Rringing you all the action ....

CBC Sports will use Panasonic equipment tor one or the major International sporting events or 1998: the 16th Commonwealth Games In Kuala lumpur, Malaysia.

Panasonic will play a critical role In capturing the important details or each event and in bringing the special efforts of the athletes into Canadian homes.

For these games, Panasonlc wilt provide OVCPR050 4:2:2 digital component camcorders and studio VCRs that perfectly suit CBC's sports applications, and Digital Signal Processing studio

cameras and colour monitors. For the 16th commonwealth Games in Kuala l umpur, Panasonic is proud to assist CBC in relaying the achievements ol

our Canadian athletes, as welt as all ol the excitement ol the Commonwealth Games.

1M c.....r;..So<irly of Cinemotcgr ....... "" I,.,.JeJ irll9l7 bi o group ol'lo<aoto, Montrtol tm4 Ono.. ,..,.,...,. firn IIIMlo.., 8110 ri~tmd-;, OWJ<irrltJ occupolioM ,.,,. ioifl<rl tht «grmizalion.

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President's Report "We'1e Bock!·

Showcase '98 lights, Camero, Action

Technically Speaking Glorious Block g White

Vancouver A Leading Lady

Talking Pictures Thinking Big

In Memoriam Noel Archambault

Film Clips Gems and Ems

Action Production Notes CSC Calendar

2 3

4

6 14

16

17

20

Cover photograph: Voncouve1 Tourism

We're Back ... Wrtll a Western LiXJk!

IIOf>C you all had a !:)"eat summer. The service industry in C1nada continues to boom. and the esc I< busy, too. Here are a few notes or imerest to bring ~'Ou up to date since june.

Tills issue features a look at Vancouver dnematog.aphers and the burgeoning state of the rum and 1V industry in British Columbia. esc News Editor Don Angus visited Vancouver In July to lmerview several DOl's. and his •overview• repon this month kicks orr a series of stories In

2 esc NEWS 5eprem0er 1oos

future issues that will profile West Coast shooters and spon-sors.

Because the magazine is more than paying for Itself, we decided to send Don out to the Padftc both as a reponer and as an ambassador. In addi­tion to wearing his editorial hat, It was Oon's Ol'it assign­ment as the esc•s new lnfonnalion Offlcer, a position we created july I to help enhance the Society's activities and our involvement In the ftlm and ·rv community, and to generate a greater awareness of the art or dnematography among ourselves, the Industry, and the media. We felt that Vancouver, as one of Nonh America's leading production centres, was the perfect place to launch our objectives for the new millennium, among which are goals to Increase membership and Society­sponsored events across the

country and to give the esc a fresh national impetus.

As Don remarked, how could we position the esc ror the year 2000 without visiting the capital of Millermium, the popular Vancouver-shot 1V series that has won Rob Mclachlan esc two consecu­tive esc Awards and an ASC nomination? So he hopped on a plane, and you can read all about what he found in this month's cover story.

Saving the Past Back in Toronto, Don rep­

resents the esc on a ramify and industry committee set up to create the Frit:t Spiess Archives at William F. White Ud.-which, by the way, is cel­ebrating its 35th anniversary this year. After Fritz's death last March, BW White 8)"3dousiy offered to store his extensive collection of equipment, com­merdal reels, papers and other memorabilia, and to establl~h a permanent exhibit in the lobby or WFW's spadous fadl­ity. It has turned out to be a bigger job than expected, what with inventory-taking and assessments by archival specialists. It will take a while for the planned display to take shape, but in the meantime one message has been made dear: "Don't throw anything out."

The esc is pleased to be part or U1is continuing tribute to Fritz, combined with our recently announced Fritz SpieSs Award for Excellence In Commerdal Cinematography and the Society's $5,000 donation to the memorial fund for leukemia research set up in his name. But more than that, we see this as an opponunity for esc ln\'01\1!­ment in a broader movement to preserve our heritage. We have taken only a baby ~tep towards a cinematography archive; we so far have no Idea or how or where. But this is a

project we •vlsh to launch in eamest, and we will be count­Ing on the help of both mem­bers and sponsors. So, hang on to those career treasures. We want to find them a home.

A related project just under way is a series of videotaped interviews ''~th founding and senior members of the esc that will help us record the hI story of our organization and or our role in the Canadian fi lm and television Industry. As well as valuable archival footage, some of these reminiscences will become pan or a production we are tentati,·ely calling 77~e esc Story. And this is the first call for your input. Go to )'OUI

basement or attic and dig out those wonderful old reels or your work, and those stills that show you and/or your col­leagues behind the scenes. And give us a call.

Special Notes l wish to acknowledge the

beautiful letler from Gunild Spiess conveying her than~ •to all at the CSC" for our donation to the fritz Spiess Leukemia Fund. I also wish to offer our sincere condolences to the family, friends and col­leagues of esc assodate mem­ber Noel Archambault of Vancouver, who was killed In a tragic filming accident in june. l'lease see /11 Memoriam in this Issue.

Finally, the esc Is proud to be a sponsor or the charity golf tournament being organized by the Canadian Independent Camera Associa­tion on Monday, Sept. 14. The event, to raise money for 'loronto's Shout Clinic for street kids, tees off at II a.m. at the Nobleton Lakes Golf Course, and includes lund1 and a wrap dinner with enter­tainment. For details, call Don or Elizabeth Purser in Hamilton, Ont., at (905) 312-0909 . •

CAS~ '9 L. h"s Camera, Action at William F Wh· \9 I I • lfe

It was hot, but the atmosphere inside the big 1998 1mlu!try Sllowcasr tent at William F.

While's in Toronto on June 19 wa1 Ught and breezy. The show, fol·

~ lowed the next night by a lavish f tent party celebrating White's 35th .g anniversary, fC(Itured the booth~ or ~ several CSC sponsors, and we've ~ got the photos. The smi les were l warmer than I he tent. e

OSRAM I SYLVANIA

Clodwise fro11 lop left ROSCO: To11 Swortt (left) ood Sttplotn Sponclff; OSRAM SYLVANIA: Steven Dvff; LEE fiLTERS: Tony Devoi; MUSCO MOBILE UGHTING: Musco Ughts in the por.inglot; ARRI CANADA: Penny Waller; Middle picture STRAND UGHTING (CANADA): From left: Fran• Oarlt, John M<Kenzie and Danna Appleton

CSC NEWS Septomoo /998 ~

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4 CSCNfWS~ 1998

TECHNICALLY SPEAKING

Glorious Block & M~

I I ford Imaging hasn't had many motion plctur~ crroits since Zor/Ja lilt Greek In 1964, but the British

com1>any Is back with a new lineup of black-and-white film stocks it hopes will And a niche market around the world, Including Canada.

