The Tudors. Hungary s Gift to Canadian Cinematography: An Interview with Laszlo George csc, hsc. Gemini Awards Winners & Nominees. Ousama Rawi Brings

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1 November 2008 Volume 28, No. 3 Ousama Rawi Brings The Tudors to Life Hungary s Gift to Canadian Cinematography: An Interview with Laszlo George csc, hsc Gemini Awards Winners & Nominees

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3 csc.ca The Canadian Society of Cinematographers 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 nonpartisan groups in our industry, but have no political or union affiliation. CSC EXECUTIVE President: Joan Hutton csc Vice-President: George Willis csc sasc Treasurer: Joseph Sunday phd Secretary: Antonin Lhotsky csc Membership: Philip Earnshaw csc Publicity: Nikos Evdemon csc Director Ex-officio: Dylan Mcleod csc Education: Ernie Kestler Editor Emeritus: Don Angus Membership inquiries: CORPORATE SPONSORS All Axis Remote Camera Systems Applied Electronics Amplis Photo Inc. Arri Canada Ltd. Canon Canada Inc. Cine-Byte Imaging Inc. CinequipWhite Inc. Clairmont Camera Cooke Optics Ltd. Creative Post Inc. D.J. Woods Productions Inc. Deluxe Toronto FUJIFILM Canada Inc. Image Pacific Broadcast Rentals / Image Central Broadcast Rentals Kingsway Motion Picture Ltd. Kino Flo Kodak Canada Inc. Lee Filters Mole-Richardson Osram Sylvania Ltd./Ltée PS Production Services Panasonic Canada Panavision Canada Precision Camera Rosco Canada Sim Video Sony of Canada Ltd. Technicolor 3D Camera Company Videoscope Ltd. William F. White International Inc. ZGC Inc. ZTV CSC Office Canadian Society of Cinematographers Executive Director: Susan Saranchuk 3007 Kingston Road Suite 131 Toronto, Ontario M1M 1P1 Tel Fax admin@csc.ca Editor: Wyndham Wise editor@csc.ca Editor-in-Chief: Joan Hutton csc Co-Editor-in-Chief: George Willis csc sasc CSC NEWS is a publication of the Canadian Society of Cinematographers. CSC NEWS is printed in Winnipeg and is published ten times a year. Subscriptions are available for $75.00 per year in Canada and $95.00 per year outside the country. Canadian Publications Mail Product Sales Agreement No Ossi Rawi csc, bsc 4 14 volume 28, No. 3 CONTENTs November President s Report Gemini winners and nominees. Micheal Douglas in Running 04 Bringing The Tudors to Life: HD Wizardry of Ousama Rawi Turns the Court of Henry VIII into Moving Art The Canadian/Irish series The Tudors has won rave reviews and high ratings for its all-star cast and production values. Ousama Rawi csc, bsc won the 2008 CSC TV Series Award for a season-one episode, and and he won a Gemini Award in the category of best photography in a dramatic program or series. By Don Angus 08 Hungary s Gift to Canadian Cinematography: An Interview with Laszlo George csc, hsc By his count, Laszlo Geroge has shot over 100 films for television. Well into his seventies, he continues to work, presently shooting the series Reaper in Vancouver, and branching out into the experimental area of large-format photography. By Wyndham Wise 14 Industry News 17 Classifieds 18 CSC Members 20 Production Notes and Calendar Cover image Ousama Rawi and Natalie Dormer as Anne Boleyn, The Tudors. Image courtesy of Ousama Rawi. 8

4 PRESIDENT S REPORT The CSC Awards Ad Hoc committee met twice over the past year and the executive committee has agreed to adopt changes to the 2009 ceremony on October These include the following: for the first time ever, the CSC is opening the awards competition to non-member professionals who reside in Canada. Up until now, the coveted CSC Award has been open only to CSC members. The Canadian Society of Cinematographers feels that this change in its awards structure will better represent the work that is being done by all Canadian cinematographers. We have created a new category, Lifestyles/Reality, added a Corporate/Educational category, and the Music Video and Performance categories have been combined. The 2009 CSC Awards Gala will be held April at the Sheraton Centre Hotel, Toronto. Which nicely segues us to the results for the 2008 Gemini Awards. The Awards for news, sports, documentaries, lifestyle, children, youth, drama, variety and comedy were presented over three nights at the Liberty Grand, Toronto, October Nominees in the best photography in a dramatic program or series were Steve Cosens csc, David Greene csc, Pierre Letarte csc, David Perrault csc, Ousama Rawi csc, and Derick Underschultz. The winner was Ousama Rawi csc for The Tudors. Nominees in the best photography in a comedy, variety or performing arts program or series category were James Jeffrey csc, Ken Krawczyk csc, Eugene O Connor and John McCullagh, Michael Tien, and Jim Westenbrink csc. The winner was Michael Tien for Blood on the Moon. Nominees in the best photography in a documentary program or series were John Collins and John Westheuser, Étienne Carton De Grammont, Martin Julian csc and Mike Carling, Bill Metcalfe, Stéphane Ricard and André Perron, and Mike Sheerin. The winner was Mike Sheerin for Bravo Company: Kandahar. Nominees in the best photography in an information program or series were Andre Dupuis, Ian Kerr csc, Henry Less csc, Paul Seeler, and Anton Van Rooyen. The winner was Andre Dupuis for India: Quest for Himalays. In addition, Philip Earnshaw csc was nominated in the category of best direction in a children s or youth program or series and CSC associate member Nick de Pencier was nominated for best direction in a documentary program. In this issue, the extravagant Canadian/Irish co-production The Tudors has won rave reviews and high ratings for its all-star cast and production values, and DOP Ousama Rawi csc, bsc has just been given his first Gemini Award for his stunning work on the series. Wyndham Wise interviews Laszlo George csc, member number seven, who, by his own count has shot over 100 films for television, and in 1967 photo-graphed one of the most famous Canadian shorts ever made, the Oscarwinning A Place to Stand. Well into his seventies, he continues to work, presently shooting the series Reaper in Vancouver, and branching out into the experimental area of large-format photography. In closing, I am very pleased to announce that D. Gregor Hagey csc had joined the executive board as a director, ex-officio. Gregor has been a member of the CSC since 1994, and speaking on behalf of the board, I am looking forward to his contribution and fresh ideas. And it is with much sadness that the CSC notes the passing of sound engineer extraordinaire and good friend to many of our members, Patrick Spence-Thomas, and the Oscar-winning (for Chicago) sound recordist David Lee. Both men passed away in October and will be missed. Please note: In the previous three issues of CSC News, we have inserted a copy of our CSC survey. We were hoping for a good return so that we may better respond to the concerns of our members. To date, we have received 24 completed surveys. Please visit our website, csc.ca, to complete the survey if you have not already done so. We will publish the results in an upcoming issue of CSC News. Ousama Rawi csc, bsc Laszlo George csc, hsc 2 CSC News - November 2008

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7 Bringing The Tudors to Life: I If award-winning cinematographer Ousama ( Ossi ) Rawi csc, bsc could travel back in time, he would likely find that the court of the young, tempestuous King Henry VIII looked much like he filmed it 499 years later. Rawi is director of photography for the hit television series The Tudors, a Canada-Ireland co-production that has just wrapped shooting its third season. Season two premiered in late September on the CBC in Canada, Showtime in the U.S., BBC2 in the U.K. and on other networks around the globe. The show has won rave reviews and high ratings for its allstar cast and production values. Rawi won the CSC TV Series Award this past March for a season-one episode, and won (for HD Wizardry of Ousama Rawi Turns the Court of Henry VIII into Moving Art Left, Ousama Rawi on the set of The Tudors ; above Peter O Toole as Pope Paul III. The Tudors photos courtesy of the CBC. By Don Angus the same episode) the Gemini Award last month in the category of best photography in a dramatic program or series. The series picked up 11 other Gemini nominations, including best dramatic series and recognition for the writing of creator Michael Hirst, who penned Elizabeth (1998) and Elizabeth: The Golden Age (2007) for the big screen, and for the costumes of Joan Bergin, who won Emmy Awards the last two years for her work on The Tudors. Tom Conroy and Eliza Solesbury got deserving Gemini nods, too, for design and art direction, underscoring that the most remarkable feature of this series is how it looks: rich and dark with bright pools of fire and candlelight, the warm browns of wood panels and furniture and the brilliant colours of bejewelled gowns, necklace-festooned doublets and scarlet ecclesiastical robes. For the viewer who cares about such things, the immediate assumption is: this is 35-mm film. That viewer would be wrong. Seasons one and two were shot with the CSC News - November

