October 2008 Volume 28, No. 2. Will Digital Cinema Carry. Northern Lights: New Doc Celebrates Canadian Cinematography. Interview with Robert Saad csc

Transcription

1 October 2008 Volume 28, No. 2 Will Digital Cinema Carry 3D to New HEIGHTS? Interview with Robert Saad csc Northern Lights: New Doc Celebrates Canadian Cinematography

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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 volume 28, No. 2 CONTENTs October President s Report 04 Wow! Will Digital Cinema Carry 3D to New Glory? No longer a bespectacled sideshow, 3D may be the new epoch of motion pictures. Will your local cinema have 3D any time soon? Well, maybe not tomorrow, but it s coming, and sooner than you think. By Don Angus 7 Interview with Robert Saad csc Robert Saad was born in Palestine, trained in Egypt, and came to Canada in 1967, where he worked for the NFB and served as DOP/operator on Ivan Reitman s Cannibal Girls and Shivers for David Cronenberg. By Wyndham Wise 12 Northern Lights: A Feature Length Documentary Celebrating the Spirit and Success of Canadian Cinematography The masters of the moving image will be brought into the spotlight by Northern Lights, a documentary that celebrates and gives an appreciation of the Canadian cinematographer s role in filmmaking. By Antonio Galloro csc 14 Industry News 17 Classifieds 18 CSC Membership List 20 Production Notes and Calendar Cover image Jon DeVore, member of the Red Bull Skydive Team, in action shooting Human Flight 3D with an Arri 235 3D camera rig; image courtesy of the 3D Camera Company. 4

4 PRESIDENT S REPORT It s been a good year for CSC members at the dual-language 2008 Canadian television awards. Fifteen CSC members were nominated for this year s English-language Gemini Awards and two at Les Prix Gémeaux. The Quebecois version was held September 14 in Montreal. Serge Desrosiers csc and Jérôme Sabourin were nominated, and Desroisers won the award for Meilleure direction photographiquie ou élairage: humour, varieties tous categories for Le Bye Bye de RBO Receiving Gemini Award nominations in the various best photography categories were James Jeffrey csc, Ken Krawczyk csc, Jim Westenbrink csc. Martin Julian csc, Bill Metcalfe, Steve Cosens csc, David Greene csc, Pierre Letarte csc, David Perrault csc, Ousama Rawi csc, Ian Kerr csc, Henry Less csc and Anton Van Rooyen. Directing nominations went to Philip Earnshaw csc for Degrassi: The Next Generation and Nicholas de Pencier for Four Wings and a Prayer. We congratulate all of them, wish them the best of luck, and your CSC News will have a complete list of the winners in the November issue. We also wish the best of luck to Johanna Gravelle, a friend to the industry who went out of her way to reach out to the community as country manager with Kodak Canada Entertainment Imaging. She has been appointed to the position of director of marketing with Kodak s Entertainment Imaging division, Asia Pacific region, which is headquartered in Melbourne, Australia. We loved having her here, and she will be missed. Johanna, if you are reading this, you did a great job. Bon voyage! In this issue Don Angus updates the rapid move to digital 3D projection in movie mainstream. People need to be wowed again; everybody s into technology and being wowed, he quotes David Woods, the head of namesake DJ Woods Productions in Toronto. I think 3D provides an opportunity to revitalize the [Canadian film and television] industry, to get it going again. Wyndham Wise interviews Robert Saad csc. Robert came to us from Palestine via Egypt where he can legitimately claim to have been on the set of both Cecil B. DeMille s The Ten Commandments and the Elizabeth Taylor/Richard Burton epic Cleopatra in our Centennial year, He has he worked for the NFB, served as DOP/operator on Ivan Reitman s Cannibal Girls, Paul Lynch s The Hard Part Begins, the cult classic Shivers for David Cronenberg, and shot numerous episodes of Road to Avonlea and Wind at My Back. And Antonio Galloro csc writes about the making of Northern Lights. The documentary will feature interviews with dozens of the medium s greatest cinematographers in Canada as they relate stories of the films, television series or commercials they ve worked on, problems they ve faced and solved, and innovations and techniques they ve made standard. Johanna Gravelle 2 CSC News - October 2008

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6 Will Digital Cinema Carry 3D No Longer a Bespectacled Sideshow, 3D May Be the New Epoch of Motion Pictures to New Glory? By Don Angus P eople need to be wowed again; everybody s into technology and being wowed, says David Woods, talking about the onrush of 21stcentury 3D movies. And the head of namesake DJ Woods Productions in Toronto plans to be among the front rushers. I think 3D provides an opportunity to revitalize the [Canadian film and television] industry, to get it going again. Everything Fox, Dreamworks and Disney are doing as of 2009 is 3D, Woods says. He notes that Hollywood studios have already planned to change all theatres to digital distribution and projection. Digital distribution is cheaper, faster, with more control, perfect screening all the time, and all the capabilities of 3D, Woods enthuses. Now people like Quantel have built a post-production system that can properly edit and colour correct 3D. You didn t have those capabilities in the past. You shot, and it either worked or it didn t. You couldn t fix it or adjust it in post. DJ Woods is primarily a motion-picture rental house, but the boss is teaming up with business neighbour Ken Davis of Post DNA Productions to shoot and post his own projects. We re gearing up for the whole works, narrative drama, docu- 3D is gaining momentum, but you don t know if it s a spike or a fad. Louis Major Technicolor, Toronto mentaries, sports and music events, says Woods. Already out of the gate is Creative Post of Toronto, which has installed the latest version of the 4K Quantel Pablo system with all the 3D bells and whistles. We went to the 3D module because we believed that 3D is coming and no one else in Canada had made the leap, says Jim Hardie, Creative Post s post-production chief. We decided to go that way. The technology is growing very fast in L.A. and in England, and we felt that by being first in Canada we could make sure that we could support indigenous productions as well as being able to provide one more reason for a producer to choose Toronto. Two of Toronto s biggest post houses, Deluxe and Technicolor, are less excited about the prospects of a 3D revolution in the motion-picture industry. Vice-president Stan Ford of Deluxe says his shop has no immediate call to process 3D on film or video, but Deluxe would be ready when and if the time comes. Over at Technicolor, post vice-president Louis Major is keeping his cards close to his chest, not at liberty to discuss new equipment or specific projects under way or booked. We re not doing any 3D work in Toronto right now, he says, but we re quoting on a number of 3D jobs for both television and theatrical. We re gearing up for when the client base says they need to do this. There s a television series that is being shot right now that is looking to do several episodes in 3D, and if that comes to fruition and I believe it s a very strong possibility we ll be posting it here. It [3D] is gaining momentum, but you don t know if it s a spike or a fad. He says he watched this summer s 3D Hannah Montana special on television with his family. He bought the 4 CSC News - October 2008

