nurse fighter boy · lee filters the original techniscope two-perf system was invented in italy –...

February 2009 Volume 28, No. 6

Steve Cosens csc Is Not Afraid of

the Dark

NurSe.FIghter.Boy:

Two-Perf Rolls Again: Techniscope and DI Cut Film Costs

Ground Rules: Sustainable Mining around the World

http://www.arri.com

CONTENTs F E b r u a r y 2 0 0 9v O l u m E 2 8 , N O . 6

3 8

6

02 From the President

03 Nurse.Fighter.Boy: Steve Cosens csc Is Not Afraid of the Dark Steve Cosens csc, who has had many opportunities to make the crossover to the U.S. market, has chosen to

remain in Canada and develop his career with homegrown talent. His most recent feature as DOP is Charles Officer’s Nurse.Fighter.Boy.

By Micol Marotti

06 Two-Perf Rolls Again: Techniscope and DI Cut Film Costs The original Techniscope two-perf system was invented in Italy – by Technicolor Italia – nearly 50 years

ago, and through the 1960s and 1970s some 400 films were shot using this format. Now it’s being used by Quebec cinematographer Bernard Couture csc for the low-budget thriller Les 7 jours du Talion.

By Don Angus

08 Ground Rules: Sustainable Mining around the World The idea of Ground Rules was to document new mines as they worked to become models of sustainable

practice. Dylan Macleod csc shot in locations ranging from two kilometres underground in Northern Ontario to four kilometres high in the mountains of Papua, Indonesia.

By Dylan Macleod csc

13 Industry News

17 Camera Classified

18 CSC Members

20 Production Notes/Calendar of Events

The Canadian Society of Cinematographers (CSC) was founded in 1957 by a group of Toronto, Montreal and Ottawa cameramen. Since then over 800 cinematographers and persons in associated occupations have joined the organization.

The purpose of the CSC is to promote the art and craft of cinematography and to provide tangible recognition of the common bonds that link film and video professionals, from the aspiring student and camera assistant to the news veteran and senior director of photography.

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

CORPORATE SPONSORSAll Axis Remote Camera SystemsApplied ElectronicsAmplis Photo Inc.Arri Canada Ltd.Canon Canada Inc.CinequipWhite Inc.Clairmont CameraCooke Optics Ltd.Creative Post Inc.D.J. Woods Productions Inc.Deluxe TorontoFUJIFILM Canada Inc.Image Pacific Broadcast Rentals /Image Central Broadcast RentalsKingsway Motion Picture Ltd. Kino FloKodak Canada Inc.Lee FiltersMole-RichardsonOsram Sylvania Ltd./LtéePS Production ServicesPanasonic CanadaPanavision CanadaPrecision CameraRosco CanadaSim VideoSony of Canada Ltd.Technicolor3D Camera CompanyVideoscope Ltd.William F. White International Inc.ZGC Inc.ZTV

Cover image: Steve Cosens csc filming Nurse.Fighter. Boy. Photo by Anna Keenan.

Steve Cosens csc

Les 7 jours du Talion

Ground Rules

2 • CSC News - February 2009

From The PreSIDeNT

CSC NEWSFebruary 2009Volume 28, No. 6

CSC EXECUTIVEPresident: Joan Hutton cscVice-President: George Willis csc sascTreasurer: Joseph Sunday phdSecretary: Antonin Lhotsky cscMembership: Philip Earnshaw cscPublicity: Nikos Evdemon cscDirector Ex-officio: Dylan Macleod cscDirector Ex-officio: D. Gregor Hagey cscEducation: Ernie Kestler

EDITOR-IN-CHIEFJoan Hutton csc

CO-EDITOR-IN-CHIEFGeorge Willis csc, sasc

EDITOR EMERITUSDonald Angus

EXECUTIVE DIRECTORSusan [email protected]

EDITORWyndham Wise [email protected]

ART DIRECTIONBerkeley Stat House

COPY EDITORDonald Angus

PROOFREADERSKaren LonglandPaul Townend

WEBSITE CONSULTANTNikos Evdemon csc www.csc.ca

ADVERTISING SALESDonald [email protected]

CSC OFFICE131–3007 Kingston RoadToronto, OntarioCanada M1M 1P1

MEMBERSHIP INQUIRESTel: 416-266-0591Fax: 416-266-3996Email: [email protected]

CSC News is a publication of the Canadian Society of Cinematographers. CSC News is printed by Winnipeg Sun Commercial Print and is published 10 times a year. Subscriptions are available for $35.00 for individuals and $70.00 for institutions.

Canadian Mail Product Sales Agreement No. 478423

In January the CSC joined the 36-member European Federation of Cinema-

tographers, commonly known as IMAGO, as an Associate Member. The following

notice was posted on its website, www.imago.org: The Canadian Society of

Cinematographers has accepted to become a new Associate Member of IMAGO.

The European Federation welcomes the decision of our fellow cinematographers

from Canada and a message received from president Joan Hutton csc stated:“It is with

great pleasure and enthusiasm that the CSC Executive have decided to accept your

invitation to join IMAGO.” The Canadian Society of Cinematographers will certainly

become our eighth Associate Member at the next general assembly to take place in

Bradford, Yorkshire [U.K.], on the weekend of February 14, 2009.

In an email sent to me in January, Nigel Walters bsc, president of IMAGO, wrote:

“Opening your email with the news that the CSC had agreed to join IMAGO was similar

to the feeling when a jigsaw is almost complete. It was thrilling to have an associate in North

of America alongside Mexico. You enquire how the CSC and its members can contribute

to IMAGO. The fact that you have joined with enthusiasm is a major factor in itself. The

Australians have also joined with similar enthusiasm and have injected in IMAGO fresh

confidence in the reason for our existence and hope for the future. I cannot tell you how

enthusiastic and warm have been the feeling of our member Societies to the CSC decision.

One of the most important subjects for discussion at our Annual General Meeting in Bradford

over the weekend 13,14,15 February will be the future role of our Associate Members.

“We are actively engaged at finding a solution to the challenge of enlarged membership.

IMAGO in reality has ceased to become the European Federation of Cinematographers, but

we have to find a meaningful path to the future while still not losing sight of the fact that

if solutions need be found to European issues facing cinematographers. We hope that solving

them may also help others.”

The CSC now has its own Facebook page, initiated by Dylan Macleod csc, so feel free

to join up and make a contribution, and finally it should be mentioned that the CSC

Annual General Meeting is to be held February 11, 6:30 p.m., and hosted by

Technicolor Creative Services, 40 Ontario Street, Toronto. All members are invited

and please RSVP, [email protected].

In a period of growing economic uncertainty and ever dwindling financing, cinematographers are increasingly being asked to do more with less. For Steve Cosens csc this current

climate is an opportunity for creativity. “The reality is that many films will not be made unless we are willing to make creative choices in lighting and we are willing to embrace digital film,” said Cosens, who is known in the industry for his unwavering support of independent Canadian film. He has lensed such seminal Canadian indies as The Uncles (2000), The Art of Woo (2001), Flower & Garnet (2003), The Tracey Fragments (2007) and Snow Cake (2006; for which he received a Genie Award nomination for best cinematography).

His recent work on Charles Officer’s feature directorial debut Nurse.Fighter.Boy, to be released by Mongrel Media in early 2009, is testament to Cosens’s confidence with the format and his ability to manipulate existing light. The film, which had its world premiere at the 2008 Toronto International Film Festival, is about a single mother (Karen LeBlanc), a nurse with sickle-cell anemia, whose life and that of her 12-year-old son (Daniel J. Gordon) becomes intertwined with a street fighter, known only as Silence (Clark Johnson). It’s a rich exploration of the connections between the healer, the warrior and the child of its title and was shot entirely on location in Toronto over 23 days with virtually no film lights or genny.

