Canadian Society of Cinematographers
$4 Februar y 2012 www.csc.ca
On the set of
Really Me with
Mitchell Ness csc
Tony Edgar’s Dubai Commercials • Sony PMW Test
THE CANADIAN SOCIETY
O F C I N E M AT O G R A P H E R S
THE
TH
ANNUAL
C S C AWA R D S
GALA
MARCH 31 2012
Westin Harbour Castle, Downtown Toronto
Cocktail Reception 5:30 pm | Dinner and Awards 7:30 pm
For tickets Contact the CSC ofﬁce: 416-266-0591
or www.csc.ca
A publication of the Canadian Society of Cinematographers
The Canadian Society of Cinematographers
(CSC) was founded in 1957 by a group of
Toronto, Montreal and Ottawa cameramen.
Since then over 800 cinematographers
and persons in associated occupations
have joined the organization.
The purpose of the CSC is to promote
the art and craft of cinematography
in Canada and to provide tangible
recognition of the common bonds
that link film and video professionals,
from the aspiring student and camera
assistant to the news veteran and
senior director of photography.
We facilitate the dissemination and
exchange of technical information and
endeavor to advance the knowledge
and status of our members within the
industry. As an organization dedicated
to furthering technical assistance, we
maintain contact with non-partisan groups
in our industry but have no political or
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FEATURES – volume 3, No. 9 FEBRUARY 2012
On the Set of Really Me with Mitchell Ness csc
By Fanen Chiahemen
CORPORATE SPONSORS
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6
Field Test: Sony PMW-TD300 3D
11
By Doug Munro csc
Shooting Commercials: From Toronto to Dubai
By Tony Edgar
Columns & Departments
2 From the President
4 In the News
18 Tech Column
20 Lighting Workshop
21 Camera Classified
24 Productions Notes / Calendar
Cover: Lighting grid above the set of Really Me Photo Credit: Mitchell Ness
14
Canadian Cinematographer
February 2012 Vol. 3, No. 9
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Joan Hutton csc
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Fanen Chiahemen
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2 • Canadian Cinematographer - February 2012
T
here are two half truths circulating about cinematography and
cinematographers in the digital age that I would like to address in this
month’s column. First, that today’s producers dictate the medium and
the equipment used on a production because digitizing makes everything easier,
and a cinematographer’s input is not needed. It’s true that producers do carry
the fiduciary weight of making a final decision, but, and that’s a big but, most
producers, at least the ones I know, will always consult their cinematographer
before deciding. To do otherwise is simply courting disaster. After all, we work
in an industry that relies on creative collaboration. The cinematographer is
the keeper of the image and it is their responsibility to tell the visual story. So
why would any self-respecting producer not loop in their cinematographer to
help decide what is best for production? The collaboration with the cinematographer is just as intricate and necessary as it is with the director, the script
writer or the talent. Of course, there is always the situation where a producer
says, “Here is the equipment, this is the medium.”: Then, it’s up to the cinematographer to assess that all the tools are in place to produce what is expected. If
they are, it’s game on! Let’s shoot! If the tools are not there, this will most likely
be a troubled production that no amount of post is going to fix. It simply makes
sense for a producer to heed a cinematographer’s advice, so they can retool or
alter their expectations.
Secondly, there is the notion that in a world of digital innovation cheaper and
easy-to-use cameras are making the cinematographer obsolete. Yes, it is true
that digitization has made cinematography readily accessible to more and more
people. This is good! It’s wonderful that people can use cell phones to shoot
events. There are even entire film festivals devoted to cell phone videos. The
more citizen cinematographers out there, the better the appreciation for our
craft, creativity and expertise. It was Michael Goi ASC, the president of the
American Society of Cinematographers, who summed it up best when asked
about the “waning” need for cinematographers in modern movie making. Goi
aptly pointed out that anyone can pick up a guitar and strum a couple of bars,
but not everyone is Eric Clapton. The technological advances in the last 25 years
have been astounding, but, and again it’s a big but, the advances are just tools. It
is still up to the person behind the lens, using their expertise and knowledge, to
create the visual interpretation. I don’t think cinematography is going anywhere,
except into the future.
To all our readers of Canadian Cinematographer: good shooting!
Michael Condon, SOC
VP Digital Division
Andree Martin
VP Technical Services
CREATIVITY!
Your Mind, Our Tools!
Let us help you pick the right tools for your job. Film or
digital, we’re here for you. You can choose from a vast
variety of 35mm and 16mm film cameras. These are
coupled with the industry’s widest selection of lenses and
accessories to give cinematographers the ability to
maximize their creativity. We have a wide selection of
anamorphic lenses both fixed focal lengths and zoom
lenses, including the new Vantage Hawk V-lites in
both 2x and 1.3x squeeze. Much attention has been
focused on 3-perforation and now 2-perf cameras. Our
Moviecam SL MK2 (tri-perf) is one stellar example, and
we’ve recently introduced our 2-perf Arricams, 35 BL4,
35 BL3, Arri 435 and Arri 3 cameras. Our digital inventory
includes Arri Alexa and Alexa Studio, Canon EOS
C300, 1D Mark IV & EOS 7D; all with PL mounts, Iconix,
Panasonic, Red Epic and Red One MX, Sony F65, F35
and F3 cameras and the amazing high speed Weisscam
HS2 and PS-cam X35. All supported with the latest in
monitoring and DIT control equipment in addition to both
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goal is to provide outstanding service 24/7. The choices
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Hollywood
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T
he Shaw Rocket Prize, now in its seventh year, awarded
the comedic tween TV show Wingin’ It -- which Kim
Derko csc and Mitchell Ness csc have both lensed -- with
a $50,000 prize for being the best Canadian programme for kids
aged six to 12. Awarded by the Shaw Rocket Fund, it is one of the
largest prizes of its kind in Canada. The winner was chosen by a
national kids jury from a shortlist provided by an international
jury of industry experts.
Courtesy of William F. White.
William F. White International Inc.
Announces Appointment of Garin
Josey to General Manager, WFW
Vancouver
Garin Josey
Paul Bronfman, Chairman and CEO of William F. White International, recently announced the appointment of Garin Josey to
the position of General Manager, WFW Vancouver. A member
of the WFW team for over a decade, Josey learned the business
from the bottom up. He joined WFW Vancouver in 2000, starting on the warehouse rentals floor and quickly moved on to their
Commercial/Package Truck Department. He was subsequently
promoted to Department Manager in 2003 where he remained
for five years. In 2008, Josey joined the WFW Long Format sales
team and since then has held the positions of Director, Marketing and Sales and Assistant General Manager of WFW Vancouver. He will continue to report to Paul Roscorla, WFW Executive
VP/COO. Throughout his career, Josey has played leading roles
in a number of entertainment industry associations. He is currently Chair of the Commercial Association of Western Canada
(CPAWC), a position he’s held for the past four years, and also
sits on the Board of Directors for the Motion Picture Production
Industry Association (MPPIA).
4 • Canadian Cinematographer - February 2012
ARRI CSC brings Digital Media
Specialist on board
ARRI CSC, the largest full-service equipment rental group in
the United States, announced the addition of Chris MacKarell.
In his role as Digital Workflow Supervisor, MacKarell will be responsible for the creation and support of effective On-Set Digital
Workflow products and services for the ARRI CSC digital imaging departments in New Jersey and Florida, and Illumination
Dynamics, in Charlotte, North Carolina.
Kodak Adds New Daylight Stock
to VISION3 Film Family
Kodak has added a new daylight stock
to its VISION3 Film family. The
KODAK VISION3 50D Colour
Negative Film 5203/7203 integrates the company’s advanced
VISION3 Film imaging technology into a fine-grained,
daylight-balanced film, giving
filmmakers more options and
flexibility for shooting on location. KODAK VISION3 50D
Colour Negative Film 5203/7203 is
a low-speed film optimized for capturing images in natural or simulated daylight
conditions. The new stock incorporates VISION3 Film technology advancements, like Dye Layering Technology and sub-micron
imaging sensors. These technologies deliver extended highlight
latitude -- as much as two stops of additional overexposure -- as
well as better signal-to-noise performance, especially in over- and
under-exposure. It also offers improved colour consistency over
the entire exposure range. These features provide cinematographers with the ability to shoot challenging high-contrast exteriors
and follow the action into bright highlight scenes without loss of
image discrimination. VISION3 stocks have also demonstrated
clear benefits to the postproduction process. The ability to render
finer grain images in underexposed areas produces cleaner film-todigital transfers. The emulsions also process light more efficiently
and record greater detail in the highlights. Cinematographers and
their colourists can then extract more image information during
digital postproduction without introducing artifacts. Additionally,
the new VISION3 50D possesses all the necessary qualities that
allows a colour negative film to perform well in film recorders,
including extremely fine grain, high resolution, excellent latent image keeping and reciprocity characteristics, as well as a low level of
unwarranted crosstalk between the colour channels.
