A PUBLICATION OF THE CANADIAN SOCIETY OF CINEMATOGRAPHERS

ALSO IN

THIS ISSUE

CSC AWARDS: Winners and NomineesGENIE AWARDS: And the Winner is…FILM FRAMES: Fujifilm Launches ETERNA500PRESIDENT'S REPORT: Glitter and GritNEWS CLIPS: Hands-On Vancouver

Canadian Publications Mail Product Sales Agreement No. 478423

April 2005Volume 24, No. 8

Yuri Yakubiw cscThe Visual Drama of Sue Thomas: F.B.Eye

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The Canadian Society of Cinematographers wasfounded in 1957 by a group of Toronto, Montrealand Ottawa cameramen. Since then over 800 cinematographers and persons in associated occupations have joined the organization.

Our members now represent the film and video community in all ten provinces. Our aim continues to be to promote and foster the cause of cinematography and the interests of the Canadianfilm and video community.

We facilitate the dissemination and exchange of technical information, and endeavor to advancethe knowledge and status of our members within theindustry. As an organization dedicated to furtheringtechnical assistance, we maintain contact with non-partisan groups in our industry, but have no politicalor union affiliation.

CSC EXECUTIVEPresident: Joan Hutton cscVice-President: Richard Stringer cscTreasurer: Joseph Sunday phdSecretary: Antonin LhotskyMembership: Philip Earnshaw cscPublicity: Robert Brooks cscEducation: Ernie KestlerMembership inquiries: 416-266-0591

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CSC OFFICECanadian Society of CinematographersAdministrator: Susan Saranchuk3007 Kingston Road Suite 131Toronto, Ontario M1M 1P1Tel 416-266-0591 Fax 416-266-3996email: admin@csc.caEditor: Donald Angus (416) 699-9149 email: editor@csc.caEditor-in-Chief: Joan Hutton csc

CSC NEWS is a publication of the Canadian Society ofCinematographers. CSC NEWS is printed in Toronto and is published ten times a year. Subscriptions areavailable for $75.00 per year in Canada and$95.00 per year outside the country. CanadianPublications Mail Product Sales Agreement No. 478423.

Volume 24, No. 8April 2005

Contents

2 - President’s Report- Glitter and Grit

1 4 - Cover StoryYuri and Sue

6 - CSC Awards- Winners and Nominees

8 - Film Frames- ETERNA500 Launched

12 - Genie Awards- Paul Sarossy csc bsc Wins

16 - News Clips- Hands-On Vancouver

20 - Action Production Notes- CSC Calendar

Visit: www.csc.ca

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Cover Photo: The cast of Sue Thomas:F.B.Eye -- In back: Bobby (Rick Peters), Tara(Tara Samuel). In front: Dimitrius (MarcGomes), Sue Thomas (Deanne Bray), Jack(Yannick Bisson), and Myles (Ted Atherton).Photo courtesy of CTV.

If the glittering CSC Awards Gala thismonth were the only indication, I'dhave to say that the state of the

Canadian film and television industrywas in fine shape. We know that's notquite true - yet - but there are strong signsof recovery; with the help of increasedtax credits from several provincial gov-ernments, committed productions are onthe rise. As the days of spring grow longerand warmer, so do the prospects for aneventual return to sound filmmakinghealth.

What has impressed me mostthrough all of the industry recession over the past three or four years is thepositive determination, the hang-in-there grit, of my fellow filmmakers. Therehave been regrettable casualties as belts

have been tightened, budgets squeezedand some corporate operations consoli-dated. There have been long dry spells formost cinematographers, who have hadto be as resourceful as they usually arecreative. It has not been easy.

The CSC Awards celebration, howev-er, perhaps more this year than at anyother time I can remember, reflected thelustre of a hardy profession that may bebruised but not broken. The quality ofthe entries in our 11 competitive cate-gories spoke volumes - business may bedown but the talent behind the camera isalive and well. Our congratulations to allthe winners and nominees for achievinga standard of excellence that is on a parwith not only the best of the past but alsowith the best of the world.

In a very real way, the 2005 Awardswere an island of reassurance in a sea ofuncertainty. Some pennies were pinched,some frills were trimmed, but AwardsChair Susan Saranchuk pulled anotherrabbit out of her hat, and even the picki-est of scrutineers could find nothing lessthan class and distinction in the annualevent. We are proud that many in theindustry think the CSC Awards is the bestticket in town and across the country. Itis small wonder that Susan was chosenunanimously by the CSC executive forthis year's Fuji Award, presented in recog-nition of outstanding service to theSociety. As Executive Director, Susan isour Wonder Woman all year round.Thanks, Susan, and congratulations.

Susan's magic notwithstanding, werecognize that the Awards Gala wouldnot fly without the generous support ofcorporate sponsors who, despite budgetcuts, managed to find enough money tokeep us airborne. (No Jetsgo pun intend-ed.) We are grateful not only for thedonations, but also for the gracious spiritin which they were given. There is anunderstanding in our close-knit worldthat the annual honours bestowed oncinematographers reflect a positive lighton all the many and diverse people whohelped create the images.

There are many others to thank forthis year's Awards Gala: administrativeassistant Karen Longland, jury co-chairsJim Mercer csc and John Hodgson, theseveral jurors, the executive, writer DonAngus, and our volunteers. There is onename missing, a friend and colleaguewho, for as long as I or anyone canremember, has been a vital part of thebehind-the-scenes Awards operations.Bob Brooks csc passed away on Feb. 4,leaving a huge tear in the fabric of ourSociety that will heal only in the fullnessof time and by adhering to the principlesof honesty, integrity and professionalismthat he stood for.

It was with great pleasure that Iannounced at this year's Awards that,beginning in 2006, the CSC honour forbest documentary would henceforth becalled the Robert Brooks Award forDocumentary Cinematography. As withthe Fritz Spiess Award for CommercialCinematography, the Roy Tash and StanClinton news awards and the Bill HilsonAward, this is as it should be. We honourthe memory of our heroes. •

2 • CSC News / April 2005

president’s report

CSC Awards: Glitter and Grit

Joan Hutton csc

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When, as a teenager, Yuri Yakubiw csc told his parents he wanted to be a cin-ematographer, they were supportive, but concerned. His Ukrainian dad andGreek mom, both working-class, first-generation Canadians, nudged him

towards a trade. Surely carpentry or plumbing would provide a more stable living thanfilmmaking, of all things.