7 glasses at Wal-Mart. It s all connected. In Hollywood, meanwhile, the website of Thomson, Technicolor s parent company, says Technicolor has expanded its tool set to include digital-colour grading and digital mastering for 3D theatrical features. Is Toronto next? Major s lips are sealed. Casually observed, the recent hype over 3D motion pictures might seem a high-tech re-run of the cinematic fad of 40 to 50 years ago. (Three founding members of the CSC were involved in a 3D picture when filmmaker Julian Roffman csc produced and directed the 3D Canadian feature The Mask for Warner Bros., released in Herb Alpert csc asc was DOP and Sammy Jackson-Samuels csc operated the refrigerator-sized two-camera rig.) Alas, 3D movies were a novelty at best and soon disappeared from theatres. IMAX resurrected the format over 20 years ago at EXPO 86 in Vancouver. It was then, and still is, a thrilling experience like a scenic trip to Adventureland once a year. But the process is expensive and cumbersome, especially the huge Solido 3D cameras that shoot 65-mm film for 75-mm projection. Programs, even the odd narrative drama, run about 40 minutes. Now, 3D is going mainstream. And it appears that digital cinema is driving the resurgence of 3D productions. Or vice versa. Bill White, former head of William F. White International, is a 3D believer. He and award-winning cinematographer/ stereographer Bill Reeve csc are partners in the 3D Camera Company (3DCC), investing time, money and talent in providing support for what they say is a burgeoning 3D industry (see Reeve s 3D Dinosaur Hunting in CSC News, March/07). The 3D phenomenon is very much real, White insists. Pretty soon people won t be making any 2D movies any more without making a 3D release, or capture in 3D and still have their 2D release. There s no question that 3D is as big as talkies or black and white to colour. It s definitely that big or bigger. More 3Dcapable digital cinemas are being installed they re growing rapidly in leaps and bounds and 3D is the catalyst for theatre owners to convert to D-cinema. Everything can still be 2D, just like Journey to the Center of the Earth, agrees Woods. It s a win-win situation. Last June, Woods and Davis produced a 3D test shoot in Toronto of an amateur kick- Sky grip Claude Fortin rigging an Arri 235 system on Jon DeVore of the Red Bull Skydive Team in preparation for a jump in Human Flight 3D. The red handle under his chin is to jettison the entire camera system by parachute landing. Image courtesy of the 3D Camera Company.

8 boxing and mixed martial arts tournament. It was shot with seven different digital camera pairs: Sony XDCAM, Panasonic HDX900, Panasonic HVX200, Panasonic HSC1UP AVCHD (the beer can), RED camera 4K, the mini-toshiba IK-HD1 and the 4x3 Sony XC99 Pencil Cam. Ken Davis explains that the purpose of the test was to mix multiple interocular distances with a variety of cameras and focal points. Once the edit takes place, we will Above: William Reeve csc operating a handheld 3D shot while filming the IMAX movie Dinosaurs Alive!. Below: D. Gregor Hagey csc behind a RED 3D camera rig. converge all the cameras for the appropriate distance and setup. We are also test-tracking the conversion over changing distances. This is all being done on a 4K Pablo and a 2K Sid system, also from Quantel. DJ Woods and Post DNA are buying a Sid system to process various projects now in the works, including footage that Davis and cinematographer Robin Morgan shot in Belize, Central America, among ancient pyramids and underwater. Bill White says 3DCC shot the July 16 Rush concert at the Molson Amphitheatre in Toronto on 35-mm film using one of the company s two Arri 235 rigs. The show is being posted on the Pablo at Creative Post. The company also supplied a 235 3D rig to the U.S. Red Bull Skydive Team for their breathtaking Human Flight 3D shoot (redbullairforce.com). The 3DCC stable includes a rig of RED cameras from Sim Video, as well as two new 2K Cunima cameras from Germany as the fledgling firm experiments with digital video for 3D. There is also a mirror rig system that can be used with any Arri film camera or the Arri D21 video camera. Virtually any camera can sit on it, says White. We started off in 35-mm film for re-purposing IMAX and now we re looking more at the mainstream 2K D-cinema market. It looks like we re going to be purchasing a couple of D21s this year for use on our mirror rig. The image quality of the D21 is far superior to anything out there. Thirty-five millimeter film is still the best capture medium it s got true 4K resolution but it may not be that suitable or practical for D-cinema. Will your local cinema have 3D any time soon? Well, maybe not tomorrow, but it s coming. For instance, IMAX theatres across the U.S. started their rollout of state-of-the-art digital projection in August. Two sites in Washington D.C. and one in Philadelphia were first, with an expected 50 more to be operational by the end of this year. Cineplex Entertainment announced in August that it will install an additional 175 digital projectors in its theatres by the end of The summer release of Journey to the Center of the Earth in 3D and the earlier box-office success of Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour have led the company to believe there is a future in 3D. It would seem Hollywood has jumped on the 3D bandwagon in a big way. Dreamworks will release Monsters vs. Aliens in 3D in 2009, and others in the works include Ice Age 3: Dawn of the Dinosaurs from 20th Century Fox and the sci-fi Avatar from Canadian-born director James (Titanic) Cameron. Buy your 3D glasses now. No, they re not cardboard with one green cellophane lens and one red. Nowadays, they re more like Ray-Ban shades. Cool. 6 CSC News - October 2008