Blackmagic Design Announces
Acquisition of Teranex Systems
Blackmagic Design announced its acquisition of Teranex Systems
Inc., a manufacturer of high performance video processing products for the postproduction and broadcast industries. Teranex,
headquartered in Orlando, Florida, is now a wholly owned subsidiary of Blackmagic Design.
Courtesy of Kodak.
In The News
Member News
O
n Sunday, December 11, we inaugurated the first Montreal pub night
at the Irish Embassy Pub and Grill on Bishop Street. For the first
time, CSC members gathered in this cozy downtown setting. The
atmosphere was relaxed and friendly, and everyone shared their experiences,
discussed business, family and guess what? Film. This meet-up is set to become a recurring event on the Montreal calendar as more participants and
CSC members join us to share, connect and network. The next Pub Night
will take place at The Irish Embassy on February 12.
Photo Credit: Anne Kmetyko
“It was an amazing feeling to meet fellow workers and
passionate film people in the CSC pub night, Montreal. It’s
rare in our business to have DOPs meet each other to just
sit down and share their experience face to face.”
– Johnny Abi Fares csc
Left to right: Thérèse Desrosiers, Richard Burman, Sotiane Belaid, Johnny Abi Fares csc, Michel
Golitzinsky, Bruno Philip csc, Bert Tougas csc, Jacques Bernier, Victor Ghizaru, Doug Kropla.
“It’s wonderful to share a slice of life with our peers in a
convivial, casual setting where we can get to know each
other and build our community.” – Bruno Philip csc
Canadian Cinematographer - February 2012 •
5
On the Set of
Really Me with
Photo Credit: Mitchell Ness
Mitchell Ness csc
By Fanen Chiahemen
T
he tween sitcom may be a relative newcomer on the television industry scene, but it is no less complex to shoot and
light than the more classic sitcoms, according to Mitchell
Ness csc, director of photography on season two of Family’s hit
comedy Really Me. From Cheers to Seinfeld, sitcoms are predominantly shot on a three-walled set, the cinematographer says. “It’s
like photographing a play on a stage. You never turn around and
get the fourth wall. So you’ve got your proscenium line, which
would be the front of the stage, and that’s where the cameras tend
to stay. The only time you’d turn around is if say the family comes
in and sits on the couch and they’re watching something on TV,
and you shoot over the TV, well, you’d need an insert on the TV.
6 • Canadian Cinematographer - February 2012
It really pulls you out of the sitcom the minute you turn around
and see that fourth wall.”
Really Me follows a 15-year-old girl named Maddy (Sydney Imbeau) who wins a contest to be the star of her own reality television show with her best friend Julia (Kiana Madeira). Misadventure and hilarity naturally ensue as Maddy discovers that being
a reality star isn’t all it’s cracked up to be, with her every blunder
broadcast nationwide. The sitcom’s show-within-a-show conceit
calls for an actor playing a cameraman filming the girls in most
scenes. Those scenes are shot on four cameras while the cameraman character, named DJ, holds a prop camera. The scenes
“So when you’re blocking a scene you have to
really think about where you’re going to place
DJ in the scene, because you have to be able The show’s reality TV storyline calls for an actor playing a cameraman, far left, filming the girls
to shoot that after we’ve shot with the four with a prop camera. Previous page: The stars of Really Me, Sydney Imbeau (right) and Kiana
cameras and we’re going to bring in the hand- Madeira.
held camera. And you’ve got to make sure that
you’re not going to see off set because it’s a fairly wide lens on that “If you over-light it from the front of the set, basically from over
handheld camera,” he continues. “So the directors, when they’re top of the cameras, you’ll flatten it out really quickly,” Ness exblocking I’ll say to them, ‘It might be better if we put DJ on the plains. “So I use 4K tubs and 2K Zips as my three-quarter key
right instead of the left because then Sydney can look into the lights, so those are coming on from the right and left of the set,
camera and it’s a better shot of Sydney, and if we’re on the left and I’ll have a series of them hung, so if people are further upwe’re more than likely going to shoot off set.’”
stage, then I’ll have a couple of Zip lights for them, and if people
are further downstage there’ll be a couple of Zip lights for them.
On a three-walled sitcom such as Really Me almost all the light- And if they’re right downstage, then the 4K tubs will start to
ing comes from a grid installed above the set, and the lights work. So that gives them a little bit of modelling. You can easily
on the grid are wired back to a lighting board to control their have too many lights turned on, and a lot of times if you just
output. Lighting this way comes with pitfalls that a cinema- start turning lights off, it suddenly looks a lot better. It’s importographer needs to know how to avoid, Ness contends, namely tant that the softboxes coming from above are not overpowering
over-lighting, creating flat images, washing out skin tones, and the whole set. And once you start to pull them down, bring the
making time-consuming lighting changes. In short, it demands backlights down from 100% to 80%, now you’re getting some
making a show that is lit “look as natural as possible, keeping skin modelling on the cheek on the upstage side, and then the threetones nice and not have it look like it’s all being lit from the top,” quarter key lights upstage are starting to make a difference. The
Ness says. “Especially interiors, trying to make it look like there’s odd time I’ll fill in with a Kino in between two cameras at eye
light coming through the windows, like it’s a sunny day outside, height so you’re not getting big shadows on the eyes because so
making it not look washed out and giving it some texture, and much of it is coming from the ceiling.”
not flooding it full of light.”
Although he took lessons from other shows, he stopped short
To set the general ambience, Ness built 4x8 and 4x4 softboxes of following them to a T. “I’m not a big fan of the heavy, hot
with 2’-deep sides and mounted them on the grid. The bottom backlight; I like a bit of a backlight, but a bit of a softer texture
of the boxes were fitted with 216 diffusion, and for some sets to backlight, otherwise it looks too old-school sitcom. I always
he added 1/4 CTS (colour temperature straws) for warmth. soften my backlights up, and a lot of times will bring them down
Within the 4x8 softboxes he would place three blondes (2K a bit on the board. Backlights do help by giving a bit of kick on
open face light), and in the 4x4 softboxes he would place ei- the hair, on the shoulders and a little bit of a side kick on the
ther a blonde or a redhead. All the front key lights came from cheeks and faces, but I’m not a big fan when it’s more of a harsh
a three-quarter front direction, a technique Ness learned from backlight,” he says, adding that he also works with the producstudying older sitcoms, as well as more contemporary ones tion designer to get darker or contrasting colours on the set walls
like The Big Bang Theory, How I Met Your Mother, and Two to help increase the depth and contrast of each set.
and a Half Men. In addition, his backlights would include 1K
Fresnel, 2K Fresnel and the odd 2K Zip. He also placed Leko Really Me, like most teen comedies, calls for a brighter look to
Source 4 lights with break-up patterns in them throughout reflect the mood and tone of the show, but uncontrolled brightthe set to dress side and back walls, giving some texture to ness can be punishing on skin tones. “You always want to protect
the sets.
your skin tones on the actors. That’s most important,” Ness says.
Canadian Cinematographer - February 2012 •
Photo Credit: Mitchell Ness
are then re-shot with a fifth camera from DJ’s
point of view. Ness elaborates, “He’s in a scene
shooting away, and the girls are turning and
looking into his lens, so we shoot that with
four cameras, then we pull the four cameras
out and bring the fifth one in, and one of our
ped camera operators would operate that and
just go handheld and run the scene in its entirety again through the eyes of the DJ cam.
DJ would stand behind our camera and he
would be giving his lines, and the girls would
be looking into the lens, and every so often
his hand might have to come into shot to pick
something up or whatever the action was in
the scene.
7
Photo Credit: Mitchell Ness
“We’ve got a 15-year-old girl and an 18-year-old girl who are best
friends, who are leads in the show, one has very olive skin and the
other’s blonde and fair, and the two of them are beside each other.
So you’ve got to be very careful because if you’re pumping in too
much light then our lead actress’ skin tone is going to blow out.
Her best friend might look okay, but you’ve got to protect your
lead actress.” It’s even more important to heed this dictum in the
age of HDTV, which picks up everything, Ness says. “After we
finish shooting and it finally airs, the picture goes through a lot
of compression before it arrives at your digital TV at home. So
it gets put through the ringer by the time it arrives at your TV,
so if things are a little too bright or a little too blown out, they’ll
look even worse by the time it reaches your TV. So again, softening stuff, not over-lighting, being really consistent with your skin
tones” is the way to go, according to Ness.
When it comes to switching between day and night scenes, preset lights programmed into the lighting board help to save time.
“We can literally hit a button on a board and everything goes
to night. And then depending on where the actors are, we may
have to do some tweaks on some of our lights, especially our
key lights,” Ness says. “In some cases we might have to gel some
8 • Canadian Cinematographer - February 2012
lights a moonlight blue outside surrounding the set because we
don’t have doubles of some lights on the outside of the set. Also
when you’re looking out the windows it’s going to be more of a
blue moonlight feel, and also the intensity in the house will pull
way down. So to bring down the intensity, we almost shut off the
softboxes from above and bring down our front key lights, just
to make it feel more natural, and then we’ll also turn some extra
practical lights on, which you would normally do if it was night
and you’re in your house.”
