March 2007 Volume 26, No. 7 Dinosaur Hunters Fly High in 3-D · work on the ‘Hitman’ Hart...

In this issue: 2007 CSC Award Nominees Gala Presentation Night Coming Soon! CSC Member on “Legendary” Shoot Camera Course has International Flavour

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CSC EXECUTIVEPresident: Joan Hutton cscVice-President: Richard Stringer cscTreasurer: Joseph Sunday phdSecretary: Antonin LhotskyMembership: Philip Earnshaw cscPublicity: Nikos Evdemon cscEducation: Ernie KestlerDirector Ex-Officio: George Willis csc sascMembership inquiries: 416-266-0591

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CONTENTs M A R C H 2 0 0 7v O l u M E 2 6 , N O . 7

2 - President’s rePort - CSC newS nameS new editor

4 - CoVer storY - dinoSaur Hunting witH arriflex

8 - interVieW - Brian PearSon, CSC on “legendarY” SHoot

16 - indUstrY eVents - teCHnologY oPen HouSe; eQuiPment flea marKet; SuPer 16 SYmPoSium; Camera aSSiSStant’S CourSe

20 - AWArds - CSC nameS 2007 award nomineeS

22 - neWs CliPs

25 - ClAssifieds

27 - MeMbers

28 - ProdUCtion notes/CsC CAlendAr

visit: www.csc.ca

17

228

CoVer PHoto - Astar B3 helicopter fitted with the Nettman Stab-C nose mount holding Arri 3D 235 rig with Cooke 15-40 Zoom lenses Photo courtesy william reeve

CsC newsnamesnew editor

As preparation for the CSC Awards Gala reach a fever pitch, the en-thusiasm and excitement around

being able to recognize and honour the creative achievements of our membership is tangible.

As you will see in this issue of CSC News, jury-selected nominees have been finalized, and as you know, awards will be presented Saturday, March 31, 2007 at the Westin Prince Hotel, Toronto, ON.

If you haven’t already made your plans for the evening, please contact the CSC Office at 416-266-0591 for ticket infor-mation. Special Honouree and specific category awards will also be presented.

•••

This issue of CSC News also gives us the chance to acknowledge the hard work

and creative contributions of Don Angus, whose occupancy of the Editor’s chair has come to an end with his retirement. I want to give Don my warm and heartfelt thanks for all his hard work and great reporting over the past 12 years!

Both the Society as a whole, and the newsletter in particular, have come a long way in the past dozen or so years, and Don has consistently been reporting and documenting our growth and success. I’m sure the CSC membership will join me in thanking Don, and wishing him all the best for the future.

•••

Stepping into Don’s shoes is no easy task. But, with this issue, I would like to introduce Lee Rickwood, who we are welcoming to the newsletter and the CSC

community. Lee is an independent writer, magazine editor and video producer, based in Toronto. His writing is well-known in the production circles, as he has regularly contributed to a number of Canadian industry magazines, including Playback, Broadcaster and HUB:DL, among others, as well as U.S. based publications.

Even before joining us, Lee has writ-ten about CSC members and their work: several years ago, in fact, he profiled my work on the ‘Hitman’ Hart Wrestling with Shadows documentary. More recently, he wrote about HD production activities at Mercury Films, and DOP Nick de Pen-cier csc.

So, he’s no stranger to the CSC, but I do hope you will welcome him in his new position with us, and feel free to contact him with story ideas or comments about the newsletter.

2 • CSC news - march 2007

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COvER sTORY

By William Reeve

For the upcoming IMAX© movie Dinosaurs Alive! and vari-ous other IMAX projects, William White and myself (both of the 3D Camera Company) worked with ARRI on the development of a super flexible and super lightweight 3D rig, utilizing two of the award-winning ARRIFLEX 235 cameras, Ultra Prime lenses and the ARRI Wireless Remote System.

Using small and lightweight 35 mm film cameras to capture images for IMAX 3D projection provides unprecedented flex-ibility and unique shooting angles.

3D cinematography is principally a wide-angle medium and not difficult to put on film. With the right tools and following some simple guidelines, any experienced director and cinematog-rapher can produce fully-immersive and exciting images for all types of 3D storytelling.

Arguably the most breathtaking 3D imagery can currently be achieved in the IMAX 3D™ format.

Unfortunately, the 225 pound (102 Kg) IMAX Solido 3D camera makes it difficult to get some shots, and prohibits the use of many shooting techniques that are commonplace in 35 mm feature film production, including handheld shooting, Stea-dicam, long cranes, gyro-stabilized heads, car mounts, etc. In ad-dition, the lenses available are 25 years old, have a widest aperture of T4.5 and show various types of distortion, an unwelcome issue especially for special effects work.

I have been approached many times in recent years by produc-ers of large format films that want smaller, lighter 3D cameras, with faster, distortion-free lenses and greater depth of field to com-pliment the breathtaking imagery of the IMAX 3D™ Solido cam-era system. Everyone wants to find ways to get the real money shots by getting 3D images in unusual places and from unique angles. In the past, I had designed several schematic versions of cameras to achieve these objectives. I had even invented a new shooting for-mat that interlaced Vistavision stereo images at the perfect spacing for the human eye. However, I was concerned with the emergence Jeff Mart, with the 235 3D rig on his Steadicam.

3-D Dinosaur Huntingwith the 235

Leads to New ProductionOpportunities

of digital capture, so none of these cameras have been built. After several years of expecting digital image capture to

overtake our film based design ideas for smaller 3D cam-eras, I began to realize that digital technologies were giving birth to new directions in some respects, but falling short in others - namely rapid high volume onboard storage.

The real accomplishment of digital technology in the past five to ten years has been the ability to digitally en-hance the already exceptional film negative - a process known as the Digital Intermediate. It is, for instance, pos-sible to scan and digitally “up-res” images shot on 4 perfo-ration/35 mm film to the 15 perforation/70 mm IMAX projection format. The result can be of sufficient quality that the difference between the 35 and 65 mm originated material is very difficult to see.

This capability allowed the development of the DMR™ (digital re-mastering) process, a technology de-veloped by IMAX to make it possible for any 35 mm film to be transformed into the image and sound quality of an IMAX movie. DMR™ is used to show first run feature films on the giant IMAX screens. I realized that the same tech-nology could also be used to shoot 3D material with 35 mm film cameras to be intercut with material generated on 65 mm film.

In April of 2006, with several up-coming IMAX films to shoot, my partner William White and I commissioned ARRI to help us modify two ARRIFLEX 235 cameras to create a small and lightweight Super 35 mm 3D System. We wanted to shoot parallel stereography without mirrors and use the most distortion free lenses in the world - the ARR/Zeiss Ultra Primes - to our advantage.

With the IMAX movie Dinosaurs Alive! in hot pursuit of equipment, we had only three months to design a special base plate and to go shopping for a completely matched set of 235 cameras and identically matched pairs of Ultra Primes.

Sebastien Laffoux at ARRI Canada spearheaded the effort together with Michael Haubmann from ARRI Austria, who coordi-nated a very enthusiastic team of engineers. We needed synchro-nized master/slave camera movements, synchronous focus, iris and zoom controls and an extra convergence control channel.

Plus, to optimize normal stereo vision (orthostereo condition),

we needed to get the Ultra Prime lenses as close to each other as possible. The 235 camera is a natural for this, as it is very small and lightweight, but still contains all the modern features we needed. The engineers at ARRI removed one of the video assist components and mounted it on top of the camera so we could get the cameras even closer together.

For perfect synchronization, they installed a small electronics board into the camera, right underneath the blind connector on the camera right side. Luckily, they had anticipated that someone might want to do something crazy with the 235, and had left some room for the board and extra connector in the 235 design. To control the dual lenses and convergence we used the ARRI Wireless Remote System with custom software. Four ARRI lens motors controlled iris and focus in perfect sync, while a fifth mo-tor controlled convergence. The framing is performed by looking at the video assist images on two 5.8” LCD monitors located on the cameras.

This made it possible for Dylan Reade, our operator, to view and operate with the first-ever stereoscopic, live action images by simply using crossed-over eye technique, sometimes also called

A close up of the convergence control. The cameras are mounted on rotating plates that are controlled by the convergence lens motor visible below the lenses.

William Reeve operating a handheld shot. Note the video goggles that allow him to see the video assist image.

The 235 3D rig is shown here mounted to a gyro stabilized support that rides on top of a car in the Gobi desert. William Reeve (left) and Claude Fortin (right) still smile, before they get pummeled with desert dust.

“free-viewing.” Alternatively, the video assist image can be viewed on video goggles. Since only the video assist of one 235 was physically modified, replacing a camera body in an emergency, as well as using the cameras for other, non-3D purposes, is easily possible.

Our first tests turned out better than expected, especially for the critical close focus shots where the distance between the lenses - still greater than the distance between the human eyes - can play havoc with the 3D effect. This distance is called the inter-axial distance.

Thus encouraged, we went ahead and created an articulating base plate that in-cludes an adjustment for convergence, the angle of the optical axis’ to each other. Having convergence on the fly in a com-pact 3D rig is a real first. It allowed us to adjust convergence to match the lens’ fo-cal length, helping us to visually push the subject away from more aggressive 3D that is the result of wider inter-axial dis-tance and increased parallax.