9 Interview with Robert Saad csc By Wyndham Wise WW: When and where were you born? RS: I was born in Haifa, Palestine, in 1936 when it was under British control. My parents sent me to a college in Beirut that was run by French Jesuits, so I was brought up French speaking, and Arabic of course. After the first Israeli-Arab war in 1948, we moved to Cairo where we had family, and this is where I continued my studies. But by the age of 16 I was having problems at school and I left. My family, in desperation, placed me in a studio where they made pictures. A cousin of my mother s owned it, and this is where I fell in love with movies. The moved me all over the place, in the sound department, electric, editing, eventually they put me in the camera department. WW: What films were you watching in Egypt? RS: Cowboy films with Gary Cooper and Burt Lancaster. This is where my English came from, basically. There used to be open-air theatres in Cairo, and if you were lucky you could find a way to stay for two or three films at a time. The company I worked for was unionized, but since I was not an Egyptian I was not allowed to join. But they couldn t throw me out of the studio because I was an official refugee and Egyptian law said I had to work. I spent five CSC News - October

10 Robert Saad getting up close and personal on Police Academy 3: Back in Training. years training as an apprentice. The guy I was working for, my boss, who was a mechanical genius, had to repair everything with local material. We couldn t get the parts from England or France, so we had to make everything we needed ourselves, including the screws. Every night we stripped the cameras, cleaned them and put them back together for the next day. That is where I learnt about cameras, and anything you broke, you had to pay for it. I was taught to respect the equipment. WW: Did you do any shooting yourself while you were there? RS: Eventually I did. I spoke several languages, French, English, Arabic, Italian, and we had Italians coming over to shoot all the time, and big American productions. Cecil B. DeMille shot The Ten Commandments [1956] in Egypt. WW: Don t tell me you worked on The Ten Commandments? RS: No, but they stored the equipment at our studio, the huge Technicolor cameras, which were monsters. I got talking to the guys, and I was allowed on the set one day. It was mindboogling, I had never seen anything so big. They were also supposed to shoot Cleopatra [1963] in Egypt. What happened was that President Nasser approved the shoot, but then said publicly that Elizabeth Taylor was not welcome because she was married to a Jew, Eddie Fisher. So all the plans had to be changed. They had already built the barge for the scene on the Nile River, and they had to shoot in England and Rome. They did shoot the last scene in Egypt because it was so huge and they needed 5,000 extras, which you could get for peanuts. I was on set for 14 days and stationed at the hotel where the crew was staying. At five in the morning I loaded everything in three or four vans, there was a ton of equipment, moved it to the set, and we had to use donkeys to get it there by 6:30. I got to know the American crew, and hung around and watched how it was done. The DP was Leon Shamroy. Funny thing was, although they didn t want Elizabeth Taylor in the country, 90 per cent of the crew were Jewish. They were very generous with their information, and they gave me light meters. At the end of the day, I helped take the equipment back to the hotel where there was a crew whose only job it was was to clean the cameras and equipment over night in the basement. I learned a lot from them. Those two weeks made a strong impression on me. I saw how it was done properly. In those days, we were shooting films in Egypt in six days. It was always the same story, she was rich, he was poor, or the other way around, 60 dances, 25 songs, and that was it. The industry was based on the Bollywood model. So I left for Lebanon and eventually came to Canada. WW: When did you come to Canada? RS: In I came to Montreal because I spoke French. Basically I had to start all over again. There weren t many films at that time but there was the NFB, and after a while I managed to squeeze in as 8 CSC News - October 2008