CSC News - February 2009 • 3

Steve Cosens csc Is Not Afraid of

the DarkBy Micol Marotti

NurSe.FIghter.Boy:


“Steve Cosens is a genius,” said producer Ingrid Veninger (who wrote the script with Officer). “We asked him to come on board because [director] Paul Fox (‘Rent-a-Goalie,’ ‘Little Mosque on the Prairie’) told me that Steve wasn’t afraid of the dark. In Nurse.Fighter.Boy we knew that many of our key scenes would occur at night. We needed a DOP who was willing to work with existing light and was creative enough in his technique that he could support the performances without blowing the budget.”

One of the most compelling scenes of the film featured one of the only budget “splurges,” a fight shot at night in Toronto’s Christie Pits. The scene was a dramatic street fight invol-ving Silence, encircled by a group of men watching, who were, in turn, encircled by cars with their headlights on high beam. It was meant to introduce audiences to Silence’s inner turmoil, and Cosens had to find a way to enhance the only light source so that one could see facial expressions and at the same time not over light and lose the shadows and drama. The solution came in the form of helium balloons.

“I liked the raw intensity of the scene,” explained Cosens, “so initially we conceptualized it with just the car headlights. Unfortunately, after a few tests we realized that we were losing too many key reaction shots, so we looked for a subtle lighting solution that would feel realistic. Shooting on the [Panasonic] AG HVX 200, I needed to preserve the maneuverability of the camera with that of the lighting. The helium filled balloons were great because you could move them with one hand and their diffused light still kept the scene looking natural.”

Looking natural is important to Cosens, who is strongly influenced by the school of single-source lighting and loves to blur the lines between documentary and drama. “Working on location demands a different mind set. The location dictates how you shoot because you can’t pull walls back or ceilings out. It’s challenging, but it offers its own unique possibilities. It forces you to gain a level of self-confidence, a feeling that you can overcome the limitations,” he said.

The limitations at the start of the shoot were many: Officer was at the helm of his first feature; the first day of photography the crew and actors were immersed in waist-high water in Georgian

Bay; and the next two nights they shot the Christie Pits fight scene. “People think I’m nuts to start with the toughest days but Cosens was right there with me,” said Officer. “On the first day of shooting I had him wading out in waist deep water in Georgian Bay with me pretending we were in Jamaica, and for the two nights in the Pits he helped me to keep in check all these professional fighters and stunt guys, who were pumped to shoot

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"I see a real opportunity in Canada to make great films. We need for our

filmmakers to come together and start communicating with

each other," Steve Cosens csc


some gritty fighting. He understood that what I wanted was to create a mood for the film, and although it’s shot in a raw, realistic way, it had to be more about understanding the charac-ters’ inner turmoil than about perfect lighting or the conditions.”

Cosens credits his training at the Emily Carr University of Art and Design and his love of photography as the cornerstones of his developing aesthetic. “I’ve had a different career path than some of my colleagues. When I started, I was a kid who grew up on Baffin Island who wanted to study graphic design. I also loved taking pictures, so I decided to take a photography course for fun. There was one teacher who took me aside and told me that I had a great eye. I will always be thankful to her because I realized that I really loved images. Then at Carr I was taking film and video but exposed to so many other disciplines there that I think it gave me a predisposition towards art-house films,” he said.

This predisposition led Cosens to seek out work with daring new Canadian directors. “I have been very lucky to work with some strong directors such as Bruce McDonald and Keith Behrman. These are guys who aren’t afraid to make ‘arty’ films,

but now a growing number of filmmakers are making safer, strictly commercial films that really aren’t interesting to do and do not advance our cultural identity,” he said.

Cosens, who had many opportunities to make the crossover to the U.S. market, chose to remain in Canada and develop his career with homegrown talent. “I see a real opportunity in Canada to make great films. We need for our filmmakers to come together and start communicating with each other and agree to work for less but agree to get these good stories out there. I’ve had a chance to see a lot of the work that’s happening in Europe where they are going back to more simple production techniques and smaller films, but the stuff being produced is unbelievable.”

Despite Cosens’s busy schedule working on The Truth about Paula O, which sees him reuniting with friend and accomplished filmmaker Bruce McDonald, and Liz Marshall’s documentary about the issues surrounding water as a commodity, he is keen to work with a new director that he feels is pushing the envelope and a true risk taker. “I would really love to shoot Michael Goldbach’s first feature, Daydream Nation, which is like an intellectual coming-of-age teen film. I think he’s a rising star.”

On the facing page, Clark Johnson as “Silence”; to the left, director Charles Officer, and above, Karen LeBlanc as the “nurse.” Nurse.Fighter.Boy is a rich exploration of the connections between the healer, the warrior and the child of its title and was shot entirely on location in Toronto with virtually no lights or genny.

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uebec cinematographer Bernard Couture csc thought he might have a first-in-Canada project when he signed on as director of photography for the French-language

thriller Les 7 jours du Talion. Producer Nicole Robert of Go Films wanted the low-budget feature to be shot with the cost-saving Sony 900R HD camera, while director Daniel Grou wanted it photographed on film. The compromise: Kodak Vision2 5260 500T 35-mm film loaded in an Arricam adapted for a two-perf pull-down system.

The film, starring Rémy Girard and Claude Legault, is to be released in August. Couture told CSC News the idea to shoot two-perf came from the director, also known as Podz, who found the system on the Internet. Simply put, two-perf doubles the frame capacity of 35-mm film. “Podz is a very adventurous director,” said Couture, “and very creative. It was his first (theatrical) movie and I think his reputation is going to be known outside Quebec really soon.” Grou’s previous credits were for episodic television (“Minuit, le soir,” “Vampire High”).

Bernard Couture said Kodak a representative told him that, to his knowledge, Les 7 jours could be the first film in Canada to use two-perf. However, that honour possibly belongs to Brad Fraser’s Leaving Metropolis, shot by Montreal-based Daniel Vincelette csc in Winnipeg in 2001 (see CSC News, October 2001). Graveyard Alive: A Zombie Nurse In Love (2005) is another Canadian feature that beat Les 7 jours to the two-perf punch, and there may have been others. While its known Canadian usage may be limited, there have been hundreds of features which have been shot around the world with penny-pinching two-perf film.

The original Techniscope two-perf system was invented in Italy (by Technicolor Italia) nearly 50 years ago, and through the 1960s and 1970s some 400 films were shot using this format, including Alfie, The Ipcress File, A Fistful of Dollars, The Good, the Bad and the Ugly, Once Upon a Time in the West, American Graffiti and THX 1138. Multivision 235 (2.35:1) is an

Australian re-visitation of the technology, and Couture said the digital intermediate (DI) process in post-production has given the system new life. The Italian-born Techniscope of the 1960s required the film negative to go through “an optical process to ‘anamorphosize’ the negative to a four-perf print that could be projected,” Couture said. “DI permits the creation of an anamorphic neg effortlessly.”

He said, “The difference between the (more common) three-perf 2.35 ratio and the two-perf 2.35 ratio is that the three-perf uses the whole width of the negative to achieve the 2.35 ratio and the two-perf doesn’t. You end up with roughly 15 per cent less negative surface area, so theoretically there is a bit more grain – not an issue with the new film stocks – and lenses that are 15 per cent longer. Those specs are rather rhetorical because DI always loses a bit of information on the sides of the neg.

“In the end, if you tally the film and camera rental costs, you get very close to the same cost as a high-end digital Arri D21 or Panavision/Sony Genesis, with the bonus of much higher quality than HD mastering offered now; greater flexibility and less cable. The rental cost for the (Arricam) camera was $10,000 per week, and the film purchased for the whole movie was 80,000 feet at around 50 cents a foot. Losses were minimal as 40 feet of film is one minute of running time and we only used 400-foot mags because they last nine minutes. Also there was a $5,000 purchase of new equipment from the post-production house for synching the rushes. The rest of post (Spirit Cine and Arriscan can handle two-perf ) was the same.”