A long standing Toronto-based film

industry machinist, Willy Nikodemus, created the base plate that is at the heart of the ARRI 235 3D rig. His designs were made based on my CAD drawings that were sometimes only minutes old. There was a lot of testing and several attempts to get proper control of the torque required to accurately “toe in” fully-dressed cameras on the fly. At the end, Willy installed a re-vised control mechanism literally seconds prior to shipping to the first location, the Ghost Ranch in New Mexico, and then straight into the scorching sand of the Gobi Desert in Mongolia.

There we used the rig and all the con-trols we had built to shoot to its fullest extent. Keeping all the parameters needed for a good 3D shot is tricky; you have to balance convergence, focal length, inter-axial distance, distance to subject, lens dis-tortion, type of set and subject and various other factors.

Our advice: “Don’t do this at home!” Aside from our experience, we used

3D ‘apparent distance’ software developed

by IMAX to determine the correct conver-gence settings. I was many times observed hiding under a dark cloth to make these calculations on my Palm Pilot.

The results were astounding. The Ul-tra Prime lenses recorded beautiful distor-tion-free images at T2. The rig, consisting of two 235 cameras named “Arnold” and “Richter”, two Ultra Prime lenses and five CLM-1 lens motors, weighs only 50 lbs (22.7 Kg), that is 175 lbs less (80 Kg) than the IMAX Solido 3D camera! In fact, it is even smaller than most equivalent HD rigs, since high-res storage is built-in. The whole rig operates relatively quietly and we get the benefit of film’s inherent ad-vantages, including 4K resolution, higher contrast range and natural color reproduc-tion.

The 235 3D rig completely changed the way we work on IMAX 3D movies. Suddenly we can do things that every normal feature film crew is used to, but that is impossible with a 225 lbs camera at T4.5. We went hand held, we flew this

William Reeve with the ARRI 235 3D rig on a Nettman Stab-C head attached to an Astar B-3 helicopter.


CSC news - march 2007 • 7

rig under perfect control on the Panther crane with a 36 foot reach, we placed it on the Sky Jib, flew in a helicopter with the rig on a Nettman Stab-C head, flew in a helicopter of the Central Mongolian Airways, Jeff Mart flew it on his Steadi-cam, it was mounted on the bumper of a Toyota Land Cruiser and bolted on top of vehicles in the Gobi desert.

We were able to run up and down a river bed with a Steadicam on a cart, the same way a Dinosaur would have done. We shot background plates in dark loca-tions with available light while still get-ting enough depth of field to keep the CG guys happy. Never once did we have a single failure of any kind. The whole thing worked right out of the box. Thank you ARRI!

Originally the plan had been to shoot about 10% of Dinosaurs Alive! with the 235 rig, but the rig worked so well and gave us such freedom in terms of weight, lens speed and camera mobility, that we ended up using it for more than half of the film.

Months later after the up-res work at Lowry digital in LA, the Director David Clarke reported from The Giant Screen

Theatre Association Galveston conference that when screening the Dinosaurs Alive! Trailer, the difference the 3D images from the 235 3D rig and the 70 mm IMAX footage was imperceptible. The success of this rig changes some of the conventional rules for large format production. While wide angle vistas are still best recorded on the larger 65 mm negative, we have proven that recent advances in film stock, camera, lens and digital intermediate technology make the use of smaller and lighter 35 mm cameras possible.

Dinosaurs Alive! is scheduled to be released in mid-2007. We will continue to use this rig to shoot other exiting se-quences for future IMAX 3D movies, including our next project, a Stephen Low IMAX 3D™ film titled Legends of the Sky. We are already planning a new lighter and more compact convergence base plate that allows me to vary the inter-axial distance; that is, to move the camer-as farther apart from each other for more aggressive Steadicam work. In addition, other opportunities are already presenting themselves. Many of the digital cinema projectors that are being installed all over the world are “3D ready” and there is a

new push to digitally convert existing 2D movies to 3D and to shoot new, original 3D material. I believe that this will open up the market and we will see a major in-crease in the number of 3D movies shot and shown.

Ultimately, I think producers will ad high frame rates to 3D, since the combi-nation of high frame rate 3D image cap-ture with high frame rate 3D projection can create a fully immersive, ultra-realistic environment in any digital cinema. The best way to capture those high frame rate 3D images is film. So our goal is to further develop film based 3D cameras to capture high volumes of information at 48 fps.

These cameras will be able to supply gorgeous 3D images for large format 3D projection and for mainstream 3D feature films in the future. •

Written by William Reeve, csc, with in-put from William White, Sebastien Laffoux and Marc Shipman-Mueller. For inquiries into renting the 235 3D rig, contact the 3D Camera Company at 1 Westside Drive, Unit # 12, Toronto, Ontario, Canada, M9C 1S2, telephone: 416-622-9925.

INTERvIEW


Vancouver-based DoP Brian Pearson, csc, reflects on holiday gifts, lucky breaks and the important people that have inspired his successful, award-winning filmmaking career, in this interview conducted by Don Angus.

The production itself is achieving al-most legendary status. Some ten years ago, it was to be Ridley Scott’s film, with Arnold Schwarzenegger said to have the lead role.

But, with a budget escalating to over a $100 million USD, the project was shelved until resurfacing only for a time, with Michael Bay at the helm and Will Smith in the lead.

In fall of 2005, the project regained momentum in the hands of director Fran-cis Lawrence. Finally, according to Pro-duction Weekly, more than six months were set for production on the sci-fi ve-hicle I Am Legend, an adaptation of Rich-ard Matheson’s 1954 novel (and a remake of the feature film The Omega Man, with Charlton Heston).

Filming took place in New York City, including notable locations such as the

Kingsbridge Armory, Washington Square Park, the Flatiron Building, Columbus Circle, St. Patrick’s Cathedral, and the Brooklyn Bridge, where various military vehicles and aircraft, as well as hundreds of PAs and more than 1000 extras, were involved in the shoot.

Referring to the project (shooting be-gan last September, and principle photog-raphy is slated to continue through the end of this month), Brian Pearson, award-winning CSC cinematographer, calls the ambitious shoot “a huge feat” and a “ter-rific experience.”

Person’s cinematographic experienc-es, of course, began much, much earlier – with a holiday gift that has inspired his entire career:

CSC: What got you interested in cinema-tography?

When I was a kid my parents used to give me rolls of Kodak super 8mm film for Christmas every year. I used to take my Dad’s home movie camera and shoot all the film working with my friends as ac-tors. Then came the long wait for the film

to be processed and mailed back - usually a few weeks!

I experimented with the camera doing stop animation with plasticine which was lit by two house-hold bulbs (key and fill?) but found that frame by frame was quite a laborious a way to shoot. I had better luck with live action, recreating scenes from Star-Trek and other tv shows, and later, when the film was processed, I drew in my own laser-beams and explosions by hand with fine point felt pens, frame by frame. In the beginning I edited in-cam-era because I had no way to actually cut the film together. Only later did I buy an editing block and begin to glue the film into some shape.

Where did that original interest come from? I’ve no idea except that I always loved that flickering light on the wall when ever we watched our home movies.

CSC: Where did you study and/or train? Did you come “up through the ranks” as assistant, operator etc.?

I entered University of British Colum-bia (UBC) in 1985 with the intention of

CSC member Brian Pearson, at left, says First unit DP Andrew Lesnie was generous with direction and support on complex shoot.

becoming a stockbroker or investment guy of some sort, for lack of any other passion. After a year of brain-crushing mathemat-ics and macro-economics, I was somehow actually accepted into the Commerce Pro-gram. But before the program began, I woke up one night with a sort of epiphany where I said to myself distinctly, “I’m go-ing to go into film.”

This was a silly notion that I soon shook off - I knew no one in the film in-dustry nor had any family members who had done anything even close to work in the film industry! But, when I went to sign up for the Commerce courses, I knew I was making a mistake; I sharply changed paths to English and later Film Studies.

I studied a double major of English and Film from 1986-1990 and shot my first 16mm short film in the Film Society. I felt fortunate to be surrounded by what was a very creative group in film school including Bruce Sweeney (who shot my student film, and I his), Mina Shum (for whom I shot a film as well), Steve Hegyes (Brightlight Pictures Producer), Greg Middleton (DP), Catherine Monk (Film Critic), Reg Harkema (Editor and Director), Lynne Stopkewich (Director) and Simon Barry (Screenwriter).

I caught my lucky break when one of my class-mates referred me to do some video camera operating for a casting ses-sion for Circle Productions, a commercial production house. Very quickly it became a regular gig for me and opened the door for work at Circle first as a Production As-sistant, literally sweeping floors, and then, eventually, a camera-trainee-PA on com-mercials. Working on commercials was a great way to learn about lighting because so many terrific DPs would come to work with Circle.

Once I gained this experience I became an IATSE camera trainee in 1991. It was there that I started to work on dramatic ma-terial and eventually upgraded to 2nd AC. All the while I knew that one day I wanted to be a cameraman, too. I looked around me at many of the successful cameramen and asked them how they became DPs. Many of them said that they owned their own camera equipment, more often than not a 16mm Arri SRII. One of the guys I asked was DP Ron Orieux, who still owned his camera and was interested in selling it. I put together a business plan, scraped to-gether the money and went for it!