8 I Panavision-modified ( Panavised ) Sony F900 HD digital video camera, Rawi told CSC News in telephone and interviews from Ireland, where the series was being shot. I contemplated using the more modern F950, but I decided against it. Although it gave me the full-colour space of 4:4:4 compared to the F900 s 4:2:2, the major disadvantage of the F950 for me was the fact that the capture part and the recording part of the camera are separated by a cable. This would make it inconvenient for shots where the camera would start low on a dolly and jib up to maximum height, having to cope with one more cable that could get entangled. Also I found that when in Steadicam mode, the cable was a hindrance. He said the camera he wanted from the start was the Panavision Genesis. In my opinion, it was the most convenient and cinematographer-friendly HD camera. It has a full 35-mmsize chip and takes standard 35mm Panavision lenses. They are true and tested lenses, and by using them I would get normal 35-mm look depth of field, something grossly lacking in the small-chip HD cameras. However, the budget wasn t there to carry four Genesis cameras on the first two seasons. When season three came along, I had a long discussion with Panavision, and we somehow worked it out that I could have my first-choice camera, the Genesis. Rawi, who had never before shot a series, said his only previous experience with HD was in 2003 on a Showtime cable movie, DC 9/11: Time of Crisis, shot on a Panavised Sony F900. The DOP said the lighting design for The Tudors would have been different had it been shot on film, but the HDTV decision had been made by Showtime. My first task was to fully understand the characteristics of the camera of choice and learn its idiosyncrasies. Its limited exposure latitude, which I found to be seven stops, was a big impediment. Its biggest weakness is the inability to effectively deal with highlights. Even with the seven-stop latitude, there were only three stops available in overexposure before clipping occurred. I had to learn to fool the camera and to make the clipped highlights acceptable in the broadcast legal sense and appear to be completely normal to the viewer s eye. Rawi deftly handled the question: Would you rather have shot on film? Much as I love film and consider it still the best image-capture medium available today, I found the challenge of using the emerging new HD medium and trying to make it look no different from film to be an exciting endeavour. It has to be remembered, film took over 100 years to arrive at its current state of excellence. HD has only had 10 years and it s already knocking on film s door. Imagine where it will be in another 10 years. Rawi said he deliberately created deep shadows and bright found the challenge of using the emerging new HD medium to be an exciting endeavour, Ousama Rawi csc, bsc highlights to increase contrast because the HD cameras I was utilizing constantly wanted to flatten the images. I had to learn how to successfully fight that tendency. For inspiration, I borrowed from the great master painters, mainly Caravaggio, Vermeer and Renoir. Given that in 16th-century England the only source of light was natural daylight sunny or grey or the flame from candles, torches, flambeaux or fireplaces, I decided to restrict myself to mimicking those sources of light. Rawi s next decision: What kind of candles? I had special candles made to test on camera. I selected the best parchment colour for the wax that both the production designer and I determined was authentic looking enough for the wax colour of the day. I then had them made with a single wick, a double wick and a triple wick. This gave me three different levels of light output to test. The triple-wick candles, though much brighter, making my work easier, were unacceptable to the F900 cameras. They were clipped immediately, thereby having virtually no detail registered wherever the candles were placed within the image. It was as if someone punched holes in the image wherever there was a candle flame. This would have made the images unacceptable for transmission. I settled for the double-wicked candles. My decision enabled me to get adequate illumination without the danger of clipping. Thus I was often able to use the candles themselves that were in shot as the actual source of light. Also, I measured the colour temperature of the different flames and gelled any of the artificial lights I was using to match the candles, the flambeaux and the fireplaces. Needless to say, Rawi chuckled, many a costume and a great deal of the crew s clothing was ruined or needed special cleaning because of the constantly dripping hot wax from the quick burning of the special double-wicked candles. They would burn down to one inch after 20 minutes. Candle height continuity was a nightmare for the props. Rawi added, The biggest challenge on all three seasons so far has been my decision to give the show a feature-film look in spite of having an episodic television schedule. We have 10 days to shoot a one-hour episode. For Showtime, an hour program is 56-minutes long. This necessitated a very fast blocking and lighting pace that I had to inspire my crew to get on board with. I can honestly say that the crew camera, grip and lighting, which has been virtually unchanged for three seasons are all working in sync, intuitively and totally understanding each other s needs like a well-oiled machine. Ousama Rawi was born in the Iraqi capital of Baghdad, but was schooled in Scotland and began his film career as a tea boy for a commercial production house in London. He discovered that the best way to move upwards was to make friends in the film business and get a little lucky. While I was a glorified PA making tea, Rawi remembered, I befriended a would-be director, somebody who had a penny or two and was going to shoot a short film. I told him I would shoot it for free and I had access to equipment. At the commercial production house, I made friends with editors and people at the rental houses and labs who told me if you want to borrow a camera or purchase a roll of film, we ll get it for you. So I shot the film for him, and the editors at the 6 CSC News - November 2008

9 commercial house gave their time to cut the half-hour short all the way down the line to mixing, to the print, etc. Then [the young director] submitted it to the selection committee of the Cannes short film festival. It went in as one of two British entries, and to my surprise it actually won second prize. So I was a tea boy with a second-prize winner at Cannes. Rank Film Distributors chose the short to open the program for the 1965 feature The Collector, with Samantha Eggar and Terence Stamp. So now I was a tea boy with a film I had shot on the circuit with The Collector. I guess I must have been 20 or 21. Rawi next moved to a regional television station as a newsreel cameraman where I got my union card. After about 14 months, he moved to London as a freelance cinematographer calling myself a DP and hoping someone would give me a break. It came as a commercial for a hair product, Brylcreem, which the director said even he could light. That was my first experience working on a real job that wasn t newsreel. Two or three weeks later, the director called Rawi to shoot another commercial, then another. Soon other companies were using me and before I knew it I was a busy commercial cameraman. The cinematographer s first feature was Mike Hodges s 1972 crime thriller Pulp, starring Michael Caine, from United Artists. UA was initially opposed to the unknown Rawi as DOP, but Caine, one of the co-producers, was persuaded by industry friends to hire the young shooter. It was just about the time Pulp was released that Rawi was invited to join the British Society of Cinematographers. Rawi s introduction to Canada came in the late 1970s as director of photography on the UK/Canada co-production Coup d etat (also known as Power Play), starring British actors Peter O Toole, David Hemmings and Donald Pleasance. Writer/director Martyn Burke, a Canadian, initially shot scenes in Germany, to be followed by the rest of the shoot in Toronto. However, money problems shelved the project until 1977, when Rawi crossed the Atlantic to film the balance of the picture. During those eight to nine weeks, the DOP met several Canadian producers and, shortly after returning to the U.K., he was offered a 12-month contract to shoot commercials in Canada. He then joined two commercial producers to form a production company and in the blink of an eye, 10 years went by. Finally, I had to get back to long form because I missed it terribly. He moved to Los Angeles in 1994, but maintained a home in Toronto and now travels back and forth for personal and professional reasons. He joined the CSC in While The Tudors is shot in Ireland 75 per cent of the interiors are shot on standing sets at Ardmore Studios in Dublin post-production is done in Toronto at Technicolor and Dufferin Gate. Rawi said the series uses three Ardmore stages and sometimes we spill over temporarily to a fourth. It is where we are based and feels like home to us all. The Irish producer, Morgan O Sullivan, and the Canadian producer, Sheila Hockin, have been a joy to work with. Rawi also cited Ross Cole, senior colourist at Technicolor, for his exemplary work on all episodes of the series. He has been the colourist from the beginning and continues to be the colourist on season three. He fully understands the style of the show and produces flawless work. Natalie Dormer as Anne Boleyn and Jonathan Rhys Meyers as King Henry VIII. CSC News - November