But still, not wanting to squelch their son's ambitions, they pointed him towardssomeone who knew the business. Even then, Yakubiw didn't get much encouragement.“My mom was a house cleaner and cleaned house for a couple of soundtrack musicians,so I went to talk to one of them. He told me, 'It's hugely competitive. Be prepared fora big fight (to get established),'” Yakubiw said.

Early in his career, Yakubiw discovered the man hadn't been lying to him. “I usedto jog every day and I would actually repeatedly say to myself in a mantra-esque fash-ion, 'Some day I will be a cinematographer.' And I started to think that today's cine-matographers have to retire some day and they are going to have to be replaced. Whycan't it be me?” His dad, still concerned, commented,“'You gave it your best shot. Maybe you should go fora trade.'”

Today, Yakubiw, 46, is a well-established DOP who this past winter wrapped thethird and final season of the CTV/PAX-TV show Sue Thomas: F.B.Eye, shot in Sonyhigh-definition (HD) digital video - a format with drawbacks as well as rewards, hefeels. Produced by Toronto's Pebblehut Productions, the show is based on the lifeof a real person named Sue Thomas, who is deaf and works with the F.B.I., readinglips of suspects caught on surveillance cameras and in other situations where soundisn't available.

The show features deaf actress and teacher Deanne Bray, who says on her web site,that the series “focuses on what the deaf individual CAN do, rather than cannot do.”Among Bray's co-stars is an actor dog that plays Thomas's hearing dog.

Set in Washington, D.C., Sue Thomas shoots main interior sets at Cinespace inToronto and exteriors at various Toronto locations disguised to resemble the Americancapital. The series is created by Dave Alan Johnson and Gary R. Johnson, creators ofDoc. Marilyn Stonehouse produces for Pebblehut. The series portrays Thomas in herjourney from a college graduate to an F.B.I. fingerprint analyst, whose talent for read-ing lips is discovered by F.B.I. agent Jack Hudson. Jack quickly enlists her to join thebureau's elite surveillance team, and action ensues.

Broadcast in Canada on CTV, U.S. distribution is on PAX-TV, a network of 60 broad-cast television stations which reaches about 95 million homes, or 87 per cent of prime-time television households, in the U.S.

Yakubiw has a somewhat jaundiced view of the HD format. It doesn't work forevery kind of show, he believes. “Earth: Final Conflict (a science-fiction television seriesYakubiw also worked on) started the ball rolling with HD in Toronto. For a studioshow, with special effects, it's great. You're already in a digital domain. A lot of showswith special effects that are shot on film are dumped to digital for the effects then back

4 • CSC News / April 2005

cover story

By Solange De Santis

The real Sue Thomas (left, with hearing dog,Amazing Grace) is portrayed by deaf actressDeanne Bray (right, with actor dog, Jesse).

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Yuri Yakubiw cscVisualizing the Silent World of Sue Thomas: F.B.Eye

DOP Yuri Yakubiw csc on the set of Sue Thomas: F.B.Eye.

to film,” he commented.On Sue Thomas, he said, he sometimes feels constrained. The series is shot on

several locations and the cameras are tethered by 50 to 75 feet of cable to a 4' x 2'black box called the “coffin,” he said. Since Yakubiw often went into the coffin,shrouded by a black drape in order to view the video monitor it contains, the crewdubbed it his “burka” (after the head-to-toe garment devout Muslim women wear)“because of my limited view of the world while in there.”

He said that “you can't be spontaneous enough” with the HD system they wereusing on Sue Thomas. “When we were shooting downtown, if I were shooting16mm, I could have just grabbed the camera and gone across the street. But withHD, you have to re-cable, lay the cable mats down - a good 15 to 20 minutes couldgo by as opposed to five to 10 minutes with film. On an average day on a location

shoot, I estimate an hour a day was lost to cabling and re-cabling,” he said.“There are other (HD) configurations available to shoot with that could elimi-

nate the spontaneity problem, but they could introduce other issues or problemssuch as the inability to see your exposure or focus.”

HD, he feels, can replace 16mm film, but not 35mm, and there are some char-acteristics a DOP needs to keep in mind when shooting in HD. “Because it's so sen-sitive, it seemed like I couldn't set a proper exposure unless I saw my picture. With16mm, you know your film stock and you know the latitude. HD is not as forgiv-ing as film, so you need to be sure of your overexposure range,” he noted.

He also estimated that shooting in HD uses much more tape than shooting onfilm uses film. On film, the ratio of film shot to film used in the finished product isabout 10 or 15 to 1. On a video shoot, directors often don't bother to stop shootingwhen making changes or giving instructions to the cast, because, as is often heard,“tape is cheap,” so the camera keeps rolling. Yakubiw said the ratio of tape shot totape used is 120: to 150:1.

HD does have some advantages, he said. “I see the most pristine image on mymonitor. I can make instant decisions on my exposure and my lighting because Isee exactly how the picture is going to look. On film, you must know your filmstock. With HD, what you see is what you get,” he said.

The video system also allows him to do some colour correction on the spot. “Ialso created my own setting for a surveillance camera - grainy, desaturated - so youdon't need to do that in post-production,” he noted. Still, he feels Sue Thomas wouldhave been better suited to 16mm.

The show's crew this season was a bit unusual in that it contained three CSC fullmembers. In addition to Yakubiw, J.P. Locherer csc and Russ Goozee csc were cam-era operators.

Speaking with CSC News between jobs in mid-February, Yakubiw was rediscov-ering an early interest in still photography. “It's the complete opposite of being onset. I photograph people for a living. To go out first thing in the morning into thecountry when it's quiet is just beautiful,” said Yakubiw, who lives in the rural areaof Caledon East, north and west of Toronto.

When he was six, Yakubiw was given a glass prism and found he was endlesslyfascinated by the way the glass bent light into colours. “That prism sits on my nighttable now,” he said. At age 10, attending a Maple Leafs hockey game, he found him-self watching a nearby TV cameraman more than the game. He trained in the cin-ematography program at Humber College in Toronto, started as a production assis-tant, then gained experience in the lighting and electrical departments.