During the time I had that SRII, I

found it was a terrific lever to help get jobs. Many low-budget projects at that time were still shot on film and I found that if I could provide a camera to the production for a modest cost it made it that much more at-tractive to be hired. I continued to work as

Pearson on location for I Am Legend Action Unit photography.

CSC news -march 2007 • 9

a 2nd AC for another two years as well as a little 1st AC work, all the while shooting on the side whenever I could. Eventually around 1994 I found the DP work over-took the assistant work and I forced myself to give up the AC work for good. It was important to never go back to assisting or else it would take even longer to change people’s perception of what I was doing with my career. Eventually after I built up my reel a little more I went back to Circle Productions where I had first started and let them know that I was shooting exclu-sively now and both Rob Turner and Fred Frame were very supportive to hire me as a DP for a number of commercial spots.

CSC: What was your first job as DOP? Commercial, music video, short?

My first ‘shot’ as a DP was on The Resurrected. I was technically one of two camera trainees on this little (non-union) low-budget horror film directed by Dan O’Bannon, who wrote Alien. One day the production needed a quick day exte-rior drive-by of a car coming around the corner. The DP, Irv Goodnoff, handed me his meter and said “So, you tell me you’ve shot some stuff before, here ya go...”

So off we went to do this simple shot. I was operating the camera as well, my first operating of a 35mm camera and here comes the car around the corner and I’m looking through the eye piece and it’s get-ting bigger and bigger and I don’t really know my lenses but the car seems to be getting very close and suddenly I’m pulled off the camera by the camera grip and the car skids into the baby-legs and knocks the camera over onto the car’s hood!

The driver had misjudged the wet road and lost control of the vehicle. A close call. But not a day goes by where I don’t think of that moment and the les-son that sometimes even the most benign action can turn on you. I certainly think of that moment when I’m filming actual stunt sequences.

What’s my first paying job as a DP? I actually can’t remember. I was always shooting at the beginning but I wasn’t pay-ing too much attention to whether I was getting paid or not. I was just so thrilled that someone was letting me shoot!

CSC: What shoot has been your biggest challenge? The most fun?

The biggest challenges of cinematog-raphy aren’t necessarily the biggest light-ing setups.

On big lighting setups I plan and re-plan the setup on my own first, then go through it with the gaffer and key grip, usually several times to make sure we’re not missing anything. Much rides on the setup working right the first time, as sometimes you just don’t have time to change things back to the way you would have liked to be. Other times you’re just trying to get the director as many shots as he or she has planned for a sequence in a very busy day.

The biggest challenges in cinematog-raphy, I think, have to do with a moment in a scene, or a small beat in the film. Getting the tone right, the fill level on an actor’s face just so, nailing the look of a scene for a beat in the film that you’ve anticipated from the script and direction -- that is the biggest challenge. And, of course, making every day.

The most fun I’ve ever had on a film may have been on Free Willy 3. We were working on a lake all summer long. I was shooting the 2nd Unit for the film and was working in and out of the water with Walt Conti’s amazing robotic whales, boats and underwater cameras. When it got to hot you could just dive right in. Blissful!

Shooting on the streets of New York

has been an amazing experience on I Am Legend as well. It is bizarre to see the streets of New York completely empty day after day, and Vic Armstrong, the Action unit director, is a legend!

CSC: Do you have a favorite style of cin-ematography, or do you just try to fit the look to the story?

Every script in collaboration with the director should dictate the style of cin-ematography and shape a film takes. A period picture, genre picture and political film would probably not be best shot with the same style. As a cinematographer one of my main challenges is to create the best look for any given script. It is extremely important to respect the intentions of the writer, director and the story and let your work be guided by these forces and added to by your own study and experience of art and life. There are many sources of inspiration that I draw upon. Painters, photographers, artists and fellow cinema-tographers are all a constant source of inspiration. However, I do prefer a little contrast in the frame.

CSC: You seem to have a lot of sequels and horror thrillers in your resume. Any special reason for this?

With the average cost of making a movie on the rise it seems that Holly-wood is relying more and more on the

Shooting with Director Vic Armstrong, at right, on I Am Legend has been “an unforgettable experience” for Pearson.


pre-determined audience. We’ve are seeing films made from diverse media as books, graphic novels, video games and, of course, the sequel and the ‘threequel’ and upwards. It seems inevitable that with so many films spinning off from other films that one would occasionally work on a sequel. Well, I seem to have hit a few in a row.

It’s also a case of what people see on the reel. When they see that I’ve done a certain kind of material they know what they’re getting when they ask me to join a specific project, thus begetting more of that kind of project on the reel. The

trick is not to get pigeonholed. I would love, for instance, to shoot a period piece, a gritty docudrama or a political thriller! I’d like to work on projects that have some social relevance and have something to say about the human race.

CSC: Who has been your mentor and/or inspiration? Who has/have been the big-gest influence(s) on your career?

Tobias Schliessler was a cinematogra-pher I worked with as a camera trainee on a tv series in 1992. He subsequently gave me many career opportunities: a short film

shot in Nantucket, a project with artist Mark Lewis which turned into five more, second units on TV movies and Free Willy 3 and others. He was instrumental in help-ing me traverse the ground from unknown entity to hirable shooter. His most recent films Friday Night Lights and Dreamgirls look totally different from each other, but each suits its story’s requirements beauti-fully.

Steadicam operator Dave Crone and I have worked together on many projects. He has operated such films as Ronin, Stig-mata, I, Robot and many more. His style, organizational skills and talent are a con-stant source of inspiration. With his help I was hired on I, Robot to oversee the ‘addi-tional action unit,’ directed by Andy Arm-strong. We started small working beside the first unit in the stage cleaning up some shots, but as Alex Proyas’ confidence in us grew we were handed larger and larger se-quences. Working on a film of this scale was a terrific experience. And I was lucky to have a terrific DP on first unit to work with, Australian cinematographer Simon Duggan. I have since worked with Simon again on Underworld: Evolution,shooting the Action Unit, directed by Brad Martin.

Andy and Vic Armstrong are two brothers who specialize in shooting action sequences for feature films. They both have their own distinct style, but both are amazing at choreographing and photo-graphing action. All of these people I’ve been privileged to work with inspire me.

CSC: What have you been doing recently? Tell us some more about your work on I Am Legend.

I’ve been in New York shooting the Ac-tion unit for I Am Legend, directed by Vic Armstrong. The film stars Will Smith and is directed by Francis Lawrence. The first unit DP is Andrew Lesnie who is just a terrific, warm and supportive guy.

The premise of the film is that a virus-stricken, futuristic New York is completely deserted, except for Will’s character...and a few other creatures. We started shooting in August of 2006 in New York, trying to make the streets look empty - for real! The production hired 120 PAs to lock up 10 block stretches of Manhattan at a time so we could shoot with no pedestrians or ve-hicles other than Will’s car driving down the street.

This alone is a huge feat. And then we did it again and again every weekend


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until October to complete our stunt-driv-ing sequence!

Then, we scaled down and moved to Washington Square Park for the climactic end sequence, set at night of course. We lit up the better part of the park for two and a half weeks with two 170’ condors with 18ks, a Musco, four HMI balloon lights and a handful of other lifts and lights for ac-cents. I don’t think it’s giving anything away to say that there are some explosions at this point in the film, but due to filming restric-tions we couldn’t actually blow anything up. Therefore all of the interactive light that the explosions gave off fell to the lighting de-partment. The lighting team had miles and miles of cable running all through the park to facilitate this feat. It finally dawned on me what we were doing when my veteran gaffer said, “I don’t think I’ve ever done a lighting set-up this big before.”

Working with Andrew Lesnie has been a terrific experience as well. Like Simon Duggan, a fellow Australian, he is warm and easy going. As a second unit photog-rapher you are always looking to the first unit DP for direction and support and An-drew is always there to give it. During prep we shared a desk side by side so I was able to spend a lot of time with him before we started shooting. Our Action Unit started shooting three weeks before the First Unit did because we needed the extra weekends and Andrew came out to operate on many of those first weekends. He was our Oscar-winning ‘C’camera operator.

All in all it’s been quite a ride. As of this writing we are heading into our last 10 days of Action Unit. I Am Legend has been an unforgettable experience, mostly because of Andrew and Vic, and shooting in New York. (Release of the Warner Bros film is targeted for late 2007.) •

Brian Pearson csc Full Member, Director of PhotographyVancouver, BCSpecialties: Film, Features, Commercials, AerialAwards: CSC Award - Best Cinema-tography, TV Series Dark Angel “Cold Comfort”Selected Credits: Features: 2nd Unit DP: “Karate Dog”, “Stealing Sinatra”; “Scoo-by-Doo 2 - Monsters Unleashed”, “After Alice”, “Urban Legend 2: Final Cut”; “Sweethearts of the World”; “Tail Lights Fade”; “Fear II - Happy Halloween”; “Listen”; “Drawing Flies”; “Hardball”.

Arri’s new D-20 Digital Camera combines the familiar features of filmcameras with state-of-the-art digital image capturing technology. The netresult is a camera that “feels” like what most DPs, operators and focus-pullers are used to, while providing a data-rich stream of digital imagery.Clairmont Camera compliments the D-20 with a huge selection of lensesand a robust engineering station that’s matched to production needs.