10 Hungary s Gift to Canadian Cinematography: An Interview with Laszlo George csc, hsc By Wyndham Wise Laszlo George csc, hsc was born and raised in Hungary and came to Canada after the failed uprising against the Russians in He immediately set to work in the commercial business in Toronto, and in 1967 co-photographed one of the most famous shorts of the period, the groundbreaking Oscar-winning A Place to Stand. He then moved on to features, television movies and miniseries. By his count, he has shot over 100 films for television. Well into his seventies, he continues to work, presently shooting the series Reaper in Vancouver, and branching out into the experimental area of large-format photography. The seventh member to join the CSC, Laszlo George took time out from his busy schedule to speak to CSC News over the Thanksgiving weekend about his long and varied career. WW: When and where were you born? LG: I was born in Budapest, Hungary, in 1931, and grew up with my grandparents in a small village near the Austrian border that had no electricity. For the first 10 years of my life, I grew up with only candles and lanterns as a source of lighting, which instilled in me a fascination with light. WW: When you were growing up, is there any film or films that made a particular impression on you? LG: I saw mostly Russian films. The only American films I saw were the original Tarzan movies with Johnny Weissmuller, which were judged politically correct by the authorities. I do remember the Russian film The Cranes Are Flying, which was very good. In high school there was a 16-mm projector, and I was chosen to be the projectionist for the class. That is how I got interested in film. The regime considered me to be a capitalist kid because my father had been a blacksmith. They would classify people, such as worker or intellectual. Because of what my father did, I was classified an undesirable element. Ironically, that is how I got into university. WW: That would be the Academy of Film and Dramatic Arts in Budapest? LG: That s right. Anybody with my category was not allowed in the performing arts business, such as film or theatre or writing or music. The authorities thought such people could send messages through their work. The Hungarian government was very strict about this. In those days, if you didn t go to university you had to go into the army for three years. So everyone tried to get into a university to avoid the army. On the last day for applications to the Academy, four hours before closing time, I showed up but I didn t have an application. I had one for another university, but I was determined to be a filmmaker. A woman came out of the office and asked me about my status, and I told her I was undesirable. She told me she was glad I had come because they were one applicant short. They worked on a strict quota system, and they had to fill it, so I was allowed to fill in an application. Of the 40 students accepted in the program that year, only six completed the four years. I got my degree in cinematography. WW: What sparked your interest in cinematography? LG: I had seen a Russian movie, which was kind of like an opera. As the tenor was hitting the high Cs, the camera swooped down from the sky and arrived on his face just when he hit the high note. I was very impressed that the cameraman could do such a thing. Later I realized it was in the editing, but I didn t know it then. I thought the camera work was fantastic, and I wanted to learn how to operate a camera. For the first two years at the Academy, you had to learn cinematography and directing, and you had to write a stage play and a script for a film. We were taught every segment of the industry, including music and literature. There were a lot of great guys at the Academy. In the class behind me there was Vilmos Zsigmond [Close Encounters of a Third Kind] and Laszlo Kovacs [Ghostbusters]. WW: Did you have a particular artistic influence? LG: I had a very good teacher who taught us about the history of art. At the end of the four years, all the graduating students had to make a 30-minute speech about certain artists. My favourite was Caravaggio, the painter from the Italian Renaissance. I liked the way he used light and shadow. He always had one source of dramatic light. I have never liked flat lighting, never. I ve always tried to work with natural light and one source of lighting. WW: When did you graduate? LG: In 1956, the same time as the revolution. I escaped and went to Vienna. WW: Tell me how that happened. 8 CSC News - November 2008

11 A Pace to Stand, directed and edited by Christopher Chapmen; cameramen, Christopher Chapman, Laszlo George and Josef Seckeresh. Oscar for Best Live-Action Short, LG: The Russian tanks rolled in to Budapest and crushed the revolution within four days. They went after the students first, the ones who had started the protest in the first place. We had to get out of the city quickly. The Russians controlled the railway stations, but they didn t control the trains. We found this out when we arrived at the station, so we jumped on a train heading for Vienna after it left the station. Then when it approached the border, we got off the train and walked across the countryside and crossed the border into Austria. There were hundreds of students doing this. WW: Did you work while you were in Austria? LG: I had made my first movie before I escaped, a short based on a story called True Blue Sky. I was the director of photography. The year before, at Cannes, there was a famous movie that won the Palme d Or called Le Ballon rouge. I was impressed by that and wanted to get my film into Cannes, but just before we finished, the Russians came and we all left. While at the Academy, they allowed us to study what they called the other side. So on weekends we could go to the American or British embassy. We would read magazines, play pool or watch movies and smoke cigarettes. Lucky Strikes at the American embassy; Senior Service at the British embassy. We were not allowed to smoke at the Academy. So when we were in Austria, and in a refugee camp, I thought it would be okay to go to the British embassy and hang out. The second time I went there, I met some professors who had come over from Oxford University. They were looking for students who had escaped from Hungary and to offer them scholarships to Oxford. Twenty of us signed up, and the Royal Air Force flew us to England. We were sent to the Home Office in London where we were given identify cards, then we went to Oxford where some professors offered us rooms in their houses. This lasted for about four months. We were given courses in essential English for foreign students. WW: How did you end up in Canada? LG: I had an aunt who lived in Toronto and she was looking for me. She phoned my parents in Hungary, and they told her I had left. But she found me in England, and the British Home Office gave me the money to fly to Toronto. This was in I immediately went looking for a job and got lucky. There was a company called Motion Picture Centre, and the producer CSC News - November

12 Gerald Kedey was the owner. He was looking for a cameraman, and within a month of arriving in Toronto I had a job. Jerry was very good to me. He didn t care where I came from. The first day he gave me a camera with a 400-foot magazine and told me to spend the day shooting whatever footage I wanted. I remember it was the day before the CNE opened in August. It was rainy, and I shot footage from the afternoon until the sunset down around the Princess Gates. At the end of the day I took it to the old CBC studios on Jarvis Street, where there was a laboratory in the basement, and made a print. The next day I showed it to Jerry. He liked it so much he arranged to have it broadcast on the CBC. WW: So your first footage ended up on the news? LG: That s right. I was in. I worked for him for about three years. When I was first shooting commercials there were no private laboratories in Toronto. We had to send the footage to London, England, for processing. It was a fantastic system. We would rush the negative at four o clock to the airport for the six o clock BOAC flight to London, which arrived at six in the morning. There were labs right beside the airport in London. The film would be processed and sent back on a flight at two o clock, which arrived at four o clock our time, and we would have rushes by six o clock the next day. Within just over 24 hours we would have the footage to look at. Even today, you cannot get such service. WW: Your first film credit in Canada is the famous short A Place to Stand, which was made for Expo 67. What were you up to before then? LG: I was one of the first cameramen hired at CFTO [now CTV], which went on air in Actually, I was hired by John Bassett, the owner of the old Toronto Telegram, to make a film about the building of the studios in Agincourt, north of Toronto. I worked on that for nearly six months. When it opened, I shot the station logo, so the broadcast day would start and end with my footage. I was at CFTO until 1963 or 64 then I went to work for a company called TDF. They were making commercials, and Steven Stern, one of the directors, asked that I be hired to shoot them. I shot commercials everywhere around the world. I got a Clio Award for one of them. But I wanted to shoot movies, because I loved telling stories. Above, Laszlo George csc, hsc; below, with Vilmos Zsigmond, on the right. WW: At one point you must have met Christopher Chapman, the director of A Place to Stand. LG: I knew David Mackay, and he was involved with Chris in making a movie for the Ontario government, which became A Place to Stand. It had the theme song, A Place to Stand, a Place to Grow (Ontari-ari-ari-o!). The point was to make a movie with as many split images we could fit on the screen. The film had 15 separate images at one time. It was very difficult to do because there were no computers, and it all had to be done with an optical printer. It was the first film to have split-screen images like that. I believe it was called a multi-dynamic image technique. The film took two years to make, and we shot it on 16 and 35 mm, and it was printed on 70 mm. I shot all the footage with Chris and Josef Seckeresh, who was a friend of mine who had come from the same school in Budapest. There were three Hungarians working at CFTO when I was there. We had all come over at the same time, and we had the background and knowledge to do the work. At that time there were no universities like the one 10 CSC News - November 2008