IIford Is willing to rcliev~ Kodak of its "fringe• black-and-white business, Nigel Brlgg> of London jokro to a CSC meeting at deluxe toronto on j une 17. ~le said IIford, well known to profes­siona l stills photographers since 1879, made Its first motion picture film in 1923 but pretty well abandonoo the product In the '60s. The company got back Into the movies in 1996 with three new stocks.

Briggs, llford's manager of mono­chrome systems marketing. was intro­ducro by Greg Davis of Greercom Professional Mrola, the new dealer for IIford 16mm and 3Smm stock In Toronto. Also on hand to answer ques­tions were jean-Guy Larocque of Markham, Ont .. district sales manager of IIford I maglng Canada Ltd., and Gloria Walman, Greercom general sales manager.

The b&w negative stocks FP4 Plus and HI'S l'lus, in 16mrn, Superl6, and 3Smm formats, are the centre of IIford's current sales focus, said Briggs. Fl'4 l'lus, which he pointro out Is comparable with but faster than

Kodak l'IU\·X, is a fine-grain, mooium­spero stock made for high-qua llty studio and outdoor dnematography. Cootoo on O.l2Smm acetate base, Fl'4 Plus has a speed rating of El l2SI22 to daylight and El 100{21 to tungsten light (3200K).

Briggs notro that the 3Smm FP4 Plus was used for Episode 4 "1968" in the '1om Hanks-producoo television special From lilt' £artil to tile Moon.

liPS l'lus (comparable with Kodak Double X) is "the fastest black-and­white film-the only 4~n the mar­ket," the IIford rep said. Coatro on 0. l2Smm acetate base and ratro at El 400/27 to daylight and El 200{24 to tungsten (3200K), it is designoo for general purpose studio and outdoor shooting .. It Is •pushable to El 1600."

Tile l6mm HI'S Plus was usoo for a documentary on an Alaska fishing port, l)utcl• Harbor, and on music videos starring Fiona Apple, Van Morrison, (ond Eric Ciapton.

Also Introduced was SFX 200, a negative stock with extendoo rro sensi­tivity, up to 740 nanometres, for creat­ing special effects. Also available in l6mm, Super 16 and 3Smm, SFX 200 is •useful for creating unusual looks in music videos and commercials, • Briggs said. Using a deep roo filter, skies can be rendcrro almost black and most green vegetation almost white. e

IUORD EXPOSURE: Morkttiog spe<ia~st Nigel Brl991 (right) of IHord lmoglngls shown ot o June 7 CSC meeting with (lromleft) soles noonoger Glorio Wolmon of Greer tom, Jeon·Gvy Larocque of IHord CIIIICidc!. ood pre1idtot Greg Dcrvis of Greerc0111.

The Allure of a Leading Lady

EDITOR'S PREFACE: E-. be/ore I om..clon ~ on )4Jt lor a whirlwind tound of inlelviews ond visit\, I ~new I wo• in lor a West Coast -'como. B.lt I wos ,..erthele .. ~med by II.. enlhu•ia•m ond hospitololy of the CSC communoly in Vancouver ~ I talked with, oncl there were mony, was delighted I hod come out to'""""' II.. esc Rag ond to recogniu II..~ of B.C. cinemologl~. lhe CIOnSenWS wos

!hot ot WO$ about hiM, ond the moil ClDiooooon que•hon """'· 'Wt.on ore you ccmong boc~t' AI>O r.,...,..dong were the in·penon and telephone convenotion• I hod with several non member OOPs who expressed ~een onlllo'·

est in joining tho CSC a nd who, of course, will be """t welcome. They wore steered my woy by tho amazing Darlene Choo ofiAlSE 669, who a lso OfVO"Oud a reception ol Cloormont c~a $0 I could .r- old ocquointonces, li~ Denny Cloormont ond Donny Nowo~ csc, ond ,_ other shoolen I ~ by nome ond ~loon, such os Glen Mocl'henon ac oncl Roger Vernon ac, in lawn from Alberto I wos treated li~ royolly. lhonks, Vancouver.

I om espec:ially grateful to the OOP• quoled in the Following story who graciously gave me so much time out of their professional « personal schedules lhe eloquence of John Bartley ac osc, Peier Benison ac, Pauline Heolon ac, Richorcl leolermon esc, Rob Mcl.ochlon ac, and Tony Westrnon ac not only provoded ample mo1eo iol lor this issue's overv18W of Vont'OU'o'e('s booming him and tolovi•ion industry, but we also gleaned enough lor a compilation ofonlorcsting conv.so~ons in future issues. In a Corporate Sporlight nexJ month, we'll also tol~ to CSC sponsor lornelophom, II.. genial oncl hospitable proprietor of lome lophom Soles & Rentols Inc , whose suppon lor II.. Society ird.cles being a superb tour guode

mob McLachlan esc remembers when Va ncouver wasn't the movie town it is now.

He says he caugh t the film bug for rea l in the mld-1970s when he played hooky from the Un iversity of

----......,,..,.. British Columbia and hung around the sets of Russlflll Roulttt~. "the first big movie ever shot In downtown Vancouver."'

The U.S. feature, a spy thriller starring George Segal, was about secret agents shooting It out dunng a visit by Russian Premier Kosygln to Vancouver, and "they aC1u· ally let the produC1ion crash land a helicopter in front of the art gallery. • lie smiles. •or cour~c. they would never do that now."