11 Robert Saad, left, operating for the late Richard Leiterman csc on Mother Lode. a freelance assistant. I was in the French department. I began to work a lot and became friendly with Gerald Potterton, who was in animation. He was chosen to do an installation for the 1970 Osaka World s Fair. His idea was brilliant, actually. He had a psychedelic bus with five cameramen, and we drove all over Canada, asking people what it meant to be Canadian. Eventually the bus was shipped over to Osaka for the World s Fair. I learned a lot on that shoot, and got to work with a nice DP/operator from Toronto. I was his assistant. WW: How did you come to shoot Cannibal Girls for Ivan Reitman in 1972? RS: You have to remember, this was the time of the Quiet Revolution. I remember a French DP at the NFB, he was from France and had immigrated a long time ago, and he told me once, Bob, if I were you, I would go to Toronto. On a list of focus pullers, you are number 13, and you will stay at 13 because you are not Quebecois. About this time the DP from the Osaka shoot called me and asked if I would be his assistant on a film he was doing on the classical guitarist Julian Breem. I said yes, sure. So for a while I was commuting, but eventually I settled in Toronto and started to shoot documentaries for TVOntario. Then I met Ivan. He was doing Foxy Lady [1971] and was looking for a focus puller. He had hired a DP from England [Ken Lambert] who had done a lot of work, but he turned out not to be any good at all. Eventually, he was phased out and I shot the last two or three days of the film. After that, Ivan phoned and asked me to come to his parent s house on Avenue Road. He showed me one page of the script for Cannibal Girls. He told me he had no money, and he couldn t pay me, but said I would be an equal partner in the company producing the film. So I put together a small crew, and we shot it in Aurora in nine days at one location. WW: Did you ever get your percentage return? RS: To tell you the truth, if he had paid me, it would have been peanuts compared to what I eventually did make from the film over the years. I got royalty cheques, which I called booze money at the beginning but they kept on coming. It was amazing. After that, he had one lined up in Montreal called The Parasite Murders with David Cronenberg directing. Then he had another project, Death Weekend [1976], and I worked on that one as a DP/ operator as well. WW: Before we get to Shivers, you shot one of the gems of the period for Paul Lynch, The Hard Part Begins (1973). RS: That was a marvelous film, with Paul Lynch directing and I was DP. It was shot on 16 mm. I had come to know Richard Leiterman and had worked with him earlier as his focus puller on some of his documentaries. He was supposed to be shooting the film for Lynch, but something else had come up and he had to bow out. He gave Paul my name, and I was hired. We shot the whole thing on one Éclair with a zoom lens and one prime lens. The location was fantastic and the actors where dead on. It s a good CSC News - October

12 cinema, on Reitman s first feature as a director, Cronenberg s first important feature, and one of the most highly regarded films from the period, The Hard Part Begins. You also were the operator on Ticket to Heaven (1981), which was a Geniewinning film. RS: That was Richard Leiterman s film [Ralph Thomas directed]. By now we had become good friends. It was a good film but there was nothing much after the tax-shelter thing collapsed, which was the biggest rip-off I had ever seen. I worked on Strange Brew [1983], which was all right. It was co-produced by MGM. The American executive producer on that one, Jack Grossberg, was magnificent. There was no overtime, we worked fixed hours, and there were no penalties at all. But he did fire quite a few people. He paid daily, and I asked him why when he could pay less at a weekly rate. He said because if he didn t like you today he could fire you tomorrow. Above: Ticket to Heaven, DOP Richard Leiterman. Right facing page: Shivers, Robert Saad DOP/OP. film. Then I did The Rainbow Boys [1973] with Donald Pleasance and Kate Reid in British Columbia, which was directed by Potterton. I got lucky over the years with some good films. WW: I would like to talk more about Shivers, which was shot at the end of 1974 and released in 1975, because it is the first feature by David Cronenberg of any consequence. In fact, it went on to become a cult hit. RS: I had done Foxy Lady, Cannibal Girls and then Ivan asked me to shoot The Parasite Murders, which became Shivers. We shot it all on one location at the Habitat site, which had been built for Expo 67 in Montreal. We took over a few floors. We didn t leave the location, except for a few travelling shots. It was a great shoot. Ivan by now had decided he wanted to shoot on a very tight schedule. Every night he would go over the shot list and work out how many shots it would take to get a scene. David and I had to figure out how many shots it would take, and what would have to be cut out; what was gravy and what was essential. Ivan watched us like a hawk. But David was magnificent. I don t think he knew much about the technical stuff, but within days he had learnt. I loved working with him. He s a very dedicated, focused person, and was bright enough to ask about stuff he didn t understand. He knew what he wanted, and if he didn t know how to get it, he would ask me. WW: You were working in a particularly formative time in English-Canadian WW: You worked on a number of series in the late 1980s and 1990s, Forever Knight and War of the Worlds, for which you received a couple of CSC Awards, Sweating Bullets, and later you shot Road to Avonlea and Wind at My Back, for which you received Gemini Award nominations and awards. RS: I spent almost 10 years working almost exclusively for Kevin Sullivan. Road to Avonlea was fine, because they had a U.S. broadcaster involved. There was lots of money to spend. But when we moved to Wind at My Back, the backing wasn t there, so we only had seven or six days to complete an episode, depending on the script. It became much harder on that one. We had more time on the Anne of Green Gables movie, but even on that one the shooting days were cut back from 26 to 22. Actually, I loved working on Wind, but I was getting a bit tired, bored and I told Kevin I could be replaced. So one day I left the set and gave the show to my operator, Bruce Harper. I phoned Kevin later and asked him how he liked the footage, and he told me I did a good job. I told him I didn t do it, then I asked if he would let me go and he said okay. Later I came back to shoot the Anne movie and The Piano Man s Daughter. WW: Over the years that you have been working, what is the best piece of advice you ever received? 10 CSC News - October 2008