According to Ness, the lights in the grid are seldom burning at
100%. “All the lights are numbered, so I walk around with the
gaffer and say, ‘Those backlights in the living room, take them
down to 80%.’ A lot of times we’ll have the lights burning at
only 70%. Being tungsten lights they actually warm up a little
bit when you bring them down on the dimmer, that helps with
the skin tone too. You don’t want to go too orangey, but it helps
warm the skin tone up just a little bit. So it’s not shocking white
light, it’s a little bit of a warmer feel on a skin tone.”
The Really Me studio comprises multiple sets, which necessitates
thinking ahead in order to light efficiently from room to room,
Ness says. “I will have three-quarter key lights anticipating people
at the couch, and then people by the front door, people coming
down the stairs, and then if you move over to the dining room
area, again it’ll be people right downstage very close to the front
of the set. I’ve got two key lights there for them, and then 10 feet
into the set I’ll put two other key lights on three-quarter,” he
explains. “I won’t be using all of them all the time, but I’m ready.
Photo Credit: Mitchell Ness
Shooting on a three-walled set, according to Ness, is “like photographing a play on a stage. You never turn around and get the fourth wall.”
Below: Shooting a night scene on Really Me.
“When you’re shooting 18 to 20 pages a day, there’s not a lot of
time for tweaking on the lights. You’ve got to have some preset
looks,” Ness continues. In fact, the first stage of lighting Really
Me involved a two-week long installation of the grid. “Before we
could even begin hanging lights and putting cables up, we had
to put in our own grid. We had to figure out how to position the
grid so we have maximum use and we’re not going to run out of
grid. Above every standing set we had to lower our grid down to
the proper height to cover all the way around all the five major
sets. It’s a lot of labour, but you don’t want to get caught. You
can’t take 15 minutes on lighting setups. You just don’t have the
time. So you’ve got to hang as many lights as possible to anticipate actors being in all little different pockets of the set.”
Cost savings being a priority in television, the Sony F900R -which has a two-thirds inch chip and has been the “workhorse
of movies of the week and dramas” before the arrival of the RED
and the ALEXA -- has been the camera of choice for Really Me,
Ness says. Similarly, the use of pedestal cameras has proven to
be cost-effective. “Traditionally you’d have a dolly grip, operator,
focus puller and second camera assistant for every camera that
you have on set,” Ness says. “But on a tween show like Really Me,
there’s just not the money. The guys on the peds do everything
themselves. They move the peds in shot, they arm the peds up
and down, they zoom, and they do all their own focus. You could
try to squeeze more dollies in there and operators and focus pullers, but financially it’s just not feasible. And these guys are fantastic. They’ll do walk and talks down the school hallways, they’ll do
all kinds of stuff on the ped almost to the degree that you could
do if you had a dolly.”
Ness works almost exclusively with Sim Video, and the rental
company has come up with a way that enables him to convert the
Sony 900s so they record a raw image. “They got into the electronics on them and converted them so they’re able to run a raw
format when they’re recording, which buys you about two extra
stops on your highlights, a bit more latitude on the camera, and
also gives you a full colour spectrum so it just makes it a little bit
easier when you’re colour correcting,” Ness says, explaining that
with the cameras all in raw mode, he does not do any colour correction on the floor; it’s done after each episode has been locked
and on-lined.
With all his knowledge it’s no surprise that Ness’s resume indicates sitcoms have been a staple for him. “The nice thing about
these tween comedies is you’ve got Family Channel and you’ve
got YTV, and by law they have to produce original programming
as part of their licensing agreements. And you could have the
movie of the week industry dry up, you could have not as many
feature films coming to town, you could have not as many adult
dramas being shot, but the one thing that’s almost guaranteed is
that every year we’ve got a number of these shows going. There’s
either a second or third season or a pilot for a new show starting,” he says. “Also, normally you’re looking at a 7:30 a.m. call
time and you’re walking out of the studio at 6:30 at night because
you’re dealing with minors. Very seldom do you go on location,
and they can’t work late hours. You have work, it’s consistent and
you have a life.”
The
Disappearing
Pedestal
Camera
Operator
T
he pedestal camera has long been a time and moneysaving tool on television productions, eliminating the
need for a three-person dolly crew. As Simon Dalrymple
-- who has operated pedestal cameras on Really Me, among
other shows, including Life with Boys and Life with Derek -says, “On a pedestal camera we do everything; it’s a one-man
band.” And there are other advantages: “If you’re shooting
a scene with say three or four peds you can shoot the whole
scene on a line cut, and you’re going to have less problems
with continuity. If you’re doing it shot by shot then you’re
constantly checking continuity. The other thing is flexibility,
especially if you have a good floor. You don’t have to put
down any tracks. You can very quickly get into the positions
you need to be in and you can very quickly make fine adjustments, like if the actors don’t hit their marks or if there’s
anything blocking.”
That said, Dalrymple may well be among the last of the great
pedestal camera operators in Canada. “I trained years ago
with BBC in London, England, and everything was pedestal, all the productions we did, plays, drama, everything. We
had about 120 cameramen there, and the senior cameramen
would train the junior cameramen. So if you were working
on a big production, the senior guys would be working on
it. If you were working on a children’s programme or something smaller, the junior guys would be working on it, but
the senior guys would be watching them and giving them
hints. I came over to Canada in 1970, and most of the guys
that I work with now who do pedestal camera, they were all
pretty much with TV stations, so they had quite a few years
of day after day use of a pedestal. Now most of the TV stations don’t do anything more than news and talk shows, so
we do have pedestal cameramen in those TV stations, but
they really don’t do much. It’s pretty basic stuff, so they’re
not really learning any skills for fast multi-camera shooting or more demanding situations, so that’s what’s changed.
Canadian Cinematographer - February 2012 •
9
There really isn’t a lot of training now for these skills.” Large
multi-camera productions, Dalrymple says, are now being made
at the various studios that have popped up such as Toronto Film
Studios, Oasis, and Pinewood Toronto Studios. So having lost
their most valuable training ground, the stock of pedestal camera
operators is dwindling. “I was just looking at my list at the people
that I work with at the moment, that is, not in TV stations, but
freelancing, and I only found about 28, including myself, who do
this regularly. And this is in Toronto, and I would say Toronto is
probably the busiest TV city in Canada. Quite a lot of us go to
Vancouver. If they’re doing a production in Vancouver, we go to
Vancouver because there’s not enough people there to do what
we do. It’s obviously very expensive for the production to ship
people out and put them up in a hotel and everything, but quite
a lot of producers and directors will call us to Calgary or somewhere else to do their productions.”
The paradox is that there seems to be an increase in demand for
pedestal camera operators. According to Dalrymple, “in this last
year there’s been a push to go back to full pedestal productions
for sitcoms. The directors really like the flexibility of the pedestal
cameras.” But with nowhere to train people, he says, “I don’t
know what’s going to happen. A lot of us are getting quite old
and I think we’re going to be dying off. I don’t know how this
skill is going to be renewed. I know film cameramen that have
turned down a pedestal shoot because they say, ‘I can’t do that.’
They’re used to working with a focus puller, working with someone else who’s positioning the camera.”
Even if some sort of training school were to be established,
Dalrymple says, “It’s very hard to reproduce what we had when
we were young. That is, TV stations paying for guys to work
day after day. We were paid while we were learning. We’ve been
asked about giving seminars, but how much can you teach in
a seminar? These are skills that take a long time to develop.
There’s a lot to learn and it would be a full-time thing. If you
wanted to play the piano you’ve got to put in a lot of hours
of practice, and I’m not sure where people are going to get
the hours of practice. We were lucky that we had the hours of
practice at the cost of TV stations employing us. But how does
a person now get hours of practice? Where? And with whose
equipment? It would be expensive to set up the studio with
pedestals and have people come in for hours at a time. I just
don’t know how it would be done.
For those of us working right now, we’re getting more work than
we can handle sometimes, but that of course will only go on for
so long because if producers can’t get crews, they’re going to find
some other way of doing things. I think that producers now really
should have at least one camera trainee on every show that they
do, and that trainee can shadow the guys and watch what they’re
doing or even shoot some of the easier scenes. That’s the only
way you’re going to train people. If the producers think there’s
a long future and they want crews, I think they’re going to have
to bite the bullet and pay for at least one camera trainee on each
production,” he says.
-- Fanen Chiahemen
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10 • Canadian Cinematographer - February 2012
Field Test
Sony PMW-TD300 3D
Douglas Munro csc was recently given the
opportunity to test the pre-released version
of Sony’s latest PMW-TD300 3D camera.
Here he shares his observations with
Canadian Cinematographer.