Mcl.achlan, nearly 25 years later the award­winning OOP on the Vancouver-shot l'ox series Millr•mium, recalls that then "90 per cent of the crew had been brought In from somewhere else because they ju)t didn't have the people here. Anybody who knew how to do that )tuff was working

for the CBC. "Things were booming In Toronto

a lot earlier than they were here, but b)' the mld-'80s there was starting to be more and more runaway produc­tion out here, more American pro­duction, more TV production, all kinds of stuff. •

Today, all that stuff has made Vancouver one of North America's leading centres for film and tele· vision production. The B.C. Film Commission says there were 169 pro­ductions in British Columbia last year that spent a total of S630 mil­lion, up S94 million from 1996. There were 26 features. 53 tclevbion movies and pilots, and 20 series or mini-series in 1997, and this year looks to be on the same track. By the end of Ju ly, 80 productlon~20 of them features-were already In the can or on a shooting schedule.

One of the i ncreasl ng crop of fca-

tures, MGM's Disturbiug Belwvior, was relea~ed In theatres In July in time for the teen thriller season. It was shot by John Bartley esc asc and direC1ed by David Nutter, both of Tile X-Files fame, and got some media at-

Agen t Scully, remembering (a clue someone has given her about a wi ngcd angel, stops her car and >Ccs this statue of a winged angel. The statue was already there. The two writers knew what the city has to

tention for Its .--------------.,-"moody, rainswept atmosphere• in Vancouver-area locations standing In for fictional Cradle Bay, Wash.

Bartley says he enjoyed doing Dlsturbiug B~llflvior

with Nutter, al­though he has been perusing scripts that can help him shake orr the "type­ca~t look" that he achieved a< director of photography on Tllr X -Filt·~ for the show·~ fl rst two sea­sons. lie agrees, however, that the llllfnen\e, g loba l popu larity of the f.ox series, which i) moving to Los Angeles after four shooting seasons in Vancouver, has had a ~lgnlflcant Impact on the commu­nity as Its biggest show-business celebrity.

Tour guides delight in pointing out places where certain X-Fil~s

scenes were shot, such as the Versatile shipyards or Boundary Bay airport, and the running commen­tary aboard B.C. Rail's Royal Hudson steam train excursion to Squamish Includes a story about a B.C. Raii car that was blown up for an X-Files episode. Residents of trendy Kitsilano Beach swear that a neighbour­hood apartment building doubled for Agent Mulder's dwelling in Wa~hlngton.

That, says Bartley. is equally due to Vancouver's photogenic qualities and to clever writing.

"In a lot or cases." he explains. "the wri ters and producers got smart and wrote stories for things that were here. There's one episode in which

offer, so they made it fit. I've often thought when I was working on other shows that the writers should come up here and look around."

'We use every bit

of Vancouver we can'

There is much to look at. Just for starters, Vancouver is blessed with a magnificent harbour and soft sand beaches, embraced by a rl ng of snow­capped mountaiou. It love) the camera.

"Vancouver has for a long time been a location place Just because of the British Columbia landscape," says Tony Westman esc. guiding his 32-foot motor yacht around Vancouver harbour on a bright, sunny day. "TV movies come In and they'll use a lot o r locations. They

CSC NEWS Sep1embet 1998 7

® ••

I I ' I ..PANAV/5/0N

I ' I I

C A N A D A

may have a studio set, bu t not that often because it's on ly a 20-day shoot and they don't have big budgets. They can't afford a big infrastructure.

ul:eaturCS1 " he COntinueS, uare CUS·

tom items, they come and go. The producers say, 'We need desert, we need mounta ins, we need water, we need trees' ... whatever they need they'll go anywhere on the planet in order to get that exact look." Features also need studio space, and Vancou,•e r now boasts "two or three really big studios and a special-effects stage out at Dominion Bridge (in Burnaby)."

TV series "have been the major d ri ve• behind the devel­opment of studio facilities, says the 001' for the Paramount series Tile Sentinel, "because they require a certa in kind of safety net away from being out on location all the time. They need standing sets; they need to have the old cop shop and the home base. And so warehouses became studios, and pretty soon you've got a dozen different stu­dios a rou nd town. The whole place has sh ifted in that way."

Richa rd Leiterman esc, DOP on the Atlan tis show Cold Squad, says the series has a "'monsterH set in the tennis courts of a former fitness centre In Burnaby. The story takes p lace in Vancouver and, al­though shooting is on the stand ing set for four o ut of the seven shooting days for

a CSC NEWS Sep•ember /998

each episode, "we use every bit of Vancouver we can."

He pauses over. his craft service lunch on the shores of picturesque English Bay, just a short taxi ride but

almost another world away from downtown. Today's shoot is in a fash· ionable apartment with a view of sea and mountains.

In h is 1 0 years on the coast, he laughs, .,I've made Vancouver look like just about every other North American city, so It's a real joy" not to have to d isguise it.

Peter Benison esc, who has shot all over the world but did eight straight TV movies in Vancouver over a recent 13-month stretch, says the city is "gorgeous in a stunning set­ting, and one of the th ings I like about it is that it's smaiJ and com­pact. Things are not very far away, you can get to most locations with in 30 minutes. In Los Angeles, you'd go that far for a quart of mil k.

"Vancouver is sort of noted for its

rain In the winter, but it's just a drlz-7ly kind of rain; it doesn't really stop you from shooting. and even In win­ter e,·erything is still green and lush. The grass never turns brown, a lot of the bushes and shrubs don't lose their leaves. II still looks good here even If II Is overcast. Toronto can get so drab and grey.

"There's a lot o f studio space here now," he con tinues. "' It never )Ccms to be enough, with all the demands on II, but the North Shore (now Lion's Gate) and Bridge Studios are great facilities, and there are a num­ber of others around, too. TI1ere's a lot of Infrastructure here now." he says, noti ng the va rious labs in town, th e expandi ng and compctll ive cam­era and equipment rental com1>anles and "I he great effects people.•

Benison says he likes shooting In Vancouver. "There's a more relaxed aunosphere; it's not quite as harried as a bigger centre like Toronto. There's so much to do here in the orr hours as well. The skiing is f•bulous, and the sailing and boa ting and the biking and hiking. It's just an o ut­door hnvcn.''

'We' ll be a great

destination for

water shooting'

For underwater cinematographer l'auline I Iea ton esc, Vancouver goes lin and flipper with an ocean of charm that Is about to get a lot better ... and wetter.