13 Laszlo George s pictures on display at the Hodnett Fine Art Studio Gallery, Vancouver. I attended in Hungary in North America, except at UCLA in California. There are a number of Hungarians in the Canadian film business, producers such as André Link, András Hámori, John Kemeny and Robert Lantos, directors George Kaczender and George Mihalka, and another friend of mine, Miklos Lente. WW: A Place to Stand played at Expo 67, where it was seen by hundreds of thousands of people. It received two Oscar nominations winning the one for Best Live-Action Short, and was named Film of Year at the Canadian Film Awards. LG: It was amazing. It was based on a notion I had learnt at school: Give me a place to stand in the universe and I can rule the world. The theme song became an anthem for school kids. It was also one of the inspirations for the creation of the IMAX process. Later, in 1977, I shot one of the first IMAX films, Silent Sky. It was my idea, and it came to me while I was watching the air show at the CNE. There were so many planes making so much noise, then along came Oscar Boesch with his silent flying machine. I thought it would be a fantastic IMAX idea. So I went to work with David Mackay and another friend, Douglas Murray, and we sold it to the Ontario government and the IMAX people. I shot it myself in 30 days from a helicopter in California, where Boesch was based. You will notice that there is no director listed on the screen for the film. David, Doug and I were the directors and producers. Eventually it was shown at the Smithsonian in Washington DC. WW: Then you shot a second IMAX film, The Living Planet, in LG: That was produced out of New York, and I travelled around Europe and North Africa to shoot it. From that one I got a call from NASA. They wanted to shoot an IMAX film in space, and I was asked to be one of the cameramen. I went to Washington with Graeme Ferguson to talk to some people in Congress, and I was asked how I would do it. But eventually I was not chosen because I did not have a green card and could not work in the States. Although I did get one a year later. [Ferguson would eventually make the film Hail Columbia! in 1982.] WW: After that you started to shoot features during the tax-shelter years, beginning with Running. LG: Running, yes, that was a Michael Douglas movie. He had been a producer [One Flew over the Cuckoo s Nest, 1975] and the star of the series The Streets of San Francisco, but he wanted to break into the movies as an actor, which used to be difficult if you were an actor from television. So he decided to act in this film for Universal, which was produced in Canada and shot in Montreal and Boston. Steve Stern directed, and I enjoyed working on that one. WW: You were nominated for a Genie Award for Running and received a CSC Award. When did you become a member of the CSC? LG: I was member number seven, and I believe I became a member in There were only a handful of us at that time. I worked with Fritz Spiess during my time at TDF. WW: You also shot Nothing Personal for George Bloomfield in LG: I didn t enjoy that one so much, and it wasn t very good. Actually, it was the first and only time I was fired from a movie. Donald Sutherland was the star, along with Suzanne Somers, and he is a very picky actor. In those days, if you were working on a big picture, you signed a pay or play contract. They don t do it any more, but they gave me one. After two weeks of shooting, I thought Sutherland s makeup was not satisfactory. I told him I thought he was using the wrong makeup. His makeup artist, who was from England, got very upset at this and I was told to leave the film. But because of my pay or play contract, I was still being paid. I was off for four weeks, and the producers hired another DP from England. Then after four weeks, Don wanted me back, and I finished the last two weeks of the shoot. At the wrap party, Don came over to me and gave me a big hug and told me I was the best guy he ever worked with. WW: You were nominated for a Genie and won a second CSC Award for another film during this period, Draw!, with Kirk Douglas and James Coburn. Steven Stern also directed that one. CSC News - November

14 Donald Sutherland and Suzanne Somers in George Bloomfield s Nothing Personal LG: Now that one is one of my favourites. HBO was hiring big stars for its television movies, and Kirk Douglas was the star. Of course I had worked with Michael on Running, so I knew the family. We shot it in Edmonton, which had a pioneer park. It was a good story, very well directed by Steven. For me, I really enjoyed the shoot. I tried to give it a black-and-white turn-of-the-century look, even though it was shot in colour. I used pantyhose on the lens and soft focus. I really subdued the colour. But when you do this sort of thing, it is very important that the right clothes are chosen. I told them I didn t want any bright yellow or red colours. I asked for a rusty wardrobe. It s very important that the right clothes are chosen if you want a certain tone. WW: After Draw! you don t seem to have shot any more features, but you made a lot of movies for television. LG: I have done over 100 moves for television. I used to shoot as many as six or seven a year. The American networks seemed to like my work, and I must have done 20 for NBC. And I shot a number of four-or-six hour miniseries. When I shot Danielle Steel s Zoya (1995), I travelled all over the place, to St. Petersburg, Paris, New York and Los Angeles. I told the producers I wanted to shoot it like it was before the revolution in Russia, in I tested a filter now everyone is using it called the It s not quite yellow, but rather like a skin-tone filter, like lavender. It doesn t give you any exposure difference, but if you photograph a white, it becomes antique white. It s fantastic on makeup and gives you a beautiful skin tone on the hands and face. I tested it, and the director loved it, so I shot the whole movie, except for maybe one hour, with that filter. Later, when I was shooting the Hart to Hart moves in Australia, I leant that I received an ASC Award nomination for Zoya. I came back from Australia to attend the ceremonies in Los Angeles. It was beautiful. WW: Of all the movies that you have shot, either for television or theatrical, which one is your most memorable? LG: Draw!, definitely. And the one I shot in Paris with Angela Lansbury and Omar Sharif, Mrs. Arris Goes to Paris [1992]. That was fun. It s great to work with such classic actors. Omar was such a gentleman. And they will help you with the lighting. They bring discipline to whatever they do. I have worked with Richard Burton, Don Ameche, James Earl Jones, Faye Dunaway, and they were amazing to work with. They were such professionals. WW: What is the best piece of professional advice that you received? LG: Well, I tell you, the director Richard Colla told me, here s the script, now tell the story. He didn t tell me how to set up the shots. He allowed me to tell the story that was best for him, the director, and the audience. I remember when we were rehearsing Zoya in a warehouse in New York. It was empty, with harsh neon lighting. There was no mood, nothing at all. I asked him to give me 10 minutes. I turned the house lights off, put up a couple lights near the windows, and I lit the set without knowing what the scene was, but I made it more comfortable for the actors. Richard was impressed, and he told the producers to allow me to light the set, then he would add the actors for the rehearsal. The actors loved it, because it created a mood. WW: Is there any particular genre you like working in more than any other, features, movies of the week or miniseries? LG: I like to work on miniseries because you have more time to recover. For movies of the week you might have 16 days, and no time to redo something if it does not work out properly. But in a miniseries you have more time to do everything right. With movies of the week, it s all rush, rush, rush, which is one of the problems and you have to try not to make a mistake. If I have 12 CSC News - November 2008