Over the last 15 years, he's been a DOP on national commercials, music videos,feature films such as More To Love and The Defectors and TV shows such as TheFamous Jett Jackson and Doc. Cinematography, he said, “is an excellent way toexpress yourself artistically and also be connected with technology.” And his fatherdoesn't much mention plumbing any more. •

'On film, you must know your film stock.With HD, what you see is what you get'

Sue Thomas (Deanne Bray) and fellow F.B.I.agent Jack Hudson (Yannick Bisson).

Since Yuri Yakubiw csc often went into the "coffin,"shrouded by a black drape in order to view the HDvideo monitor, the crew dubbed it his “burka.”

CSC News / April 2005 • 5

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Here, listed first and in bold type,are the winners in competitivecategories at the CSC Awards

Celebration in Toronto on April 9, fol-lowed by other nominees in brackets:

Roy Tash Award for Spot NewsKirk Neff, 401 Takedown,CityTV/CityPulse News, Toronto(Darin Saarela, Christmas Fire, CFCNTelevision, Calgary; Alan Stephens,Haiti Food Shortage, CTV Television)

Stan Clinton Award for News EssayRandy Maahs, Motorcycle Collector,CJOH/CTV Ottawa(Randy Maahs, Fly Fishing, CJOH/CTVOttawa; Yehoram Pirotsky, The Messiah,Global Television)

StudentDaniel Grant, The Peculiar Case ofDr. Alexa, Ryerson University(Pavel Patriki, Anamnesis, YorkUniversity; Kiarash Sadigh, It Happenedto Us, Humber College Institute)

Music VideoBrad Rushing csc, Alsou Always onMy Mind, HSI(Ray Dumas, Finger 11 One Thing, D-Squared Picture Company; Ray Dumas,Fembots Small Town Murder Scene, 235Films)

DocudramaMarc Gadoury csc, The Unsexing ofEmma Edmonds, Films Piché Ferrari(Damir Chytil csc, Zero Hour: Massacreat Columbine High, Cineflix Inc.3BMUK; George A. Willis csc sasc, AncientOlympics: Let the Games Begin,Cinenova Productions Inc.)

DocumentaryMichael Jorgensen, Lost Nuke, MythMerchant Films(Derek Rogers csc, Shipbreakers,Storyline Entertainment; Chris Triffocsc & Steven Allen, Escape from Iran:

The Hollywood Option, Partners inMotion)

Dramatic ShortSerge Desrosiers csc, Le Pont,Metafilms(Bruno Philip csc, Summer Chill, VikingFilms; Derek Rogers csc, Porcelain Pussy,Canadian Film Centre)

Fritz Spiess CommercialDylan Macleod csc, Advil Turn Offthe Lights, Spy Films(James Gardner csc sasc, Dairy Farmersof Canada Skaters, The Directors FilmCompany Ltd.; Pierre Gill csc,McDonald's Alexandre Despatie, Jet Films)

TV DramaSteve Danyluk csc, Earthsea, SeaEarth Productions/Hallmark Pictures(Norayr Kasper csc, Nancy Eaton -Deadly Friends, Voice Pictures Inc.;André Pienaar csc sasc, The WinningSeason, TNT/Rosemount ProductionsInternational; Ron Stannett csc,Evel Knievel, Jaffe Braunstein Films Ltd.)

TV SeriesGlen Winter csc, Smallville“Memoria”, Smallville 3 Films Inc.(Kamal Derkaoui csc, Robson Arms

“Aftershock”, Omni Films ProductionsLtd./Creative Atlantic CommunicationsLtd.; Alwyn J. Kumst csc, Mutant X“Cirque des Merveilles”, Mutant XProductions)

Theatrical FeaturePaul Sarossy csc bsc, Head in theClouds, Remstar(Bernard Couture csc, Le Dernier tunnel,Bloom Film/Christal Films; Rene Ohashi csc asc,Highwaymen, New LineCinema/Millenium Films/CorniceEntertainment)

Special Honourees

Bill Hilson AwardStan FordOutstanding service contributing tothe development of the motion pictureindustry in Canada

Fuji AwardSusan SaranchukOutstanding service to the CanadianSociety of Cinematographers

Kodak New Century AwardHarry Makin cscOutstanding contribution to the art ofcinematography •

6 • CSC News / April 2005

awards 2005 CSC Awards Winners, Nominees and

Special Awards Honourees

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With a three-city kickoff inlate February and earlyMarch, Fuji Photo Film

Canada launched Fujifilm's newmotion picture colour negative film,ETERNA500. Braving a late wintersnowstorm, about 110 cinematogra-phers and other film professionalsturned out at the Paramount Theatrein downtown Toronto on Feb. 28.Attendance in Montreal numbered 63at Cinémathèque Québéçoise on

March 1, and 54 showed up inVancouver at the Chan Centre for thePerforming Arts, University of BritishColumbia, on March 3.

Presentations in all three citieswere by Graeme Parcher, Canadiansales director of motion picture prod-ucts, and Mike Mimaki, technicalmanager for motion picture based inHollywood. Account representativeStephanie Fagan assisted in Toronto.

The show included a technical

power point presentation by Mimakiand a screening of a clever short filmby British director Marcus Dillistone todemonstrate the low-grain versatilityof ETERNA500 in bright sunlight, low-light interiors and night exteriors.Dillistone, director of the 2000 docu-mentary Sir John Mills' MovingMemories, created a story around amysterious black woman known onlyas The Shadow who seeks out lightpollution in various forms anddestroys it.

In one scene of the film, shot inand around Pinewood Studios inLondon, The Shadow blacks out aneon-lit nightclub by pulling the fusesone by one. In another, she kicks outthe headlamp of the leader of a motor-cycle gang. Even venerated actor SirJohn Mills, now 97, gets into the act,playing a bum under a blanket ofnewspapers who is awakened whensomeone drops a lighted flashlight (orelectric torch) on his chest. That scenewas shot by the equally renowned JackCardiff bsc (The African Queen), himself90, one of four ranking cinematogra-phers who each shot a sequence of thetest drama.

His colleagues were Toronto-basedRon Stannett csc (Evel Knievel), PhedonPapamichael asc (Sideways), andBritish DOP Sue Gibson (Hear MySong). Stannett (see CSC News,February/2005) shot the introductorydaytime exterior of the demonstrationfilm.