13 RS: That was from the American director, Delbert Mann. I was operating at the time, and we had just done a very complex shot and everything went fine. He turned to me and asked, Bob, are you happy? I said, Maybe you should take a safety. And he said, Bob, if I want a safety I can print it twice. That was a best answer I ever had. WW: You have worked in a variety of genres, documentary, features, episodic television. Is there any particular favourite of yours? RS: To tell you the truth, documentaries, for the simple reason that you have to be 100 per cent there and understand exactly what you are after and be able to switch quickly from whatever it is that you are supposed to be shooting to whatever it is that is happening in front of you. You have total freedom on documentaries whereas in movies the script restricts you and you always have take two to get it right. In documentaries if you miss it, it s gone forever. When I was shooting documentaries, I always had one eye on the lens and the other looking around at what was happening. For example, I worked for two seasons on the fifth estate when it was first broadcast. I was working on a show about breast cancer and interviewing a young woman, she was only 25, with her husband in their house. They were sitting next to each other on their sofa. I was on him while he was talking, and with my other eye I saw that her hand was going to his. I left his face and went down to his hands and stayed there. I went to her face and back down to the hands. When we finished, the director turned to me and said, don t tell me you missed the hands? I said, no, there is very little of him, but we have the hands. This is what I am talking about. With documentaries you have the freedom to improvise, which you don t have with features. WW: Which CSC member recommended you for membership? RS: Bob Rouveroy. He told me while we were shooting Death Weekend that I should join. I never joined a union while I was in Egypt. I told him I wouldn t join, but eventually I relented. I m retired now, but I still think I can make a contribution, and if I want to see my old friends, I can visit the set. Selected credits As director of photography: Foxy Lady (co-dp), 1971; The Hard Part Begins, 1973; Cannibal Girls, 1973; The Rainbow Boys, 1973; Shivers, 1975; Death Weekend, 1976; Police Academy 3: Back in Training, 1986; Police Academy 4: Citizen s on Patrol, 1987; Speed Zone!, 1989; F/X 2 (B cam), 1991; The Photographer s Wife, 1991; Under the Piano (TV), 1995; The Morrison Murders: Based on a True Story (TV), 1996; Road to Avonlea, 1996; Wind at My Back, ; Happy Christmas, Miss King (TV), 1998; Sleeping Dogs Lie (TV), 1998; Anne of Green Gables: The Continuing Story (TV), 2000; The Piano Man s Daughter (TV), 2003; Solar Strike (TV), 2005 As operator: Utilities, 1981; Ticket to Heaven, 1981; The Amateur (underwater), 1981; Silence of the North, 1981; Class of 1984 (B cam), 1982; Mother Lode, 1982; Strange Brew, 1983; Martin s Day, 1984; Police Academy (additional photography), 1984; Mrs. Soffel (B cam), 1984; One Magic Christmas, 1985; Divided Loyalties ((B cam, TV), 1989; Dream Team (B cam), 1989; Millennium (B cam), 1989; Foreign Nights (B cam), 1989; Buying Time (B cam), 1989; Termini Station (B cam), 1989; Forever Knight (A cam), 1989/1992; War of the Worlds (A cam), ; Cadence (B cam), 1990; The Last Winter (B cam), 1990; Murder Blues (B cam), 1990; Beautiful Dreamers (assistant cameraman), 1990; Sam & Me (A cam), 1991; Sweating Bullets (A cam), 1991; Love & Murder (B cam), 1991; Clearcut (A cam), 1991; Hurt Penguins (B cam), 1992; The Cutting Edge (A cam), 1992; Life with Mikey (B cam), 1993; Ghost Mom ((A cam, TV), 1993; Car 54, Where Are You? (B cam), 1994; Trapped in Paradise (A cam), 1994; P.C.U. (A cam), 1994; Missing (B cam), ; New York Minute (B cam), 2004; Four Brothers (B cam), 2005; Beautiful People (B cam), ; Zoom (B cam), 2006 CSC Awards: DP, Best Industrial McLaren, 1988; OP (A cam), Best TV Drama War of the Worlds, 1989; OP (A cam), Best TV Drama Forever Knight, 1992 Gemini Awards and nominations: Road to Avonlea, nominated for a 1996 award for Best Cinematography; Wind at My Back, won the 1998 award for Best Cinematography in a Dramatic Program or Series for Ghost of a Chance; Sleeping Dogs Lie, nominated for a 1999 award for Best Cinematography; Anne of Green Gables: The Continuing Story, nominated for a 2000 award for Best Cinematography CSC News - October