15 a bad shadow, I don t relight the set, but just turn the light off before the camera rolls. On my first movie for television, which I did for Bob Schulz called Falcon s Gold [1982], I had seven weeks to shoot in Mexico. That same movie today, they would give me 16 days, maybe six days a week for three weeks. WW: Currently you are working on the series Reaper, which is being shot out in Burnaby. LG: A friend of mine, Attila Szalay, another Hungarian by birth, is the DP on that series. He was my operator on the Hart to Hart films, and we have worked together for over 10 years. He was the DP on the second unit for The X-Files. So when he goes with the director of Reaper to check out the next location every seven days or so, I take over. Plus I am doing second unit. We work very well together, so our work is seamless. I shoot one or two days every week on Reaper. WW: And last year you shot The Secrets of the Nutcracker for the CBC in HD. LG: That was with one of my favourite directors, Eric Till. I always wanted to work with him, and I got a chance last year on The Secrets of the Nutcracker. I shot with HD like I would with film. The problem with HD is that everything is in focus, but I shot with the lens wide open and it seemed to work just fine. It s very close to 35. Everything was A-one on that production, the costumes, the sets, the makeup. It was meant for broadcast in 2007, but for some reason the CBC postponed it, and it will broadcast this year at Christmas. WW: Let s finish by talking a bit about your recent work, which are large-scale photographs that you call digital on canvas. You had a gallery show that just opened this past weekend in Vancouver (October 5, 2008). LG: Yes, it was at the Hodnett Gallery in Vancouver. We opened on Sunday, because on Saturday there was an auction held for Arts Umbrella. After my first show back in April at the Hodnett, Arts Umbrella approached me and asked me to make a donation. It s a non-profit organization for children to learn about the arts, music, painting and film. One of my pictures, Hurricane, was sold for $3,500. I also donated another one of my pieces Sunset: Lion s Bay for UNICEF s campaign Unite for children, Unite against AIDS, which again is a charity for children. That one went for $4,500. The exhibition of my work is called First Frame. When you shoot a movie with a camera, the first frame is a blur. You don t know what the image will be until the 24th frame. The first frame could be only blue and red lines on white, but by the 24th frame you see it is a woman in blue and a woman in red standing in front of a window. These are contemporary photographs captured on canvas and enlarged to a very large size. Some are as big as three-by-six feet. People seem to like them, even the critics. When I first experimented with the images at the Hodnett gallery, an artist from Italy came in and looked at my work and suggested I go for the large-size format. Arts Umbrella had an exhibition in downtown Vancouver in the lobby of the Hong Kong Bank of Canada. The Hurricane picture hung there for two weeks. I was very proud of that. (To view examples of Laszlo George s large-format work created in camera using 12-colour archival digital technology, visit the Hodnett Fine Art Studio Gallery, Parker Street, Vancouver, or go to Selected Credits Shorts: A Place to Stand (co-ph), 1967; Silent Sky (ph/co-d/ co-p), 1977; Living Planet (co-ph), 1979 Features: Homer, 1970; Running, 1979; Circle of Two, 1980; Nothing Personal 1980; The Bear, 1984; Intersection (B cam), 1994 TV movies: Falcon s Gold, 1982; Mazes and Monsters, 1982; Draw!, 1984; The Undergrads 1985; Murder in Space, 1985; The Park Is Mine, 1986; A Masterpiece of Murder, 1986; Vanishing Act, 1986; Stranger in My Bed, 1987; Hands of a Stranger, 1987; Stranger on My Land, 1988; God Bless the Child, 1988; Something Is Out There, 1988; Swimsuit, 1989; Roxanne: The Prize Pulitzer, 1989; No Place Like Home, 1989; Last Flight Out, 1990; Kaleidoscope, 1990; Storm and Sorrow, 1990; Christmas on Division Street, 1991; Kung Fu: The Legend Continues, 1992; Diagnosis Murder, 1992; The Women of Windsor, 1992; Mrs. Arris Goes to Paris, 1992; Morning Glory, 1993; Betrayal of Trust, 1994; Island City, 1994; Heart of a Child, 1994; A Family Divided, 1995; The Silence of Adultery, 1995; Hart to Hart, 1995 & 1996; Remembrance, 1996; Color Me Perfect, 1996; When Innocence Is Lost, 1997; The Stepsister, 1997; Let Me Call You Sweetheart, 1997; When Husbands Cheat, 1998; Mr. Headmistress, 1998; Scandalous Me: The Jacqueline Susann Story, 1998; Ultimate Deception, 1999; The Promise, 1999; Cruel Justice, 1999; My Mother, the Spy, 2000; The Loretta Claiborne Story, 2000; Christy: The Movie, 2000; Lies Like Truth, 2004; Evel Knievel (B cam), 2004; Chekhov and Maria, 2007; The Secret of the Nutcracker 2008 Series and miniseries: Glory Days, 1990; Daddy, 1991; Kung Fu: The Legend Continues, 1993; Danielle Steel s Zoya, 1995; Christy: Choices of the Heart parts 1 & II, 2001; Just Cause, 2001; Reaper, 2008 Awards and nominations CSC Awards: Best cinematography for a feature, Running (1980) and Draw! (1984); best cinematography for a TV drama, Stranger in My Bed (1987); Kodak New Century Award in recognition of a lifetime achievement in cinematography (1995) Kodak Spectrum Award: Scandalous Me: The Jacqueline Susann Story (1998) Canadian Film Association Award: Best cinematography, Silent Sky (1977) ASC Awards nomination: Outstanding achievement in cinematographer for a miniseries, Danielle Steel s Zoya (1995) Genie Awards nominations: Best achievement in cinematography, Running (1980) and Draw! (1984) Gemini Awards nomination: Best cinematography in a dramatic program or series, Scandalous Me: The Jacqueline Susann Story (1998) Leo Awards nomination: Best cinematography in a feature-length drama, Lies Like Truth (2004) CSC News - November

16 INDUSTRY NEWS CTV BACKS MY CANADA DOCUMENTARY PROJECT WHILE THE HAROLD GREENGERG FUND LAUNCHES NEW DOCUMENTARY FUND During TIFF 2008 Michael Burns, vice chairman of Lionsgate, along with broadcaster CTV announced a series of director-narrated documentary films set to premier at the Vancouver Winter Olympics in A selection of Canada s top filmmakers have been commissioned to create personal feature-length odes to their hometowns in the manner of Guy Maddin s awardwinning My Winnipeg, on which Burns served as executive producer. Filmmakers confirmed to date include Atom Egoyan (Victoria, BC), Julia Kwan (Vancouver), Gary Burns (Calgary), Charles Binamé (Montreal), Don McKellar (Toronto), Patricia Rozema (Sarnia, ON) and Thom Fitzgerald (Halifax). The announcement came just prior to the broadcast of CTV s etalk Festival Party. Burns said, This project is a film producer s dream come true. We are thrilled that CTV has recognized the importance and cultural value of this project and joined us as the only founding partner. It will be a revelation to Canada and the world. The concept calls for the filmmakers to present their films in the same manner as Maddin did at the world premiere of My Winnipeg at TIFF 07, with live narration on stage. Meanwhile, at the 2008 Vancouver International Film Festival (VIFF) The Harold Greenberg Fund announced a new $585,000-fund that will target independent documentary film producers with a Western Canadian focus. The stated objective of the new fund is to support two to three high-quality feature-length documentary projects that will be selected from a single review process. The documentaries will focus on music in some manner and have the potential to be aired on multiple media platforms. As a recognized independent production, with an established investment process for Canadian film production since 1986, The Harold Greenberg Fund will launch the process with an initial application deadline in January We are very enthusiastic about this new fund, said John Galway, president of the Fund in a press release issued at VIFF. Documentary filmmaking has its unique challenges and methodology and financing is often a challenge. We are therefore very pleased to be able to provide some assistance to producers working in this genre. The Harold Greenberg Fund has traditionally been associated with dramatic feature film financing and this new direction gives us the opportunity to apply our well-honed operating principles to support filmmaking in Canada in a whole new way. KODAK CANADA ENTERTAINMENT IMAGING REORGANIZES Peter Boyce, general manager, North America, Entertainment Imaging, announced in a press release issued in October the reorganization of Kodak Canada Entertainment Imaging following Johanna Gravelle s transition from country manager, Canada, entertainment imaging, to marketing director, entertainment imaging, Asia Pacific Region. Trish Mehrasa has taken over the role of national operations manager along with the management of all marketing and sponsorship activities for Kodak Canada Entertainment Imaging. A graduate of Brigham Young University in the U.S., Mehrasa is an 18-year veteran of Kodak with management experience in the areas of post-production sales, client services and supply chain. Gaston Bernier now heads up the production sales team in his new role as sales manager, production. Bernier joined Kodak 33 years ago after graduating from Université Laval with a BA in Business Administration. Michel Golitzinsky leads the postproduction sales team as sales manager, post-production. Ater attending Sir George Williams University in Montreal, Golitzinsky joined Kodak and has amassed 33 years of experience in marketing, technical and digital-imaging sales. Transferring to Entertainment Imaging two decades ago, he has performed numerous roles, most recently as the worldwide marketing manager of the students and emerging filmmaker program. A CELEBRATION OF 100 YEARS OF LES GLORIEUX Pour toujours, les Canadiens! is now shooting in Montreal with DOP Jérôme Sabourin, a CSC associate member. The fictional movie features a 17-year-old college player (Dhanaé Audet-Beaulieu) and a 10-year-old boy (Antoine L Écuyer) who is waiting for a kidney transplant at a children s hospital where his mother (Céline Bonnier) works. The history of the oldest professional hockey club in the world will be evoked in a number of different ways, including by the teenager s father (Stéphane Jacques), a filmmaker who is preparing a documentary on the Canadiens 100th anniversary. The film is scheduled to open wide in Quebec, December , 100 years to the day the Club Athlétique Canadien was founded, although it didn t play its first official game until January The team changed its name to Le Club de Hockey Canadien, commonly known as the Montréal Canadiens or the Habs (short for Habitants), in 1927 when it joined the newly formed National Hockey League. Pour toujours, les Canadiens! will include various Canadiens players, past and present, such as current team captain Saku Koivu and Habs legend Jean Béliveau. Sylvain Archambault is directing, based on a script by Jacques Savoie. The pair walked away with a rash of 2008 Prix Gémeaux in September, including best dramatic series, direction and script, for Les Lavigueur, a Quebccois miniseries based on the true story of a working-class family from Montreal who won a $7.5-million lottery ticket in At the same awards presentation, Sabourin was nominated for best cinematography in a dramatic series for his work on Les Soeurs Elliot. Le Club de Hockey Canadien 14 CSC News - November 2008