When the U.S. theatrical project Lak~ Placid, which was gearing up this summer, wraps next month II will leave as its legaC)• a world-clas> water tank In suburban Langley, and Heaton says that will put Vancouver In a whole new competitive swim.

The o utdoor tank, which was SIJrtcd about the middle of june and was expected to be finished In September, will be I SO wide by 200 feet long, with a depth of four-feet for about two-thirds of its length and 14 feet for one-third. It will become the heart of a Surrey Fil m Studios compl ex .

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esc NEWS Sep~embe< 1998 •

••• ADDED OR REMOVED The "mol ion" in a motion

picture can range from an earthquake measuring 7.5 on the Richter Scale to 40 miles of bad road. And it's up to the cinematographer to make everything look realistic. That's why Clairmont Camera has developed these three useful devices.

IMAGE SHAKER We've taken state-of·thc-art

technology and applied it to the task of simulating a wide

variety of "shake" effects­without moving the camera! Our innovative Image haker features two microprocessor­controlled actuators which "shake" a proprietary optical device in a variety of pre­programmed random routines. The Image Shaker is mounted in front of the prime lens (using standard 15mm Arriflex rods) and is effective with focal length

lenses from 18mm to aboutl80mm. It can also be used on the longer end of certain zoom lenses.

This compact device weighs only 9 lbs .. and can actually

be used in hand-held situations. With an optional remote cable it can be operated from a distance of up to 50 feet. And a built-in amplitude control also allows you to fade-in and fade-out of the desired effect! The handy control box features a backlit LCD display that is easy to read under day and night lighting conditions.

You can independenlly

adjust both the X and Y axis motion to obtain the desired up-and-down or side-to-side "shake" -or any combination thereof. Anything is possible. And you can see it all through the eyepiece!

Because the Clairmont Image Shaker is relatively quiet. and won't shake the camera or lens. you can use it in a wide variety of applications. Moreover. you can get any kind of "shake" effect without having the expense of doing it in post. It's clearly the ideal solution for both the D.P. and the producer!

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CAMERA SHAKER You've probably seen any

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Clairmont's Camera Shaker is a tried-and-true device that mechanically oscillates the camera in a fully controllable dual axis "shake." You can independently vary the speed and intensity of both side-to­side and up-and-down motion.

The rugged Camera Shaker operates off a 12-volt battery, with a cam-actuali11g electrical motor for each axis providing the necessary motion. 'There is a remote on/off controller, while adjustments to the movement can be set "on the

fly" using the easily accessible control knobs.

VIBRATION DAMPER There will be limes when

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To accomplish this, we've developed a special mount that works with both 35mm and 16mm cameras. It features a series of strategically placed elastomer vibration dampeners. And by "isolating" U1e camera from its mount, significant reductions in vibration can be achieved. Simple, but effective!

Your local Clairmont Camera representative will gladly give you any required technical or rental information on these handy tools of the trade-

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1 2 CSC NEWS Sep'ember f 998

"What this means," enthuses lieaton, "is that with the ocean and lakes and smaller indoor tanks that we already have, we'll be a great des­tination for water shooting-on the water~ underwater~ around the water. Up to now there have been a lot of shoots in Canada where the under­water scenes are taken back to Los Angeles studios that already have tank facilities. Now, productions that come up here can actually shoot the underwater sections right here."

Heaton, whose long list of under­water credits include t11e features Titanic, jumanji, Whalr Music and Magic in the Water, says the Langley tank won't compare in size to the gigantic facility built in Mexico expressly for Titanic, but will have certain advantages-not the least of which is its location ·in British Columbia.

"In Mexico, un less you're shoot­ing something with an environmen t like Mexico's, you really have to go to the tank, shoot your underwater and then go to your location, wh ich could be anywhere, to shoot all the rest. In British Columbia, you can come up here and have the tank and al l the other amenities that go with coming to shoot in B.C.- your crews, your locations, your production houses, your labs-all right here at the

doorstep of the tank." She says her company, Water­

visions, is proposing "to open the first underwater dive shop for the motion picture industry, right at the facility. And the long-term thinking is that they put a roof over this tank, wh ich means the shop inside would not only be a rental store for under­water gear, but would also be a facili­ty to train electrics, grips and camera people in the art of working in and around the water. It's excit ing.

"In the summer when a lot of pro­ductions come up here, the ocean isn't as clea r as we'd like it to be. As soon as we get enough sunlight, the plankton is so thick that you're faced with really murky looking water. A lot of the detailed work can't be shot in the ocean here, but with the tank we can shoot the detailed work in there.

"I'm looking forward to the shots we can do In this tank-like a diver being pursued by something quite large, and not really knowing he is." She hints that Lake Placid may pro­vide just such a shot.

Meanwhile, in or out of the water, Vancouver offers an enviable talent pool for producers seeking all the benefits the area has to offer along with the enduring attraction of the Canadian dollar.

Tony Westman says Vancouver has a high success ratio because "I t 's cost effective lor production, and quality-wise our people have network experience, they've done features, they know their crews, they know the locations. I think they offer a superior opportunlly for J.A produc­ers because they know the game.

"II used to be a sore pol nt that Americans would come up to Vancouver and bring In their ~ey people-;~nd then just hire a second assistant. That's changed consider­ably, because the skill of our crews has grown so much In the last 10 years. 'ow you've got people like Ron Orieux esc, Dave Geddes esc and john Bartley esc asc. All these people who used to be just Vancouver guys, a ll or a sudden they're doing big pic­tures and flying all over the world. They have a very high level of skil l that is recognized in Los Angeles as well as here."

Sometimes a feature come~ up to B.C. with ''a big I..A cameraman/' but Westman says he thinks " It 's got more to do wllh the fact that they've got a creative team. That's what they want, and well they should. I th ink we as an industry have to acknowl­edge that and say, 'Yes, a creative team is what makes the film .' I think it would be a terrible di~servlce to the industry to force one of our Canadian people upon a show.