This camera has a dual lens system which utilizes dual three 1/2inch Exmor CMOS sensors and records MPEG-2 Long GOP up
to 35 Mbps onto dual sets of SxS cards.
The F2.8 (to F3.4) zoom lens’ range is 7.5-52.5 mm (equivalent
to approximately a 40-284 mm on a 35 mm lens, or approximately 16-114 mm on a 2/3” lens). The inter-axial distance is
fixed at 45 mm and the convergence range is 1.2 m to infinity.
The effective ASA of the camera at 29.9P with 1/60th shutter
is about 160 ASA which is roughly a stop less sensitive than the
F800 with same frame-rate and shutter.
Photo by Rene Collins
Before venturing out shooting I went through the preliminary version of the operator manual and set up the camera to
match my personal settings for my F800. I selected to record in
1080/29.9P. My three-stage chrosziel mattebox was adapted and
added to the mix.
By Douglas Munro csc
Special to Canadian Cinematographer
M
any cinematographers who regularly work with traditional HD video camcorders like the Sony PDW-F800
Xdcam have been waiting patiently for a 3D acquisition tool that matches the style of shooting they have refined
over the years. The current beam splitter and side-by-side rigs,
while being excellent solutions for a variety of productions, do not
easily integrate with small crew documentary, natural history,
corporate, and educational projects where budgets can be
extremely tight and per-day shot count is often very high.
The new PMW-TD300 3D camcorder may be Sony’s answer.
Recently I was given an opportunity to test-drive this camera.
Since the camera came to me without any 3D field monitor I
thought, “Well, now, let’s see if it is possible to go out and shoot
effective 3D in the field without the usual monitoring tools, assistants, etc. Let’s approach it like how I would shoot if I was
going out by myself with my F800 Xdcam.” Crazy idea, but
nevertheless I thought it would be a good challenge.
The procedure I employed while shooting was to frame the shot,
set iris, zoom in and focus on an area where I wished to set my
convergence, press the very convenient one-push Auto Convergence button, then zoom back out to the desired framing. If I
had to shoot right there and then (because the grizzly was rearing
up and smiling by the backlight mountain river), I could roll
with confidence that the shot would work and be effective in 3D.
My initial reaction after only a few shots with this camera was,
“Wow.” The excitement of being able to shoot 3D quickly, by
myself, without monitors, cables and other considerations provided a sense of freedom which I have never before experienced
with 3D.
Obviously there is more, much more, to successfully capturing 3D images in HD. That is a given. But my long held belief
that 3D capture may one day be possible and applicable for the
kinds of projects that I often shoot became a reality on the very
first shot.
I shot exterior time-lapse scenics with slow-shutter, dusk and
night scenes, zooms onto freeways and interiors at a shopping
mall. The glassless 3D LCD colour viewfinder has a very handy
Depth Warning Display that colours the edge of objects that are
out of the convergence safe shooting zone, and there is an adjustable grid display to check L/R disparity. Canadian Cinematographer - February 2012 •
11
When shooting scenics with a Pola and ND Grad combination I
quickly learned that two lenses double your chances of catching a
filter stage edge. A tilt-up filter tray would be very useful to eliminate glare and double-image reflections on point-source lights.
There are limitations inherent in the design of this type of lens/
camera combination that are important to mention. A fixed i/o, a
minimum convergence distance, a not very wide-angle view, only
7x zoom with limited telephoto capability, non-interchangeable
lens option, camera and lens sensitivity, continuous-turning rather than accurately labelled focus, focus and convergence knobs.
But there are advantages. Fast operation, light weight, low power
consumption, long recording capacity, relatively low cost, onepush auto convergence, shoulder friendly, multi-mode 3D viewfinder, and easy integration with existing accessories.
Photos by Rene Collins
Will this dual lens camera evolve and will people embrace it? I
feel that if a cinematographer can accept and work within the
limitations, good results can be achieved. Changes to this camera will be inevitable once user feedback and technical advances
combine to advance the design. It simply makes sense to tailor a
3D camera to the existing tried and true ENG/EFP marketplace.
I would like to thank Warren Rochon, Allen Rhodes, François
Gauthier from Sony Canada, and Earle Nichol from Matrix
Communications in Calgary for providing me the opportunity
to conduct this initial test.
12 • Canadian Cinematographer - February 2012
Behind the Scenes with
Chris Wallace
Senior DI Colourist
Photo by Fanen Chiahemen
By Fanen Chiahemen
C
hris Wallace sits in a darkened movie theatre at
Deluxe Postproduction’s offices in downtown Toronto,
the film Shark Night 3D playing on the big screen in
front of him. Despite the high pressure he works under, he calmly
manipulates his colour corrector – the Lustre digital colour
grading system – making adjustments to the film’s images. As a
digital intermediate colourist, Wallace makes the final creative
touches to a film prior to its release. “We’re the last step before
it’s ready to go out, so you’re always working at a fast pace, and
that makes it really challenging,” he says, adding that summer “is
always nuts because the [Toronto International Film] Festival is in
September. So we’re right up that, trying to get these movies out.”
Wallace’s approach is to try and envision the scene as the director
of photography sees it, almost being the DOP’s eyes in the DI
theatre. “Once we’ve established the look and feel of the film, I
can work on my own for a while, getting the looks in throughout
the film. Then I like to have the DP come in and review what I’ve
done. We then start work on finessing the details in each shot,
adding detail in the shadow area, making sure the highlights are
just right. The DI process gives the DP a chance to go back and
do things that they maybe didn’t have time to get done on set,”
he explains.
Among the high profile films that Wallace has worked on are
Atom Egoyan’s Chloe (2009), lensed by Paul Sarossy csc, bsc;
David Cronenberg’s A Dangerous Method (2011), shot by Peter
Suschitzky; and Guillermo Del Toro’s Pan’s Labyrinth, which
won the 2007 Academy Award for Best Cinematography. Wallace spent three weeks working with Del Toro while DOP Guillermo Navarro was in Vancouver shooting Night at the Museum.
Wallace recalls that the cinematographer “took photographs on
set all the time and compiled this huge leather-bound photo
album” of photographs he had taken throughout the shoot.
These still images were then used as the colour template for
each scene, and Navarro would come in on weekends to review the grade and make other revisions. “What was really great
about that experience,” explains Wallace, “is that both DP and
director were on the same page and had the same vision. The
images just came to life at your fingertips.”
Even with all its dark fantasy elements, Pan’s Labyrinth was less
complex for Wallace to colour correct than the Saw franchise
films despite his sustained experience with them. (According to
Nick Iannelli, VP Operations and Customer Service at Deluxe,
“Chris has done every Saw movie since Saw II, and they’ve gone
through two DPs and three directors, so he knows the colour and
feel of those movies better than anyone else.”). The Saw movies
are captured straight up, without the use of gels or filters. They
are clean, well-exposed images that allow Wallace total flexibility to take the images in any direction. “I have a clean palette
for each scene, and this is where we make it look like an awful
dungeon or a scary hallway, adding grain and grit to give the
film an unpleasant look that works with the storyline. Whereas a
film like A Dangerous Method is just nice, clean, beautiful pictures
and everything’s pristine.” However, he is quick to emphasize the
privilege of being able to work on such material as Saw. “The
pictures are just beautiful, so it’s a thrill to work with,” he says.
Recently, Wallace has been spending a lot of his time grading 3D
films, starting with his work with Glen MacPherson csc, asc on
2010’s Resident Evil: Afterlife and continuing with Silent Hill 2, as
well as Cobu 3D and Nurse 3D just around the corner.
The opportunity to work on such projects is perhaps why
Zambian-born Wallace has stuck with the job for so long. He
has been doing colour correction for 29 years, having made the
transition from a television studio cameraman in South Africa
in the ‘80s. “The only way you get comfortable and gain the
experience needed is to literally just do it,” he says, adding, “It’s
gone from strength to strength since I started. The process is constantly evolving, the toolset keeps getting better, and I don’t see it
changing. With all the new cameras that keep coming to market
I don’t think any one of them will ever be able to capture exactly
what the DP and director want. The human eye is always needed
for the final touch, so I think there will always be a need for a
colourist.”
Canadian Cinematographer - February 2012 •
13
DOP NOTES
14 • Canadian Cinematographer - February 2012
Tony Edgar on set
M
y journey to the United Arab Emirates began when
director Geoff Davidson and I were signed on to a small
commercial project with Real Image, a new production
company in town that has a main office in Dubai. The owner
had flown into Toronto from Dubai and we met with him to discuss this small project. To our surprise, after the meeting we were
asked if we had any interest in shooting a separate commercial for
the United Arab Emirates. Being the end of summer, it was too
hot to shoot the commercials in Dubai, so the first one had to be
done in Toronto. It was a test for us; if they liked the final product, we would be flown to Dubai to shoot two more, and if not,
that would be it. A couple of weeks later we had tickets to Dubai.