“The daytime shoot at 500 ASA wasa challenge,” he said, “but the ETER-NA500 handled the contrast and thehighlights very well. Normally you'd

8 • CSC News / April 2005

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select a 200 or something. It was sucha bright, sunny day that I had to stacka lot of ND (neutral density) on to thecamera. It was all sort of backlit, whichwas great, and I just split the differ-ence between my highlights and myfront light and did a balance that way,favouring the front light as being a lit-tle bit under.

“I wanted to see what the stockwould do by itself, and it did very well.The highlights held, the balance wasnice. We ran into a bit of a situationwhere we were starting to lose a bit ofthe light under a big tree, but I thought,'You know, it'll be a test. This is what itis.' And it wasn't too bad at all.”

The new ETERNA500 stock offersimproved grain and consistent greybalance over a broad range of expo-sures in a high-speed film, resulting inimproved image quality, said KellyPulford, senior director, magnetics andmotion picture at Fuji Photo FilmCanada.

ETERNA500 also incorporates newtechnologies that have previously beenunavailable in motion picture colournegative film, including Super Nano-Structured S Grain technology, Super-Efficient DIR-Coupler technology andSuper-Efficient Coupler technology.

“Since film versatility is extremelyimportant to both traditional and dig-ital post applications, we designedETERNA500 - a high-speed film withimproved grain, consistent grey bal-ance over a broad range of exposuresand stable reproduction of skin tones,”Pulford said. “While it is an ultra-high-

speed film, ETERNA500 offers granu-larity similar to that of E.I.250 filmsand provides a dramatically finer grainand better colour reproducibility thanexisting E.I. 500 films. This means thatthe quality of your image in ensured,even in dark areas.”

The features of Fujifilm's ETER-NA500 offer the following benefits forcinematographers:

Superb image quality is ensured,even in dark areas, because the grainof ETERNA500 was advanced to a levelsimilar to that of E.I.250 films;

ETERNA500 ensures a stable greybalance due to the excellent linearityover the entire range from underexpo-sure to overexposure;

ETERNA500 consistently repro-duces excellent skin tones by embody-ing a balanced interlayer effect in eachexposure range;

ETERNA500 displays excellentsharpness offering a favourable B/G/Rsharpness balance during the digitalprocess.

Three technological advances con-tributed to the product's development:

Super Nano-structured S GrainTechnology achieves high sensitivityby controlling the microstructure ofthe silver-halide grain down tonanoscale;

Super-Efficient DIR-CouplerTechnology ensures dramaticallyimproved sharpness and colourreproducibility by producing agreater interlayer effect than whatcan be achieved using conventionalDIR couplers;

Super-Efficient Coupler Technologyenhances sharpness by improving thecolour formation efficiency of cou-plers, thereby reducing the thickness ofthe photosensitive layer.

The product is available now inboth 35mm (8573) and 16mm (8673).Call Fujifilm at 1-800-461-0416 toplace an order or for pricing informa-tion. Test rolls are available by con-tacting your regional account rep.DVDs of the demo film are currentlybeing produced and will include thefilm and all technical information onETERNA500. •

Forming an all-star camera department, (from left) Brad Hruboska, CudahAndarawewa, Jasper Vrakking, Rick Kearney and John Holosko csc likedwhat they saw at the Toronto launch of Fujifilm's ETERNA500.

Among those who attended the Toronto launch of ETERNA500 were (fromleft) Cathy Cultraro, Samantha Esteves, Colin Davis, all of Technicolor,Arthur Cooper csc, and Helen Baik, also of Technicolor.

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Launching the Fujifilm ETERNA500 film stock inToronto on Feb. 28 were (from left) Mike Mimaki,technical manager for motion picture based inHollywood, Toronto account representative StephanieFagan, and Graeme Parcher, Canadian sales directorof motion picture products.

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Paul Sarossy csc bsc has his Head in theClouds these days. The acclaimed directorof photography won the 2005 Genie

Award for achievement in cinematography onMarch 21, and less than three weeks later thesame movie gained him the CSC Award for besttheatrical feature cinematography. It was histhird doubleheader; he won both the Genie andCSC awards for the Atom Egoyan films Exoticaand The Sweet Hereafter.

Head in the Clouds, a Remstar Corp. produc-tion starring Charlize Theron, Penelope Cruz andStuart Townsend, was written and directed byJohn Duigan. It also won Genies for editing, orig-inal score and costume design, the only film tocapture four awards.

Also nominated for cinematography wereLouis de Ernsted csc for Nouvelle-France, BernardCouture csc for Le Dernier tunnel / The Last Tunnel,

Pierre Mignot for Ma vie en cinémascope andAndré Turpin for Childstar.

Best picture at the 25th annual Genie Awards,presented by the Academy of Canadian Cinemaand Television, was Les Triplettes de Belleville / TheTriplets Of Belleville, the first animated feature toearn the honour. Runners-up were Being Julia,Love, Sex and Eating the Bones, Ma vie en cinémas-cope, and Mémoires affectives.

Pascale Bussières took the Genie as best actressin a leading role for her performance in Ma vie encinémascope, and Roy Dupuis won best actor in aleading role for Mémoires affectives.

For performance by an actress in a supportingrole, the Genie went to Jennifer Jason Leigh inChildstar, and to Jean Lapointe for best actor in asupporting role in Le Dernier tunnel.

Francis Leclerc (Mémoires affectives) took homethe Genie for achievement in direction. •

12 • CSC News / April 2005

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FOR SALE: Back-mount Steadicam vest for sale.Swiss-made ACTIONCAM: Fully size adjustable -no fitting required; reversible and heightadjustable arm mounting bracket; tool-lessadjustable socket-block (Steadicam); lightweight(8 lbs.); mounts and dismounts quickly with tworatcheting buckles; 9 months old - used less thana dozen shooting days (excellent condition).Allows for easier weight distribution - you canput all the rig weight on your hips, for example. Ifound it much easier to breathe and move thanwith my IIIa vest. Also makes “push-away”moves much easier to hold than with a standardvest. Can also be rigged for “body-cam” actor-mount applications. C$3500. Contact Ian Kerr604-307-4198, ian@stormfilms.com

FOR SALE: Arri 35/Super35 35BL Evolution cam-era package. Original camera before the Evolutionupgrade was a BL4 with a BL3 finder. Camera iseasily switched to regular 35mm from super35mm in just minutes. Package includes Evolutionoptics, extension eyepiece, super wide angle eye-piece, video tap with Sony XC-999 camera,4x1000' mags, 2x400' mags, Media LogicDigitach, base and bridgeplate and many otherextras. Also included is a Steadycam low modebracket for use with the 35Evolution system. Allitems come in heavy-duty Clydesdale cases. Thecamera is in excellent working order. It has been

privately owned since new and has been servicedregularly by Arri Canada. Asking price is $45,000.Details on the Evolution system are available atwww.pstechnik.de/ Questions or requests forphotos can be sent to photosonic@sympatico.caor (416) 604-4696.