" If it's a talent Issue, we have equal or better talent here. We are competitive, and that's what's eAcit .. ing.•

Richard Leiterman sa)'S that •over the 10 rears that I've been out here, there have been a number or Canadian OOPs that have been trained here. So why bring in any­bod)• else when we have at least 10 o r 12 good, flrst-clas~ cinematogra­phers?•

He says he ended up In Vancouver after stints in Europe, Toronto and Los Angeles becau•e •,omebody put me to work here, and It just kept on going. There has been a lot of work and it has been fun to watch the industry grow from three or four pro­ductions to tt)> to 15 on our list all the time now, all yea r round.''

Peter Benison, who llrst ;tarted

coming to Vancouver for industria ls work In the '70s, says he has always been Impressed by the industrious­ness, Ingenuity and experience of the region's film crews.

"It's very slick here in terms of the equipment. One of the things that has struck me since I first shot here arc the cable trucks; you want to lay son1e cable down two or three city blocks, you Just put your foot on the end, the truck dri,·es off and away it goes. At the end of the night, they hook It up and press a button ... and I've never seen that anywhere else. It Is so fast and so efficient, and yet it seems to be particular to this area. And you see all the modifications on the basic honey wagon theme; I mean, you have some here that are double decker.

"'J hey're very keen on developing these things. A lot of the grips have their own cranes and everyth ing. Everybody's got a grc;~t attitude here."

However, there is a downside to R.C.'s film and television stardom, Be nison adds. "We've got a h ighly developed Infrastructure, very talent­l'<l and capable crews, but with so much work coming here, I think it 's the (lower-budget) Canad ian produc­tions that are suffering in terms of attracting good crew. •

Leiterman offers a simi lar take. •It's wonderful to see the industry

grow so much. At the same time, it would be nice to see it grow in more of a Canadian way. Surely our own Telefllm people have been In business long enough to be able to sort out how we can share that great wealth of theirs and spread it around a little more. I feel sorry for West Coast pro­ducers who have been getting· the drippings left from the money spent In Quebec and Ontario.

"It's only this year that the ll.C. government has thought that 'maybe we'll give some money back.' And It's still not very much in comparison to Ontario. U.S. service productions keep our labour force busy and make for a good healthy community, but I think when you get the same work force working o n a Canadian production th ey're so mu ch happier. • e

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·,

David Greene Thinking Big on Snortlilms

'is important for the cinematography to hove its own norrotiv

"The film delves into the psychot· ic mind of its main character. From the onset, (director) Aaron Woodley and I felt the film needed a special look-a surreal feel that followed the narrative's journey into the subcon­scious of our character. We shot the film using S293 (before 74 became available). We needed speed to shoot around 2.8, and a stock with negligi­ble grain."

'The look becomes a welcome and

essential character'

Dead People's Bums, •obviously a comedy," he says, "is told from the perspective of an on-screen narrator, and the narrator's tale is an exaggeration to the lim­its of the word.

•nobert Crossman (director) gave me one important direction:

BUMMING AROUND: David Gretfte (left) composes a shot for Deod People's Bums, one of two tnms at the 1998 Toronto Worldwide Short lam Festivolthet eorned him a Cammy Award for Best Cinematography. Dire<lor Robert Crossman is at the viowfincler, wt.Ue 1st A< Brett! Robinson ((5( affi&ate) focvses on actor trod Bradcettridge.

Think big and multiply by I 0. The film is a con­stant crosscutting of visual styles, toggling from a 'natural' feel of the narrator's scenes to a comic-book-style look to the flashback se­quences in which the narrator describes h is exaggerated tale.

"We used S242 on our exteriors, for a very slick feel­ing, and S293 on our interi· ors.'l

This summer's Toronto World­wide Short Film J'estival couldn't decide which was better: David

Greene's work or David Greene's Other work. So on awards night june 6, the talented young esc associate was pre­sented with the Ca mmy for Best Cinematography on two short fil ms, Dead People~~ Bums and T11e Wager.

There were over 40 Canadian films entered for competition in the fourth annual festival, a shorts showcase that this year screened over I SO titles from 3S different countries.

Greene's Cammy joins an increas­ing number of awards and nomina-

14 CSC NEW$ Seplember 1998

tions o n his mantel. Among the first were three consecutive esc Awards for student cinematography while he was studying at York University. Since graduating three years ago, he has accumulated over SO credits as DOP on music videos, commercials and dramas, and this year he received esc and Gemini nominations for his cine .. matography on the classical music video Maxim Ve11gerov: Meditatioll from Thais.

Greene describes Tl1e Wager, which was featw ed in the festival's Opening Gala, as a black comedy/psychological drama.

Both shorts were shot on 3Smm stock loaded in an Arrl BL Ill with Zeiss high-speed primes. Both were produced by Paulus Productions of Toronto, with Daniel Hill and Eric Novakovics producing and Paulus principals Paul Russell and Robert jeffrey among the executive produc­ers. Lab work and sound mix was done at deluxe toronto, with some optical work at Film Opticals. The directors (Woodley and Crossman) edited each other's films.

"With both films, as with any pro­ject 1 take on," Greene says, • the most

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•• I MEMORIAM

Noel Archambault Noel Gerrard Ardlombouh of YD1KMtt, an internolionally re<ognized expert in IMAX 30 cinematography, wus ot work on h~ latest big·sueen PfD­je<l when he wus killed in o tragic air occident in the Golopogos Islands on June 26. He was 37.

Archombouh wos repor1ed to hove been filming from on ultralight air· uoh when it noshed into o vokono. The pilot aka died.

The young filmmaker wus a cWe<lor of photography with over 10

yean of txpefience with lmox (orporolion. He hod been involved in ol IMAX 30 films to dote. The occident occuned during the shooting of the 30

Galopogos Rtdis<ovettd, o modem research expeadion exploring the uniqut bioGIVII!ity of the fabled Pacific islands, loco!ed wtll off the COO$!

of Chile. Archambault got his start at Simon Fraser University's Fnm Workshop,

where he developed o 16mm 30 comero system, ond began his career with

the National lim Boord as o membef of the camera urw on TrOIISilions, the lirsiiMAX 30 111m tho! was cornmis!ioned lor Expo 86 in Vancouver.

He then joined lmox (orporofion, sening as uereogropht< and com­era operator for Th. lost Bulfolo and Echoes of the Sun, both !lKcmes at Expo 90 in O!oko, Jopon. He obo co·dire<ted and photographed Rolling Stone: At the MAX; directing portions of the on·stoge ond backstage shots of the rO<k bond.