This was my first time shooting in the UAE and I was excited to
see the city. The first thing I noticed was how fast and easy everything was done. For instance, we wanted to do an unplanned
camera test. With one phone call we had the cameras set up and
a crew waiting for us at a studio. I found the local crew to be
very friendly, quick and efficient. Sometimes there was a bit of a
language barrier, but there was always an understanding of what
I needed.
“We would just keep the
camera rolling because it
was next to impossible to
keep 40 young children
focused and interested
under the hot sun.”
Our first shoot was a commercial short film for a future development of a large new city in the Middle East. I’m not allowed to
say much about it at the moment, but it’s in the very early stages
which meant the entire city had to be CGI’d by the team at Real
Image. It was a four-day shoot, three days in a green screen studio
Canadian Cinematographer - February 2012 •
15
and the other in a villa. Looking through the storyboards I noticed a falcon scene, monster trucks jumping through the desert,
and a stadium full of people. This was going to be interesting.
The project was one of the first large Real Image productions
not shot in 35 mm. Personally, I was really pushing for the ARRI
ALEXA. After conducting a series of tests and collaborating with
the CGI team, that’s what we went with. We used ProRes 4444
Log C to capture the most information we could to the SxS
cards. I love the dynamic range of this camera. You have to give
it something pretty extreme to get it to blow out. It’s very easy
to use; there are no complex picture profiles or weird settings to
mess around with. You set up the basic camera settings and you’re
ready to go!
Speed was a priority in the green screen studio. An Angenieux
Optimo 24-290 mm T2.8 was used to cut down on any lens
change times. I also devised a lighting plan that would let me
move quickly through the setups. Using a combination of space
lights and bounced light, I was able to give the studio a soft ambient fill. My gaffer rigged up a couple of 10Ks that could be rolled
around easily to act as the sun for any back or side lighting. Most
of the CGI plates consisted of scenes that were in bright sunlight
so this setup worked really well and let me move fast. Whenever
I could, I used concrete coloured fabric on the green screen floor
to cut down on any green spill that might occur on the mostly
white wardrobe.
CSC_Ad_Outlines.pdf
1
12-01-06
10:23 AM
Postproduction was simple with the ALEXA. As soon as a card
was close to full, the post team would dump the footage, back
it up and double check right away that the shots matched the
plates they created. The following day, the team of animators
at Real Image would begin integrating the shots into the CGI
world they had created. Everything happened so quickly and
seamlessly.
The second production was a 40th anniversary National Day
commercial for the United Arab Emirates. It consisted of about
40 local children running through a large park with helium
balloons in the Emirates colours. The children were supposed
to gather in a large group and release the balloons, creating the
UAE flag. This part was CGI of course. I wished Geoff good
luck and hoped that this was all going to work out as planned.
An interesting request for this commercial was that it had to be
shot on 35 mm, as the Minister of Culture was a film photography enthusiast. Unfortunately, Kodak Dubai had just closed
its processing facilities prior to us arriving. This meant that any
film we exposed had to be flown to either Thailand or Turkey to
be processed.
My camera was the workhorse ARRI 435 running at 50 fps with
a set of ARRI Master Primes and an Angenieux Optimo 24-290
mm T2.8 zoom. I chose Kodak Vision2 50D as my stock. I only
had access to 400’ mags at the time so that’s what we had to go
with. I can’t say I was overly excited to have two-minute mags
(at 50 fps). Lighting wise I had a couple of 18Ks that we would
shoot through frames or bounce off muslin for a soft fill.
As a little side trick I used an 18% grey card and my light meter
to calibrate a Canon 60D DSLR to match the film speed. Since
the sensor size of the 60D and 35 mm are fairly close to the same
size it also doubled as a nice director’s viewfinder. The 60D is nice
because you can see the screen in sunlight. I knew the image on
the DSLR screen would look better and have more range on film.
There were a couple instances where we would just keep the camera rolling because it was next to impossible to keep 40 young
children focused and interested under the hot sun. We had wranglers who would bribe the children with ice cream, but a couple
would still try to sneak off to their air conditioned tent. There
were times when the children would be doing exactly what we
needed them to do, then we would hear the dreaded “tick, tick,
tick.” It was at times like these that I wanted to run to the camera
cart and switch out the 435 to the backup ALEXA body. The
great thing was that almost all the 435 accessories would have
swapped directly over to the ALEXA without a problem. I think
the general consensus on set that day was to bring the ALEXA
back. No longer did we have the on-set ALEXA luxuries such as
instant HD slow motion playback or long run times.
C
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CM
MY
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CMY
K
It was great to shoot these cameras back to back. For me, the ALEXA was my favourite. There will always be the magic of shooting film, but the ALEXA let me move faster and see exactly what
I was getting right away. I’ve always stayed on top of the digital
progression and it’s been an interesting journey from digital tape
to 24p to pro35 adapters to large 35 mm sized sensors.
16 • Canadian Cinematographer - February 2012
Digital Camera
Assistants Course
CSC Workshops
By Professionals, For Professionals
To ensure that camera crews maintain the
high standards recognized by the Canadian
Film and Television industry, the Canadian
Society of Cinematographers is offering a
nine day intensive and advanced course for
Camera Assistants.
The course will be conducted by working professional
camera assistants and cinematographers who will not
only teach, but share their wealth of production knowhow and technological knowledge gained from years
of on-set experience.
Learn the varied skills necessary
for a camera assistant working
in digital formats.
Location: Toronto, Canada
Date: 25 February – 4 March, 2012
Cost: $1,325 CDN
(includes HST & lunch each day)
Hands-on means experience
The CSC believes that the best training comes
from doing. Participants in the CSC Digital Camera
Assistants Course will have hands-on instruction
on the latest digital cameras being used in the
industry today and will experience “building the
camera” from the ground up.
Location, Location, Location
Being familiar and comfortable with one’s
surroundings is half the battle. Classes of the
CSC Digital Camera Assistants course will be
held in various production and industry
facilities around the City of Toronto.
New digital cameras and technologies are being introduced
into the Film and Television industry at lightning speed.
Keeping on top of emerging technologies and techniques
poses unique challenges for everyone. The CSC Digital
Camera Assistants Course eliminates the mystery and
provides its participants with the tools necessary to
work in today’s production world. Participants will be
instructed in:
◗ Tools and ditty bag, including information on
useful industry apps
◗ Paperwork and administration
◗ Labeling
◗ Slating
◗ On-set deportment
◗ First procedures on the set
◗ Camera set-up
◗ Brief introduction to ﬁlm cameras
◗ Focus pulling
◗ Lens testing, including back focus and anamorphics,
for commercials, features, and episodic television
◗ Photographic theory
◗ Assisting steadicam
◗ 3D rig overview
For an application and detailed itinerary please visit the CSC website: www.csc.ca
The CSC since 1957
To foster and promote the art of cinematography
By Sarah Moffat
L
ate last year, I met with Jonathan
Stainton and Nasser Mroueh at
CinequipWhite to test the PIX 240, a
video-audio recorder by Sound Devices that
comes with a built-in 5” HD monitor.
The PIX 240 records onto SSD and CF
cards, one slot for each. Inputs-outputs for
video are HDMI and HDSDI -- simultaneously on the outs. The eSATA connection
tucked inside the SSD slot allows for file
transfers without removing the SSD card
(basically using the PIX as an enclosure
unit). Additionally there is an accessory box
called the PIX-CADDY, which offers tripleinterface connectivity for SSDs FireWire
800, eSATAp, and USB 3.0/2.0. Playback is
immediately accessible via the “File” button
on the front, with a scroll down using the
menu knob. Play/Stop/Back/Forward buttons are large and durable specifically thought of for easy control
- the specs even say, “with gloved hands.” How nice to think of
us in colder climates!
Audio ins and outs are XLR, two channels in, and one Stereo
XLR out. It has a headphone amp too. Timecode and SYNC
BNC out, as well as a Lemo for external TC in/out. Those using
3D technology in 1080HD would find this useful, as you can
sync the PIXs via Lockit Boxes. The device’s power supply is 12V;
it comes with an AC adaptor or accepts two Sony L-like batteries on the back. There is also a keyboard USB slot if desired for
controlling meta-data, useful on more than one unit at a time, I
suspect, but it is seriously so easy and fast to program you might
not need that option.
Record codecs are Apple ProRes - 10bit and 8bit, from proxy
36Mb/s, 100Mb/s to 220Mb/s, and DNxHD - 36Mb/s to
220Mb/s in 8 and 10 bit options. DNxHD is an AVID supported codec; ProRes is FCP supported, thus the PIX 240 files
can be readied for post choices immediately in its .mov wrapper.
It offers resolution record formats in all the choices you’d need
between 720 and 1080, various frame rates, and PAL / NTSC.