FOR SALE: A limited number of surplus Red Eyeadapters are available to clear: 10 units of the .7x- 82 mm Red Eye aspheric wide-angle adapter,and 4 units of the .7x - 72 mm Red Eye asphericadapter. Contact Rene J. Collins for details:rene@collinscraft.com

FOR RENT: Pied-a-Terre in Los Angeles: Severalof us 'out-of-towners' share a West Hollywoodapartment and are looking for another partner.Quiet building with balcony facing sunny court-yard pool and hot tub. Furnished, fireplace,secure parking, phone , fax machine, voice mail,cable TV, DSL internet . . . all ready to go at $460US/mo. We use it as a drop-in centre while onbusiness in LA. One-year lease starting April 1,2005. Call Peter 416-698-4482 or e-mailpeter@peterbenison.com

FOR SALE: Nikon Super Zoom system forBetacam - you can fill the frame with the moonor pan within a postage stamp, $4,000; BVW25Betacam record playback deck with Telcom

time code display, Pelican and soft cases, and110v power supply $2,000; Contact Jim Mercer,416-930-3485 or jim.mercer@sympatico.ca

FOR SALE: Used equipment. Arri SR package,w/10-100 Zeiss, w/Arri Shade & Accs, 2 mags &case,15,000; Arri “S” package, VS motor, primes,cable, battery, 2,500; Panasonic DVX 100P DVCamera, w/standard accs., 3,400; Ang. 12-240,12-120 Arri “B” mount, call for price;Ang. 5.9mm(Arri S), Ang. 10-150 (Éclair), Ang. 12-120 (CP), callfor price; Century lenses, 25-250 zoom, 500mm w/2X, 230mm, 300mm, call for price; Bolex pack-ages, Rex 3's, Rex 5's, EBM's, other Crystalmotors, call for price; Filters and more used gear:Check our web site www.llsr.com; Phone: (604)298-3224 Fax: (604) 298-2023; Looking for usedfilm or video, email llapham@llsr.com

FOR SALE: From Leather Design Tech, the HotFleece Dickey for film crews, construction work-ers, outdoor sports enthusiasts, children and theelderly. This soft fleece neck warmer comes witha hot pack for only $23. Be warm while its coldoutside! The Hot Fleece Dickey keeps your backmuscles warm and helps reduce stress. And, for$12 you can have a small leather tissue holderthat velcros inside your car. Call to order: Lori 416-452-9247, 905-895-3807,llong@rogers.com. Website: www.leatherdesigntech.ca

CAMERA CLASSIFIEDS

Camera Classifieds is a FREE service to CSC members. If you have items you’d like to buy or sell, please e-mail your list to editor@csc.ca

Paul Sarossy Takes Home 2005 Genie Award for Head in the Clouds

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A proud sponsor of the Genie Awards

The 25th annualGenie Awardwinner for

Achievement in Cinematography

Proven Time After TimeBut don’t just take our word for it. Noted

Director of Photography Gary Manske says, “Ihave used Clairmont strobes on dozens ofcommercials in a variety of ways. This hasincluded capturing extreme action in toy spots,to enhancing the beauty of liquid on food shots.I most recently used them for an ice creamcommercial which featured small candies beingdropped on top of a scoop. The Clairmontstrobes not only captured the beautiful details,they gave me a low temperature light source tokeep the ice cream cold. And on a practical note,the Clairmont strobes are also very reliable andeasy to set up. This is always a plus in today’s fastpaced commercial world!”

Convenient 120v AC Power!One important reason why Clairmont strobes are

so versatile and easy-to-use is that they require only astandard household 120v AC power source. This letsyou shoot in virtually any location, and not be limitedto using sets on a 220v sound stage or industrialenvironment.

Works With Most CamerasAnother key factor is that Clairmont strobes can

be used with virtually any modern camera; Aaton,Arriflex, Fries/Mitchell, Moviecam —even Panavision.And they can be synchronized with any speed from4 to 150 fps.

No Special TechniciansBest of all, standard crews can handle the strobes.

You don’t need any special technicians. The compact17" wide by 7" tall heads are easily positioned by thecinematographer, with the lighting effect previewedthrough the camera. Not only does this save money,but you won’t have to listen to some guy tell you howto do your job!

Save Up To 30% More!In addition to not needing to hire a “specialist” to

operate lighting, there are other economic advantagesto using Clairmont strobes. Like not needing specialhigh speed cameras that “eat” film to sharpen action,and being able to rent Clairmont strobes at verycompetitive prices. What’s more, we’ve found a three-head Clairmont package to be renting for about 30%less than the competition.

Every now and then we liketo remind cinematographers,directors and producersabout the advantages of usingClairmont strobes. Forcapturing dynamic actionshots, highlighting motionand working with food...ourexclusive compact design,cool strobes are the answer.

They’re Light Years Ahead OfThe Competition. And For ManyImportant Reasons...

Lightweight And PowerfulEach Clairmont strobe puts out 100 foot-candles

at 4 feet. If you need more lighting, the compact17" x 7" heads can easily be gaffer-taped together.A 400-foot-candle source measures only 34" x 14"(or you can configure it 28" x 17"). Using tape to linkheads —or attach gels— is no problem, since thestrobes run cool. What’s more, each head weighsonly 10 lbs., so a 4-head bank is only 40 lbs. That’ssubstantially lighter than any competitor’s package.

Control The TemperatureIf you’re shooting food, you need strobes.

Regular “hot” lights will most assuredly wilt lettuce,melt ice cream and have an effect on steam,condensation, etc. With strobes, conditions areeasier to control.

24 Frame Strobe SequencerWith nine available channels, you can hook up

many strobe power packs —and more than onestrobe head on each channel by connecting powerpacks. There are 24 DIP switches per channel, whichcontrol the flash per frame. Flash on one or multipleframes per second.