His other 30 credits were Into the Deep, the first underwater I MAX 30

movie, Wings of (ouroge, Across the Sea of Time, Tire Hidden Dimension,

Tire /MAX Nutcracker and, most recent~. T·Rex: Bock to the Cretaceous and Mork -~America.

Ardlombouh is ~ by his lather, mother, two sisters, a brothe~ and his fiancee, (oro Burres. A memorial servi<e wus held J~ 8 01 the Univenily of British Columbia, followed at a lo!er dale by a private

funeral. Donations to the Noel Archornbouh xholonhip Fund in Film ore welcome, in core of the Office of University Development {ottenfion Lindo Ashton), 211B Strand Hall, Simon Froser Univer1ity, Burnaby, B.C

The esc expresses condolences to family, friends ond associates.

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16 CSCNfWS~ 1998

Greene acknowledges that the awa rd·wlnnlng shorts were made possible with the support of Kodak Canada and Complete Film Equip­ment or Toronto. Throughout his career, he says, he has used Complete's equipment "almost exclusively, • not­Ing that for •e,·ery cinematography award I have rcce1ved, I have used Complete's gear and Kodak's stock."

Greene ha~ also received a 1998 Gemini nomination for best photogra· phy In a comedy, variety, performing a rt ~ program or series, fo r tteatey Wlllntr: Face~ mut Moments. e

IT'S GEMINI TIME! Awards Celebration Is lucky 13th

Nikos Evdemon esc of Toronto leads a select group or nine esc mem­bers nominated for awards at the 13th Geminis next month. The others are Danny Nowak esc of Vancouver, Doug Mu nro esc of Ca lga ry, Chris Triffo esc of Regina, and Torontonians David A. Greene, Andre Pienaar esc, Richard Stringer esc, Milan Podsedly and Mark Willis.

Evdernon is nominated twice for best photography in a dramatic pro­gram or series, for Nikita "Spec Ops" and Pit Pony. In the same category. Nowak is nominated for Nothing Too Good For A Cowboy. Others are John Dyer for FIX: The Series "Red Storm" and Robert Saad, Wiml At My Back, "A Ghost Of A Chance".

Nominated for best photography In a comedy, variety, performing arts program or series arc Greene, for Nealey Willan: Faces artd Moments; Pienaar, for Yo-Yo Mn IIISI>ired By Bach: Six Gestures; and Podscdly, for Yo-Yo Ma lnspirc•d By Baclt: Falling Down Stairs. Other nominations go to Harald Bachmann, Tile Canadian Brass: A Christmas Experiment, and Rick Boston, Celine Dion-Let's Talk About Love.

For best photography in an infor­mation/documentary program or series, the nominees include Munro, for The Lon,~ River: Tlte Life of /.B. Tyrrell; Stringer, for Exl1ibit A: Secrets of Forensic Science "llad Blood"; and Willis, for Yo-Yo Ma Inspired By Bac/1: The Music Gardm. Others are Colin Allison, lite fifth estate "On the Map"; john Foster and Janet Foster,/oumey to lite Sea o{ Ice; and Hans Van Der Zande, Life & Times: Robert 8atemau.

Triffo, who was also the shooter, is nominated for best direction in a doc­umentary program o r series for his production Dad, which won awards at ~lot Docs! 98 last spring for best docu­mentary and best director.

Mike M<M•rroy esc Up lor an Emmy

AND EMMY TIME, TOO! Canadian Shooters Amang Nominees

Michael McMurray esc of Toronto, DOP on the Atlantis TV series Eartlt: Final Conflict, was one of two Canadians nominated for this yea.r's l'rimetlme Emmy Award for out­standing cinematography for a series. Also nominated was joel Ransom or Vancouver for his work on The X-Files. Other series in contention were Chicago Hope, fAG and Law & Order.

McMurray was nominated ror the 1997 season episode "Float like a Butterny" of Eartlt: Final Co11{1ict (CSC News, October/97), a sci-fi action/drama series conceived by the creator of Star Trek, the late Gene Roddenberry. Earth was also nominat­ed for outstanding main title theme music (M icky Erbe and Ma ribeth Solomon).

Ransom's nomination was fo~ the 1997 X-Files episode, "The Post­Modern Prometheus."

Winners were announced at the Creative Arts Awards ceremony in Pasadena, Calif., on August 29, too late for this month's issue but the October News will bring you up to date.

PANASONIC IN THE NEWS Changes In Broadcast Division

Larry Lavoie has been appointed director of Panasonic Canada's broad­cast and professional audio video sys-

tems department (BPAVD) as part of a reorgan ization within the fi rm's broadcast and television systems divi­sion. Changes include the formation of a new systems engineering group, with the appoi ntment of Terry Horbatiuk as senior manager.

Lavoie, who succeeds the retiring John Barker, has over 20 years in the broadcast industry, most of which has been in regional and national sales. Horbatiuk comes to Panasonic from 20 years in broadcasting, most recent­ly at CKY TV, the Women's Television Network and Moffatt Communications.

• • • Broadcast Gear lor Pan-Am Games

Panasonic Canada's broadcast and television systems division has signed a contract to provide a large range of equipment for the 13th Pan American Games to be held in Winnipeg July 23-Aug. 8, 1999.

Panasonic will supply DVCPROSO 4:2:2 digital component camcorders and VTRs, security and surveillance equipment, and Astrovision large­screen video display systems for the host broadcaster's (CBC) internationa 1 broadcast centre. The company, work­ing with both the CBC and the Winnipeg police department, will also provide 1,000 colour monitors, receivers, and security and surveil­lance equipment throughout the other venues.

CSC NEWS September 1998 1 7

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Panasonlc was the official broad· cast equipment supplier ror the 1998 Winter Olympics in Naga no, japa n.

WHAT'S NEW FROM CLAIRMONT? The Irwin Underslung Bracket

Cali(ornla-based DOP Mark Irwin esc asc wanted sometlllng that would get extreme low angles or allow a table-top "scra pe." But he also wanted

The Irwin Underslung Bracht

to eliminate the need to carry an underslu ng head that would be used only rarely during an entire shoot. So Clairmont Camera Hollywood came up with what they dubbed the Irwin Underslung Bracket, a simple device that works wit h the Moviecam Compact camera.