Will this keep film alive on small productions? “I think so,” Couture said. “There will always be cost issues. But if you want an anamorphic movie, two-perf with a 21st-century camera is putting film back in the race. Arriflex is developing a two-perf movement for its Arricam and with the help of Sébastien Laffoux at Arri Canada we were able to secure one of the pre-produc-tion motors for our five-week shoot.” The camera was slightly noisier but was never a problem in 25 days of shooting, Couture

By Don Angus

Techniscope and DI Cut Film Costs

Two-PerfRollS AGAIN:

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said. “The movement performed flawlessly. In truth, after the giddiness of a new system passed, it was just like any other camera, and we didn’t think about it.”

The DOP related that “Panavision already has a few Platinum and G2 cameras converted to two-perf around the world, but none was available on our dates. Aaton has released its two-perf Penelope camera in Europe, but it is not yet available in North America. The Penelope will, with the same motor, handle either a two- or three-perf shoot. It should be available in North America this coming April. I think that film camera manufacturers like Aaton and Arriflex are seeing DI as a major benefit since they are building new equipment for two-perf.”

Meanwhile, Daniel Vincelette csc has not shot another movie in two-perf since he filmed Leaving Metropolis in Multivision 235 nearly eight years ago – “even though I still think it is a great tool in these days of do-more-for-less budgets,” he said. He agreed with Couture that “with today’s digital post-production platforms it makes even more sense than before to use two-perf, since digi-post solves all the format-related problems that conventional chemical post created. The new emulsions are so great and not grainy that I would use it anytime.

“I have tried to convince producers to use it,” he continued, “but everyone seems to be sold on HD now for reasons that are obscure to me. HD is great, a lot better now than a few years ago, but it has its own drawbacks. I would shoot (Multivision) again without hesitation.”

In the 2001 CSC News story, Vincelette said that the movement of the camera used to shoot Leaving Metropolis “was modified to run more slowly as it pulled down the film at two perfs per frame through a special 35-mm gate. The camera (a Moviecam provided by the Australian company) operated at the normal 24 frames per second and the exposure time was the same as a regular 35-mm camera. Multivision “gives you exposure from perf to perf on the vertical side,” the cinematographer explained. “On the horizontal part, you expose even over the space normally left clear for the soundtrack, which is similar to Super 35 mm. This system is like Super 16 mm or Super 35 mm in that you have to go through an optical blow-up, or a digital blow-up if you have the money. You have to blow it up to a 35-mm interneg. At some point you need to get up to a four-perf format.”

Daniel Vincelette said, “Regular lenses can be used with Multivision and can be shot as if we were shooting regular 35-mm film, same light, same lenses. The only difference is that because of the surface of the neg that you expose, you have a little more depth of field than in normal 35 mm; it’s somewhere between 16 mm and 35 mm. The normal lenses in Multivision seem a bit longer than they would be in a normal 35-mm shot. This can be considered a plus; a little more depth of field. There was no difference in lighting; we had something that would resemble a normal lighting package for a Canadian movie, not big budget.

The only difference was that I overexposed a bit – from one-third to one-half stop — because I wanted a thicker neg. When you overexpose, your negative is thicker because more light hits it. This gives better control on the blacks and also will help with contrast; every time you go through an optical stage you gain a bit of contrast. It worked out pretty well.”

Two-perf specifications:Film: 35-mm film running vertically using two perforations per frame, running at 24 frames per second. Film area: .868 in (22 mm) x .373 in (9.47 mm). Film aspect ratio: 2.33:1. Print aspect ratio: 2.35:1 (2.39:1 after 1970 SMPTE revision).

Above, on the set of Les 7 jours du Talion, with DOP Bernard Couture csc (right), director Daniel Grou (at viewfinder) and actor Claude Legault. The film was shot with Kodak Vision2 5260 500T 35-mm film loaded in an Arricam adapted for a two-perf pull-down system.

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Creighton Mine, Sudbury, Ontario. A 100-year-old nickel mine two kilometres underground.

Producer/director John Milne contacted me in early 2008 to discuss shooting what would prove to be a challenging, adventurous and innovative documentary

produced by Science North (SN) for Caterpillar, the world’s largest maker of construction and mining equipment. SN is a science centre located in Sudbury, Ontario that produces international multi-media exhibits and IMAX films. John Milne, an associate producer at SN, was exploring the making of a large-format film, Ground Rules, for Caterpillar Global Mining while incorporating the possibilities of digital capture.

The idea of Ground Rules was to follow the development of a new mine as it worked to become a model of sustainable practice. The proposed locations ranged from nickel mines two kilometres underground in Northern Ontario, to copper and gold mines four kilometres high in the mountains of Papua, the Indonesian province on the island of New Guinea. As a cinematographer I was mainly concerned with how to tackle the photography in a way that would hold up on the big screen. I didn’t feel the HD formats that were being discussed would serve the purpose.

The remote locations would not allow for the more elaborate systems, and I wasn’t confident that other HD formats would hold up on

the big screen. In late 2007, Toronto’s Sim Video let me test for a couple of weeks a prototype RED ONE digital system camera that it had on loan. I was eagerly waiting delivery of my own RED ONE, but was hesitant to suggest using brand-new technology on what was sure to be a rigorous shoot. The RED ONE’s ability to shoot four times the resolution of HD with a native PL mount meant that we would have access to the highest resolution possible in a digital camera with the ability to use the best film lenses available. John was extremely enthusiastic about the prospect of shooting with RED ONE.

“We needed a light-weight digital solution,” Milne said, “given that we were filming in some extremely isolated place around the world. I was interested in the format, with an eye on the future of merging technologies. We were referencing the style of an IMAX film. Basically, the key components of a story structure that contains an educational component, combined with beautiful photography, with hard drives supplanting enormous rolls of film”

I continued to test the camera whenever the opportunity arose. I did some preliminary dynamic range tests and found the camera to be very much like HD and was able to capture between 10 and 11 stops. This informed my decision to load up on grad filters, including elliptical grads to be able to control skies and bright

Sustainable Mining around the WorldGround


Black Thunder Mine, Wyoming, U.S.A. Mining in Big Sky country is some of the cleanest in the world.


Rules: areas within a scene. Understanding how to “meter” the camera is an unexpected learning curve. The RED ONE recommended rating is 320 asa. Metering is measured in a variety of ways. I ended up using the RGB histogram or “RGB stop lights” to keep an eye on highlights. There is also an exposure mode called “false colour,” which is like a coloured overlay of the zone system. This is very useful in determining what is actually clipping in a giv-en scene. The trick with RED ONE and exposure is that your histogram is metering whatever your monitor space is set to.

Because the camera records RED ONE’s version of a RAW image, you have to apply a look to have a useful image to monitor. At the time of shooting Ground Rules, the best monitoring option was REC709. When you are evaluating exposure in REC709 and something is clipping, it’s important to know that you are likely not clipping at the sensor. To check this, there is a “RAW VIEW” setting that doesn’t look that pleasing but allows you to check to see if clipping is occurring at the sensor.

Sim Video took delivery of a couple of cameras in February 2008, and our shoot was scheduled for late April. We decided to go with the RED ONE. My next concern was workflow. (This was an elaborate process; see “Digital Advantage around the

World” following this article.) A small crew was assembled. The team included my camera assistant Brent J.Craig, key grip Derek Teakle, sound recordist Matthew Dennis and line producer/AD Sam Pecoraro.

In speaking with John Milne, we decided that the most important priorities would be image clarity and camera movement. We knew there would be a lot of aerial work and we needed to think of how to approach this challenge. We would be traveling to Chile, Australia, Indonesia, Africa, U.S. and Canada, so we needed something compact. I was referred to Aerial Exposures’ gyro stabilized mount. We rigged it in the back of Derek Teakle’s truck and went looking for speed bumps. It performed beautifully and was extremely compact, so we decided to take it with us. The challenge for me was operating this rig. It was almost like being a steadicam operator. The gyroscopic stabilizers absorbed bumps and vibration but there was still some float and as an operator, I was constantly watching the horizon.

