
''By 10 or 15 feet, your witness
marks can be too close for com-
fort. From time to time, people
have said: You know, Denny; it
would be a big help to have wider
spaces between the numbers and more even spacing."
"So in 1991, when Cooke told me
they were beginning work on a
new range of prime lenses and
asked for input, I went to the
factory to discuss what I bad
learned from working with cinematographers and with lenses of
all kinds. An opportune moment
to tell Cooke what our customers
had been telling us."
''Cooke wanted to
give cinematographers
what they ask for"
"Otto Nemenz also visited the
factory; and the Cooke designers
came to his place and mine.
They clearly wanted to make use
of what we had learned in Hollywood and elsewhere."
Denny Clairmont
"The best
lenses I have
ever seen"
''It was at the first of those
meetings that I wondered aloud
whether the focussing might
be done with a cam, to get wider
spacing and more even spacing.
For twenty years, I bad been
looking at the non-linear cams
(for changing focal length) inside
the zooms we serviced:'
had shot (with older lenses) on
Hollywood Boulevard at night brightlY lit store windows and
streetlamps, car headlights,
to emphasize what cameramen
didn't want: flare and ghosts.
We asked their optical designers
to concentrate on those."
')\nd that's what they did brillianUy. Looking at earty prototypes, I knew those lenses
were going to be extraordinary;•
says Mr Clairmont,''But they're
more than that- they're the best
lenses I've ever seen. They've
helped us get shows we wouldn't
have got without them, including
several that would have gone
to Panavision. rve l'eceived about
twenty-five sets so far. I can't
wait to get all forty:•
Cooke
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Greenland, Iceland, Norway and
Sweden. It was wonderful to sec long
llncuJ» at the Bloor and Royal cinemas
as word spread on the street as to what
to >CC. As :• consequence many ~crecn­
lng> were sold out.
On the last njght of the festival
after a closing night screening.
the awards were presented . Gerry
Rogers, a former NFB lllmma\.er and
breast cancer survivor, won the coveted Gold Award for best Canadian
Documentary with My Le{l Breast.
Gerry and her collaborator, Peggy
Norman, shot the bulkor the documentary with a mini-DV ca mera durIng Gerry's struggle with the Illness.
Nigel Markam, a talented cinematographer from Newfoundland, also contributed to this project, as well as to
lushly photographed 77r~ Fait)• Ftlitll
by John Walker esc.
The Silver Award went to veteran
filmmaker Shelley Saywell lor Out of
t/11• Fire, a touching portrait or a
holocaust survivor and partisan. ller
longtime cinematographer, Michael
Grippo, once again did lovely work.
The popular Sotttllem Comfort won
the gold for best lmernatlonal
Documentary as well as the Audience
Award. Directed by Kate Davies, It portrays the lives of a transgendcred couple living in the southern United
States. The silver in this category went
to Leo Reagan for 100% Wlrlte.
Vision Man by William l~>ng won
best documemary In the National
Spotlight l'rogram, and two documentaries earned best first film, Alone
With War by Daruele Arbid and Li>ing
Aflrrn'tlrcls by laurent Becuc-Renard.
l.arry Weinstein won best direction
for an Intriguing documentary entitled Ravel's Brain. Halifax filmmaker
Muthcw Welsh won best llumanltari an Award for Breakaway - A 1lrle of
1\.-c.r Surviw.rrs, a touching story of two
brain inlury survivor~ and their
attempt to lead normal lives again.
TI1e Special Achievement Award went
to Don Hajg. who has mentored man)'
young documentary filmmakers durIng their careers .
Unfortunately, Hot Docs has discontinued its best cinematography
award .
\
INDUSTRYNEWS
CINEQUIP SOLD
TOWFW
Owner/President
Don Hall Retires
inequip Inc. o f Toronto has
been sold to William F.
White Ltd. and owner/pres·
ident Don Hall is reti ring this
month after nearly 35 years at
the helm. Vice-president john
Ferguson will continue as manager.
Hall started Clnequ ip as a
division of Robert Lawrence
Produclions in 1967. The new company provided, as an inaugural project, all of the ca mera, grip and
lighting equipment for the Disney
feature Ki11g of tile Grizzlies in
Calgary, on which Hall was production manager. In L977, Hall bought
Cinequip when Robert Lawrence sold
off its assets.
"I've done a little of everyth ing,"
Hall told the esC News in 1997 when
he was presented with the Bill Hilson
Award by the esc for outstanding service contributing to the development
of the motion picture industry. In the
early '50s, "l actually was a carpenter
by trade," working under his father at
Maple Leaf Gardens and helping to
build stage s hows at the Roya l
Alexandra Theatre and the CNE grandstand.