Cinematographer Bengt Jan Jönsson and Digital Imaging Technician(DIT) Michele De Lorimier share their experiences with the D-20 andClairmont Camera.

BENGT JAN JÖNSSON is one of today’s crop of young cinematographerswho were formally trained on film (at the A.F.I.), and been an integral part of the“digital revolution” for the past decade. He is likely the first person on the WestCoast to use the D-20 on a job, and has used it frequently ever since.

MICHELE De LORIMIERcould well be one of the busiest DITsin the industry, as her mastery ofdigital technology and familiarity witha wide range of equipment keeps hertraveling to shoots around the globe.Her experiences with the Arri D-20and Clairmont’s support staff speakvolumes about production efficiencyand the bottom line.

JÖNSSON: ”I first saw the D-20 in Arri’sbooth at the Cine Gear Expo last yearand knew immediately that I had to tryit. When I asked the rep when the D-20would be available, he said thatClairmont Camera had just taken thefirst U.S. shipment. I pulled out my cellphone, called them, and arranged for atest shoot the following Monday inpreparation for an upcoming ad. Thetest gave me the confidence I needed torecommend the system for thecommercial. Needless to say, I was mostimpressed. Based on my experiences Ihave tried to integrate the D-20 intodigital jobs whenever possible.”

De LORIMIER: “The D-20 has been verywell received by crews because itbehaves more like a film camera thanthe HD systems they have worked with.It’s almost a transparent transitionbecause the lenses, filters, andaccessories are all the ones withwhich they are familiar.”

JÖNSSON: “The first feature of the D-20that really caught my attention was thesize of the CMOS sensor chip. Becausethe sensor has the same proportions asa 35mm frame it can use all the lenses

we’re used to and yield the results weexpect from them. I use the Revolutionlens quite a bit, and it’s able to performto its full potential with the D-20. Usingprobe lenses with other cameras hasbeen limiting, and the selection ofPrimes and Zooms is much smaller.”

De LORIMIER: “The D-20 has twocompletely independent 4:4:4 or 4:2:2HDSDI output pairs. This allows foradditional recording possibilities. On arecent shoot we used two SRW-1recorders and did two simultaneousversions of the entire job. One was REC709 and the other a partial raw mode.We were able to send off in the editor’sdirection color correct tapes fordownconversion/dailies, and off to thevisual effects house went the log modeversion. After ingest at visual effects, thelog mode tapes were preserved asmasters for the final tape-to-tape. TheD-20 also has a CVBS output, giving adownconverted NTSC/PAL signal with justone frame delay for distribution on theset. I have found this to be quite helpful.”

JÖNSSON: “I also like the D-20’s opticalviewfinder, as it’s what I’m used to. Itgives you an accurate representationof what you’re shooting, and essentiallyeliminates an interpretive step (i.e. adigital viewfinder that can bemaladjusted) as compared to normal HDmethods. I prefer its focus structure andprecision in determining depth of field.The reflex viewfinder also lets you seewhat’s outside of the recorded framearea. Also there’s a real time NTSC signalallowing you to see full frame top andbottom and the Steadicam and craneoperators really appreciate this. Andthere’s the flexibility of being able toswing the viewfinder over to eitherside of the camera.”

De LORIMIER: “From reliable cablesto QC’d decks and calibrated, well-maintained monitors, Clairmont uses thebest of everything in its packages. I cantrust that everything has been serviced ina manner that is unmatched. I have beenon shoots where production chose lesserquality equipment from other sources,which failed, and the down time lost onthe set with the entire crew standingaround cost them far more than what theyhoped to save on the lesser cost rental.”

JÖNSSON: “The fact that Arri hasdesigned the D-20 similar to the 435gives you the feel of familiar gear alongwith the digital technology. It’s a verysolid piece of equipment. From a DPspoint of view, it’s a real level of comfort.

De LORIMIER: “As much as I like the

top notch gear at Clairmont Camera,I love the service. I come from a rentalhouse background and know it takes agreat environment to keep staff on foryears and years. I truly believe this isone of the greatest assets a facility canhave. Most of the employees have beenat Clairmont for a long time…from thelens and camera technicians to theoffice staff. This has a tremendouseffect on quality. For equipment, aswell as service, Clairmont achievesa rare perfect morphing of film-styleexpectations with the great potentialof digital capture and workflow.”

JÖNSSON: When you add up all thefeatures the D-20 brings to the table,along with the advantages of digitaltechnology, I see bigger and betterthings on the horizon. About 70% ofthe work I do is commercials –with thebalance in TV and feature films—andthere are many opportunities to exploitthe capabilities of the D-20 in all ofthese areas.”

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INDusTRY EvENTs

Sim Video Hosts 2007

Technology Open House

Rob Sim, President of Sim Video, has committed to making the popular Technology Open House that his company hosts an annual event.

Hands-on exposure to the latest digital video and cinematography tools brings out producers and shooters alike; Here, Helmfried Muller, csc Associate, checks out an HD camcorder from Panasonic.

Representatives from major manufacturers, in-cluding Carlo Beltrano from Canon Canada Inc. were on hand to talk up the latest products at the Sim Video Technology Open House in To-ronto.

Television and film industry profes-sionals were out in full force, as Sim Video hosted its 2007 Technology Open House at the Toronto headquarters.

The event showcased some of the hot-test digital and high definition camera products available on the market today, giving producers and cinematographers the opportunity to investigate newest tools in the world of digital cinematography.

“With technology continually advanc-ing, events like this are extremely benefi-cial to clients. It gives them a chance to check out and compare the multitude of acquisition products available to them in the convenience of one location,” said Rob Sim, President of Sim Video. “Cli-ents rely on our expertise. Having the manufacturer’s representatives and our own Sim Video staff available during the open house allows clients to better evalu-ate the new technology and determine how they can incorporate it into their up-coming productions.”

Making a buzz at the February 1st event was the Panasonic HDX900 the high definition version of the SDX900, which gained extreme popularity as the camera of choice for many specialty chan-nel programs.

“The HDX900 was created with the foresight of High Definition becoming the new standard for production and broadcast” said Kevin McKay, Regional Account Manager in the Professional Im-aging Group at Panasonic Canada Inc. “That being the reality, Panasonic wanted to create a user friendly camera that would deliver the picture quality producers and broadcasters demand at a price point that wouldn’t break the budget.”

The HDX900 embodies all of that, offering a variety of in-camera tools in-

cluding an upgraded 14 bit A/D conver-sion system and 12-axis colour correction matrix which allows fine adjustments to be made in specific color regions. Other features such as Filmlike gamma, offer an improved gamma curve to capture more film-like pictures while the Dynamic Range Stretching Function allows the camera to automatically adjust the aper-ture in scenes with mixed light and dark areas. This function helps cinematogra-phers achieve the best balance between shadows and highlights which has often been a struggle in HD shooting.

Along with XDCAM HD, Sony Canada and licensed Sony dealer Preci-sion Camera Inc. also had the chance to show off the latest version of the HDW-F900 - the F900R. The F900, considered a production staple when it comes to HD production, was recently modified to de-crease the size and weight of the camera body (20% shorter and weighing 2.6 kg less than the F900). The progressive scan CCD sensor at the heart of the F900R al-lows image capture at a variety of frame rates.

“Above and beyond improved imaging tools, the reduced size and weight of the F900R will make a significant difference to camera operators shooting hand held,” said Dave Keller, Sony Broadcast Account Manager.

Bill Long, General Manager of PCI went on to describe the many new func-tions available with the F900R: “The new model has incorporated a number of im-age enhancement features including Soft Focus for cinematographers looking to achieve a more cinematic feel; Adaptive Detail Control to enhance detail in high-light areas and; Skin Tone Detail which allows cinematographers to enhance or

soften the details of an object (or talent) based on specific colour tonality. The camera also includes two HD-SDI out-puts for convenient on-set monitoring.”

Sales representatives from major lens suppliers were also on board for the 2007 Technology Open House showcasing a number of HD and SD lenses. Fujinon is debuting new HD lenses, including a very long HD telephoto lens, this spring. Canon’s popular line of HDgc lenses con-tinues to expand, with nearly ten being introduced over the last few years.

“The glass (lenses) you choose can really make a significant impact on the look of your production and while some cinematographers prefer to simply work with a zoom lens others will choose the accuracy and precision that prime lenses deliver,” said Carlo Beltrano from Canon Canada Inc.

“Digital cinematography has evolved so much over the years and the technolog-ical advances that have been made by lens manufacturers means that cinematogra-phers now have access to a wide range of lenses specifically designed for HD appli-cations,” said Stosh Durbacz, Canadian Sales Manager, Fujinon Inc. “It’s impor-tant for us to be able to demonstrate the capabilities and differences between our lens products.”

Camera systems like the Thomson Grass Valley Viper FilmStream were also on exhibit. John DeBoer, Head of HD Sales for Sim Video elaborated, “The Vi-pers have been extremely popular with feature filmmakers around the world and have had a similar draw here at Sim. Our Vipers have been used almost exclusively on MOWs like Marco Polo and Son of the Dragon (Reunion Pictures) and most recently for the feature production of Nightwatching the latest project by writer/director Peter Greenaway. Another major client, Norstar Entertainment Inc., has also used the Viper for their television se-ries titled Would be Kings.”