Next was dolly movement. We went with the simplest approach possible, and brought Teakle’s skate dolly wheels. His task at each location was to find PVC pipe and a piece of plywood to manufacture a dolly and track at each location. We also chose

a compact jib arm that would give us yet another option for camera movement. Teakle also brought a case full of rigging gear to do a variety of car mounts. John wanted cinematic camera movement. He also wanted variety. We knew that each location would offer unforeseen challenges and that having a variety of different options would be key.

Back at Sim Video, John De Boer and Rob Sim were very excited to tell me that they had just received a brand new set of Arri master primes. These lenses are works of art. I had heard that they are the only lenses that have the ability to resolve 4K. We supplemented that lens package with the 15.5–45-mm Arri master zoom lens. On the wide end, we added a Cooke 14 mm and a Zeiss 12 mm. For telephoto work, we brought along the RED ONE 300 mm.

Sim Video’s support on this project was unbelievable. Electronic viewfinders for the RED ONE camera were on backorder. A few days before we left, Sim Video received two of these rare items from RED ONE. After a bit of testing, John De Boer told me with a big smile, “Don’t worry, you guys are getting one.” Three weeks before we were to depart, my own RED ONE camera arrived. It was decided that we would take two bodies with us, just in case. We would be toting equipment as extra baggage throughout our hectic schedule. Some creative packing and repacking had to be accomplished to get it all in 30 cases.

John Milne sent me a few visual references like Koyanisqatsi (1982) and North Country (2005). We also discussed Canadian large-scale photographer Ed Burtynsky and his “Manufactured Landscapes” series. We wanted to find beauty where people usually think of ugliness. At the core of Ground Rules is the reality that everything around us is derived from a mine. The other reality is that mining practices have changed. There is a

new consciousness within the mining community, of making sure they are doing things in a sustainable and responsible way. Each mine site we visited had a different story to tell.

Chile: Spence MineWe began in Chile. The Atacama Desert is one of the driest places in the world, and we were concerned about the heat, dust and extremely dry climate. We photographed this modern copper mine with a focus on the people who work there as well as the high-tech repair facility they use to service the massive Caterpillar haul trucks. From pulling ore out of the ground to putting copper cathodes on to trains for delivery worldwide, we got to see the whole process first hand. Only once did the RED ONE overheat. This was because we accidentally wrapped the ventilation fans on the bottom of the camera while preparing for a car mount shot. After five minutes of cooling down, we were up and running again. We didn’t make that mistake again.

indoneSia: Grasberg MineTwo days of travel later, we found ourselves in one of the most humid places in the world. The Grasberg mine in Indonesia is one of the world’s biggest copper and gold mines. After checking in at the Sheraton hotel in Timika, we unpacked and scouted our game plan. There were numerous aerials to achieve and transpor-tation up to the small town of Tembagapura to co-ordinate. It is 2.7 kilometres above sea level and where we would spend two nights in accommodation not quite as luxurious as the Sheraton. The treacherous road leading to Tembagapura was one of the most frightening parts of our journey. Winding switchback roads with drop offs of hundreds of metres on either side. The most breathtaking part of this location was the mine itself. Located at 4.5 kilometres above sea level, we did aerials from about 4.6 kilometres. It was on this demanding day that our first AC woke up ill. He mustered enough strength to get the camera built and


Grasburg Mine, Papua, Indonesia. The mine is located 4.5 kilometres above sea level, deep in the rain forests of the island of New Guinea.


the cards formatted before waving us off – then headed for the nearest toilet. The weather was incredible. For a place that rarely sees sunshine, we had a day full of big puffy clouds. Because of the size of the mine, we were able to capture incredible vistas that included dramatic cloud shadows and mottled sunlight.

auStRalia: Xstrata MineDeep in the Australian outback, the Xstrata mine is a feat of engineering. It’s the largest river diversion ever accomplished by a mine. We were following the environmental team who were in charge of managing the ecological aspects of the diversion. Once again, an aerial view told the story. We mostly used the master zoom 15.5–45 mm for our aerial work. This offered the most flexibility with regards to varied focal lengths. I used a polarizer and ND on these aerials. We recorded to compact flash for aerials because we had heard about the frequent dropped frames that can occur when attempting to record to a spinning drive in situations with a lot of vibration.

Canada: Creighton MineGoing two kilometres underground to shoot this 100-year-old Sudbury nickel mine was one of the unexpected scary moments of the trip. The claustrophobic potential of descending two kilometres in an elevator tightly packed with miners became very real, very fast. Not to mention the atmospheric pressure change. Our lead person at the mine asked, “Does anyone have sinus issues?” to which there was no response. Then he said, “Well, we will find out soon enough.” Scary! So down we went. We had the luxury of gaffer Loris Santarossa in Sudbury as well as a production assistant, Albert Huh, to make lunch and help us haul gear. My stripped-down lighting package consisted of two 800-watt joker HMIs plus a couple of Kino Flos. The master primes speed of t1.3 saved me during this portion of the shoot.

Ghana: ahafo MineThe story in Africa revolved more on the interaction of the mine with the community. We did very little shooting in the gold mine itself. Instead, we focused on community relations and farming communities that work in unison with the mine. Our filters went missing in transit to Ghana in west Africa, so by necessity all of the footage was shot with a “narrow” shutter speed in order to allow us to shoot at around 4 or 5.6 to maintain control over the depth of field. We shot in a bustling village utilizing RED ONE’s 300-mm lens to shoot candid portraits of daily life. Production had to move quickly before the villagers realized that a film crew was around and would start to be conscious of our presence.

u.S.: Black thunder MineThe Black Thunder mine in Wyoming offered incredible skies and vistas to support the reclamation story that we were there to tell. The act of coal mining in Wyoming is probably the cleanest operation we had seen. Basically, the earth is removed, the coal dug out, and then the mine filled back in. The fields and lakes that we photographed were stunningly beautiful. It was hard to believe that these places had once been mined. The skies in Wyoming were unbelievable. It seemed like you could

The Ground Rules crew in Indonesia: From the left, Matthew Dennis (sound recordist), John Milne (producer/director), Derek Teakle (key grip), Dylan Macleod csc (DOP) and Sam Pecoraro (line producer/AD).

the idea of Ground Rules was to follow the development of a new mine as it worked to become a model of sustainable practice.

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Digital workflow is still in its infancy. At the time we were prepping for Ground Rules, we were scrambling to understand how to manage terabytes of data in

remote locations. My longtime assistant, Brent J. Craig, is a self-professed computer geek. He has closely followed the development of the RED ONE camera and had been involved in all the testing I had done prior to this shoot. He was getting to know the camera inside and out. “The camera is basically a very powerful computer with a lens attached,” he says. “As someone who has been tinkering with computers since 1980, the move to digital cinema is a welcome amalgamation of my two passions. I think assistants with less nerdy tendencies are finding it a challenge dealing with these new ‘camputers,’ but for me it’s second nature.”

Craig continues, “I describe the need to download footage to permanent storage as similar to a film lab processing the nega-tive, and treat it with the same paranoia and respect that a good lab does. The great thing about digital cinema, however, is that you are not limited to having only one copy of the original negative. The ability to create backups of your footage makes digital cinema safer and easier to travel with than film or tape.

“As soon as a digimag (CF card or hard drive) came off of the camera, I would make two additional copies, while retaining the original card or drive. Knowing the delicateness of hard drives, our rule was that we would always have three copies of the footage – two that were safely under our control and hand carried on our flights by different people, and another that could be considered not safe and in the hands of a courier or received but not yet verified by post. We tried to never re-use cards or drives until we had the ‘all clear’ from the post team.