Weigh ing just three pounds, the IUB is attached, by mea ns o f a quick­release plate, to a standard fluid head that has been iJwerted to hang from a camera extension o fr a dolly or an a rm. The ca mera thus becomes a pen· dulum to get shots that are lower than a rocker pla te. With norma l camera opera tion, the rig can Ot into tight spaces or fly over table tops into the subject.

Attached to a Stcadicam arm with the bracket, a Movicca m can get extreme low angles while keeping the arm perpendicular.

ONTARIO ENJOYS lOONIE TUNES Cold Canadian $ is Hot News

Foreign spending on film and TV shoots i11 Onta rio amounted to Sl 8S

million for the first six months or thl~ year, up $70 million from 1997, reports the Ontario Film Development Corporation. And, says chief operat­ing officer Judy Watt, "l'roducers determine their locations long before the actual shoot, so we're anticipating that the full effect of the loonte's drop is still to come.• On Just one day last month, 26 major foreign and domes­tic productions, ranging from features to TV series to cable MOWs, were cramming the meets and studios or Toronto.

WOITH IEHAfiHG ••• si.,I•T•k• TechH!••

Movie critic Peter I lowell of the Toromo Star writes that "Nicholas Cage and Gary Stntse get top billing In Brian De Palma's thriller S11nk~ £}TS,

but don't be conned. "The director considers himself

and his regular photo ace Stephen llurum asc the real high rollers or this Atlantic City crap shoot, and they never let you forget it. The camera gets more or a workout In the movie than the actors, and trick shots arc deemed more Important than clever plot twists.

"Most of the action was filmt'<l inside the old Mon treal l'orum. Perhaps De Palma and llurum felt they had to act like hockey players and keep the puck moving.

~llle opening 20 minutes arc one long Steadtcam shot, employing a sin­gle-take technique that De l'alma stole from liitchcock so long ago he proba­bly figures It's now his own.•

• • • State-of·tk•Art Clae ... totre,lty

In her review or StiVillg Prii'Oif

Rya11, Judy Gerstel of the Toronto Star writes: "R}YIII ha. the skin Of a classic war movie but its innards are techni­cal wizardry, whiz bang editing and state-of-the-art Cinematography pro­vided by Janusz Kamlntslt.

~llle colour Is desaturated down to 40 per cent or the original to resemble old newsreels, with $pcclally prepared and uncoated camera lenses, cu\­tomlzed processing and narrowed shutters, compressed to 90 or 45 degrees instead Of the Standard 180, the same setting u~cd by cameramen during the war." e

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esc NEWS Seprembet 1998 19

COilun,bla, Amena. Sal>katch,ew·an, Manlloba AIHH\11 FA\4111 (!Cries); Op: \ilcbael Balfr)~ 10 \fayi'J9 AIJH,TtMI \ f" Sma1 n H01 'IF.S (senes); 1st: jay 1\ohm:; 2nd· Sh.auna Townley: to Sept. 2S

W1nnlpcg. BCTAIIU£ (series); 2nd: Michelle Ort1; to Sept. II. Cow .S® <t) (serie.); 001': Richard Leiterman esc; 01>: l'aul Mllchni<k esc; 2nd: jessica '>io•kai; to November. Tllf CROll; SutiiWAI ro H MIEV (series); DOP: Attila S7.3lay; Op: Hrad <:reasser; to February. D llA" MAN'! GvN (<Nics); DOi': Ron Stannett esc; 2nd: Ml~ll l~c llullman; 2nd-unll 8-Cam Op: Keit h Young: to }an. 25(99. Dov' r Lex.- l)(mw (MOW); DOP: David Geddes esc; to Sept. Ill. Doueu: }WtiiRm (feature); DOP: Peter James esc acs as<:: Oi>fSC: M~cphen Campanelli; to Oct 9. DRE.A\4 Houn (MOW); Op: Ray Braunstein esc; 1st: Bryan S.mde"; 2nd-unit 8-Cam: Charles Konowal c>e; from ~pt. 2 in Winnipeg. D~m" I)() RK.nr (feature); DOP: Donald Thorin asc; ~pt. II to l>.:c. 4. Tnt D«<• (feature): DOP: Michael Southon bsc; Op: Brian Whlttred; to ~pt. S. Ftii.ST Wut hcriM); DOP: Hen') Chan esc; OpfSC: Mkhaell>a,1es; 2nd: Ledly COrbett; 8-0p/SC. Gltn D1ckson; to Nov. 2S. Ho,n, I S11ot '~ me K.Jos (series); OpfSC; Can')' Toner; 1st . Kirk Chi swell; to 1999, in Calgary. h<Mili&T SJmt II (!Cries); DOP/Op: Ken Krawczyk oc: 2nd : l>onov.n Fraser; to Oct. 31. LAI<L PI .c m (feature); Underwater: Pauline Heaton uc; to 0..1. 14. M '-' Q (MOW); 1>01': Glen Macl'herson esc; Op/SC: Peter Ro>enfeld; to Sept. 14. M UK 1 POl\ 1 (series); DOP: Joel Ransom; Op: Randal Platt ~; t.arry Port mann; to Dec. 23. M tUL\Ml" ('>eric,); DOP: Robert Mct.achlan esc; ht:Junlchlllosol; to Aprii27/'J9. NIGIIT M AN ()crit'\); 2nd-unit 1st: Holly Gregory; 2nd-unit 2nd: Harold llcrnard; to February/'J9. PrrTS3t'""'' (feature); 1st: Jill Macl.auchlan; 2nd-unit DOl': David Crone; to Sept. 28. Rtn Dua (feature); OOP(Op: Kevin Ball; to Sept. JO. T11P. R<»Wfrl Paom r (MOW); Op: Ray Brounsteln c>e; 1st: Bryan Sanders; 2nd-unit 8-Cam: Charles Konowal esc; from Oct. 7 In Winnipeg. T11E Scvn~n (wries); DOt•: Tony Westman esc; to l>~mber. SrAaGMl' SG I (series); DOl~ Peter Woeste esc; to Nov. 10. Two 01 HtAttr\ (MOW); Op: Bob Ennis esc; to Sept. 14 Vti'Vt (series); 2nd: Caragh Hodge; to Februaryi'J9. Zl\0\, GIIU 01 Till Z /\1 Cc\n•r (MOW); DOP: Ron Orleu• CIC; 2nd: Robert Wood; 8-Cam Jst· Ooug l'ru1s; to Sept. 21.