The PIX 240 is also built with a robust video scaler allowing for
real-time format conversion. For example, some cameras set to
record 24p send out 1080i60. The PIX can be set to convert the
1080i60 back to 24p with no quality loss. All audio is contained
within the .mov file.
The PIX 240 creates options. Sound can mix remotely and run
directly into the PIX 240, as well as run Time Code/SYNC in/
out while bypassing the camera completely - this would make it a
great tool to use when shooting with DLSRs, because of the audio
and sync challenges HD DLSRs present. It can be operated to
record from the device, so a director can hold it and hit record at
18 • Canadian Cinematographer - February 2012
Photo by Sarah Moffat
Tech Column
Review: PIX 240
any time while camera is live. Or a camera operator can hit record
on the camera and it will automatically start recording on the PIX.
I can’t say enough about how easy and presentable the menu is.
The display of picture, menu and audio channels is excellent, and
one quick touch clears the picture of menu info if desired. All
function controls are clearly marked at your fingertips, with the
main menu knob at the side. It’s also easy to navigate and program all meta-data from “Take” to “CamID”. You are given the
option of choosing a “file split” time as well, up to 60 minutes.
Additionally, you can “switch drives” upon reaching a full card
- so, for example, if you are recording to an SSD card and ran
it out while you weren’t paying attention, the PIX will continue
your recording to the CF card, thus you wouldn’t loose the footage near the end of that shot. And vice versa. This is a nice “got
your back” touch in documentary situations especially, as a lone
cinematographer has a lot to think about in the moment.
Interestingly, the PIX 240 comes with a 1/4-inch screw inset on
the back of the unit, not the bottom. Although this is different
from the standard insets on the bottom of most onboard monitors, a simple Cine-arm can make it adapt easily. The upside to
this position is that in onboard use, it no longer becomes top
heavy, as the weight is under-slung so to say. There is a small
cooling fan on the back of the PIX. The fan requires a clearance
for airflow, and to be honest, it is near silent.
If you drop by the CinequipWhite February Freeze event on the
8th, you can get your hands on the PIX 240 and see for yourself
how easy this little black box will make your recording life!
Sarah Moffat’s camera experience includes motion picture and still
photography. She has worked in drama, documentary and live
broadcast.
© Kodak, 2012. Vision and Kodak are trademarks.
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Notes from the 2011 CSC Lighting Workshop
A
nother successful two-day lighting workshop capped the
year 2011 for the CSC. Over a dozen students participated in the workshops held November 5 and 6 at William
F. White and led by President Joan Hutton csc, assisted by Ernie
Kestler csc, Carlos Esteves csc and Sarah Moffat. As usual, the
course was customized to the experience and needs of the participants. The first day included demonstrations of basic portraiture,
lighting with three lights, and day and night dramatic scenes. On
day two, students designed their own exercises, with each participant choosing a setup and doing their own lighting under the supervision of Hutton and Esteves. Unlike previous lighting workshops where students completed just one lighting setup, in this
latest course participants were able to do three or four. In another
first, all participants went home with a DVD featuring each of
their lighting setups in a navigable DVD menu. Participants also
got a tour of the facilities at William F. White. Describing what
distinguishes the CSC lighting workshops, Kestler
says, “It’s not, ‘How do I take this
light, this light, and this
light and do something
with it?’ It’s, ‘What emotion do I want to create? How do I want to
make the audience
feel?’ Once that decision is made, it’s,
‘What lights do I
need to use to do
that?’”
Some participant testimonials:
“Very hands-on and practical. Best lighting workshop in Toronto. Any aspiring DP/
cinematographer should attend this workshop.” – Arjun Manokaran
“Comprehensive and professional. Recommended for all aspiring gaffers, sparks and DPs.” – Sean Marjoram
“Intense and educational. I came away with info I can apply to my next shoot.”
– Robert Howard
The Cooke Look
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cookeoptics.com
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20 • Canadian Cinematographer - February 2012
T: +44 (0)116 264 0700
Canada, South America, USA:
T: +1-973-335-4460
Used Leica Geo System Disto Laser Measurement Devices Attention crew
technicians interested in selling used Leica Disto Laser Measurement devices for
cash to upgrade to newer models. Contact: Alan J. Crimi, Panavision Canada Corp. at
416-258-7239, shipping, receiving and client services at 416-444-7000 or alan.crimi@
panavision.com. www.panavision.com.
Wanted: 35mm and 16mm prints. I have recently acquired a 35mm projector and would
like to have a print library on hand. If you have or know of any film prints gathering dust
and in need of a caring home, contact Christopher at 902 644 3604 or [email protected]
Short-Term Accommodation for Rent
Visiting Vancouver for a shoot? One-bedroom condo in Kitsilano on English Bay with
secure underground parking, $350 per week. Contact: Peter Benison at 604-229-0861,
416-698-4482 or [email protected].
Looking for a home in the GTA area while shooting a project? Kelly Mason, cinematographer, is renting her fully-furnished home in Mississauga. It is modern, renovated, open
concept, fireplaces (2), hardwood floors. Walking distance to all amenities, Go Train,
restaurants, Metro, Starbucks, Homesense, Dollarama, and more. 2500/mth + utilities;
3 bedroom, 3 bath. 4-6 month lease starting January 5, 2012. No Smokers and no pets
please. Contact Kelly at 647.993.6183; [email protected].
Equipment for Sale
Selling a Super 16 Modified SBM Bolex Camera Body. This Comes with: All
original screws; Rewind Crank; Original Leather Strap; Bayonet Mount & Cap; Viewfinder; Rubber Eyepiece. This body has been super 16 modified, it was a rex-5 body
professionally converted to bayonet mount. This body has been professional serviced
in the summer of 2011, professional tightened and oiled. This body has also been
professional re-calibrated for precision 24 f.p.s This viewfinder has been professional
re-adjusted for the comfort of super 16 view. Leather is is pristine condition, has been
properly conditioned. This camera is perfect working condition and still the cosmetics
still look amazing for today. Other accessories available (MST, MM Motor, Bolex Battery
Pack, Magazines, H16 non-reflex, etc). To further inquire, e-mail: andrewglennmiller@
gmail.com
Sony EX-3 Camera - SOLD
JVC HD 100n Camera - SOLD
Sachtler Video 20 111 Tripod - PRICE REDUCED - Excellent condition, aluminum legs,
ground spreader,hard transport case (price new $11,000 plus tax) - $4000
Contact Peter Rowe at 905 891 9498 or [email protected]
Sony DXC-D30 3 Camera Live Production Package includes three DXCD30 cameras/camera backs/ CCUs and multicore camera cables; Panasonic WJ-MX70 8 input
switcher; full camera and switcher monitoring package and waveform/vectorscope;
equipment rack for camera monitors & CCUs. Wired and operational. $19,500. Contact
Ted Mitchener at ZTV Broadcast Services for complete list of equipment: 905-290-4430
or
[email protected].
Portable Gel Bin great for studio or location use, holds 24 Rosco or Lee colour correction, diffusion, reflective, scrim, etc., rolls outer dimensions measure 17.5x24x 63
inches, not including wheels and sturdy wooden construction, painted black, bottom and
back wheels, side handles hinged front & top, locks for added safety, handy reference
chart, $300 obo; Darkroom Safety Lights popular Model D type, accepts 10x12
inches safelight filters (possibly included, depending which kind you’re looking for),
takes 7½-, 15- or 25-watt bulb, excellent condition, $50 each. Contact: Andrew at dp@
andrewwatt.com.
NTSC, 257hours drum time, $5,000; and IKEGAMI DV-CAM HL-DV7-AW, NTSC, mint
condition, as new, 61hours drum time, $7,000. All cameras with porta-brace covers.
All owned by me and serviced by Sony Hong Kong. Sony Beta SP/SX player/recorders,
DNW-A25P X2, PAL & NTSC, 500 & 644hours drum time, $6,000; Satchler 575 HMI,
open-face, mint condition with spare bulb, $2,500 & case. The lot for $20,000. Contact:
François Bisson at [email protected].
Sony BVW-400a Betacam SP Camcorder camera used by professional cinematographer (one owner), never rented out. Comes complete with Fujinon A15x8BEVM-28
lens, Petroff matte box with 4x4 and 4x5.6 filter holders, remote zoom and focus control
for lens, six Cadnica NP-1 batteries, Sony BC-1WD battery charger, Porta-Brace fitted
cover with rain jacket (like new) and Sony factory hard shipping case and manuals. Lens
and camera professionally maintained by factory technicians. Usage hours are: A –
1,918 hours; B – 1,489 hours; C – 4,286 hours, $10,000.00 obo. Contact: Craig Wrobleski
csc at 403-995-4202.
Aaton XTR Super 16 package including body, video relay optics, extension eyepiece,
three magazines, Cooke 10.5-mm–60-mm S-16 zoom lens, Zeiss 9.5 prime lens, 4x4
matte box, 4x4 filters (85,85N6, polarizer, ND6, clear), follow focus and cases $12,000.