Sim Video also gave the crowd a sneak preview of some commercial test foot-age shot with the Phantom HD Cam-era. Created by Vision Research out of Wayne, New Jersey, the Phantom HD delivers 35mm depth-of-field imaging in a high-speed digital HD camera. It is the only HD camera at this time, capable of shooting at an incredible 1000 frames-per-second at full 1920x1080 HD reso-lution. Although the actual camera was

unavailable for the event, Sim Video has two Phantom HD cameras on order – the cameras should be in-house and ready to rent by Spring 2007.

All in all, the event was a great success. “The purpose of the event was to educate and inform clients about the tools avail-able to them and I think we achieved just that,” said Sim. “The feedback we have

had from clients has been tremendous and has reinforced our commitment to making the Technology Open House an annual Sim Video event.” •

Sim Video has offices in Toronto, Hali-fax, Vancouver, Los Angeles and San Francisco.

Cinequip White Turns Up the Heat at February Freeze

Billed as a pre NAB show, Cinequip-White held its Annual Trade Show, called February Freeze, in mid-month.

The company’s Toronto location - with approximately 16,000 square feet of space and showroom facilities - fea-tured new products and leading technol-ogy for the broadcast, theatrical, audio and live entertainment industries. Over 50 exhibitors were booked to bring in products from Japan, the Americas and Europe. Cameras and camera accesso-ries, including lenses, filters, supports and power supplies, were shown, along with new gear for lighting, teleprompting, cable installations, grip/staging and more. For example, Panasonic showed ground-breaking camera technology with their new Series 2000 camera and introduced a follow up camera to its AG-DVX200 – the HPX 500, a 2/3” DVCPRO HD camcorder. Recording to P2 cards, the camcorder shoots 32 high definition and standard definition formats.

JVC recently expanded its ProHD line-up with the full-res GY-HD250U HD progressive camcorder. The “compact shoulder” form factor encompasses full 60p record capability, choice of different lenses with patented ‘Focus Assist’ mode, and enhanced Cine Gamma image con-trols.

CinequipWhite also reps The ARRI Group, which had recently introduced the ARRIFLEX 416, a new Super 16 cam-era compatible with the same lenses and accessories used by its 35mm cousins. Its speed is variable from one to 75 fps, and the mirror shutter can be manually adjust-ed from 45 to 180 degrees.

Of course, the popular CSC/CICA Flea Market was on again this year, where members and attendees could swap space for cash – and vice-versa – by selling or buying used equipment.

CinequipWhite serves the production in-dustry in Canada through offices across the country.

More than 16,000 square feet of space was filled during February Freeze, as CSC and CICA mem-bers and trade show attendees perused the used gear shown in the Flea Market.



At the recent Super 16mm Sympo-sium, CSC members and attend-ees had a unique chance to see Su-

per 16mm originated images, projected in High Definition on the big screen, in the large theatre environment at York Uni-versity

Presenter Richard Stringer, csc, re-ported on the proceedings, saying that “The phenomenal results made me realize that standard def NTSC formats do not show the full potential for Super 16mm. It looks great on the big Hi Def screen!” In general, Super 16mm is accepted and used actively in HDTV distribution, even in the U.S. (where 35mm is traditionally shot), Stringer noted, adding that recent U.S. shows shot on Super 16mm includ-ed: Sex in the City, Friday Night Lights, The O.C., One Tree Hill, Tell Me You Love Me and In Case of Emergency.

Stringer’s report continues:“Most networks now list their accept-

able HD formats (film and video) and these are updated from time to time. The PBS red book states Super 16mm may be acceptable if properly transferred by a high definition telecine.

“There was a lot of surprise when Dis-covery HD USA declared that Super 16 was not an acceptable acquisition format. This statement is on their website: “Super 16mm material: high definition datacine transfers of this material do not currently produce results that are acceptable for us-age in Discovery HD Theater programs.

“Other networks have followed suit with this decision, including certain de-partments of the BBC. The Canadian HDTV website, CDTV, includes a com-ment that many broadcasters are not ac-cepting Super 16mm for HD (Ed’s Note: The www.cdtv.ca suspended operations recently; the site is no longer active). They do not mention that most Canadian net-works include Super 16mm shows on their HD channels.”

Stringer pointed out that new technol-ogies - as well as ongoing improvements in lenses, stocks, scanners, and digital in-termediates – can make Super 16mm even more desirable for HDTV use. Manufac-turers are working on the issue, he added.

“In its research, Kodak has realized that part of the misunderstanding is caused by 16mm imagery (especially shot under cer-tain conditions) being degraded by com-pression used by HD broadcasters. Kodak has joined forces with Teranex to create new technology to address this issue and at the same time manipulate grain levels while maintaining fine detail.

“Arri has developed new scanning equipment with improved registration and sophisticated image control to get the most out of film’s wide latitude.

In conclusion, Stringer updated a Ca-nadian network survey of recent Super 16mm HD production, first noting that “the CBC is pretty ambivalent about re-strictions on formats right now. They are broadcasting HD versions of Intelligence and Above and Beyond. CTV is playing Corner Gas, Instant Star, and Degrassi: The Next Generation. Global is running Falcon Beach. Alliance Atlantis (in the midst of a take-over by Canwest) has no problem with Super 16mm if it is trans-ferred to HD properly. Right now AA has National Geographic and Showcase HD

channels with History and HGTV to fol-low later in 2007. Arthur Cooper talked about shooting G Spot at the Symposium - it runs on Showcase HD.”

Stringer gave special thanks to all the presenters and sponsors for the Super 16 Symposium, including York University, Sim Video (for the HDCAM decks), John Hodgson (for recording the event), Susan Saranchuk (for getting all the details right) and Ernie Kestler, for helping put the pan-els together.

The thanks that Stringer gave were echoed after the event by attendees and participants.

Sandy Thomson, for example, gave his congratulations to all involved, saying it was the best CSC event he’d ever attend-ed, and joking that he goes back to 1970 – “though not continuously!”

Thomson, chair at the Thomson-Gor-don Group of companies, decided to re-enter the film business a couple of years back, and chose Super-16 as his preferred medium at the time.

“I have no doubts it was the right path and the events of [the Symposium] simply reinforced the decision,” he says now.

“I re-entered the business of film-making about two years ago after a hia-tus of twenty five years and what changes I found in shooting and post!. Once again, I’m a neophyte. But it’s fun, and I’m look-ing forward to my ‘last career’ shooting Super 16!” •

“I thoroughly enjoyed the symposium this past weekend and look forward to the next CSC event!” Jason Agar, LIFT

“The CSC-S/16 sympo-sium was brilliant! The hosts and guests DOPs were very informative.” Roy Marques, csc Associate, DP/Camera Operator


International participation and a comprehensive itinerary combined to make the 2007 CSC Camera As-

sistant’s course a successful and rewarding experience for all involved.

Course participants came from as far afield as Mexico, in the case of Manual Alejandro Rios Ceron, and a small town on the border between France and Swit-zerland, in the case of Yohann Malnati, who had moved to Toronto eight months before the course. Other course partici-pants came from Montreal, Winnipeg, King City, Grimsby, and Toronto, ON.

A comprehensive itinerary for the course, held February 16 – 25 in Toronto, included the PS facilities on Commission-ers Street; Clairmont Camera, Panavision Canada, Technicolor, David J. Woods Productions, and, for the first time, a visit to the new Kodak Canada

Course participants had a full compli-ment of cameras to work with, including the 35 Aaton, Super16 Aaton, Arri III, Moviecam, BL4, SR2, SR2 High Speed, SR3, SR3 High Speed, Arricam St, Pan-flex GII, Platinum, Millenium, Milleni-um XL, Panastar, Arri 535, Arri 435 and PanArri 435.

Students learned how to test equip-ment with hands-on sessions at Clair-mont, while paperwork and related duties were also explained. A full day was spent at David J Woods Productions, where stu-dents were given different perspectives on the state of video production.

Interactive and informal evening discussions with Peter Benison csc and George Hosek csc, who both showed their reels, were conducted. While at Panavi-sion, instructor Richard Wilmot was as-sisted by Vanesa Ireson as he demonstrat-ed Steadicam use. Steve Raskin conducted

a tour of Technicolor where they viewed the processing facilities and screened their tests.

Silvana Marsella and Joe Segreti were the gracious hosts as the class was among the first to visit the screening facilities at Kodak’s new home. The grand finale, a wrap party at a local restaurant, was a socia-ble and sometimes argumentative evening, as the Academy Awards were on TV.

Thanks to all the instructors for sharing

their wealth of expertise: Daniel Aboud, Pierre Bronconnier, Simon Brown, Marty

Carriero, Margaret Demchenko, Vanessa Ireson, Kevin Leblanc, Ted Overton, God-frey Pflugbeil, Ernest Spiteri, Kevin Stew-art, Mike Williams and Richard Wilmot.

Special thanks to the CSC corporate sponsors that help make the course a suc-cess: Penny Watier at PS Production Ser-vices; Denny Clairmont, Jan Madlener and Dean Tartaglia at Clairmont Camera; Johanna Gravelle, Silvana Marsella and Joe Segreti at Kodak Canada; Colin Davis and Steve Raskin at Technicolor; Helmut Cramer, Phil Cramer, Jerry Papernick and Bill Zacharuk at Panavision Canada; Da-vid & Diane Woods and Norm Hussey at David J Woods Productions..