17 Robert Lantos, right, with Atom Egoyan. Egoyan s Adoration is being released by Lantos s Maximum Films, now part of the Entertainment One group. ENTERTAINMENT ONE IS NOW CANADA S LARGEST INTEGRATED FILM AND TV PRODUCER/DISTRIBUTOR Ontario-based Entertainment One has emerged in 2008 as Canada s largest integrated film and television producer/distributor. The company began modestly in 1973 as Records on Wheels, evolving slowly from retail to Canada s biggest wholesaler of videos and DVDs. Signaling a move into film distribution, Entertainment One snapped up Maximum Films, the relatively new distribution company set up by producer Robert Lantos, and Seville Pictures back in July. Concurrently, it announced that it had acquired two medium-size television production houses, Blueprint Entertainment of Los Angeles and Barna-Alper Productions of Toronto, as well as a television distributor, Oasis International. The buying spree did not end there. In September, in a major move, Entertainment One merged with DHX Media of Halifax and London, England, in a deal worth $68 million. The combined company, which will retain the name Entertainment One, will have a library of 4,000 half-hours of television content, 3,700 films, and annual revenue estimated to be $665 million. DHX Media had recently purchased Studio B Productions of Vancouver, a major producer of children s television, to add to its other branches, Halifax Film and DECODE Entertainment. Michael Donovan, DHX s CEO, told Canadian Press, Joining forces with Entertainment One represents the next logical stage in the development of DHX. The enlarged group will provide us with access to the U.S. and international home entertainment markets. The consolidation occurring in the media landscape increasingly requires scale to compete and exploit emerging opportunities. Some see these moves as Entertainment One filling the void left when Alliance Atlantis got out of the distribution/production business several years ago with its sale to CanWest. Call it Alliance redux. John Morayniss, founder and CEO of Blueprint Entertainment, is a former senior Alliance executive who headed its U.S. television division. Bryan Gliserman, head of Canadian distribution for Maximum Films, headed Odeon Films, a division of Alliance, for 15 years, and Charlotte Mickie, who runs the international sales division for Maximum, did the same for Alliance for 13 years. And of course there is Alliance s original co-founder, Canada s most famous movie mogul, Robert Lantos, who now sits on the executive board and was an investor in all four companies bought earlier this year by Entertainment One. Joining Lantos on the board, Michael Donovan has his own history with Alliance. He was co-owner, with his brother Paul, of Halifax s Salter Street Films, until they sold it outright to Alliance Atlantis in With the profits from that sale, he immediately got back in the business with Halifax Films, eventually taking his company public with CSC News - November

18 listings on the junior Alternative Investment Market of the London Exchange and the TSX. In 2003, Alliance closed down Salter Street Films for good. Lantos and Donovan are veteran Canadian producers of film and television, Lantos beginning with Gilles Carle s L Ange et la femme in 1977; Donovan with South Pacific 1942 in Lantos credit s include some of the most highly regarded Canadian movies ever made, including Atom Egoyan s The Sweet Hereafter and David Cronenberg s Eastern Promises, both Oscar nominees. But what he longs for, and doesn t yet have, is his own Oscar. Donovan, whose career has been mostly in television ( This Hour Has 22 Minutes, Lexx, etc) and not features, does have his own Oscar for co-producing Michael Moore s Bowling for Columbine. It should make for some entertaining board meetings at Entertainment One. ARRIFLEX INTRODUCES ITS LATEST SUPER 16 MODEL In 2006, Arriflex introduced its Arri 416 and 416 Plus Super 16 models. Earlier this year, the company announced the Arri 416 Plus HS, which offers higher frame rates for slow-motion shots. This new addition to the 416 family shares most of the features of the earlier models: the same 35-mm-style viewfinder, high-quality video assist, compact and lightweight build and ergonomic design. Now available only in the Plus version, the new 416 Plus HS is equipped with integrated accessory electronics. This eliminates extra boxes and cables needed for connecting lens motors and remotely controlling camera and lens through the Arri wireless remote system. The 416 Plus HS uses the same magazines as the 416 Plus; however, in order to increase the frame rate, three components of the camera have been completely redesigned: the motor, the shutter and the suspension of the inner skeleton within the outer housing. To pull film faster through the camera, Arri developed a new motor. Specially wound coils provide faster running while not increasing the size of the motor or the vibrations it produces, and the number of balancing adjustments for the 416 Plus HS mirror shutter has been dramatically increased. Many more tiny counterweights allowed the Arri camera assembly department to fine tune the shutter balancing four times as accurately as was possible with the 416 Plus shutter. The suspension between the 416 inner skeleton and the camera s body outer housing also have been made stiffer, to reduce vibrations. All these changes combine to make the 416 Plus HS the most advanced high-speed Super 16-mm camera available on the market today. For more detailed information, visit Arriflex s website: arri.com/prod/cam/ CSC News - November 2008

19 CAMERA CLASSIFIEDS Equipment Wanted Looking for 35-mm Bell & Howell Eyemo, either Q model or single lens. Would prefer a donation, but will pay if reasonably priced. It s intended for the Canadian Army Film Unit Museum in Calgary, AB. Contact: Norm Quick: Equipment for Rent 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 ; clemens27@empal.com. lapsible 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: ; director@john- Banovich.net. 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: feldab@rogers.com Betacam SP D30 camera, PVV3 Recorder Back, Fujinon 16X, zoom lens, six batteries, charger, power supply and case, Sony PVM 80Q 7 1/2inch monitor and case. $3,500. Contact: Joan Hutton: 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 tripod (150-mm bowl) with regular and baby legs, $4,500. Nikon mm F4.5 ED lens with support for Aaton or still photography, $1,500. Arri S 16-mm camera older body with variable and constant motors $1,000. Two empty tube tripod cases. Contact: stringercam@shaw.ca. Sony DSR 570WS with Canon lens YJ 18X9B4 IRS. Head drum operating 1,364 hours and tape transport 613 hours; total operating 1,877 hours. Package includes Porta Brace with rain cover, circular Polarizer filter, 1/2 black Promist filter. Some minor cosmetic wear and tear but in good working condition. $15,000. For more information and pictures, contact: Mike Sorel: ext 273; mike@ corkscrewmedia.net. Field and Post-Production Equipment 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. Equipment for Sale 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: ; llong@rogers.com. Sony DSR-130 Mini DV/DVCAM Camera. ENG rig in excellent condition, comes with soft-shell carrier. Includes DXC-D30 camera head, DSR-1 DVCAM VTR, Canon YJ 18x9 KRS internal-focus lens, DXF-701WS ENG viewfinder, condenser mic and Anton Bauer battery. DSR-1 hours: A:233; B:133; C:327. Recent professional and factory servicing and report. $10,955 obo. Justin Guimond: , justin.guimond@gmail. com. 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: ; cell: ; rmclachlan@mac.com. Padded Barney for Arri SR. Bright Red. Look cool while keeping your camera hot. $100 obo. Contact: Peter: ; ; peter@peterbenison.com. Arri 35-mm 2C camera kit with three x 400ft magazines and five Zeiss 2.2 primes plus 9.8-mm Kinoptik, $7,900. Cooke mm T3.9 zoom, $5,000. Ronford 2004 fluid 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: ; mercfilm@istar.ca. Camera Classifieds: A FREE service to CSC members. If you have items you d like to buy or sell, please your list to editor@csc.ca HDV XDCAM HDCAM Videoscope is your One-Stop Shop For Sony Professional HD Cameras Experienced Sales Reps and Camera Specialists Recording Media for all Sony platforms in stock Sony-trained technicians in our Service Department Support from our Rental Division HDW-F900R DVW700WS Digital Betacam with viewfinder and two widescreen zoom lenses. Canon J1 5x8 B4WRS SX12 and Fujinon Very low hours on new heads. $20,000, plus taxes. Contact: Michael Ellis: 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: 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 col- Photo by Roger LaFleur For demos and consultations: Larry Au lau@videoscope.com Gord Haas ghaas@videoscope.com Joe Freitas jfreitas@videoscope.com PDW-700 PMW-EX3 CSC News - November Sony logos are the property of Sony Corporation of Japan. All rights reserved.