During time off, Hall worked on
film shoots like the Stratford production of Oedipus Rex at the old
Lakeshore Studio a nd Tile Last of tlw
C
Mollica11s, "originally as a carpenter
and then as a grip during the shoot."
When Robert Lawrence Productions
cam e to Toronto in 1954, Hall got a
job building sets, then worked his way
up from grip to production manager,
vice-presiden t and eventually executive producer in charge of all production .
"They were a big company at that
time, with a staff of between 50 and 75
i>eople," Hall recalled, "and many
times we'd shoot five and six commercial productions a day." in 1965-66, he
was production manager for the ninecamera, 360-degree Walt Disn ey
Ci rclevision that screened at the
Telephone Pavilion at Expo '67 in
Montreal. Fritz Spiess esc, the first
winner of the Bill Hi lson Award,
was director of photography.
When h e started Cinequlp,
"the only other rental company at
the time was janet Good's
Ca nadian
Motion
Picture
Equipment Rentals. Initially, I
used to quote jobs with Bill White
Sr. - Bill and I worked on crew
together on Tire Last o( tire
Mollica11s - and then h e started
his lighting company (William F.
White Ltd .). We did the first and
only Todd-AO anamorphic picture
in Canada, Wiry Sl10ot tire Teaclrer?
(1976), which Marc Cha mpion esc
shot."
Cinequip, classroom for the earliest
Ca mera Assistants Courses, got
out or film cameras in the '80s and
into a wide range of specialty equipment sales and rentals.
The CSC wishes Don and his wife
all the best for a long and happy retirement.
esc
WATIER HEADS NATIONAL SALES
For William F. WJ1ite Limited
Bill White, president of William F.
Wh ite Ltd., has announced the
appointment o f Penny Watier as
0 Siept1,Jel6
esc News' Stp«mf,.'T 2001
•
I5
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national
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manager
(or
the
company (see CSC Nnvs, MarchiO 1).
William F. Whitt' is Canada's largest
\upplier of camera, lighting, grip and
related production equipment for
movies and television as well a> live
thca1rc and events.
Waller has worked in the £11m busl·
ness since 1987. Her responslbllitiC> at
WFW Include managing a national
salt's force of 30 people In Toronto,
Winnipeg.
Calgary,
Vancouver,
Ottawa, Montreal, Qu~ City and
Halifax. TI1e company also has afflli·
ates In London, Budapest and
Wilmington, N.C.
"IJulldlng c lose relationship>,
which eMablish trust and make clients
feel Immediately at home with her
Innate Integrity, is one very lmporlant
reason we hired Penny, • B111 White
sa1d. "The other is the fact that Penny
Is the best sales person in the business,
bar none. Penny's expertise as well as
her strong Identity in the community
make her an excellent fit with the
team <II White's, and with The
Comweb Group."
Waller h fluent in English and
french, and her career has taken her
around the world, including a three·
)'Car stint teaching in Africa Born in
Quebec and educated at McGill
University. Watier has al10 held cxccu·
tlve \ales positions with Strand
Ughtlng, Arrl Nagra, and mmt recent·
ly, Arri Canada, where she was director
of sales and marketing for <lx year>.
lEE fiLTERS CANADA
Is Teclm ically Yours Inc.
has
Dcval
Ton)'
!'resident
announced that Technically Your< Inc.
of Toronto, the comp;~ny behind Lee
Filter> Canada, is resuming a more
prominent public image as It expands
Its ~ope of business Interests. I'YI,
formt'<.l in 1987, became the Canadian
dlmlbutor in 1995 for lee Hlters, a
British manufacturer of lighting and
camera filters for the motion picture,
television, 1heatrlcal and professional
photographic industries. Since then,
the company became widely known as
Lee Filters Canada, although 'I VI in
1996 also became the Ontario representative of Vancouver-based Miller
Tripods Canada and recently the
representative of.p rightline, a television and video fluorescent lixture
manufacturer based in Pittsburgh.
Devai told CSC News that the
TYI brand will be phased In gradually. Company logos and advertisements will continue to feature Lee
filters.
RODLI TO LEAD KODAK El
foerg Agin Retires
Joerg 1). Agin has retired as
sen ior vice-president of Kodak and
president of the company's
Entertainment Imaging d ivision,
based in Los Angeles, effective
Sept. I. Eric G. Rodli replaces Agin as
president of El, stepping up from his
role as chief operating officer and
vice-president or the division.