The course participants were: Alejan-dro Ceron, Jason Charbonneau, Micah Edelstein, Richard Gira, Bruce Harper, Jeffrey Hicks, Vincent Hilsenteger, Derek Hutcheon, Boris Kurtzman, Yoann Mal-nati, Kar Wai Ng, Stephan Recksiedler, George Simeonidis and Ryan Woon. •

“This course ‘reeled’ me in to the film world. The instruc-tors all knew what they were talking about, and the ‘toys’ we got to play with were top notch, too!” George Simeonidis

by Ernie Kestler, Education chair

Course participants and instructors in the CSC Camera Assistant’s Course gathered (at Clairmont Camera, one of several sites that hosted important course activities) on a chilly day for a warmly–received class photo.


The CSC 2007 AwArd NomiNeeS Are: The roY TASh AwArd For SPoT NewS CiNemAToGrAPhYSergio Magro Storm Damage Global BC - CHAN Rob McAnally California Wildfires CTV News Thomas Michalak Suicide Bomber CTV News

The STAN CLiNToN AwArd For NewS eSSAY CiNemAToGrAPhYRandy Maahs The Gifted Carver CTV Ottawa Randy Maahs H. Imbleau & Son CTV Ottawa Luke Smith Caribou Matter Aboriginal People’s Television Network

STUdeNT CiNemAToGrAPhY Roland Echavarria Battery Powered Duckling York University Josh Fraiman Someone Came Knocking York University Errol X. Lazare The Heist The Art Institute of Vancouver

mUSiC Video CiNemAToGrAPhYAdam Marsden csc Billy Talent Devil in a Midnight Mass Spy Entertainment Adam Marsden csc Buck 65 Devil’s Eyes Revolver Films Adam Marsden csc Broken Social Scene Her Disappearing Theme Magnet Film Digital

doCUdrAmA CiNemAToGrAPhYWally Corbett csc Yours, Al Real to Reel Productions Martin Julian csc Digging Up the Trenches Cream Productions Martin Julian csc Hitler’s Last Deadly Secret: U-864 Cream Productions

roBerT BrooKS AwArd For doCUmeNTArY CiNemAToGrAPhYMichael Grippo csc Housecalls National Film Board Matthew R. Phillips csc Skylink - Aviation & Logistics Acme Pictures Andrew Watt csc Remembering Arthur Public Pictures Inc.

drAmATiC ShorT CiNemAToGrAPhY Bernard Couture csc Triangle Touareg Productions/Polaris ProductionsSerge Desrosiers csc Les Eaux Mortes MetaFilms Bernie MacNeil csc Solitude BBNS Pictures

PerFormANCe CiNemAToGrAPhY Mark Dobrescu csc The Velvet Devil West Wind Pictures Michael Spicer Roxana Mossanen Productions Tony Wannamaker csc Road to Rockstar “Entertainment Tonight, Canada”

FriTZ SPieSS AwArd For CommerCiAL CiNemAToGrAPhYRay Dumas csc Rogers Email Steam Films Dylan Macleod csc Ford Fusion Vertical Avion Film Productions Inc. Adam Marsden csc Inova Health Systems Cancer Spy Films

TV drAmA CiNemAToGrAPhYFrancois Dagenais csc Heyday! Triptych Media Norayr Kasper csc Booky Makes Her Mark Shaftsbury Films Danny Nowak csc Dragon Boys Anchor Point Pictures

TV SerieS CiNemAToGrAPhY Stephen F. McNutt csc Battlestar Galactica “Occupation” GEP Productions Inc./ NBC Universal Television Studios David Moxness csc Smallville “Arrow” Smallville 3 Films Inc. Rene Ohashi csc, asc Kidnapped “Special Delivery” Sony Pictures Television

TheATriCAL FeATUre CiNemAToGrAPhYYves Bélanger csc Cheech Go Films Jan Kiesser csc, asc Beuowulf & Grendel The Film Works Paul Sarossy csc, asc The Wicker Man Warner Bros.

Jury-selected nominees for the Canadian Society of Cinematog-raphers Awards have been final-ized, and awards will be presented at the Gala Awards Celebration, to be held Saturday, March 31, 2007 at the Westin Prince Hotel, Toronto, ON.

If you haven’t already made your plans for the evening, please contact the CSC Office at 416-266-0591 for ticket information. Special honouree and specific cat-egory awards will be presented.

The JUrY iS iN, The GALA iS NexT!

AWARDs

BiLL hiLSoN AwArd: Helmut Cremer “For outstanding service contributing to the development of the motion picture industry.”

The FUJi FiLm AwArd: Richard Stringer csc “For outstanding service to the Canadian Society of Cinematographers.”

The KodAK New CeNTUrY AwArd: Pierre Gill csc “For outstanding contribution to the art of cinematography.”

UNiQUe AwArd oF meriT: Cathryn Robertson Strength Bob Pritchard Prod.“For work of exceptional quality that is recommended by the jury.”

SPeCiAL hoNoUreeS AT

2006 CSC AwArdS


CsC MEMbER NAbs AsC AWARD

David Moxness, csc, (left) won the Episodic Television award at the 21st annual American Society of Cin-ematographers Outstanding Achievement Awards gala in Los Angeles, held at the end of February.

It was the first ASC nomination for Toronto/Vancouver DOP Moxness. As reported in the last CSC newsletter, Moxness was among five other nominees for Episodic TV.

Moxness won for his work in the “Arrow” episode of Smallville, which airs on The CW Network. His work on the show has also been jury-nominated for a CSC award.

GENIE AWARDs TO NFb, CsC PRODuCER

Manufactured Land-scapes is the Best Canadian Documentary of the year, according to the Academy of Canadian Cinema and Televi-sion.

The Genie Award-winning doc follows renowned Cana-dian photographer Edward Burtynsky through China as he documents that country’s massive industrial revolution.

Produced by Mercury Films Inc. (Nick de Pencier, csc and Jennifer Baichwal) and Foundry Films Inc. (Dan-iel Iron), directed by Jennifer Baichwal, and shot in Super 16mm by Peter Mettler, the film was a co-production with the NFB (Peter Starr, Gerry Flahive).

an nFB co-produced animated film, The Danish Poet, won the Best Animated Short award; it was also nom-inated for an Oscar® in the animated short category.

Ed Burtynsky (left) and Peter Mettler (DOP) at Cankun Factory in China. Photo credit: Sanjay Mehta

c 2006 Mercury Films


NEWs ClIPs


CsC REPORTs ON 2006 AT AGM

The CSC held its 2006 Annual Gen-eral Meeting on February 12, 2007, at Precision Camera Inc. in Toronto, ON.

Reports from the CSC Executive, in-cluding President Joan Hutton csc; Vice President Richard Stringer csc; Secretary Antonin Lhotsky; Treasurer Joe Sunday phd; Membership Chair Philip Earnshaw csc; Awards Chairperson Susan Saranchuk and Education Chair Ernie Kestler, were received, following Opening Remarks and Remembrances.

Joan Hutton began the meeting with a minute of silence for members who passed away during the year, making spe-cial mention of the passing of John Seale csc, Dan Gibson csc, Terry Clairmont, and Don Hall, saying they all will be sadly missed.

No nominations were received for the Executive Board, and so the current ex-ecutive has agreed to continue in their po-sitions for 2007. All the members of the Executive Board were warmly thanked for their dedication and hard work, as well as administrator Susan Saranchuk, and CSC News editor Don Angus.

Hutton described how Wm .F. White had donated space in its building for a long desired CSC Clubhouse, allowing us to create a cozy meeting space with freshly painted walls, couches and a conference table. A library of books, magazines, tapes, and photographs is being created, and archival material is being organized.

During 2006, preparations for celebra-tions around the CSC’s 50th Anniversary in 2007 led to the revamping of the logo and masthead of the magazine. As well, production of a commemorative photo book and DVD with member’s interviews was undertaken, Hutton noted.

CSC Secretary Antonin Lhotsky re-minded members that minutes of all meetings may be viewed upon request, and that audio tapes are available for lis-tening at the CSC Clubhouse at WFW.

The Vice-President’s report described recent Society activities, including the Technology Events at Sim Video, Panavi-sion and CinequipWhite, as well as par-ticipation at informative industry events held at Kodak Canada and Ryerson’s Rog-ers Communications Centre.

Stringer also noted that the new Club-house had already been used for some HD camera tests, and that more workshops

and hands-on session were being planned for 2007.

In his Membership Report, Philip Earnshaw csc, noted that the CSC wel-comed 17 new affiliate members, eight new Associate members and six new full members, bringing the over-all member-ship to 490.

The membership committee met twice in 2006 to review submissions of those who wished to upgrade to full member-ship, and following the bylaws and regu-

lations, unanimously approved the six cinematographers for full member status: John Badcock csc; Steve Cosens csc; Ray Dumas csc; Karl Herrmann csc; Adam Marsden csc; and Kim C. Miles csc.