HOLLYWOOD818-761-4440

TORONTO416-467-1700

VANCOUVER604-984-4563

Control The LightUsing Clairmont’s Preview Box you

can check your setups without runningthe camera. It’s set at 61 fps so the strobeflashYes will almost look like regular AC light. Youcan set the heads to get the desired lighting effect. Andthere’s a Low Power switch on each strobe Powerpack thatreduces output one stop. Color Temperature is 7000° K.

In SyncThe Sync Box automatically relays

timing signals from the camera. You cancapture input from multiple cameras andsynchronize them with the strobe pack(s).

Rapid Pulse And RecycleClairmont strobes have an exposure time of

1/50,000th –substantially less time than the shutter isopen. This pulse flash, along with your T-stop, set theexposure. You can maintain the same T-stop and exposurelevel while varying camera speeds because Clairmont strobeshave a very rapid flash recycle time. P Speeds of up to 150frames-per-second are fine.

It All Adds UpWe believe there’s not a more compact, reliable, easy-to-

use and more controllable strobe unit on the market. Youwon’t find a more versatile package and better value thanrenting Clairmont strobes.

visit our web site: www.clairmont.com

HANDS-ON VANCOUVERA SUCCESS

PERA Expo ExceedsExpectations

The Production Equipment RentalAssociation's Hands-On Vancouverexposition, at Stage 3 of Lions GateStudio in North Vancouver March 4-5,“exceeded all expectations,” Ed Clare,president and executive director ofPERA, said.

Highlights of the two-day up-close-and-personal exhibits included theCanadian premiere of Panavision'sGenesis digital imaging system, whosepresentation by Panavision's John Galtwas to standing-room audiences bothdays. Part of Galt's presentation was thescreening of a 35mm side-by-side com-parison of footage shot by Alan Daviauasc in both 35mm and the Genesis dig-ital format.

Standing-room audiences alsoattended Denny Clairmont's presenta-tion of Clairmont Camera's modifiedSony and Panasonic cameras, whichwere new to Vancouver. The busyschedule also included Panasonic's in-depth look at its Varicam digital imag-ing device and the comparative charac-teristics of both film and digital HD.Rounding out the presentations wasLorne Lapham's presentation of sup-

port and audio equipment, such as theSteadicam flyer, for smaller, moreaffordable digital cameras.

Karl Herrmann, IATSE 669's directorof photography representative, orga-nized and taught at the lighting work-shop sessions which he patterned afterthe workshops conducted by IATSE 600in Los Angeles. He said, “These sessionsare so important. Not only do we asDPs get to share with and learn fromeach other, but we are teaching thenext generation of Canadian filmmak-ers. Everyone, and I mean everyone,felt it was a worthwhile experience.”

Other lighting workshop teachersincluded CSC members Attila Szalaycsc, Jan Kiesser csc asc and PhilipLinzey csc, who shared some of theirsecrets to the overflow crowds.

Production professionals fromBritish Columbia and the rest of

Western Canada - including DOPs, 1stand 2nd assistants, gaffers, grips, pro-duction managers and more - werethrilled to see the latest technologicaladvances in production equipment.One 2nd assistant currently working inCalgary made the trip. She said, “I'veseen the equipment that will solve somany of our shooting issues right here.[This equipment] will not only makeour production look better, it will saveus money.”

Clare said he chose Vancouver forthis edition of the Hands-On programbecause “Vancouver is a complete pro-duction destination. By that I mean,they do it all: features, episodic, MOWs,commercials, etc. Vancouver produc-tion professionals deserve to see theequipment that will make their jobseasier.”

PERA is an international association

16 • CSC News / April 2005

news clips

DOP Michael Balfry csc says Season 4 of the HDTV series Dead Zone “ishumming along at a very rapid pace” in Vancouver, and this photo pro-vides an indication of how fast things can get on location. “Yet anotherway to get a quick low-angle shot,” says Balfry, is this camera-riggedATV, with steadi-op Lou Gruzelier out in front, dolly grip Craig Munroe atthe wheel and grip Wally Nygren in the rear.

Phot

o: S

hane

Har

vey

Lorne Lapham of Lorne Lapham Sales and Rentals talks to a prospective client at Hands-On Vancouverabout the new, compact Sony HVR-Z1U camcorder.

Jimmy Fisher of J.L.Fisher (left) chats with Diane Woods of D.J. WoodsProductions Inc. and Ed Clare, PERA president. “Hands-On Vancouver iswonderful opportunity to meet and talk with the users of our equipment,”Fisher said. Clare called the show “a resounding success.”

CSC News / April 2005 • 17

of professional production equipmentrental companies and manufacturers. Itwas founded as a commitment to pro-vide excellent equipment and serviceto moving image production through-out the world. PERA's Hands-On showsbring the latest technology in motionpicture production to regional markets.

KODAK AND CINEPLEX GALAXYBring Digital Pre-Show to Canada

Eastman Kodak has announcedthat Cineplex Galaxy, a leadingexhibitor of motion pictures, is pur-chasing more than 200 Kodak DigitalCinema systems to launch theCineplex Galaxy digital advertisingnetwork in their Toronto extendedmarket area theatres.

Cineplex Galaxy will use the sys-tems with Christie projectors to pre-sent their unique 20-minute digitalpre-show, called “Reel Entertainment”to audiences in their growing theatrenetwork.

Cineplex Galaxy is the firstCanadian exhibitor using the Kodaksystem. In the past year, Kodak hasinstalled its Digital Cinema pre-showsystems in more than 700 screens inthe United States, with an equal addi-tional number under contract.Working with its advertising packagerpartners, Kodak currently preparesand delivers pre-show programmingthat's seen by more than 30 millionmovie-goers a year.

As of April 1, Kodak systems were

operational on 215 screens in 21 the-atres in the greater Toronto area.

IAN VATCHERNew Head of Panasonic Canada

Yoshi Yamada, chairman and CEO of Panasonic North America, hasannounced the appointment of Ian

Vatcher as president ofPanasonic Canada Inc. Formerpresident Eddie Esaki returnsto Japan in a new assignmentwith Matsushita.

Vatcher was previouslysenior vice-president ofPanasonic Canada. He hasbeen with Panasonic for 23years, serving in varioussenior management posi-tions in the company, includ-ing vice-president of its com-munications and digital sys-tems division and generalmanager, consumer productssales. He is a graduate of theUniversity of Waterloo.