14 John Stoneman csc Luc Montpellier csc Robert Bocking csc Cinematography is one of the most captivating forms of expression in the world. A craft that requires a broad knowledge of all the arts music, poetry, literature, sculpture and painting as well as a deep understanding of what can be achieved with light, shadow, colour and composition; yet, the visual way cinematography tells the story is often overlooked in the minds of audience members who don't really know what a cinematographer or director of photography really does. Though their appearance on the opposite side of the camera is quite rare, these masters of the moving image will be brought into the spotlight in Northern Lights, a documentary that will celebrate and give an appreciation of the Canadian cinematographer s role in filmmaking. Northern Lights will feature interviews with dozens of the medium's greatest cinematographers in Canada, including Arthur E. Cooper csc, George Morita csc, George A. Willis csc, Robert Bocking csc, John Stoneman csc and Luc Montpeller csc. As they relate stories of the films, television series or commercials they ve worked on the problems they ve faced and solved, the innovations and techniques they ve made standard one will get a full understanding of the love and dedication that goes into the process of telling a story through images. The men and women featured in this documentary encompass three generations of cinematographers and represent a broad range of film cultures. What they all have in common is the invaluable contribution they have made to the Canadian film and television industry, and the fact that their work has helped to enrich and expand the language of film by enabling people of different nationalities, cultural or ethnic backgrounds to communicate and empathize with one another. Here are several memorable stories from Northern Lights that illustrate the passion and artistry of these men and women: Robert Bocking recalls filming a shot at Virginia Falls: At Virginia Falls, which is higher than Niagara, I wanted to take a shot that would be one of the highlights of the show. We were filming Nahanni [1962] the first in the Wild Canada NFB series for television. Wayne Myers, the pilot, and I decided to begin the filming above the falls, flying low over the river at a point where the river bend would hide the rapids above the falls. In order to film straight ahead, Wayne had to fly the helicopter at a 45-degree angle. Wayne also voiced his concern that the air currents at the falls could prove dangerous. As the shot progresses, we see the white water of the rapids, and then we fly over the brink of the falls witnessing explosions of water 40 to 50 feet in the air. As we reach the falls itself, I had Wayne turn 180 degrees so I could look back at the falls, and then tower up into a long shot. As we did this a rainbow moved through the frame. This was all done as one continuous take on 100 feet of 16-mm film and is the most spectacular shot of my career. Unfortunately Wayne was killed the following year when he flew into an unmarked cable that a logging company had strung across a valley. He was the best pilot I ever had the pleasure of flying with. George Willis elaborates on his Ancient Olympics docudrama: Docudrama s rarely have a lot of funding and they re always fraught with huge challenges. This is not necessarily a bad thing. It tests your creativity from a cinematographer s standpoint, and I like the challenge. Not having huge funding forces you to come up with some creative solutions and shooting a recreation of the 448 BC Olympic Games in a 100-ft. studio during winter really gets the creative juices flowing. In this particular situation, we did a lot of blue screen work and the CGI team and I worked very closely using the Maya pre-visualization system to match up the camera angles and lighting conditions. When we had to recreate a crowd sequence where there were hundreds of people, we used only 30 people and put them into different groupings, clothing and photographed them. Later, we cloned them in post. That in itself was an enormous challenge and also the size of the studio where we had to create the depth of the stadium and beyond was challenging as far as the choice of lenses were concerned, but we all worked together and in the end it was a very rewarding exercise. The concept for the Northern Lights occurred to me last year when I realized that a feature-length documentary paying tribute to Canadian cinematographers had never been produced. Taking into consideration that the CSC was founded in 1957, this project has been long overdue. It evolved slowly, first and foremost with the approval and support of the CSC and 12 CSC News - October 2008

15 Northern Lights from the left: co-executive producer Jack Mosor, George Willis csc sasc, Arthur E. Cooper csc, and co-executive producer, director and cinematographer Antonio Galloro csc. the endorsement from I.A.T.S.E. Local 667. The documentary came to fruition because of my colleague s belief in the project. They all went out of their way to help make it a reality. Executive producer Aden Bahadori, CEO of The ButcherShop Digital Post, has graciously provided his post facilities and encouragement; co-executive producer Jeremy Hood made it possible with his advice and inspiration; and coexecutive producer Jack Mosor has never faltered in his dedication and trust. Moreover, Penny Watier and Wendy Moss at PS Production Services in Toronto generously provided the space, RED cameras, lighting and grip gear used to shoot the documentary. Last but not least, I would like to give a heartfelt thanks to Susan Saranchuk and all of the numerous people and facilities that selflessly donated their time, equipment and expertise to the production. My relationship with co-executive producers Bahadori, Jeremy Hood and Jack Mosor has made the production of Northern Lights a rewarding and memorable experience. Because of the collaborative nature of filmmaking, mutual respect and cooperation between us was essential. I have been extremely fortunate and privileged to be able to interview so many talented cinematographers, who graciously gave of their time and contributed all of the memorable and fascinating photographs and film clips that appear in the documentary. The cinematographers honoured in Northern Lights are a remarkable group of people, highly intelligent, passionately committed and generous. During the production of this film, I have repeatedly experienced this generosity and sense of passion first hand. It was always present in the desire that they all had to pass on their own experience and knowledge of the craft to the next generation of Canadian filmmakers. I feel that I am very fortunate to work in the Canadian film industry and I take pride in living in Canada. My ultimate intention with Northern Lights is to finally pay homage to the numerous Canadian cinematographers that have inspired all of us and enriched our industry. It is hoped, therefore, that this documentary will be an inspiring journey of discovery not just to seasoned cinematographers but to filmmakers and students in all areas of the Canadian film and television industry as well as to all those moviegoers who appreciate the art and craft of filmmaking. For further information please visit northernlights-csc.com. CSC News - October