"Joerg Agin was among the first
to recognize the need for a convergence of film, digital and hybrid
motion imaging technologies in the
entertainment industries, and he
provided the leadership needed to
turn that vision into reality," said
Marty Coyne, president of Kodak
Commercial Group.
Eric Rodli jo ined Kodak in
January, 2000. Before that, he was
president of Bexel, the largest broadcast video and audio equipment
rental services company in the
United States.
1994. He rejoined ShowBiz Expo in
july, and he heads the new Los
Angeles-based office.
The ShowBiz Expo 2002 conference will feature three distinct
tracks - the production conference,
the corporate and digital media conference and the theatre conference.
E<>ch track will have its own keynote
address. New exhibit areas on the
boards for 2002 include pavilions
for production design, graphics and
specia I effects, stage and specia I
venue and post-production; an outdoor exhibit area for large equipment display, and two new product
demo stages on the main exhibit
floor. For information on exhibiting
or attending, call (323)-653-8053.
cars with in-car camera
International Amateur
Athlet ic
Federation
(IAAF) World Athletics
_ _ _....,.......,._.__ _ _ ___.....__ _ _ _ _ _ Championships held in
SPACE CREW VISITS WESCAM
Sfl uttle Team Tour
ShowBiz Expo co-founder Bob Toucf1es Down
tion trade show and conference in
the world, takes place next june 1-3
a t the Los Angeles Convention
Center.
Lasiewicz and his wife, Nalini,
founded Showlliz Expo in 1983,
vuilding it to 500 exhibitors, 23,000
attendees, and 225 participating
trade groups in L.A., along with
branches in New York and Munich.
He sold the show to Advanstar in
In other Wcscant news:
Wescam has been awarded a
three-year S 17-miiiion contract by
NBC Facilities Inc. to provide digital
wireless video coverage at NASCAR
events. Wescam wi ll provide its new
proprietary mobile digital wireless
technology and in-car cameras to
capture and transmit video images
in real-time for Winston Cup and
Busch Grand National races for the
second half of the racing season for
the next three years. Wescam's
Broadcast Sports group will supply
NBC with turnkey
mobile digital wireless
capture and transmission
services
for
between eight to 16
cars per race. Even-tually, digital wireless technology will provide the
capability to equip ail
systems.
Wescam provided
the CBC, the host
broadcaster, with aerial
coverage of the 8th
lASIEWICZ BACK AT
SHOWBIZ EXPO
Co-founder Is New Director
of Trade Sl10w
lasiewicz has joined PBI Media as
director of the ShowBiz Expo
Group. ShowBiz Expo 2002, billed
as the most comprehensive produc-
Lonchako, spoke to 350 Wescam
employees, sharing breathtaking
images and personal observations
fro m their April, 2001, m ission
aboard the STS-100 Endeavour.
Canadia n
astronaut
Chris
Hadfield and the six other
crcwmembers of the space shuttle
Endeavour touched down in
Burlington, Ont., on July 4 to personally thank Wescam employees
for the video and transmission technology that has changed the way
NASA views shuttle missions.
Hadfield and NASA astronauts
Kent Rominger, jeffrey Ashby, John
Phillips and Scott Parazynski, with
astronaut Umbcrto Guidoni from
the European Space Agency and
test-cosmonaut Yuri Valentinovkh
Edmonton Aug. 3-12. With its
Emmy award-winning operators
working with Highland helicopters,
Wescam captured aerial imagery for
the IAAF men's and women's
marathons, as well as the opening
and closing ceremonies. Wescam
also provided its new Wescam XR
system to CO\•er the marathons from
the lead vehicle. The Wescam XR
was initially operated at the rowing
competitions at the 2000 Sydney
Olympics. This is the first time it
was mounted on a ground vehicle
for a marathon in Canada. The
exceptional stabilization of this new
system enabled a Fuji 87: I lens, one
of the largest zoom lenses ever operated by Wescam, to be used in capturing track and field events.
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CSC PRESENTS WORKSHOPS
Came ra/ lighting Courses Draw Full Houses
Tony Devol of L" flhtrs Conodo speolts to the CSC lo•k Ughliog Worksflot>.
T
ony Devai, pre)ident of Lee
Filters Cnnadn (Tech nically
Yours Inc.), wa> a guest
speaker at the CSC Basic Lighting
Workshop held at I'S Production
Services In Toronto june 9· 10.