Nikon 50–300-mm F4-5 E.D. lens with support, $1,000. Kinoptik 9–8-mm 35-mm format
lens c/with sunshade. Contact: [email protected] or [email protected].
New Video Camera Rain Covers. Custom rain covers for sale. New design that fits
and protects most Sony PMW EX3, Canon XHHDV, Panasonic VX200 cameras with the
viewfinder extending toward the rear of the camera, $200. Noiseless rain cover for the
external camera microphone, $30. Onboard Monitor rain cover, camera assistants can
see the focus during the shot. No more hassles in the rain, $60. Custom Red One camera covers available upon request. Also can sew various types of heavy-duty material.
Repairs and zipper replacement on equipment and ditty bags.
Contact: Lori Longstaff at 416-452-9247 or [email protected].
Camera Classifieds
Equipment Wanted
Betacam SP Camera package including BVP550 Betacam SP camera with BVV5
recorder, complete with Fuijinon 15x8 broadcast zoom lens, “Red Eye” wide-angle
adapter, 6 IDX Li-Ion batteries, IDX quick charger with AC adapter, flight case, soft carry
case, Sony monitor and 10 fresh Beta SP tapes ($140 value), $2,500.
Contact: Christian at 416-459-4895.
Fujinon XA17X7.6 BERM-M48 HD Lens in new condition, bought and mounted but
never used. As new in box (camera is sold), $7,900. Panasonic Digital AV mixer WJMX50 (missing a few knobs from the lower right corner on the audio mixer), $400. JVC
TN-9U 9-inich colour monitor, $60. Photos available for everything.
Contact: [email protected] or 604-726-5646.
For Sale
28-Foot Black Camera Trailer with new brakes and tires, 20-foot awning, dark room,
viewing lounge, two countertops with lots of storage space, heating and air conditioned, side windows and three access doors. Contact: [email protected].
Camera Classified is a free service provided for CSC members. For all others,
there is a one-time $25 (plus GST) insertion fee. Your ad will appear here and
on the CSC’s website, www.csc.ca. If you have items you would like to buy,
sell or rent, please email your information to [email protected].
Canon HJ11x4.7Birse HD WA lens one DOP owner, canon factory maintained,
$12,000; Canon KJ16Ex7.7 HD lens, mint-used only a dozen times, one DOP owner,
canon factory maintained, $5,000; Sennheiser evolution 100 wireless mic kit with wireless lav and wireless handheld mics and receiver with original packaging, mint, barely
used, $700. Contact Dave: c 416.553.3356 or email [email protected].
Briese 77 Light, full kit, including Tungsten and HMI flicker-free setup, two Eggcrates
and Manfrotto Mega-Boom. Excellent condition, $ 22,000. Contact: pierredp1@gmail.
com.
VANCOUVER
CALGARY
604-527-7262
403-246-7267
VANCOUVER
CALGARY
Sony Beta SP DXC-D30WSP/PVV3P, PAL, 262hours drum time, $ 2,500; Sony Beta
SP DXC-D30WS/PVV3, NTSC, 251hours drum time, $2,500; Sony BetaCam SX DNW-7,
604-527-7262
403-246-7267
TORONTO
416-444-7000
TORONTO
HALIFAX
HALIFAX
902-404-3630
416-444-7000
Canadian Cinematographer - February 2012 •
902-404-3630
21
CSC MEMBERS
CSC FULL MEMBERS
Johnny Abi Fares csc
Jim Aquila csc
John Badcock csc
Michael Balfry csc
Christopher Ball csc
John Banovich csc
John Stanley Bartley csc, asc
Stan Barua csc
Yves Bélanger csc
Peter Benison csc
Jeremy Benning csc
John Berrie csc
Michel Bisson csc
Michael Boland csc
Nicolas Bolduc csc
Thomas Burstyn csc, frsa,
nzcs
Barry Casson csc
Eric Cayla csc
Neil Cervin csc
Henry Chan csc
Marc Charlebois csc
Rodney Charters csc, asc
Damir I. Chytil csc
Jericca Cleland csc
Arthur E. Cooper csc
Walter Corbett csc
Steve Cosens csc
Bernard Couture csc
Richard P. Crudo csc, asc
Dean Cundey csc, asc
Steve Danyluk csc
Kamal Derkaoui csc
Kim Derko csc
Serge Desrosiers csc
Jean-Yves Dion csc
Zoe Dirse csc
Mark Dobrescu csc
Wes Doyle csc
John Drake csc
Guy Dufaux csc
Ray Dumas csc
Albert Dunk csc, asc
Philip Earnshaw csc
Gamal El-Boushi csc, acs
Michael Ellis csc
Carlos A. Esteves csc
Nikos Evdemon csc
David Frazee csc
Marc Gadoury csc
Antonio Galloro csc
James Gardner csc, sasc
David A Geddes csc
Ivan Gekoff csc
Laszlo George csc, hsc
Pierre Gill csc
Russ Goozee csc
Steve Gordon csc
Barry R. Gravelle csc
David Greene csc
Michael Grippo csc
Manfred Guthe csc
D. Gregor Hagey csc
Thomas M. Harting csc
Pauline R. Heaton csc
Brian Hebb csc
David Herrington csc
Karl Herrmann csc
Kenneth A. Hewlett csc
Robert Holmes csc
John Holosko csc
George Hosek csc
Colin Hoult csc
Donald Hunter csc
Mark Irwin csc, asc
James Jeffrey csc
Pierre Jodoin csc
Martin Julian csc
Norayr Kasper csc
Glen Keenan csc
Ian Kerr csc
Jan E. Kiesser csc, asc
Alar Kivilo csc, asc
Douglas Koch csc
Charles D. Konowal csc
Ken Krawczyk csc
Alwyn J. Kumst csc
Jean-Claude Labrecque csc
Serge Ladouceur csc
George Lajtai csc
Marc Laliberté Else csc
Barry Lank csc
Philippe Lavalette csc
Allan Leader csc
John Lesavage csc
Henry Less csc
Pierre Letarte csc
Antonin Lhotsky csc
Norm Li csc
Philip Linzey csc
Matthew J. Lloyd csc
J.P. Locherer csc
Larry Lynn csc
Dylan Macleod csc
Bernie MacNeil csc
Glen MacPherson csc, asc
Shawn Maher csc
David A. Makin csc
Adam Marsden csc
Donald M. McCuaig csc, asc
Robert B. McLachlan csc, asc
Ryan McMaster csc
Michael McMurray csc
Stephen F. McNutt csc, asc
Simon Mestel csc
Anthony Metchie csc
Alastair Meux csc
Gregory D. Middleton csc
C. Kim Miles csc
Gordon Miller csc
Robin S. Miller csc
22 • Canadian Cinematographer - February 2012
Paul Mitchnick csc
Boris Mojsovski csc
Luc Montpellier csc
Rhett Morita csc
David Moxness csc
Douglas Munro csc
Kent Nason csc
Mitchell T. Ness csc
Stefan Nitoslawski csc
Danny Nowak csc
Rene Ohashi csc, asc
Harald K. Ortenburger csc
Gerald Packer csc
Barry Parrell csc
Brian Pearson csc
David Perrault csc
Barry F. Peterson csc
Bruno Philip csc
Matthew R. Phillips csc
André Pienaar csc, sasc
Zbigniew (Ed) Pietrzkiewicz
csc
Ronald Plante csc
Milan Podsedly csc
Hang Sang Poon csc
Andreas Poulsson csc
Don Purser csc
Ousama Rawi csc, bsc
William Walker Reeve csc
Stephen Reizes csc
Derek Rogers csc
Peter Rowe csc
Brad Rushing csc
Branimir Ruzic csc
Jérôme Sabourin csc
Victor Sarin csc
Paul Sarossy csc, bsc
Michael Patrick Savoie csc
Ian Seabrook csc
Gavin Smith csc
Christopher Soos csc
Brenton Spencer csc
Michael Spicer csc
John Spooner csc
Ronald Edward Stannett csc
Pieter Stathis csc
Brendan Steacy csc
Barry Ewart Stone csc
Michael Storey csc
Michael Sweeney csc
Adam Swica csc
Attila Szalay csc, hsc
Jason Tan csc
John P. Tarver csc
Paul Tolton csc
Bert Tougas csc
Chris Triffo csc
Sean Valentini csc
Brett Van Dyke csc
Roger Vernon csc
Frank Vilaca csc
Daniel Villeneuve csc
Daniel Vincelette csc
Michael Wale csc
John Walker csc
James Wallace csc
Tony Wannamaker csc
Peter Warren csc
Andrew Watt csc
Jim Westenbrink csc
Tony Westman csc
Kit Whitmore csc, soc