Health insurance was added as a new optional member benefit, it was ex-plained, and Earnshaw added that two new sponsors, Image Pacific Broadcast Rentals and The 3D Camera Company, came on-board to show their support for the CSC. con’t on pg. 24

35mm/16mm Services | HD/SD Telecine and Editorial | Digital IntermediatesLaboratory Evans: 416.205.8155 | Laboratory Carlaw: 416.461.8090

Postproduction: 416.364.4321


from pg. 23 Other reports at the meeting cov-ered the activities of the Education Commit-tee, including lighting courses and the Cam-era Assistant’s course, and a review of Awards recipients and nominees for the year.

CAMERA AssIsT sTuDENTNOW IN Tv ROTATION

Toronto DoP Pasha Patriki, a CSC camera assistant student in 2004, has come a long way since taking the course.

His thirty second commercial, shot and directed for a Russian online dating community, captured a Best Low Budget Commercial award at the Advision Awards in New York. He’s also just finished work on a PSA for the State of North Carolina’s recycling program.

Meanwhile, a music video he shot last fall hit rotation on Much More Music and Much Loud, the music specialty channels. My Little Secret was shot for recording artist Tara Slone.

Patriki reports he has just upgraded his equipment package, moving to a Pana-sonic HVX-200, so he can deliver true HD imagery in 1080i or 720p, as well as DVCPRO 50 and DV.

The camera records HD footage direct to a digital data card or hard disk, eliminat-ing the need to transfer the tapes to non-linear editing systems. Patriki likes the new camera (along with his 7” monitor, wireless lavaliere package, and carbon fibre tripod) for small fiction shoots (music videos, dra-ma, low budget commercials), and shoot-ing on-the-go projects (like documentaries, making-of ’s, etc).

KODAK OsCAR® sTREAK CONTINuEs

Any bets placed that Eastman Kodak Company would keep a remarkable streak alive at the 2007 Academy Awards® were more than a sure thing.

For the 79th consecutive year, going back to the first Oscar presentations in 1928, the Best Picture winners have all been produced on Kodak film. Again in 2007, all five features vying for an Acad-emy Award in the Best Picture category were produced on Kodak film.

Martin Scorcese’s The Departed was Named Best Picture of the Year for 2007; the nominees included Babel, Letters from Iwo Jima, Little Miss Sunshine and The Queen.

All of the films nominated for the 2007 Oscar for Achievement in Cinema-tography were also produced on Kodak film. The nominees were: Vilmos Zsig-mond, ASC for The Black Dahlia; Em-manuel Lubezki, ASC, AMC for Children of Men; Dick Pope, BSC for The Illusion-ist; Guillermo Navarro, ASC, AMC for Pan’s Labyrinth; and Wally Pfister, ASC for The Prestige.

“From the beginning of the indus-try, Kodak has recognized that cinema is a form of artistic expression,” said Mary Jane Hellyar, president of Entertainment Imaging, and senior vice president, East-man Kodak Company. “It is tremendously gratifying that so many award-winning artists continue to tell their stories using Kodak film. We congratulate all of the 2007 nominees for their extraordinary achievements and look forward to many more years of partnering with the motion picture industry in the creation of all its exciting and compelling work.”

Oscar and Academy Award are regis-tered trademarks of AMPAS.

NEW HD lENsEs FROM FujINON

Fujinon will debut new HD lenses at NAB2007, including a new HD telephoto lens, called the widest long lens available, and new compact ENG-type camera lens.

The new XA88x8.8BESM HD tele-photo lens features 88x magnification and a focal length of 8.8mm to 777mm. It comes with Fujinon’s patented Preci-sion Focus Assist (PFA) to help addresses precise focus issues in HDTV production, shallow depth of focus and the small size and lower resolution of camera viewfind-ers.

It can capture images under extreme low light conditions, supported with an F number of 1.7 from 8.8mm to 348mm, and it only drops to F3.8 at 777mm, the company describes. At 258 (H) x 270 (W) x 625mm (L) – with PFA, the XA88x8.8 is also quite compact.

The XA88x8.8BESM has Fujinon’s DIGI POWER digital controls, featuring F number limit, Quick Zoom, two-shot presets and other digital functions. The zoom/focus mode provides three distinc-tive rotational curves for zoom and focus – helpful when switching between differ-ent production styles.

The XA22x7BES is a lightweight box

lens that features higher optical qual-ity than standard ENG-type lenses, com-bined with the zoom and focus perfor-mance of a larger studio lens. With a focal length starting at 7mm and ranging up to 154mm and superb F- stop ramping char-acteristics, it is well suited for shooting in tight locations and smaller studios.

The wide angle of 7mm (68 degrees 49 minutes) is the widest in its class, and the XA22X7BES will focus at a close 0.8m.

PANAsONIC, PANAvIsION AND DEluxE INK MulTI-MIllION HD AGREEMENT

Panasonic will supply Panavision and Deluxe Entertainment Services Group with more than two million dollars in high definition products over the next year.

“In the past few years, we have seen Panasonic products reach into ‘film-style’ television production, one of our core businesses,” said Bob Beitcher, President and CEO of Panavision, in announcing the agreement. “The price/performance ratio of these products – including cam-eras, VTRs and displays – is impressive. As HD origination expands around the world, it makes logical business and tech-nology sense for Panavision to offer a range of Panasonic equipment to our cus-tomers.”

Under a new agreement among the companies, Panasonic’s HD products – including cameras, recorders, produc-tion monitors and plasmas - will be avail-able at Panavision’s and Deluxe Entertain-ment’s operations worldwide. Panasonic will provide both companies with a wide range of HD equipment including lead-ing DVCPRO HD camcorders (including shoulder-mount, hand-held and VariCam HD models); HD VTRs, a full line-up of LCD HD monitors and new 65” 1080p plasma displays.

“The substantial investment by Pan-avision and Deluxe Entertainment in Panasonic’s production-quality HD cam-eras, recorders, and monitors for their prominent customers is a testament to the extraordinary quality and flexibility that we can bring to the production and post-production of motion pictures, tele-vision series and television commercials,” added John Baisley, President of Panasonic Broadcast U.S.A. “Panavision has a well-establ ished, worldwide reputation

con’t on pg. 26


CAMERA ClAssIFIEDs

CAMERA ClAssIFIEDs a free service to CSC members.

if you have items you’d like to buy or sell, please e-mail your list to

[email protected]

FOR SALE: Padded Barney for Arri SR. Bright Red...look cool while keeping your camera hot. $100.00 OBO. Please contact Peter 416-698-4482; 604-730-0860 or [email protected]

WANTED: One or two 400 ft Mags for Arri “S” 16mm by member of 669. Please contact Enrique 604-313-9736 or [email protected].

FOR SALE: Panasonic HVX-200 camera. Low hours, like new. 8 months left on Ca-nadian warranty. $4900.00. Call David @ 416-920-7979.

FOR SALE: Sony DSR 570WS with Canon lens YJ 18X9B4 IRS Head Drum Operating 1364 hours, tape transport 613 hours, total operating 1877 hours. Package includes: Porta Brace with rain cover, Circular Poler-izer filter, 1/2 Black Promist filter. Some minor cosmetic wear and tear but in good working condition. C$15,000. For more info and pictures contact Mike Sorel at (403) 451-4484 ext 273 or [email protected]

FOR SALE: Sony DSR-500WSL DV CAM camcorder hours: A=1435 B=0776 C=1810 Eng + French manuals. $4,400. Canon YJ18x9BRS zoom lens $2,200. Canon YJ12x6.5B4 zoom lens $4,000. Sony UVW-100 Betacam SP camcorder, Fujinon S16X6.7BRM- 18 zoom lens, Porta Brace soft carrying case $1,250. Contact Nick de Pencier, Mercury Films 416 516-2661 [email protected].

FOR SALE: Field and post-production equipment. Cinematographer’s personal Betacam camera and film sound equip-ment: Neumann mics, Micron wirelesses, etc. Sony BVW400 camera, tripod, lights, grip. Full list at www.saltwater.ca/equip-ment

FOR SALE: David J. Woods Heads Up LCD eyeglasses kit for viewing NTSC video. Custom power pack – uses (NP-98) Sony batteries – one included. Original val-ue over $1,000, priced to sell at $300. Alu-minum water resistant / crash box for Arri 2C with 400 mag. Replaceable plexiglass window, $150. Selection of lead lining to avoid x-ray damage when travelling with film stock, $50. Non-folding rolling spread-er, $20. E-mail: [email protected].

FOR SALE: Arri SRII camera, excellent condition: SRII camera body (metered); magazine 40 ft.; Zeiss 10-100mm T2.0 II BA-auto; Zeiss 9.5mm T1.3; right-hand grip on & off (flat plug); con’t

support LS.6 for Zeiss 10-100 & 2x Mutar; clap ring for Zeiss 10-100mm T2.0 II; guide rails (give lightweight support); Arri variable speed unit VSU; custom case (for 16mm camera package). $19,900 plus taxes. Call 613-255-3200 cell.

FOR SALE: Sony DVW700 Digital Betacam camera, excellent condition:1 Sony viewfind-er; 1 Sony battery case; 1 Sony tripod adaptor; 1 8x160mm Canon zoom lens. $19,900 plus taxes. Call 613-255-3200 cell.