During the six weeks of shooting and 84,000 kilometres of travel, we never lost a single frame of footage.”

In terms of managing data, we decided to shoot mostly with CF cards. Although we had a 320GB RED ONE drive, we thought it would be better to have our footage spread over a bunch of media. We didn’t want all our eggs in one basket. Chris Parker at Bling Digital was instrumental in helping us come up with a method for managing data and maintaining my look during the offline process. We would courier our footage to post supervisor Michael Knox who would, in turn, deliver it to Bling. Chris would then transcode footage to ProRes files and add the audio as well as my “looks” in preparation for John Milne to edit in Final Cut Pro.

One of the exciting things for me was the ability to do preliminary colour correction of the footage on the road. I used RED ONE’s proprietary software, Redalert, to create looks for each shot. I would save these “look files” and email them to Chris Parker. He would apply the “looks” as he transcoded. Essent-ially I was timing my own dailies. This was both a blessing and a curse. After a 12-hour shooting day, Brent would back up data for a couple of hours, then I would take a drive and begin to colour correct. This made for some long days.

In the end it was well worth it and streamlined the final colour correction. When I arrived at Technicolor to do the grading, colourist James Fleming and I watched John Milne’s fine cut on the 2K Christie projector. This was the cutting copy with my rough “looks” applied. By showing James these rough grades, I was able to efficiently communicate my desired look for each location.


diGital advantaGe aRound the WoRld

jump up and touch the big puffy clouds. I think the skies there take on that special quality because the area is a high desert. It’s really flat but at a high elevation. So you are literally thousands of feet closer to the clouds. But it doesn’t seem like that because the surroundings are so flat.

Post ProductionWe colour corrected the final footage at Technicolor in Toronto. Brian Reid, the manager of digital imaging, arranged for our original R3D files to be converted to DPX files at 2K. I spent two days with the talented colourist James Fleming, nailing down the looks for each location. The story bounces around a little, so John Milne and I felt that it was important to give each location its own distinct look, from the clean, dry, slightly warm desert mine of Chile to the more “contrasty”

and cool tones of the underground nickel mine in Sudbury. Seeing the final 2K projection was breathtaking. The RED ONE delivered stunningly crisp images that don’t scream digital. The dynamic range of these cameras is limited. They still can’t touch film, but the convenience of shooting to compact flash cards, watching dailies on the road and colour timing as we went were invaluable things to have at our disposal.

Thirty flights in 45 days; across the world and back again, twice in six weeks. Ground Rules was everything that John Milne had promised. It was a pleasure being part of Science North’s first foray into the digital realm. The RED ONE delivered more than we expected. With the incredible support of Sim Video and Technicolor, as well as an exceptionally hard working production crew, we managed to pull off a spectacular vision of the modern world of mining.


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TECHNICOlOr aND PASSCHENDAELE

“We had high hopes for good box office on Passchendaele, but never did we imagine that the film would touch so many people so profoundly,” Mark Slone, senior vice-president for Alliance Films, told CSC News. “Editorials, educators, letter writers and critics across the country got behind this movie like no other I’ve seen before.”

The film, co-produced, directed, written and starring Paul Gross, was lensed by Greg Middleton csc (see CSC News, September 08). While not setting box-office records for a Canadian-produced film, it performed very well with an accumulated total of $4.5 million at the time of writing. Caught in the Christmas blockbuster squeeze, it was reduced to a smaller number of screens in major urban markets but continued to attract audiences well into the New Year. It’s a shoe-in for all the major Genie Award nominations.

With intense battle scenes comparable to Saving Private Ryan (1998) and Mel Gibson’s Vietnam War film We Were Soldiers (2002), Passchendaele features

some of the best visual effects work ever seen in a Canadian film. “We are extremely pleased with the work done on the film,” said Brian Reid, manager of digital imaging for Technicolor Toronto. “There were close to 200 visual effects shots completed for the movie, all out of our Vancouver facility. These shots were a combination of smaller shots involving wire removal, muzzle flash, debris and camera shake. They included incredible matte paintings of not only the battlefield extension but also of the City of Calgary itself. The scanning, colour correction, film recording, printing, all the rest of the elements were done in Toronto.”

Ralph Maiers (The Wicker Man, 2006; The Butterfly Effect, 2004) was the visual effects supervisor for Technicolor Vancouver and Christopher Elke (The Butterfly Effect) was the visual effects producer. Julie Lawrence (visual effects supervisor on “F/X: The Series”) was the visual effects producer for Whizbang Films, Paul Gross’s production company. She supervised everything in Toronto.

“There was a large amount of planning and preparation that went into shooting

such an epic film,” said Lawrence. “Thanks to the stellar team at Technicolor, it was very simple and streamlined. We shot in Calgary but processed and transferred our dailies in Toronto. The turnaround was very quick for dailies. When it came time to scan the neg and getting into the detailed visual effect footage, we used a very high-speed data network – the Technicolor Production Network – that links all its facilities around the world. We were able to download shots quickly and screen them either in a HD suite or in the Lustre suite on the large screen. Paul [Gross] could literally draw on the screen and interact with the Technicolor Vancouver artists.

“The organization of this footage was excellent, and we had wonderful collaboration between the staff in Toronto and Vancouver. It was certainly the largest job on a Canadian film, and they did a superb job. Often we would approve the shots on the first pass. It was quite a seamless process, and we enabled the entire team in Vancouver and Toronto to plan a strategy that would work best for this particular film and its needs. They came up with a perfect plan.”

“There were close to 200 visual effects shots completed for the movie, all out of our Vancouver facility,” – Brian Reid, Technicolor Toronto


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uPGraDEs FOr JÉrÔmE sabOurIN CsC aND mITCHEll NEss CsC

In November 2008, Jérôme Sabourin and Mitchell Ness were upgraded to full members of the Canadian Society of Cinematographers.

In 1993 Mitchell Ness csc shot Brigitte Berman’s The Circle Game, his first feature as a DOP. He has been working steadily ever since, with the documentary Lawn and Order (1994), the low-budget feature The Drive (1996), the feature documentary Little Sister’s vs. Big Brother (2002), and the television movies Devil’s Perch (2005) and An Old Fashioned Thanksgiving (2008) to his credit. In 2007 he was in India filming Richie Mehta’s Amal, which was released theatrically in 2008. The modest, heart-warming feature about a New Delhi rickshaw driver was well received by the critics and performed surprising well at the box office.

In 1998, Mitchell Ness co-produced, co-directed and shot the series “Grand Illusions: The Story of Magic,” and has shot over 175 hours of episodic television. The 2006 short Screening, on which he served as DOP, was a Genie Award nominee for best live-action short and won the Gold Sheaf Award at the Yorkton Short Film & Video Festival. His most recent credit is the television movie A Sister’s Secret, shot in 2008. Ness is a member of the Directors Guild of Canada and IATSE 667.

Jérôme Sabourin csc is a multi-Prix Gémeaux winner and nominee whose

Jérôme Sabourin csc

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work can be seen in the Quebec film Babine (2008), the second feature from director/actor Luc Picard, and he has just completed filming Pour toujours, les Canadiens!, about the mighty Montreal Canadiens, set for release in late 2009. In the November issue of CSC News it was incorrectly noted on page 14 that he was nominated for best cinematography for his work on the series “Les Soeurs Elliot.” His 2008 Prix Gémeaux nomination was for “Les Lavigueur, la vraie histoire instead.” Our apologies.