20 CSC MEMBERS CSC FULL MEMBERS Jim Aquila csc Eduardo Arregui csc John Badcock csc Michael Balfry csc Christopher Ball csc John Banovich csc John Stanley Bartley csc, asc Stan Barua csc Yves Bèlanger csc Peter Benison csc John Berrie csc Thom Best csc Michel Bisson csc Michael Boland csc Raymond A. Brounstein csc Thomas Burstyn csc, frsa, nzcs Barry Casson csc Eric Cayla csc Henry Chan csc Marc Charlebois csc Rodney Charters csc, asc Damir I. Chytil csc Arthur E. Cooper csc Walter Corbett csc Steve Cosens csc Bernard Couture csc Richard P. Crudo csc, asc Dean Cundey csc, asc Franáois Dagenais csc Steve Danyluk csc David A. De Volpi csc Kamal Derkaoui csc Kim Derko csc Serge Desrosiers csc Jean-Yves Dion csc Zoe Dirse csc Mark Dobrescu csc Wes Doyle csc Guy Dufaux csc Ray Dumas csc Albert Dunk csc, asc Philip Earnshaw csc Michael Ellis csc Carlos A. Esteves csc Nikos Evdemon csc David Frazee csc Marc Gadoury csc Antonio Galloro csc James Gardner csc, sasc David A Geddes csc Ivan Gekoff csc Laszlo George csc, hsc Leonard Gilday csc Pierre Gill csc Russ Goozee csc Steve Gordon csc Barry R. Gravelle csc David Greene csc John B. Griffin csc Michael Grippo csc Manfred Guthe csc D. Gregor Hagey csc Thomas M. Harting csc Peter Hartmann csc Pauline R. Heaton csc Brian Hebb csc David Herrington csc Karl Herrmann csc Kenneth A. Hewlett Robert Holmes csc John Holosko csc George Hosek csc Colin Hoult csc Donald Hunter csc Joan Hutton csc Mark Irwin csc, asc James Jeffrey csc Pierre Jodoin csc Martin Julian csc Norayr Kasper csc Glen Keenan csc Ian Kerr csc Jan E. Kiesser csc, asc Alar Kivilo csc, asc Douglas Koch csc Charles D. Konowal csc Rudolf Kovanic csc Ken Krawczyk csc Les Krizsan csc Alwyn J. Kumst csc Jean-Claude Labrecque csc Serge Ladouceur csc George Lajtai csc Marc Lalibertè Else csc Barry Lank csc Henry Lebo csc John Lesavage csc Henry Less csc Pierre Letarte csc Antonin Lhotsky csc Philip Linzey csc J.P. Locherer csc Peter C. Luxford csc Larry Lynn csc Dylan Macleod csc Bernie MacNeil csc Glen MacPherson csc, asc Shawn Maher csc David A. Makin csc Harry Makin csc Adam Marsden csc Donald M. McCuaig csc, asc Robert B. McLachlan csc, asc Ryan McMaster csc Michael McMurray csc Stephen F. McNutt csc Simon Mestel csc Alastair Meux csc Gregory D. Middleton csc C. Kim Miles csc Gordon Miller csc Robin S. Miller csc Paul Mitchnick csc Luc Montpellier csc George Morita csc Rhett Morita csc David Moxness csc Douglas Munro csc Kent Nason csc Robert C. New csc Stefan Nitoslawski csc Danny Nowak csc Rene Ohashi csc, asc Harald K. Ortenburger csc Gerald Packer csc Rod Parkhurst csc Barry Parrell csc Brian Pearson csc David Perrault csc Bruno Philip csc Matthew R. Phillips csc Andrè Pienaar csc, sasc Zbigniew (Ed) Pietrzkiewicz csc Randal G. Platt csc Milan Podsedly csc Hang Sang Poon csc Andreas Poulsson csc Don Purser csc Ousama Rawi csc, bsc William Walker Reeve csc Stephen Reizes csc Derek Rogers csc Brad Rushing csc Branimir Ruzic csc Robert G. Saad csc Victor Sarin csc Paul Sarossy csc, bsc Michael Patrick Savoie csc Gavin Smith csc Christopher Soos csc Michael Spicer csc John Spooner csc Ronald Edward Stannett csc Pieter Stathis csc Barry Ewart Stone csc Michael Storey csc Michael Sweeney csc Adam Swica csc Attila Szalay csc, hsc Christopher D. Tammaro csc Jason Tan csc John P. Tarver csc Paul Tolton csc Bert Tougas csc Chris Triffo csc Sean Valentini csc Gordon Verheul csc Roger Vernon csc Daniel Villeneuve csc Daniel Vincelette csc Michael Wale csc John Walker csc James Wallace csc Tony Wannamaker csc Peter Warren csc Andrew Watt csc Jim Westenbrink csc Tony Westman csc Kit Whitmore csc, soc Brian Whittred csc Ron Williams csc George A. Willis csc, sasc Glen Winter csc Peter Woeste csc Bill C.P. Wong csc Bruce Worrall csc Craig Wrobleski csc Yuri Yakubiw csc Ellie Yonova csc CSC ASSOCIATE MEMBERS Joshua Allen Don Armstrong John W. Bailey Douglas Baird Kenneth Walter Balys David Battistella Gregory Bennett Jeremy Benning Jonathan Bensimon Andrè Bèriault Roy Biafore Christian Bielz Francois M. Bisson Christophe Bonniere Scott Brown Richard Burman Lance Carlson Jon Castell Mark Caswell Maurice Chabot Stephen Chung David Collard Renè Jean Collins Jarrett B. Craig Rod Crombie Micha Dahan Nicholas de Pencier Gareth Dillistone Randy Dreager John E. Durst Jay Ferguson Andrew Forbes Richard Fox 18 CSC News - November 2008