Coordinator Lance Carlson guided
the opening-day lighting program
and OOP George Willis esc put on
his usual entertaining and lnstruc·
tiona! show of Lighting magic on
the Sunday. justin Collins of I'S provided a tour of I'S facilities.
The previous weekend, June Z·J,
jack Mosor of the PS camera depart·
ment helped Carlson explain the
inner working of the film camera,
while on Sunday Lem Rlstwo
imtructed on camera operation and
Brad Hruboska demonstrated the
Steadicam. Carbon saod the work·
shops were well attended, with a
full complement of 15 participants
plus seven or eight PS employees.
Britain, " Instilled new passion in
filmmaking in a new generation of
movie makers," said teacher Angela
Benedict, when he facilitated a twoday workshOI> for a Grade 7 class at
Northshore public school in Keene,
Ont.
"With characteristic charm,•
wrote Ms. Benedict, "John revealed
the secrets of movie magic to the
enthralled kids as together they dis·
cussed light - how it travels, is
measured, and how it can change
the entire mood of a scene. John
encouraged the students to examine his homemade lights and
expensive professional equipment .
Students learned how John has
worked his way through the ranks
in the camera department, and he
explained how the entertainment
industry Is one of apprenticeship,
learni ng from o thers, working
together with many other people,
where your good name and getting
referrals from others Is really lmpor·
tant.
"Using segments of mm, j ohn
taught the students the importance
of camera direction and about axis
lines. Through his help in blocking
scenes, the students did some
hands-on work and learned about
different angles and setups, how to
shoot an establishing ) hOt, then
move in for coverage.
...It wasn't until weeks later,
when the students were actually
filming their own 20-mlnute vldt'O,
that they realized how much John
had taught them. Than ks to John
for sha<ing his time and expertise
with our class. •
fiLM GOES TO SCHOOL
John Lindsay Talks to Grade Seven
Clan
Associate j o hn l.lnclsny, who
lives north of Toronto In Little
John Und•oy tofks 111-aklng too Grode 7 don ot North•hore pvbfi< "hoolin Keene, Ont.
BRITISH COLUMBIA. PRAIRIES
AD 2030 (series); Op: Doug Munro esc; 2nd: Daniel Quesnel;
to Oct 5. Winnipeg.
ANDROMEDA (series); B-Op & 2nd-unit DOP: James Wallace;
to Dec. 21. Burnaby.
BABY GENIUSES 2 (feature); Op/SC: Junichi Hosoi; 2nd-unit DOP:
Robert New esc; Sept. 10. Vancouver.
Cow SauAo (series); DOP: Stephen Reizes esc; to Nov. 5, Burnaby.
DARK ANGEL (series): DDP: David Geddes esc; B-Op:
Jill MacLauchlan; to April 20. North Vancouver.
DA ViNCi's INOUEST (series); DOP: David Frazee esc;
to Oct. 26. Burnaby.
DoN'T EAT THE NEIGHBORS (series); Op: Glen Dickson; 2nd: Lockwood
Moore; Oct. 7, Burnaby (HDTV).
I SPY (feature); 2nd-unit OOP: Jan Kiesser esc asc; Sept 1
0-Feb. 2. Vancouver.
JEREMIAH (series); DOP: Henry Chan esc; Sept 4-April 22, Burnaby.
J1NNAH ON CRIME: PIZZA 911 (MOW): DOP: Henry Chan esc;
wrapped Aug. 18. Vancouver.
MENTORS (series); DOP: John Spooner esc; Op: Wes Doyle; 1st: Chris
Hassen; 2nd: Katherine Deugau; to Oct. 3. Edmonton.
MYSTERIOUS WAYS (series); Op: Kevin Hall; to Dec. 16.
North Vancouver.
PASADENA (series); DOP: Stephen McNutt esc; to Dec. 6. Vancouver.
SMALLVILLE (series); DOP: Atlila Szalay esc; Dp: Brad Creasser:
to Dec. 18. Burnaby.
STARGATE (series); OOP: Peter Woeste esc; to Nov. 1. Burnaby.
TAKEN (series); DOP: Joel Ransom esc; B-Op: Ryan McMaster esc;
Sept 6-May 31. North Vancouver.
TWICE UPON A CHRISTMAS (MOW); DOP Ron Orieux esc;
wrapped Aug. 16. Vancouver.
UNDERCOVER (series); DOP: Tony Westman esc; Dec. 10. Vancouver.
LEAP YEARS (series); DDP: David Perrault: to Nov. 13, Toronto.
MUTANT X (series); DOP: Nikos Evdemon
esc; to Feb. 25. Toronto.