Brian Whittred csc
Ron Williams csc
George A. Willis csc, sasc
Glen Winter csc
Peter Woeste csc
Kelly John Wolfert csc
Bill C.P. Wong csc
Kevin C.W. Wong csc
Bruce Worrall csc
Craig Wrobleski csc
Yuri Yakubiw csc
CSC ASSOCIATE
MEMBERS
Joshua Allen
Don Armstrong
Vince Arvidson
François Aubry
John W. Bailey
Douglas Baird
Kenneth Walter Balys
Maya Bankovic
Gregory Bennett
Guy Bennett
Jonathan Benny
André Bériault
Aaron Bernakevitch
Roy Biafore
Christian Bielz
Thomas Billingsley
Stan Bioksic
Francois M. Bisson
Martin Brown
Scott Brown
Richard Burman
Stuart James Cameron
Lance Carlson
Jon Castell
Mark Caswell
Maurice Chabot
Stephen Chung
David Collard
René Jean Collins
Jarrett B. Craig
Rod Crombie
James Crowe
Micha Dahan
Tim Dashwood
Michael Jari Davidson
Rick Perotto
Allan Piil
Ryan A. Randall
Ali Reggab csc
Michael Rita-Procter
Cathy Robertson
Peter Rosenfeld
Albert Rudnicki
Steve Sanguedolce
Sarmen Sarmazian
Andrew W. Scholotiuk
Ian Scott
Stanislav Shakhov
Wayne Sheldon
Simon Shohet
Rob Sim
Sarorn Ron Sim
Barry E. Springgay
Paul Steinberg
Marc Stone
Michael Strange
Joseph G. Sunday phd
Peter Sweeney
Aaron Szimanski
Peter Szperling
André Paul Therrien
George (Sandy) Thomson
John Thronberg
Ian Toews
Brendan Uegama
John Walsh
Lloyd Walton
Glenn C. Warner
Douglas H. Watson
Roger Williams
Richard Wilmot
Peter Wayne Wiltshire
Carolyn Wong
Dave Woodside
Peter Wunstorf asc
Xiao Chen Yu
Steven Zajaczkiwsky
CSC Affiliate MEMBERS
JoAnne Alaric
Donald G. Angus
Derek Archibald
Robin Bain
Iain Alexander Baird
Abraham Bankole
Peter Battistone
Russell Bell
Jacques F. Bernier
Greg Biskup
Stuart Blair
Tyson Burger
Gordon A. Burkell
Joseph Calabrese
Sean Carson
Arnold Caylakyan
Bernard Chartouni
Fanen Chiahemen
Suzy Cooper
Brent J. Craig
Brad Creasser
Carmelina Crocco
Colin Davis
Dominika Dittwald
Tony Edgar
Zachary Finkelstein
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Stephen Hargreaves
Bruce William Harper
John Richard Hergel BA CD
Adam Christopher Hickman
Perry Hoffmann
Robert Howard
Brad Hruboska
Marcel D. Janisse
Nazir Kassam
Rick Kearney
Matthew Casey Kennedy
Guido Kondruss
Boris Kurtzman
Ryan Lalonde
Charles Lenhoff
Tony Lippa
John Lipsz
Lori P. Longstaff
Robert H. Lynn
Megan MacDonald
Jill MacLauchlan Parks
Justin McIntosh
Ian McLaren
Andrew Medicky
Matthew Emil Muszalski
Kar Wai Ng
Andrew Oxley
Gino Papineau
Graeme Parcher
Kalpesh Patel
Greg Petrigo
Craig Pew
Douglas B. Pruss
Lem Ristsoo
David Rumley
Susan Saranchuk
Chirayouth Jim Saysana
James Scott
Alexey Sikorsky
Brad Smith
Michael Soos
Gillian Stokvis-Hauer
Steve Thorpe
Steven Tsushima
Paula Tymchuk
Anton van Rooyen
Trevor J. Wiens
Irene Sweeney Willis
Ridvan Yavuz
CSC LIFE MEMBERS
Herbert Alpert csc, asc
Robert Bocking csc
Raymond A. Brounstein csc
David Carr csc
Marc Champion csc
Christopher Chapman csc, cfe
Robert C. Crone csc, cfc, dg
David A. De Volpi csc
Kelly Duncan csc, dgc
Glen Ferrier
John C. Foster csc
Leonard Gilday csc
John Goldi csc
Kenneth W. Gregg csc
John B. Griffin csc
Edward Higginson csc
Brian Holmes csc
Brian Hosking
Joan Hutton csc
Douglas Kiefer csc
Rudolf Kovanic csc
Les Krizsan csc
Naohiko Kurita csc
Harry Lake csc
Duncan MacFarlane csc
Harry Makin csc
Douglas A. McKay csc
Donald James McMillan csc
Jim Mercer csc
Roger Moride csc
George Morita csc
Wilhelm E. Nassau
Ron Orieux csc
Dean Peterson csc
Roland K. Pirker
Randal G. Platt csc
Norman Quick csc
Roger Racine csc
Robert G. Saad csc
Josef Seckeresh csc
Michael S. Smith
John Stoneman csc
Kirk Tougas
Y. Robert Tymstra
Walter Wasik csc
Ron Wegoda csc
James A. Wright
Keith Young
CSC HONOURARY
MEMBERS
Roberta Bondar
Vi Crone
Graeme Ferguson
Wilson Markle
Philippe Ros afc
indicates demo reel online,
www.csc.ca
Canadian Cinematographer - February 2012 •
23
CSC MEMBERS
Vincent De Paula
Nicholas de Pencier
Randy Dreager
Duane Empey
Andreas Evdemon
Andrew Forbes
Richard Fox
Kevin A. Fraser
Brian Gedge
Yorgos Giannelis
Rion Gonzales
Dave Gordon
Vladimir Gosaric
Daniel Grant
Jeffrey Hanley
Josh Henderson
Rory Hinds
David M.J. Hodge
John Hodgson
James D. Holloway
Suave Hupa
George Hupka
David Johns
Jorma Kantola
Ali Kazimi
Ernie Kestler
Shannon Kohli
Douglas John Kropla
Charles Lavack
Robin Lawless soc
Byung-Ho Lee
Philip Letourneau
James Lewis
Justin Lovell
Dave Luxton
Robert Macdonald
Mario Anthony Madau
Jeff Maher
Alfonso Maiorana
Yoann Malnati
Roy Marques
Kelly Mason
Andris D. Matiss
Paul McCool
Patrick McLaughlin
Gabriel Medina
Tony Meerakker
Tony Merzetti
Bentley Miller
Paul Mockler
Sarah Moffat
Robin Lee Morgan
Helmfried Muller
Brian Charles Murphy
Keith Murphy
Christopher M. Oben
Eric Oh
Alexandre M. Oktan
Ted Parkes
Deborah Parks
Pavel “Pasha” Patriki
PRODUCTIONS & CALENDAR
Production Notes
The Black Marks (feature); DOP Adam Swica csc; to February 25, Toronto
The Chronicles of Riddick (feature); DOP David Eggby; to March 25, Montreal
Copper (series); DOP Steve Cosens csc; to May 28, Toronto
The Firm (series); DOP Miroslaw Baszak; OP Russ Goozee csc; to April 18, Mississauga
King II (series); DOP Rudolf Blahacek; OP Dino Laurenza; to March 15, Etobicoke
The Listener (series); DOP Stephen Reizes csc; OP Cudah Andarawewa; to February 15,
Mississauga
Nikita II (series); DOP Glen Keenan csc & Rene Ohashi csc, asc (alternating episodes);
to April 10, Toronto
Still Seas (feature); DOP Guillermo Navarro; OP Gilles Corbeil; to April 13, Toronto
Calendar of Events
February
1, 6:30 p.m. to 10:30 p.m., CSC Annual General Meeting, Technicolor Toronto
3-12, Victoria Film Festival, Victoria BC, victoriafilmfestival.com
13-17, CSC Awards Juries, Toronto
16-26, Rendez-vous du cinéma québécois, Montreal, rvcq.com
25-March 4, CSC Digital Camera Assistants Course, csc.ca
March
1-4, Kingston Canadian Film Festival, Kingston, ON, kingcanfilmfest.com
15-25, International Film Festival on Art, Montreal, artfifa.com
23-Apr. 1, Cinéfranco, Toronto, cinefranco.com
31, CSC Awards, Westin Harbour Castle Conference Centre, Toronto, csc.ca
April
12-21, Images Festival of Independent Film & Video, Toronto, imagesfestival.com
26-May 6, Hot Docs, Toronto, hotdocs.ca
Canadian SOCiety
Of CinematOgrapherS
$4 October 2011 www.csc.ca
Take This Waltz
Luc Montpellier cs
c
V02 #05
05
Subscribe to Canadian Cinematographer online at www.csc.ca
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24 • Canadian Cinematographer - February 2012
56698 94903
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with Sarah Polley
Patch Town • Peter Luxford
csc • Flashpoint
TRULY CINEMATIC
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■ Optical Viewfinder and Mirror Reflex Shutter
■ The Only Digital Camera System with True Anamorphic Capability
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