16 INDUSTRY NEWS Murdoch Mysteries, Annoying Red Planet, with Yannick Bisson, left, and Jonny Harris, right. DOP, Gemini Award-nominated David Perrault csc. Image courtesy of Shaftesbury Films. WITH 15 NOMINATIONS, CSC MEMBERS SCORE BIG AT GEMINI NOMINATIONS Fifteen CSC members were nominated for this year s Gemini Awards. Nominated in the best photography in a comedy, variety or performing arts program or series category are James Jeffrey csc for Rent-a-Goalie, Gazebo, Ken Krawczyk csc for Corner Gas, Buzz Driver, and Jim Westenbrink csc for da Kink in My Hair, Chicken. Receiving nominations for best photography in a documentary program or series are Martin Julian csc and Mike Carling for The Protestant Revolution, The Politics of Belief, and Bill Metcalfe for Dubai: Miracle or Mirage?. Nominations for best photography in a dramatic program or series include Steve Cosens csc for Durham County, Divide & Conquer, David Greene csc for Across the River to Motor City, Pierre Letarte csc for The Englishman s Boy, David Perrault csc for Murdoch Mysteries, Annoying Red Planet, and Ousama Rawi csc for The Tudors, episode 106. Best photography in an information program or series nominations went to Ian Kerr csc for She s Crafty, Kitschy Kool, Henry Less csc for French Food at Home, Dinner from the Potager, and Anton Van Rooyen for Who Do You Think You Are?, Chantal Kreviazuk. Directing nominations went to Philip Earnshaw csc for best direction in a children's or youth program or series for Degrassi: The Next Generation, Standing in the Dark part I, and Nicholas de Pencier for best direction in a documentary program, Four Wings and a Prayer. The Canadian industry will gather in Toronto at the Liberty Grand on October 20, 21 and 22 to honour and celebrate the News, Sports and Documentary Awards, the Lifestyle, Children s and Youth Awards, and the Drama, Comedy and Variety Awards. The Gemini Awards Broadcast Gala will be presented in Toronto at the John Bassett Theatre on Friday, November IMAX GOES DIGITAL IMAX theatres across the U.S. started their rollout of state-of-the-art digital projection in August. Two sites in Washington D.C. and one in Philadelphia were first, with an expected 50 more to be operational by the end of the year. According to a spokesperson for the American-owned, Mississauga, Ontario-based company a world leader in large-screen and 3D projection the new system will dramatically enhance the image fidelity, light output and contrast in both 2D and 3D to produce a stunningly crisp and bright image on the big IMAX screen and deliver the unparalleled image and sound quality that IMAX consumers have come to recognize and enjoy. At this year s ShoWest, IMAX announced that it has decided to incorporate Texas Instruments DLP Cinema projector solution in its digital-projection system. At the time, the company s co-chair and co-ceo Richard Gelfond said, We are excited to cement this alliance with DLP Cinema. We evaluated competing cinema-projection technology and found DLP Cinema to be an ideal match for 14 CSC News - October 2008

17 IMAX. IMAX expects its transition to digital will help drive profitability for the major studios, exhibitors and IMAX theatres by virtually eliminating the need for film prints and increasing the number of movies shown on IMAX screens. Look for more big-budget films available in the IMAX format as a result, with Madagascar 2 making the first big jump to digital, with plans to hit 35 screens on November 7. Internationally, IMAX announced its largest ever multiple-theatre deal in Asia with China s Wanda Cinema Line Corporation. The agreement includes seven locations expected to utilize IMAX s digital-projection system. Not to be left out of the rush to digital 3D systems, Cineplex Entertainment announced in August that it will install an additional 175 3D digital projectors in its theatres by the end of META-MORPHOSIS: AN INSTALLATION BY STEFAN NITOSLAWSKI CSC At the Cinémathèque québecoise, 335 boul. De Maisonneuve East, Montreal, 17 September 9 November 2008, ; info@cinematheque.qc.ca. HARPER S CONSERVATIVES CUT THE NEW MEDIA FUND AT TELEFILM The Conservative government announced the termination of the $14.5-million-a-year Canada New Media Fund (CNMF) administered by Telefilm Canada at the end of August. The CNMF, a decade-old grant administered by Telefilm, but funded by the Department of Canadian Heritage, has always lacked stability, operating under various unset clauses, but up until now has been annually renewed. The program, a Liberal creation, was designed to create and distribute Canadian interactive media both domestically and internationally. The news followed hard on the heels of a succession of cuts to arts programs by the Tories, who pulled the plug on their government September 7 in a favour of a general election scheduled for October 14. Previously it had been announced cuts to Trade Routes ($9 million), the AV Preservation Trust ($300,000), the Canadian Independent Film and Video Fund ($1.5 million), the National Training Schools Program ($2.5 million) and PromArt ($4.7 million). All the cuts will take effect by the end of March Canadian Heritage Minister Josée Verner did not indicate whether the programs would be replaced, simply claiming that the cuts were necessary and only applied to programs the government deemed unnecessary or outdated. Arts groups across the country were outraged and promised to make the Tories dismal track record on arts funding an issue in the up-coming election. KODAK S JOHANNA GRAVELLE IS TRANSFERRED DOWN UNDER Johanna Gravelle, country manager with Kodak Canada Entertainment Imaging since the spring of 2006, has been I seek to break the body out of its purely physical human form. I record the ephemeral perception of the internal landscape. Like a snake shedding its skin I use the medium of photography to wiggle the model from their shell to draw out their inner self. Stefan Nitoslawski CSC News - October

18 appointed to the position of director of marketing with Kodak s Entertainment Imaging division, Asia Pacific region, which is headquartered in Melbourne, Australia. Gravelle joined Kodak in 1990 after graduating from Ryerson University with a Bachelor of Applied Arts, Still Photography, and during her 18 years with the company had held various technical, marketing and sales roles. In a press release issued by Kodak, she says, Asia Pacific is the most diverse region in the world and one where the film industry is still growing. There are countries such as India and China where local feature-film production is thriving, and we mustn t forget that one third of the world advertising emanates from this region, making television commercial production very active. Despite the hype that surround the increasing number of image capturing devices available today, film continues to set the standard for image quality. EMOTIONAL ARITHMETIC SCREENING WITH LUC MONTPELLIER Toronto-based DOP Luc Montpellier csc used the flaming oranges and reds of autumn to portray the anguish and sacrifice of three Nazi prison camp survivors who are reunited after 35 years of separation. The look was central to the story of the Canadian feature Emotional Arithmetic, directed by Paolo Barzman and set in the beautiful lake region of Quebec s Eastern Townships. The 35mm film, nominated for best cinematography in a theatrical feature at the 2008 CSC Awards, was screened for an audience of CSC members and students at Technicolor s Peter St. facility in downtown Toronto on Sept. 23. The picture, starring Gabriel Byrne, Christopher Plummer, Roy Dupuis, Max von Sydow and Susan Sarandon in a remarkable performance, was posted at Technicolor. This was the first CSC screening of the three nominated films for this year s theatrical feature award. Montpellier, who shot Sarah Polley s award-winning feature Away From Her, said he loaded Kodak stocks D and T in his Panavision Millennium cameras because he likes their fine grain, and he was able to achieve his desired look with little cranking in post. Ninety per cent of the colours are there. We were actually chasing the colours, rushing to shoot the (exterior) scenes before the leaves fell. 16 CSC News - October 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 - October 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 John Goldi 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 Derek VanLint 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 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 18 CSC News - October 2008