DOP: John Holosko esc; Op/SC: Rick Kearney;
1st: Gottfried Pflugbeil; wrapped Aug. 13. Toronto.
OuR HERO (series): DOP: Luc Montpellier esc; to Sept. 21. Toronto.
OuEER As FoLK(series); DOP: Thorn Best esc; to Feb. 25.
THE RELIC HUNTER {series); DOP: Alwyn Kumst esc; Op: Colin Hoult
esc: 1st: Paula Tymchuk; to Nov. 6. Toronto.
SCREECH Dwts (series); DOP: Russ Goozee esc; Op: J.P. Locherer esc:
to Oct. 12. Toronto.
SOME KINDA WONDERFUL (series); DOP: Branimir Ruzic; Sept. 17-0ct
12. Oakville (HDTV).
SouL Fooo (series); DOP: Mike McMurray esc; Op/SC: lain Baird;
2nd: Demetri Portelli: to Sept. 20. Toronto.
TAG (MOW): DOP/Op: Michael Storey esc: to Sept. 8. Toronto.
TRACKER (series): DDP: Milan Podsedly esc; Op: Mark Willis;
1st: Peter Banistone: to Dec. 24. Toronto.
TRU CONFESSIONS (MQW); 1st: Joe Dasilva; to Sept 13. Toronto.
THE NEW GIRL (pilot);
QUEBEC. ATLANTIC
BLACKFlY (series); DDP: Brian Gedge; wrapped Aug. 31. Halifax.
LE BuNKER. DOP: Louis de Ernsted esc; wrapped Aug. 17, Verdun.
Que.
LE CHANT D'AMARYWS. DOP: Larry Lynn esc; to Sept 14, Montreal.
THE FAVOURITE GAME. DOP: Serge Ladouceur esc; wrapped Aug. 19.
Montreal. (Ladouceur previously worked with director Bernar H~ber
on LA NUIT OU DELUGE {NIGHT OF THE FLOOD}, for which he won the
CSC Best Theatrical Feature Cinematography Award in 1997.)
JEAN OuCEPPE. DOP: Daniel Jobin esc; to Nov. 9. Montreal.
LARGO WINCH If. DOP: Bernard Couture esc; wrapped Aug. 8, Dorval.
Due.
THE LAST CHAPTER (Le Dernier Chapitre); DDP: Marc Charlebois esc:
to Nov. 30, Montreal.
LExx: THE DARK ZoNE (series); OOP/Op: Les Krizsan esc; 1st: Gareth
ONTARIO
Roberts; to Nov. 2. Halifax.
AcE LiGHTNING (series); 1st: Lori Longstaff: to Nov. 23. Toronto.
MADEMOISELLE CHARLOTTf. 00P: Steve Danyluk esc; wrapped Aug.
THE ASSOCIATES (series); DOP: Phil Earnshaw esc; Op/SC: Michael
10. Montreal.
Fylyshtan; to Oct. 30. Toronto.
BLUE MuRDER (series); DOP: James Jeffrey esc; Op: Glenn Warner;
M uSIC-HALt.; OOP: Yves B~langer esc; wrapped Aug. 31. Montreal.
THE RENDERING; DOP: Francois Dagenais esc; to Sept. 7, Montreal.
to Nov. 15. Mississauga.
CADET Krur (MOW); Op: Perry Hoffman: B-1 st: Steven Tsushima;
TRUDEAU (mini-series); DOP: Norayr Kasper esc; Sept. 10-Nov. 6.
Dartmouth. N.S.
wrapped Aug. 31, Toronto.
UNIVERSITY. DOP: Pierre Jodoin esc: to Oct. 24. Lachine. Que.
Doc (series); DOP: Barry Bergthorson esc; 2nd-unit DOP: Graeme
VAMPIRE HIGif. OOP: Daniel Jobin esc; wrapped July 9.
Mears esc; to Oct. 23. Toronto (HDTV).
EARTH: FINAl. CoNFliCT(series); OOP: Thornas Duman: Op: Anton van St-Hubert, Que.
Rooyen; B-Op: Cudah Andarawewa; to Dec. 21. Toronto (HDTV).
Schedule of Meetings and Events of Interest to CSC Members
At press time. no CSC meeting had been scheduled for watch your e-mail for notices. If you have not been
September. Late information will be inserted as a flyer in receiving regular e-mail notices of meetings. please send
this issue, or check the CSC Website at WW'N.Csc.ca and your e-mail address to [email protected]
20 • esc N""", S<Pr<mM zoo1