Panasonic Canada is aprincipal Canadian sub-sidiary of Matsushita Electric

Industrial Co. Ltd. of Japan, one of theworld's largest producers of electronicand electric products for consumer,business, and industrial use.

KODAK UNVEILS HD FILM SYSTEMFor Television Production

Kodak has unveiled a Super 16mmfilm system designed for cost-effectiveproduction of content in either stan-dard- or high-definition television for-mat at the annual National Associationof Broadcasters conference in Las Vegas.The Kodak VISION2 HD System pack-ages a new type of film with advancedhybrid motion imaging processingtechnology utilizing proprietary Kodakcolour science.

“Our scientists designed this systemto leverage breakthroughs in emulsionand film scanning technologies,” saidRobert Mayson, general manager ofImage Capture and vice-president ofKodak's Entertainment ImagingDivision. “It enables cinematographersto maximize the unique productionvalues and superior quality of a filmlook with the flexibility of using

• see page 18Ian Vatcher

18 • CSC News / April 2005

• from page 1716mm cameras. The hybrid systemallows filmmakers to maximize theefficiency of the motion picture work-flow with today's advanced technolo-gies from pre- to post-production.”

The new system combines VISION2HD colour scan film 7299 used in con-junction with a VISION2 HD DigitalProcessor. The latter is a new post-pro-duction tool used to adjust digital filesof scanned film to emulate the imag-ing characteristics of any currentKodak negative, including grain, con-trast and colours.

Cinematographers can choose to ratethe scan-only film for an exposure index(E.I.) of either 500 or 320. The new filmoffers an extended dynamic range andbroader exposure latitude coupled withthe sharpness and fine grain imagingcharacteristics similar to the 500-speedVISION2 5218/7218 colour negativefilm. In addition to mimicking the imag-ing characteristics of different emul-sions, the system compensates forunder- and overexposure, as well as forvariations in colour temperatures.

FILM TAX CREDITS INCREASEDN.S., Manitoba Announce Hikes

Nova Scotia has announced a 10-year extension to the province's filmtax credit, while also increasing thecredit from 30 to 35 per cent for pro-ductions in downtown Halifax RegionalMunicipality and from 35 to 40 percent for areas 30 kilometres or morefrom the city core. In addition, a fre-quent-film bonus of five per cent isbeing introduced for companies thatshoot two projects in the province overa two-year period.

The government also announced anadditional $600,000 for the Nova ScotiaFilm Development Corporation to usetoward existing programming in 2005-06. The province's film industry hasgenerated more than $100 million ofproduction activity in each of the lastsix years and consistently employsabout 2,000 Nova Scotians.

Meanwhile, the Manitoba govern-ment has increased its film and televi-sion tax credit to 45 from 35 per cent.There is no change to the five-per-centrural bonus and the five-per-cent fre-quent filming bonus. •

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CSC News / April 2005 • 19

CSC FULL AND LIFE MEMBERS

CSC FULL MEMBERS

Nicholas Allen-Woolfe cscJim Aquila cscEduardo Arregui cscMichael Balfry cscChristopher Ball cscJohn Banovich cscJohn Bartley csc ascStan Barua cscYves Bélanger cscPeter Benison cscDean Bennett cscJohn Berrie cscThom Best cscMichel Bisson cscCyrus Block cscRobert Bocking cscMichael Boland cscRaymond Brounstein cscThomas Burstyn cscBarry Casson cscEric Cayla cscHenry Chan cscMarc Charlebois cscRodney Charters cscBruce Chun cscDamir Chytil cscRichard Ciupka cscArthur Cooper cscWalter Corbett cscBernard Couture cscRichard Crudo csc ascDean Cundey csc ascFrancois Dagenais cscSteve Danyluk cscLouis de Ernsted cscDavid De Volpi cscKamal Derkaoui cscKim Derko cscJacques Desharnais cscSerge Desrosiers cscJean-Yves Dion cscMark Dobrescu cscWes Doyle cscGuy Dufaux cscAlbert Dunk csc ascPhilip Earnshaw cscIan Elkin cscMichael Ellis cscCarlos Esteves cscNikos Evdemon cscDavid Frazee cscMarc Gadoury cscJames Gardner cscDavid Geddes cscIvan Gekoff cscLaszlo George cscLen Gilday cscPierre Gill cscJohn Goldi csc

Russ Goozee cscSteve Gordon cscDavid Greene cscJohn Griffin cscMichael Grippo cscManfred Guthe cscThomas Harting cscPeter Hartmann cscPauline Heaton cscBrian Hebb cscDavid Herrington cscKenneth Hewlett cscEdward Higginson cscRobbi Hinds cscRobert Holmes cscJohn Holosko cscGeorge Hosek cscColin Hoult cscDonald Hunter cscJoan Hutton cscTom Ingle cscMark Irwin csc ascMaris Jansons cscJames Jeffrey cscSilvio Jesenkovic cscDaniel Jobin cscPierre Jodoin cscMartin Julian cscNorayr Kasper cscGlen Keenan cscIan Kerr cscJan Kiesser csc ascAlar Kivilo csc ascDouglas Koch cscCharles Konowal cscRudi Kovanic cscJim Kozmik cscKen Krawczyk cscLes Krizsan cscAlwyn Kumst cscJean-Claude Labrecque cscSerge Ladouceur cscGeorge Lajtai cscMarc Laliberte Else cscBarry Lank cscHenry Lebo csc

Richard Leiterman cscJohn Lesavage cscHenry Less cscPierre Letarte cscPhilip Linzey cscWalt Lloyd cscJ.P. Locherer cscPeter Luxford cscLarry Lynn cscDuncan MacFarlane cscDylan Macleod cscBernie MacNeil cscGlen MacPherson cscHarry Makin cscDonald McCuaig cscRobert McLachlan csc ascRyan McMaster cscMichael McMurray cscStephen McNutt cscGraeme Mears cscSimon Mestel cscGregory Middleton cscGordon Miller cscRobin Miller cscPaul Mitchnick cscLuc Montpellier cscGeorge Morita cscDavid Moxness cscCraig Mullins cscDouglas Munro cscStefan Nitoslawski cscDan Nowak cscRene Ohashi csc ascRon Orieux cscHarald Ortenburger cscGerald Packer cscRod Parkhurst cscBarry Parrell cscBrian Pearson cscDavid Perrault cscBarry Peterson cscBruno Philip cscMatthew Phillips cscAndré Pienaar cscEdward Pietrzkiewicz cscRonald Plante csc