21 Tom Gatenby Brian Gedge Rion Gonzales Vladimir Gosaric John Hodgson Cliff Hokanson James D. Holloway Suave Hupa George Hupka David Johns Jorma Kantola Ernie Kestler Shannon Kohli Charles Lavack Jim Laverdiere Robin Lawless soc Byung-Ho Lee Philip Letourneau John V. Lindsay Dave Luxton Robert Macdonald Mario Anthony Madau Jeff Maher Roy Marques Kelly Mason Andris D. Matiss Paul McCool Patrick McLaughlin Tony Meerakker Gerry Mendoza Tony Merzetti Bill Metcalfe Bentley Miller Paul Mockler Helmfried Muller Brian Charles Murphy Keith Murphy Christopher M. Oben Eric Oh Ted Parkes Deborah Parks Pavel ìpashaî Patriki Rick Perotto Allan Piil Scott Plante Ryan A. Randall Dave Rendall Cathy Robertson Peter Rosenfeld Don Roussel Jèrùme Sabourin Christopher Sargent Ian Scott Neil Scott Neil Seale Wayne Sheldon Sarorn Ron Sim Barry E. Springgay Paul Steinberg Marc Stone Michael Strange Joseph G. Sunday phd Andrè Paul Therrien George (Sandy) Thomson Kirk Tougas John Minh Tran Y. Robert Tymstra Frank Vilaca John Walsh Lloyd Walton Glenn C. Warner Douglas H. Watson Roger Williams Richard Wilmot Peter Wayne Wiltshire Dave Woodside Peter Wunstorf asc Steven Zajaczkiwsky CSC Affiliate MEMBERS Christopher Alexander Dwayne Alexander Donald G. Angus Derek Archibald Garth Archibald Robin Bain Iain Alexander Baird P. J. Barnes P.Eng. Peter Battistone Jacques F. Bernier Mark A. Biggin Caroline Brandes Adam Braverman Gordon A. Burkell Stephen Campanelli Tim A. Campbell Arnold Caylakyan Jason Charbonneau Bernard Chartouni Maggie Craig Brad Creasser Michael Jari Davidson Colin Davis Nicholas Deligeorgy Dominika Dittwald Micah L. Edelstein Tony Edgar Andreas Evdemon Randy French Richard Gira Aizick Grimman James D. Hardie Bruce William Harper John Richard Hergel BA CD Jeffrey Hicks Vincent Hilsenteger Kristy Hodgson Perry Hoffmann Brad Hruboska Marcel D. Janisse Michael Jasen Christine Jeoffroy Rick Kearney Boris Kurtzman Nathalie Lasselin Tony Lippa John Lipsz Matthew J. Lloyd Christopher G. Logan Lori P. Longstaff Robert H. Lynn Jill MacLauchlan Parks Yoann Malnati Sean Marjoram Julie McDowell Justin McIntosh Ian McLaren Andrew Medicky Alejandro MuÒoz Kar Wai Ng Brent OíHagan Ted Overton Andrew Oxley Gino Papineau Graeme Parcher Kalpesh Patel Borislav Penchev Greg Petrigo Gottfried C. Pflugbeil Douglas B. Pruss Manuel Alejandro Rios Ceron Lem Ristsoo Susan Saranchuk Chirayouth Jim Saysana Andrew W. Scholotiuk James Scott George Simeonidis Brad Smith Michael Soos Gillian Stokvis-Hauer Steven Tsushima Paula Tymchuk Anton van Rooyen Trevor J. Wiens Ryan Woon CSC FULL LIFE MEMBERS Herbert Alpert csc, asc Robert Bocking csc David Carr csc Marc Champion csc Christopher Chapman csc, cfe Robert C. Crone csc, cfc, dg Kenneth R. Davey csc Kelly Duncan csc, dgc John C. Foster csc John Goldi csc Kenneth W. Gregg csc Edward Higginson csc Brian Holmes csc Douglas Kiefer csc Naohiko Kurita csc Harry Lake csc Douglas E. Lehman csc Duncan MacFarlane csc Douglas A. McKay csc Donald James McMillan csc Jim Mercer csc Roger Moride csc Ron Orieux csc Dean Peterson csc Roger Racine csc Robert Rouveroy csc Josef Sekeresh csc John Stoneman csc Derek VanLint csc Walter Wasik csc Ron Wegoda csc CSC HONOURARY MEMBERS Roberta Bondar Vi Crone Graeme Ferguson Wilson Markle VANCOUVER CALGARY TORONTO HALIFAX CSC News - November

22 Production Notes Aaron Stone (series): DOP Steve Danyluk csc; OP Johnny Askwith; to November 20, Toronto All Saints Day (feature): DOP Miroslaw Baszak; OP Perry Hoffmann; October 20 December 5, Toronto The Best Years Cycle II (series): DOP David Perrault csc; OP Tony Guerin; to November 7, Toronto Cats & Dogs 2: Tinkles Revenge (feature): DOP Steven Poser; OP Jim Van Dijk; DOP B cam visual effects Brian Pearson csc; September 8 December 17, Burnaby BC Connor Undercover (series): DOP Yuri Yakubiw csc; OP J.P. Locherer csc; to December 2, Toronto Dino Dan (series): DOP/OP George Lajtai csc; to July 2009, Toronto Durham County II (series): DOP Éric Cayla csc; to November 14, Toronto Exes and Ohs S2 (series): DOP Tony Westman csc; OP Ryan Purcell; to November 28, Vancouver Farewell Atlantis (feature): DOP Dean Sernier; OP John Clothier; DOP B cam visual effects Donald M. McGuaig csc; OP Dean Heselden; July 28 December 9; Vancouver Go Girl (series): DOP Milan Podsedly csc; to April 2009, Toronto Harper s Island (series): DOP Robert McLachlan csc, asc; OP Trig Singer; to January 2009; Vancouver Il était deux fois dans un jardin (documentary): DOP Marc Gadoury csc; to December 15, Montreal Lawyers, Guns & Money (pilot): DOP Luc Montpellier csc; October 27 November 11, Toronto The Listener (series): DOP David Moxness csc; OP Andris Matiss; to January , Toronto Murdock Mysteries Season II (series): DOP James E. Jeffrey csc; OP Brian Gedge; to November 11, Toronto No Remorse (TV movie): DOP David Gribble acs; OP Andy Chmura; OP (B cam) Christopher Ball csc; October 14 November 7, Dartmouth NS A Note of Love (TV movie); DOP Peter Benison csc; November 5 23, Toronto Opération Casablanca (feature): DOP Yves Bélanger csc; October 23 December 13, Montreal Pour toujours, les Canadiens! (feature): DOP Jérôme Sabourin; November 12 December 12, Montreal Reaper 2 (series): DOP Attila Szalay csc; OP Richard Wilson; to December 22, Burnaby BC Saint Brigids Medical (pilot): DOP Jim Westenbrink csc; OP David Towers; 1st Tony Lippa; October 20 November 7, Toronto Les Sept jours du Talion (feature): DOP Bernard Couture csc; October 27 November 30, Montreal Smallville 8 (series): DOP Glen Winter csc; OP Doug Craik; to April 2009, Burnaby BC Suck (feature): DOP D. Gregor Hagey; November 24 December 19, Toronto Supernatural 4 (series): DOP Serge Ladouceur csc; OP Brad Creasser; to March 2009, Burnaby BC Testees (series): DOP/OP Gerald Packer csc; to November 7, Toronto Then Again (TV movie): DOP David Makin csc; November 5 23, Toronto Tooth Fairy (feature); DOP David Tattersall; OP Stephen Campanelli; September 15 November 21, Burnaby BC The Wild Roses (series): DOP Steve Cosens csc; OP Carey Toner; to December 17, Calgary Working on the Edge (series): DOP David Herrington csc; OP Keith Murphy; to November 21, Toronto Calendar of Events of Interest to CSC Members November 2008 Nov. 1 9, Banff Mountain Film Festival, Banff, AB, , banffcentre.ca/mountainculture Nov. 6 9, Vancouver Asian Film Festival, Vancouver, , vaff.org Nov. 8 9, CSC Basic Lighting Workshop, William F. White International, 1030 Islington Avenue, Toronto, register online at csc.ca or call the CSC office at Nov , Reel Asian International Film Festival, Toronto, , reelasian.com Nov , Reneontres internationales du documentaire du Montréal, Montreal, , ridm.qc.ca Nov. 18, CSC screening of Partition with DOP Vic Sarin csc in attendance, Technicolor Vancouver, 916 Davie Street, Vancouver; seating is limited, please RSVP, admin@csc.ca Nov , Winnipeg Aboriginal Film Festival, Winnipeg, , aff.org Nov , Intermediate Lighting Workshop, William F. White International, 1030 Islington Avenue, Toronto, register online at csc.ca or call the CSC office at December 2008 Dec. 4 7, Whistler Film Festival, Whistler BC, , whistlerfilmfest.com February 2009 Feb , CSC Camera Assistants Course, Toronto, register online at csc.ca or call the CSC office at Feb. 25 Mar. 1, Kingston Canadian Film Festival, Kingston ON, kingcanfilmfest.com 20 CSC News - November 2008

23 C-Series Digital Cinema Lenses E-Series Digital Cinema Lenses FUJINON Super Cine E-Series rentals available at: Big Vision Cinequipt Clairmont Camera Dalsa Digital Cinema Fletcher Chicago Koerner Camera Panavision Plus8 Digital Sim Video FUJINON INC Yonge St., Suite 203, Newmarket, Ontario, Canada, L3X 1X4 Phone: (905) , FAX: (905) Manhattan Beach Blvd., Redondo Beach, CA Phone: (310) , Fax: (310) FUJINON INC. 10 High Point Dr., Wayne, NJ Phone: (973) , Fax: (973) Uetake, Kita-Ku, Saitama City, Saitama Japan Phone:

24 Congratulations to the 2008 Gemini Award winners for Best Photography in a Dramatic Program or Series and Best Photography in a Comedy, Variety, Performing Arts Program or Series. Kodak is a proud sponsor of the Gemini Awards. Kodak Canada Inc., 2007.