In 2006, Jérôme Sabourin won a Prix Gémeaux for the series “Minuit, le soir” and again in 2007 for the series “Le Négociateur.” In 2005 he was nominated for his work on both series, and in 2007 he was nominated for “Le 7e round.” His feature work includes La Loi du cochon (2001), Annie Brocoli dans les fonds marins (2003), the made-for-television documentary Winning (2004) and Les Pieds dans le vide (2008). He also lensed the Genie Award-winning short Le P’tit varius (2000).

yOrKTON FIlm FEsTIval Calls FOr submIssIONs

The Yorkton Short Film & Video Festival, the longest-running film festival in North America, has announced that submissions

are now being accepted for the 2009 Golden Sheaf Awards competition. Canadian filmmakers, producers and distributors are invited to submit their original work to the competition for the Golden Sheaf Awards. Canadian productions 60 minutes and under that have been completed in the period between February 1, 2008 and January 31, 2009 and have not been entered in a previous Golden Sheaf Awards competition will be accepted.

Along with the 21 category and three craft awards, the festival once again offers a number of special awards, including the newly announced Global Issues Award sponsored by the Saskatchewan Council for International Cooperation and the Ruth Shaw Award, formerly the Best of Saskatchewan Award. Included in the 21 categories, are two new awards for Community Cable Productions and Student Productions.

The entry form, list of categories, rules and regulations and all information about the 2009 Golden Sheaf Awards competition can be found on the Festival’s website at goldensheafawards.com. Entries will be accepted until the deadline of February 1, 2009, at which time the adjudication process will begin. The nominees will be announced in March 2009, and the Golden Sheaf statues awarded at the Yorkton Short Film & Video Festival Gala on Saturday May 23, 2009 in Yorkton, SK.

TIFF’s TOP TEN FOr 2008

The Toronto International Film Festival’s Top Ten Canadian feature films of 2008 were announced in December. Traditionally, TIFF lists its Top Ten alphabetically, not by preference. They are Atom Egoyan’s Adoration (DOP Paul Sarossy csc), Marie-Hélène Cousineau and Madeline Piujuq Ivalu’s Before Tomorrow, Benoit Pilon’s Ce qu’il faut pour vivre, Philippe Falardeau’s C’est pas moi, je le jure!, Kari Skogland’s Fifty Dead Men Walking,

Deepa Mehta’s Heaven on Earth

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Deepa Mehta’s Heaven on Earth, Rodrigue Jean’s Lost Song, Léa Pool’s Maman est chez le coiffeur, Luc Bourdon’s La Mémoire des anges and Bruce McDonald’s Pontypool.

The Top Ten Canadian short films of 2008 chosen by the TIFF jury are Guy Édoin’s La Battue (DOP Serge Desrosiers csc), Chris Chong Chan Fui’s Block B, Theodore Ushev’s Drux Flux, Michael Rollo’s Ghosts and Gravel Roads, Semi Chellas’s Green

Door, Denis Villeneuve’s Next Floor, Kevin Lee Burton’s Nikamowin, Marie-Josée Saint-Pierre’s Passages, Kazik Radwanski’s Princess Margaret Blvd and Patrick Gazé’s Mon nom est Victor Gazon.

ASC NomiNAteS CSC memberS

The American Society of Cinematographers (ASC) has announced nominees in the television categories of the 23rd Annual ASC

Outstanding Achievement Awards competition. The winner will be announced during the awards gala on February 15, at the Hyatt Regency Century Plaza Hotel, Los Angeles.

Nominees in the episodic television category include three CSC members, Ousama Rawi csc, bsc for “The Tudors,” Stephen Reizes csc for “Flashpoint” and Glen Winter csc for “Smallville.” Winter is the only nominee who has previously earned an ASC Outstanding Achievement Award. He claimed top honors in the episodic competition for “Smallville” in 2008, and earned another nomination for the series in 2006.

Award-winning co-writer/co-producer/director of The Dark Knight, Christopher Nolan, will receive the 2009 ASC’s Board of Governors Award, which is presented annually to an individual who has made significant contributions to advancing the art of filmmaking. Nolan has earned a diverse range of credits, including Memento, Insomnia, Batman Begins, The Prestige and The Dark Knight, a runaway hit at the 2008 box office that earned rave reviews from critics. For information about the ASC Awards visit the www.asc.com.

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Viper-filmstream Camera full-package for Canada, U.S. and Asia. Package includes Carl Zeiss Digi-Prime full set, tripods and mattbox, Waveform monitor, 8inch onboard and 24inch TV logic monitor, etc. The equipment has two years and is well maintained. Along with the above, we can add “Shinki” or “S-Two” recording system (un-compressed hard-disk based) with two digital engineers, also a D.I service is offered. Camera is owned by an equipment firm based in Seoul, Korea. For more details, contact: ‘Clemens Chang’ 82-11-9271-9081; [email protected].

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Sony BVW-400a Betacam Sp Camcorder Camera used by professional cinematographer (one owner), never rented out. Comes complete with Fujinon A15x8BEVM-28 lens, Petroff matte box with 4x4 and 4x5.6 filter holders, remote zoom and focus control for lens, 6 Cadnica NP-1 batteries, Sony BC-1WD battery charger, Porta-Brace fitted cover w/ rain jacket (like new) and Sony factory hard shipping case and manuals. Lens and camera professionally maintained by factory technicians. Usage hours are: A – 1,918 hours; B – 1,489 hours; C – 4,286 hours. $10,000.00 obo. Contact: Craig Wrobleski csc (403) 995-4202

aaton Xtr Super 16 pkg: including body, video relay optics, extension eyepiece, three magazines, Cooke 10.5-mm–60-mm S-16 zoom lens, Zeiss 9.5 prime lens, 4x4 matte box, 4x4 filters (85,85N6, polarizer, ND6, clear), follow focus and cases $22,000; Nikon 50–300 -mm F4-5 E.D. lens w/support, $1,000; Zeiss 35-mm prime lens set (Arri std. mount): 16 mm, 24 mm, 32 mm, 50 mm and 85 mm, $4,500; Kinoptik 9–8-mm 35-mm format lens c/w sunshade $1,400; Arri 35-mm IIC camera w/ turret for Arri, standard Arri bayonet and Nikon mounts, level 7 variable speed motor, 3x 400ft magazines w/ loop protectors, periscope viewfinder, matte box(takes 3x3 filters) IIC hi hat. Package including transport cases $3,500; Ronford 2004 fluid head (150-mm bowl) with Sachtler tall and baby legs, $5,000. [email protected] or [email protected]

factory-sealed fuji film stock. Three x 400ft., 35-mm 500ASA, 250ASA and 160ASA. Regular price, $500 per roll. On sale for $340 per roll. Also can sew various types of heavy-duty material. Repairs and zipper replacement on equipment and ditty bags. Lori Longstaff: 416-452-9247; [email protected].

Sony DSr-130 mini DV/DVCam Camera. ENG rig in excellent condition, comes with soft-shell carrier. Includes DXC-D30 head, DSR-1 DVCAM VTR, Canon YJ 18x9 KRS internal-focus 1x/2x lens (servo/manual), DXF-701WS ENG viewfinder, condenser mic and Anton Bauer battery. DSR-1 hours: A:233; B:133; C:327. Recent factory servicing, reports and pictures available. $8,500 obo. Justin Guimond: 604-568-8023, [email protected].

two Complete Video Villages for Sale $2,000. At this price, these units will pay for themselves in less than five weeks on a normal television series. Cost to create new would be over $5,000. Plus these very sharp, robust AC/ DC monitors are no longer available! Includes four x 9inch Sony

AC/DC monitors, four 12V batteries and chargers, four A&J hard cases, remote controls and antenna signal boosters, spare power cords, connectors, etc. BNC cables in winder, two stands, dolly carts and doorway boxes with storage drawers. Contact :Robert McLachlan : office: 604-926-5253; cell: 604-761-4041; [email protected].

DVW700WS Digital Betacam with viewfinder and two widescreen zoom lenses. Canon J1 5x8 B4WRS SX12 and Fujinon 5.5-47. Very low hours on new heads. $20,000, plus taxes. Contact: Michael Ellis: 416-233-6378.