Ontario, ~ •. \ t lantic A \IUOUII) <sene\); 001'\: Ludek Bogner esc, Barry 8<:13thorson esc; OpfSC: \ndfls Matm; Tr. "••~ , .h.l.coto, tu Sepe. 28. But'K H AIIIOU (wries); DOP: Alwyn Kumst esc; to l'ov. IS 111 ~O\'a Scotia fm /lo()\1}0( • S<1'1'5 (feature); Op: Klt Whitmore esc; to ~pt. 26 D<aK /0\f II (series); DOP(Op: Les Krizsan esc; 2nd: Gareth Robert>: to Nov. IS in Halifa.. Dwt A..m<A (~); [)QI~ llany Betgthorson esc; 1st Lori Longstaff: Tr. Erin McMullan; to Oct 19. E••m: FI'At C<MII ICl (series); DOP: Michael McMurray esc: Op: Andrew Potter; 1st: Cudah Andarawcwa; to Dec. 1. £~1111 o• Nt " ' MO<l\' (series); DOP(Op: Steve Danylu~ c~c: I"' Jacques Bern1er; 2nd: DMty Chla»>n; to Nov. 30 in r.EJ. Enawrv (!<!rles); 1)()1': Russ Goozee; Sept. 8 to June 23(99. GoonJW"fll (ICrl<"); 001~ llany Bergiliorson esc; 1st: tori to~tall; Tr: F.lln McMullan; to Sept. IS. LoiiVG tt<W.fii\C (MOW); DOP: Peter B<:nison esc; wrapp<'ll Aug. l.lln Nova Scotia. M A•CIA\0 (MOW); DOP: Paul S<lrossy esc; Op: Mark Willis; wrapped Aug. 14. Pt~r" (MOW); OOP: Ousama Rawi esc bsc; Sept. 14 to (kt 9. PoiHI Pt <t (l<'riCS); DOP: \iaris Jansons esc; Op: }.1' l.odtel\'r: ht: Peter llattistone; to ~ov. 2S. Psi Fu roc (series); DOl': John Holosko esc; Op: COhn lloult: to Jan. 12. Till R.WL\ heries); 001': John Berrie esc; Op: Norayr Kasp<-r, ht-8. Paula Tymchuk; to Oct. 7. Rot •tUt TIO\ (feature); DOP: Jonathan Freeman: Tr: \13r~ \I clean; to Sept. 2. St.< Ptoru (\fOWl: DOP: VIctor Sarin esc; Op: Mark \\'llhs, to '>t'pt II. Sruuurv\1 (stne>l; 001': Yuri Yakubh> esc; Op: Joel Guthro; 1st Glen Trellhard; Tr: Daniel Petit; to O..t 10. S<""'-"'' l!\o (MOW); I>OP: Andreas Poulsson esc; Op: Christopher Tammaro esc; to Sept. II . S<rllllrAR (feature); Op/~C: Michael Soos; l.dr: lleth Nol>cs; l'r· \iichael Tsouras; to Oct. 9. Tout Ru ., (p110t(serles); 2nd-B: Michael Purdon; to MMch 9/99. TRAI>tll\ (>erles); I)OP: l'hlllp Earnshaw esc; Op/SC: Rod Crombie; 2nd: Mark Giles; to Feb. 9. VtNOElTA (MOW); OpfSC: 1\rlan Gedge; to Sept. 4. lVnlll!li rm MCJ,\'frY h (feature); DOl): Thom::ts UurMyn t:\c.:; to ~pt. 26 In Montreal. Wmo AI Mt 8M" (series); 1st: David Perkins; Sept. 8 to feb. 1(99.

20 esc NEWS Sep~embet 1998

CSC CALENDAR ~<hoM! ol llotliogl...! ~ olllierlll 10 ClC MemiMn

TOIONTO

Sept. 10.19-.............. """ ..... Sept. 14-llo....JOOd!oitygol-. "" ..... - IIIII ,...,. e ...,_ lobs Gal u... l1r ._ ..... liziWI -J.(901J 317~ WM. S.,t. 23,7:30 ,.._-{5(_.,.,.,.,.. lll) ........ lonntg .... llll...tol .... lmlpm O<. ll "-Pltsr, 409 [og S. Well (IW fto<JJ. """""' ,,... .. lilt""" llo<lno. Oct. 16-17-Women in r"' on6 foleW!ion-bonlo, lht 0..0 (uin.od Human ~-.. <ot.ncl, """ Tho c .... ol ln""--"C> or Contmol (~ """' o IW01Ioy <anf1t. "'' toW (llhpl""" illm IIlii (Ibn: Adwlottd lools Ia! .. """""" c- Tho ...... is folowtd by linolloor - "'-D<L 21. 2'111111 ~~ow. s_ 11. & 19. r .. no. -""" .,._, .. Wifl-1 (416) 322·mll bl. 0. Ott. 19-23-lolalt c-!o - a &.Hay. llllllisUI, -Gou•bi ...... ~ ......... ...,.... ltlr!IU ... ,....._...,....r.-roolll arodtosltr. NT llo ................ ll>dlic.. 111111 ... -.. ...... ...._ ..... ssoo.r. ____ .,.._ .. w-.r.o.... (416)

161-4611 • .. lloo l«»46s.31S bl. 34611. <-• 01111 Ugl!tiog Wo.t.sllops:

Nov. 21-22--<-Wor\:$hap ,_ .-.llllloplll(ao ol ~--16M_ .. Tho 16 Sha9. 2 illonr 5ll1ot. Nov. 21-29 ~ Wot:lflop <M> "'4> .-.1 putlbes 10111udit ... In lOIIillt"''- "' w.fatt Sno:los. 258 w.fatt -fad!~'"~ $225 101 CSC """'*' IIlii S29S Ia! .,.. ll'rion. Cal lilt CSC olllto 111 (41 6) 96"7 10.

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