21 Richard Fox Tom Gatenby Brian Gedge Vladimir Gosaric John Hodgson Cliff Hokanson 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 Pasha Patriki Rick Perotto Allan Piil Scott Plante Dave Rendall Cathy Robertson Peter Rosenfeld Don Roussel Jèrùme Sabourin Christopher Sargent Ian Scott Neil Scott Neil Seale Wayne Sheldon 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 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 Kar Wai Ng Brent O Hagan 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 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 Ivan Sarossy csc Josef Sekeresh csc John Stoneman csc Walter Wasik csc Ron Wegoda csc CSC HONOURARY MEMBERS Roberta Bondar Vi Crone Graeme Ferguson Wilson Markle VANCOUVER CALGARY TORONTO HALIFAX CSC News - October

22 Production Notes Aaron Stone (series): DOP Steve Danyluk csc; OP Johnny Askwith; to December 22, Toronto The Best Years Cycle II (series): DOP David Perrault csc; to November 14, Toronto Booky s Crush (TV movie); DOP Norayr Kasper csc; OP Mark Willis; to October 10, 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 Les 100 ans du Canadian (feature): DOP Jérôme Sabourin csc; November 12 December 12, Montreal Degrassi: The Next Generation 8 (series): DOP Jim Westenbrink csc; OP David Towers; 1st Tony Lippa; to October. 28, Toronto Durham County II (series): DOP Éric Cayla csc; to November 14, Toronto 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 Harper s Island (series): DOP Robert McLachlan csc, asc; OP Trig Singer; to January 2009; Vancouver Hidden Crimes (feature): DOP Daniel Villeneuve csc; October 6 31, Montreal Il était deux fois dans un jardin (documentary): DOP Marc Gadoury csc; to December 15, Montreal The Listener (series): DOP David Greene csc; OP Monty Rowan; to December 1, Toronto L Word Season 6 (series): DOP Bob Aschmann; OP Neil Seale; B camera OP Michael Wale csc; to October 1; Vancouver Murdock Mysteries Season II (series): DOP James E. Jeffrey csc; OP Brian Gedge; to November 11, Toronto Psych Season 3 (series): DOP Michael McMurray csc; OP Marco Ciccone; to October 21, Vancouver Reaper 2 (series): DOP Attila Szalay csc; OP Richard Wilson; to December 22; Burnaby, BC Smallville 8 (series): DOP Glen Winter csc; OP Doug Craik; to April 2009; Burnaby, BC 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 Tooth Fairy (feature); DOP David Tattersall; OP Stephen Campanelli; September 15 November 21, Burnaby, BC The Trotsky (feature): DOP Guy Dufaux csc; August 27 October 12; Montreal Untitled George Romero Project (feature): DOP Adam Swica csc; September 25 October 24, Toronto Untitled Vigilante Project (feature): DOP Peter Woeste csc; OP Keith Thomson, September 2 October 2, Vancouver The Weight Season II (series): DOP Peter Benison csc; OP Colin Houit csc; to October 3, Toronto When Calls the Heart (feature): DOP James Carter; OP John Spooner csc; September 3 October 9, Calgary The Wild Roses (series): DOP Steve Cosens csc; OP Carey Toner; to December 17, Calgary Calendar of Events of Interest to CSC Members October 2008 Oct. 8 19, Festival du nouveau cinéma, Montreal, , nouveaucinema.ca Oct , MIPCOM, Cannes, France, , mipcom.com Oct , St. John s International Women s Film Festival, St. John s, NL, , womensfilmfestival.com Oct , ImagineNative Film Festival, Toronto, , imaginenative.org Oct , Planet in Focus: International Environmental Film & Video Festival, Toronto, , planetinfocus.org Oct. 28, CSC screening of Civic Duty with DOP Dylan Macleod csc in attendance, Deluxe Toronto, 424 Adelaide Street East, Toronto; please RSVP, ; admin@csc.ca. 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 CSC News - October 2008

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24 BRAVO In recognition of outstanding achievement in cinematography, the Kodak Spectrum Award is presented to each Gemini Award nominee in the following Best Photography categories. The 2008 Gemini Nominees Best Photography in a Dramatic Program or Series David Greene CSC Across the River to Motor City Steve Cosens CSC Durham County Divide & Conquer Pierre Letarte CSC The Englishman's Boy David Perrault CSC Murdoch Mysteries Annoying Red Planet Derick Underschultz The Trojan Horse Ousama Rawi CSC, BSC The Tudors Episode 106 Best Photography in a Comedy, Variety or Performing Arts Program or Series Michael Tien Blood on the Moon Anton Krawczyk CSC Corner Gas Buzz Driver Eugene O'Connor, John McCullagh Cowboy Junkies: Trinity Revisited Jim Westenbrink CSC 'da Kink In My Hair Chicken James Jeffrey CSC Rent-A-Goalie Gazebo A proud sponsor of the Gemini Awards.