Betacam Sp Camera package. BVP550 Betacam SP camera with BVV5 recorder, complete with Fuijinon 15x8 broadcast zoom lens, “Red Eye” wide-angle adapter, 6 IDX Li-Ion batteries, IDX quick charger with AC adapter, flight case, soft carry case, Sony monitor and 10 fresh Beta SP tapes ($140 value). $2,500. Call Christian: 416-459-4895.

Clear rain cover for arri iii with carry bag (very little use), $100. Delta-4 NP-1 four-battery charger, $50. One Petroff 3x3 filter tray, $30. Two Sony ECM-50 lav mics with wind covers, clips and steel cases, $100. O’Connor 50 Head – Mitchell mount – with Foba collapsible legs, $800. Two Arturto (Quartz Color) 3KW soft lights. Both have egg crates and yokes, first never used, second has gel holders, feet, standard spud and $200 worth of new bulbs. Excellent condition, $400 for both. Contact: John Banovich: 604-726-5646; [email protected].

Elmo transVideo trV16 16-mm film-to-video converter color CCD. Converts mag or optical film frame, color, iris, focus adjustments. Excellent working order. Best offer accepted. Contact: Bea: [email protected].

Betacam Sp D30 camera, PVV3 Recorder Back, Fujinon 16X, 9-144 zoom lens, six batteries, charger, power supply and case, Sony PVM 80Q 7 1/2inch monitor and case. $3,500. Contact: Joan Hutton: 416-693-9776.

Sony DVW700 Digital Betacam camera. Excellent condition. One Sony viewfinder, one Sony battery case, one Sony tripod adaptor, and one 8x160-mm Canon zoom lens. $19,900 plus taxes. Call 613-255-3200.

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Cinematographer’s personal Betacam camera and film sound equipment. Neumann mics, Micron wirelesses, etc. Sony BVW400 camera, tripod, lights, and grip. Full list at saltwater.ca/equipment.

Sony DSr-500WSl DV Cam. Camcorder hours: A:1,435; B:776; C:1,810. English and French manuals, $4,400. Canon YJ1 8x9 BRS zoom lens, $2,200. Canon YJ 12x6.5 B4 zoom lens, $4,000. Sony UVW-100 Betacam SP camcorder, Fujinon S 16x6.7 BRM-18 zoom lens, and Porta Brace soft carrying case, $1,250. Contact: Nick de Pencier, Mercury Films: 416 516-2661; [email protected].

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CSC FULL MEMBERSJim Aquila cscEduardo Arregui cscJohn Badcock cscMichael Balfry cscChristopher Ball cscJohn Banovich cscJohn Stanley Bartley csc, ascStan Barua cscYves Bèlanger cscPeter Benison cscJohn Berrie cscThom Best cscMichel Bisson cscMichael Boland cscRaymond A. Brounstein cscThomas Burstyn csc, frsa, nzcsBarry Casson cscEric Cayla cscHenry Chan cscMarc Charlebois cscRodney Charters csc, ascDamir I. Chytil cscArthur E. Cooper cscWalter Corbett cscSteve Cosens cscBernard Couture cscRichard P. Crudo csc, ascDean Cundey csc, ascFrançois Dagenais cscSteve Danyluk cscDavid A. De Volpi cscKamal Derkaoui cscKim Derko cscSerge Desrosiers cscJean-Yves Dion cscZoe Dirse cscMark Dobrescu cscWes Doyle cscGuy Dufaux cscRay Dumas cscAlbert Dunk csc, ascPhilip Earnshaw cscMichael Ellis cscCarlos A. Esteves cscNikos Evdemon cscDavid Frazee cscMarc Gadoury cscAntonio Galloro cscJames Gardner csc, sascDavid A Geddes cscIvan Gekoff cscLaszlo George csc, hscLeonard Gilday cscPierre Gill csc

Russ Goozee cscSteve Gordon cscBarry R. Gravelle cscDavid Greene cscJohn B. Griffin cscMichael Grippo cscManfred Guthe cscD. Gregor Hagey cscThomas M. Harting cscPeter Hartmann cscPauline R. Heaton cscBrian Hebb cscDavid Herrington cscKarl Herrmann cscKenneth A. HewlettRobert Holmes cscJohn Holosko cscGeorge Hosek cscColin Hoult cscDonald Hunter cscJoan Hutton cscMark Irwin csc, ascJames Jeffrey cscPierre Jodoin cscMartin Julian cscNorayr Kasper cscGlen Keenan cscIan Kerr cscJan E. Kiesser csc, ascAlar Kivilo csc, ascDouglas Koch cscCharles D. Konowal cscLes Krizsan cscAlwyn J. Kumst cscJean-Claude Labrecque cscSerge Ladouceur cscGeorge Lajtai cscMarc Lalibertè Else cscBarry Lank cscHenry Lebo cscJohn Lesavage cscHenry Less cscPierre Letarte cscAntonin Lhotsky cscPhilip Linzey cscJ.P. Locherer cscPeter C. Luxford cscLarry Lynn cscDylan Macleod cscBernie MacNeil cscGlen MacPherson csc, ascShawn Maher cscDavid A. Makin cscAdam Marsden cscDonald M. McCuaig csc, asc

Robert B. McLachlan csc, ascRyan McMaster cscMichael McMurray cscStephen F. McNutt cscSimon Mestel cscAlastair Meux cscGregory D. Middleton cscC. Kim Miles cscGordon Miller cscRobin S. Miller cscPaul Mitchnick cscLuc Montpellier cscGeorge Morita cscRhett Morita cscDavid Moxness cscDouglas Munro cscKent Nason cscMitchell T. Ness cscRobert C. New cscStefan Nitoslawski cscDanny Nowak cscRene Ohashi csc, ascHarald K. Ortenburger cscGerald Packer cscRod Parkhurst cscBarry Parrell cscBrian Pearson cscDavid Perrault cscBruno Philip cscMatthew R. Phillips cscAndrè Pienaar csc, sascZbigniew (Ed) Pietrzkiewicz cscRandal G. Platt cscMilan Podsedly cscHang Sang Poon cscAndreas Poulsson cscDon Purser cscOusama Rawi csc, bscWilliam Walker Reeve cscStephen Reizes cscDerek Rogers cscBrad Rushing cscBranimir Ruzic cscJérôme Sabourin cscVictor Sarin cscPaul Sarossy csc, bscMichael Patrick Savoie cscGavin Smith cscChristopher Soos cscMichael Spicer cscJohn Spooner cscRonald Edward Stannett cscPieter Stathis cscBarry Ewart Stone cscMichael Storey csc

Michael Sweeney cscAdam Swica cscAttila Szalay csc, hscChristopher D. Tammaro cscJason Tan cscJohn P. Tarver cscPaul Tolton cscBert Tougas cscChris Triffo cscSean Valentini cscGordon Verheul cscRoger Vernon cscDaniel Villeneuve cscDaniel Vincelette cscMichael Wale cscJohn Walker cscJames Wallace cscTony Wannamaker cscPeter Warren cscAndrew Watt cscJim Westenbrink cscTony Westman cscKit Whitmore csc, socBrian Whittred cscRon Williams cscGeorge A. Willis csc, sascGlen Winter cscPeter Woeste cscBill C.P. Wong cscBruce Worrall cscCraig Wrobleski cscYuri Yakubiw cscEllie Yonova csc

CSC ASSOCIATE MEMBERSJoshua AllenDon ArmstrongJohn W. BaileyDouglas BairdKenneth Walter BalysDavid BattistellaGregory BennettJeremy BenningJonathan BensimonAndrè BèriaultRoy BiaforeChristian BielzFrancois M. BissonChristophe BonniereScott BrownRichard BurmanLance CarlsonJon CastellMark CaswellMaurice ChabotStephen ChungDavid CollardRenè Jean CollinsJarrett B. CraigRod CrombieMicha DahanMichael Jari DavidsonNicholas de PencierGareth DillistoneRandy DreagerJohn E. DurstJay FergusonAndrew ForbesRichard FoxTom Gatenby