FOR SALE: 52 filters 4 x 5.6, Enhancer, Neu-tral Density, Black Promist, Ultra Contrast, Soft FX - 85, 8N3, 6, 9, Regular Fogs, Corals, Sepia, Black Net, Low Light, Day for Night; 8: 6.6 x 6.6. ND Soft Grads, Sunset, Twilight, Sky Blue; 5: 4x4 Circle Diffusion; 3: 4 1/2 Round Polas; 3: 138 Round Polas. Contact Bob Saad at 416-481-5429.


from pg. 24 for offering high-precision camera systems and associated production prod-ucts, and we are delighted they are moving to Panasonic as a key digital camera systems supplier for both tape-based and tapeless solid-state memory-based P2 products.”

“The digital image processing we per-form at Deluxe requires the highest qual-ity tools available,” said Cyril Drabinksy, CEO, Deluxe Entertainment Services. “We believe that Panasonic’s range of well-engineered HD video equipment ful-fills the demanding requirements of both ourselves and our customers.”

Panavision and Deluxe Entertainment are both owned by MacAndrews and Forbes Holdings, Inc., Panasonic Canada Inc. is a principal Canadian subsidiary of Matsushita Electric Industrial Co., Ltd., (MEI).

Ps PREsENTs INDusTRY-buIlDERs AWARD

Wayne Grigsby and David MacLeod of Big Motion Pictures Ltd. are the win-ners of the 2007 PS Industry-Builders Award, it was announced by Douglas Bar-rett, President and CEO of PS Production Services Ltd.

The award was presented by PS Founder and Executive Chairman, Doug Dales, together with last year’s inaugural recipients, Epitome Exec’s, Linda Schuyler and Steven Stohn.

“This award is for Wayne Grigsby’s tireless commitment in leading the At-lantic Film Festival through significant restructuring and growth,” said Barrett, “and to his business partner, David Ma-cLeod, for his voluntary efforts as Found-

ing Chairman of the Nova Scotia Motion Picture Industry Association. The award is unique because it honours those individu-als who have enhanced the Canadian Film and Television Industry through exempla-ry dedication and volunteerism.”

“The key component of this trophy is my first Angénieux lens from France, now thirty years old,” said Dales. ”It has seen its way through nearly as much Canadi-an programming as the CRTC, and I’m proud to turn it over to two very worthy individuals, permanently mounted as part of this beautiful statuette.”

Big Motion Pictures Ltd. is an in-dependent production company based in Chester, N.S. Grigsby and MacLeod launched the company in 1999 and have since introduced multiple acclaimed Ca-nadian titles, including Task Force: Caviar and Trudeau: The Early Years.

IPbR AND ICbR suPPORTsIlENT sOuND MEDIA ON ROCK DOC PRODuCTION

Image Pacific Broadcast Rentals (IPBR) Vancouver, and Image Central Broadcast Rentals (ICBR) Toronto, were a critical part of the recent Silent Sound Media documentary production of Juno Award-winning band, Alexisonfire.

Shot with four separate Sony HDW-F900/3 HDCAM high definition cameras, using exclusively Fujinon HD lenses, the concert footage is the major performance portion of a 90 minute documentary, produced by Meg Spevak and directed by Marc Travares. It’s their 4th year student thesis project, as the two are in their final

year at Ryerson University’s School of Ra-dio and Television Arts.

The production team also utilized nu-merous Panasonic AG-HVX-200 HD P2 cameras to cover backstage during six sold-out Toronto performances in December, 2006. The band was also chronicled on its headlining tour across the U.S., which will also be integrated into the final docu-mentary.

Richard Grunberg, Ryerson University School of Radio and Television Arts Profes-sor, introduced the students to IPBR/ICBR National Operations manager Dale Rech-ner, in hopes of finding some guidance and assistance for this major endeavor.

ICBR operations manager, Anthony Sacco, was instrumental in putting to-gether a high definition camera package that suited the production’s needs and budget. IPBR/ICBR recruited Stosh Durbacz of Fujinon Inc. to participate in the project which utilized Fujinon’s HA18x7.6BERM, HA16x6.3ERD, and HA22x7.8ERM High Definition lenses. Footage of the performance is to be high-lighted at this year’s NAB in Las Vegas at Fujinon’s Product Booth.

Silent Sound Media is an emerging production company that was created as a way of collaborating with up and coming Canadian talent. Distort Entertainment, and Bedlam Music Management, Alex-isonfire’s management team, were also val-ued team members on the project. IPBR/ICBR says it embraced the opportunity to participate in the educational production process, noting the producers are future leaders in Canada’s film and video produc-tion community. •


CSC FULL MEMBERS

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

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

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

Edward Pietrzkiewicz cscRonald Plante cscRandal Platt cscMilan Podsedly cscHang Poon cscAndreas Poulsson cscPascal Provost cscDon Purser cscJoel Ransom cscOusama Rawi csc bscWilliam Reeve cscStephen Reizes cscDerek Rogers cscBrad Rushing cscBranimir Ruzic cscRobert Saad cscVictor Sarin cscPaul Sarossy csc bscGavin Smith cscChristopher Soos cscJohn Spooner cscRonald Stannett cscBarry Stone cscMichael Storey cscRichard Stringer cscMichael Sweeney cscAdam Swica cscAttila Szalay cscChristopher Tammaro cscJason Tan cscGabor Tarko cscJohn Tarver cscBrian Thomson cscPaul Tolton cscBert Tougas cscChris Triffo cscSean Valentini cscDerek Vanlint cscGordon Verheul cscRoger Vernon cscSteve Vernon cscDaniel Villeneuve cscDaniel Vincelette cscMichael Wale cscJohn Walker cscJames Wallace csc

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

FULL LIFE MEMBERS

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

CSC full and life memBerS


British Columbia, Prairies

As of March 17th, the new address for I.A.T.S.E. Local 669 is 3823 Hen-ning Drive, Unit 217, Burnaby, BC, V5C 6P3 PH: 778-330-1669 FAX: 778-330-1670. The 1-800-531-3855 remains the same. The Calgary IATSE of-fice is temporarily closed; direct any correspondence or communication to the B.C. Office.

4400 Series 4 (Series): DOP: Tony Westman, csc; Op: Micheal Wrinch; to July 24, North Vancouver, B.C.

Blood Ties HD (Series): DOP: Danny Nowak, csc; Op: Chris Tammaro, csc; to Mar 23, Maple Ridge, B.C.

Men in Trees – Season 1 – 35mm: DOP: David Geddes, csc; Op: Keith Thomson; to Apr 3, North Vancouver, B.C.

Smallville – Season 6 (Series): Glen Winter, csc; Op: David Moxness, csc; to Apr 12, Burnaby, BC

The Quality of Life (MOW): DOP: David Frazee, csc; Op/st: Lou Gruzelier; to Mar 3, Burnaby, B.C.

Horsemen (Feature Film): DOP: Eric Broms; Op: Gilles Corbeil; to Mar 22, Winnipeg, MB.

Ontario, Quebec, Atlantic

Cadavres (Feature Film): DOP: Bernard Couture; to Mar 23, Montreal, QC.

The Hulk (Feature Film): DOP/Op: TBA; to Oct 12, Toronto, ON.

Ice Planet (Series): DOP/Op: TBA; DELAYED, Toronto, ON.

Murdoch Mysteries (Series): DOP/Op: TBA; to Sep 15, Toronto, ON.

Rent A Goalie – Season 2 – HD: DOP: James E. Jeffrey, csc; Op: Kim Derko, csc; to Apr 5, Toronto, ON.

Too Young to Marry (MOW HD): DOP: Stephen Reizes, csc; Op: Jeffrey Ho-hener; to Mar 19, Ottawa, ON.

Twitches 2 (TV Movie): DOP: Manfred Guthe, csc; Op: TBA; to May 18, Toronto, ON.

PRODuCTION NOTEs AND CsC CAlENDAR

schedule of Meetings and Events of Interest to CsC Members

TORONTOSaturday, March 31: The 2007 CSC Awards Gala will be held at the Westin Prince Hotel in Toronto. For information and tickets, call (416) 266-0591.

Thursday, March 22 - 25: Canadian Filmmakers Festival, various, Toronto, ON www.canfilmfest.ca

March 27-April 1: Clairmont Camera Toronto is presenting an Open House and a series of demos and training seminars featuring the exciting new Arri

D-20 digital camera. Special sessions for CSC and/or IATSE members are scheduled. For more information, call 416-467-1700.

Tuesday, March 27: Clairmont Open House. RSVP to Iris at 416-467-1700

Thursday, April 19 - 29: Hot Docs 2007, various, Toronto, ON www.hotdocs.ca

Tuesday, April 24 – 27: ShowCanada 2007 Conference and Trade Show, Niagara Falls, ON www.showcanada.ca

The Canadian Filmmakers Festival is a non-profit organization devoted to the celebration, promotion and advancement of Canadian filmmaking talent. By

exclusively featuring Canadian films, our goal is to provide filmmakers with valuable showcasing and networking opportunities and to offer the public home-

grown productions to view and enjoy.

Check www.csc.ca/calendar for the latest information

March 2007 Volume 26, No. 7 Dinosaur Hunters Fly High in 3-D · work on the ‘Hitman’ Hart...

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Transcript of March 2007 Volume 26, No. 7 Dinosaur Hunters Fly High in 3-D · work on the ‘Hitman’ Hart...