Randal Platt cscMilan Podsedly cscHang Poon cscSteven Poster asc cscAndreas Poulsson cscPascal Provost cscDon Purser cscJoel Ransom cscOusama Rawi csc bscWilliam Reeve cscStephen Reizes cscDerek Rogers cscBrad Rushing cscBranimir Ruzic cscRobert Saad cscVictor Sarin cscPaul Sarossy csc bscGavin Smith cscChristopher Soos cscJohn Spooner cscRonald Stannett cscBarry Stone cscMichael Storey cscRichard Stringer cscMichael Sweeney cscAdam Swica cscAttila Szalay cscChristopher Tammaro cscGabor Tarko cscJohn Tarver cscBrian Thomson cscPaul Tolton cscBert Tougas cscChris Triffo cscSean Valentini cscPaul van der Linden cscDerek Vanlint cscGordon Verheul cscRoger Vernon cscSteve Vernon cscDaniel Villeneuve cscDaniel Vincelette cscMichael Wale cscJohn Walker cscTony Wannamaker cscPeter Warren csc

Andrew Watt cscJim Westenbrink cscTony Westman cscKit Whitmore cscBrian Whittred cscRon Williams cscGeorge Willis cscRichard Wincenty cscGlen Winter cscPeter Woeste cscBill Wong cscBruce Worrall cscCraig Wrobleski cscYuri Yakubiw cscEllie Yonova csc

FULL LIFE MEMBERS

Herbert Alpert csc ascDavid Carr cscChristopher Chapman cscRobert Crone cscKenneth Davey cscKelly Duncan csc dgcDan Gibson cscKenneth Gregg cscBrian Holmes cscMaurice Jackson-Samuels cscDouglas Kiefer cscNaohiko Kurita cscHarry Lake cscDouglas Lehman cscDonald McMillan cscJim Mercer cscRoger Moride cscDean Peterson cscRoger Racine cscRobert Rouveroy cscIvan Sarossy cscJosef Sekeresh cscWalter Wasik cscRon Wegoda cscLouis Wolfers csc

TorontoTel: (416) 444-7000

VancouverTel: (604) 291-7262

20 • CSC News / April 2005

British Columbia, PrairiesTHE 4400 (series); DOP: Tony Westman csc; to July26, North Vancouver (HDTV).BATTLESTAR GALACTICA (series); DOP: StephenMcNutt csc; to Dec. 8, Vancouver (HDTV). DEAD ZONE (series); DOP: Michael Balfry csc; toSept. 6, Vancouver (HDTV).DEVIANT BEHAVIOR (pilot); B-Op: Brad Creasser; toApril 13, North Vancouver.FINAL DESTINATION 3 (feature); Rob McLachlan cscasc; to June 13, North Vancouver.SLITHER (feature); DOP: Gregory Middleton csc; toApril 12, Vancouver.SMALLVILLE (series); DOP & 2nd-unit DOP: GlenWinter csc (with Barry Donlevy); to April 13,Vancouver.STARGATE ATLANTIS (series); B-1st: Grizz Salzl; to Oct.17, Burnaby (HDTV).STARGATE SG-1 (series); DOP: Peter Woeste csc(with Jim Menard); to Oct. 17, Burnaby (HDTV).TOMMY DOUGLAS PROJECT (CBC mini-series); DOP:Pierre Letarte csc; Op: Ken Krawczyk csc; May 10,Regina.WRONG ELEMENT (feature); 1st: Larry Portmann; toJune 1, Burnaby.

Ontario, Quebec, AtlanticAMBITION (MOW); Op: Mark Willis; to April 17,Toronto.AU NOM DE LA LOI (serie); DOP: Bernard Couture csc;18 avril au mi-aout, Montreal (video).CANADA RUSSIA '72 (mini-series); DOP: JamesJeffrey csc; to May 9, Fredericton, N.B.

COMME EN APPART' (tele-roman); DOP: DanielVilleneuve csc (pilote); 16 mars au 31 janvier,Montreal.DIVE FROM CLAUSEN'S PIER (MOW); DOP: DavidGreene csc; April 2-29, Halifax.DROWNING (long metrage-film); DOP: Pierre Jodoincsc; 11 avril au 6 mai, Montreal.FOUR BROTHERS (feature); 2nd-unit DOP: GlenKeenan csc; to April 4, Toronto.GHOSTLY ENCOUNTERS (series); DOP/Op: Gavin Smithcsc; to April 20, Toronto (DigiBeta).LES INVINCIBLES (serie); DP: Ronald Plante csc; 4avril-20 aout, Montreal (video).KEVIN HILL (series); David Moxness csc; 1st:Chirayouth Jim Saysana; to April 13, Toronto(HDTV).KOJAK 1 (series); 2nd: Marcel Janisse; to April 10,Toronto.MARTY'S PARTY (series); DOP: Mitchell Ness; to May6, Toronto.MURDER IN THE HAMPTONS (MOW); DOP: MichaelStorey csc; May 9 start, Toronto.1-800-MISSING (series); DOP: David Herrington csc;April 18-Sept. 15, Toronto.SIXTEEN BLOCKS (feature); DOP: Glen MacPhersoncsc; April 20-June 30; Toronto.SNOW CAKE (feature); Op: Perry Hoffman; April 4-May 13, Toronto.TAKE THE LEAD (feature); Op: Mark Willis; 2nd:Marcel Janisse; April 25-June 1, Toronto.UNTITLED CHARLIE BOHL PROJECT (MOW); Op: HaraldOrtenburger csc; to April 23, Toronto.

Schedule of Meetings and Events of Interest to CSC Members

ACTION PRODUCTION NOTES & CSC CALENDAR

Check www.csc.ca for the latest information

every-body

©2005 Kodak Canada Inc., Kodak is a trademark.

Powered by KODAK Color Science, the

new KODAK Look Manager System allows

you

to emulate the impact of gels, filters and

postproduction techniques on KODAK Film

stocks—and then share those options with

team members anywhere. And to ensure

your creative intent is preserved,

KODAK Display Manager System enables

workstations to render the look of pro-

jected print film—so that everyone has a

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Everybody go to www.kodak.com/go/kcimo-

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