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B&W 2008 Feb. 12, 2008

VANCOUVER CALGARY TORONTO HALIFAX604-291-7262 403-246-7267 416-444-7000 902-404-3630

http://panavision.com


Brian GedgeRion GonzalesVladimir GosaricJohn HodgsonCliff HokansonJames D. HollowaySuave HupaGeorge HupkaDavid JohnsJorma KantolaErnie KestlerShannon KohliCharles LavackJim LaverdiereRobin Lawless socByung-Ho LeePhilip LetourneauJohn V. LindsayDave LuxtonRobert MacdonaldMario Anthony MadauJeff MaherRoy MarquesKelly MasonAndris D. MatissPaul McCoolPatrick McLaughlinTony MeerakkerGerry MendozaTony MerzettiBill MetcalfeBentley MillerPaul MocklerHelmfried MullerBrian Charles MurphyKeith MurphyChristopher M. ObenEric OhTed ParkesDeborah ParksPavel ‘Pasha’ PatrikiRick PerottoAllan PiilScott PlanteRyan A. RandallDave RendallCathy RobertsonPeter RosenfeldDon RousselChristopher SargentAndrew W. ScholotiukIan ScottNeil ScottNeil SealeWayne SheldonSarorn Ron SimBarry E. SpringgayPaul SteinbergMarc StoneMichael StrangeJoseph G. Sunday phdAndrè Paul TherrienGeorge (Sandy) ThomsonKirk TougasJohn Minh TranY. Robert TymstraFrank VilacaJohn WalshLloyd WaltonGlenn C. WarnerDouglas H. WatsonRoger Williams

Richard WilmotPeter Wayne WiltshireDave WoodsidePeter Wunstorf ascSteven Zajaczkiwsky

CSC AFFILIATE MEMBERSChristopher AlexanderDwayne AlexanderDonald G. AngusDerek ArchibaldGarth ArchibaldRobin BainIain Alexander BairdP. J. Barnes P.Eng.Peter BattistoneJacques F. BernierMark A. BigginCaroline BrandesAdam BravermanGordon A. BurkellTim A. CampbellArnold CaylakyanBernard ChartouniMaggie CraigBrad CreasserColin DavisNicholas DeligeorgyDominika DittwaldMicah L. EdelsteinTony EdgarAndreas EvdemonRandy FrenchRichard GiraAizick GrimmanJames D. HardieBruce William HarperJohn Richard Hergel BA CDKristy HodgsonPerry HoffmannBrad HruboskaMarcel D. JanisseMichael JasenChristine JeoffroyRick KearneyMatthew Casey KennedyBoris KurtzmanNathalie LasselinTony LippaJohn LipszMatthew J. LloydChristopher G. LoganLori P. LongstaffRobert H. LynnJill MacLauchlan ParksYoann MalnatiSean MarjoramJulie McDowellJustin McIntoshIan McLarenAndrew MedickyAlejandro MuòozKar Wai NgBrent O’HaganTed OvertonAndrew OxleyGino PapineauGraeme ParcherKalpesh PatelGreg PetrigoGottfried C. Pflugbeil

Douglas B. PrussLem RistsooSusan SaranchukChirayouth Jim SaysanaJames ScottBrad SmithMichael SoosGillian Stokvis-HauerSteven TsushimaPaula TymchukAnton van RooyenTrevor J. Wiens

CSC FULL LIFE MEMBERSHerbert Alpert csc, ascRobert Bocking cscDavid Carr cscMarc Champion cscChristopher Chapman csc, cfeRobert C. Crone csc, cfc, dgKenneth R. Davey cscKelly Duncan csc, dgcJohn C. Foster cscJohn Goldi cscKenneth W. Gregg cscEdward Higginson cscBrian Holmes cscDouglas Kiefer csc

Rudolf Kovanic cscKen Krawczyk cscNaohiko Kurita cscHarry Lake cscDouglas E. Lehman cscDuncan MacFarlane cscHarry Makin cscDouglas A. McKay cscDonald James McMillan cscJim Mercer cscRoger Moride cscRon Orieux cscDean Peterson cscRoger Racine cscRobert Rouveroy cscRobert G. Saad cscIvan Sarossy cscJosef Sekeresh cscJohn Stoneman cscDerek VanLint cscWalter Wasik cscRon Wegoda csc

CSC HONOURARY MEMBERSRoberta BondarVi CroneGraeme FergusonWilson Markle


Production Notes

Calendar of Events february 2009

Feb. 11, CSC Annual General Meeting, 6:30 p.m., Technicolor Creative Services, Boardroom #1

49 Ontario Street, Toronto. RSVP to [email protected].

Feb. 13–22, CSC Camera Assistants Course, Toronto, register online at csc.ca or call the CSC

office at 416-266-0591.

april 2009

Apr. 4, CSC Awards Gala, 5:30 p.m. reception, 7:00 p.m. dinner and presentation at the Sheraton

Centre Hotel, 123 Queen Street West, Toronto. Tickets available at www.csc.ca.

le Concert des voix (documentary): DOP Daniel Vincelette csc; to May, Montreal

“Dino Dan” (series): DOP/OP George Lajtai csc; to July 18, Toronto

“flashpoint” season 2 (series): DOP Stephen Reizes csc; OP Tony Guerin; to August 1, Toronto

“Go Girl” (series): DOP Milan Podsedly csc; Op Marvin Midwicki; Op-B Peter Battistone; to May 1, Toronto

“How to Be indie” (series): DOP Yuri Yakubiw csc; OP Frank Polyak; PedOP J.P. Locherer csc; to April 27, Toronto

nostrum (feature): DOP Michael Jari Davidson; to March 15, Toronto

“Smallville” 8 (series): DOP Glen Winter csc (odd); Barry Donlevy (even); OP Doug Craik (even); OP Brian Whittred csc (odd); to April 2, Burnaby BC

the “Socalled” movie (documentary); DOP Marc Gadoury csc; to July, Montreal

“Supernatural” 4 (series): DOP Serge Ladouceur csc; OP Brad Creasser; to March 27, Burnaby BC

Sur traces de marguerite Yourcenar (documentary): DOP Stefan Nitoslawski csc; to June, Montreal

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Tel: 416-423-9825 Fax: 416-423-7629 E-mail: [email protected]

Kodak Canada Inc. KOD-EI-1771-08 CSC News OBC 8.5" W x 11" H N/A Yes 4 Colour February 2009 Nov 5, 2008

ONFILMJ O H N B A R T L E Y , C S C , A S C

“Everything you do in life helps you later on.

I began my career lighting variety shows and

TV news programs in Australia and as a gaffer

in Canada. When I shot The X Files, we blended

light and darkness so the audience saw some

things, but wasn’t sure whether they saw other

things. That added to the aura of mystery.

For Lost, we strive for a lot of colour saturation,

particularly greens. There are also campfire

scenes with saturated red tones lighting the

darkness, and flash-forward and flashback

sequences weaved into each episode. As a

cinematographer, I have to be flexible and trust

my instincts, especially when directors or actors

do something spontaneous. I think movies and

television have a great affect on society,

because so many people get their ideas about

past, current and future history from them.”

John Bartley, CSC, ASC earned an Emmy®

Award and another nomination for The X Files,

an Emmy nomination for Lost, and three ASC

Outstanding Achievement Award nominations

for The X Files. His other television credits

include The Matthew Shepard Story; Black River;

Yes Virginia, There Is A Santa Claus; and the

episodic series The Commish.

[All these programs were shot on Kodak Motion Picture Film.]

For an extended interview with John Bartley, visit www.kodak.com/go/onfilm.

To order Kodak motion picture film, call (800) 621 - FILM (3456). www.kodak.ca © Kodak Canada Inc., 2009. Photography: © 2008 Douglas Kirkland

http://www.kodak.com

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