BLINK… - Canadian Society of Cinematographers · Flight 182 and Daddy Tran at HotDocs, Industry News and More…. CSCers are accessories to Humber crime drama BLINK

Summer 2008 Volume 27, No. 10Canadian Publications Mail Product Sales Agreement No. 478423

In this issue:Flight 182 and Daddy Tran at HotDocs, Industry News and More….

CSCers are accessories to Humber crime drama

BLINK…and You’re Dead

The Canadian Society of Cinematographers was founded in 1957 by a group of Toronto, Montreal and Ottawa cameramen. Since then over 800 cinematog-raphers and persons in associated occupations have joined the organization. The purpose of the CSC is to promote the art and craft of cinematography and to provide tangible recognition of the common bonds that link film and video professionals, from the aspiring student and camera assistant to the news veteran and senior director of photography. We facilitate the dissemination and exchange of technical information, and endeavor to advance the knowledge and status of our members within the industry. As an organization dedicated to furthering technical assistance , we maintain contact with non-partisan groups in our industry, but have no political or union affiliation.

CSC EXECUTIVEPresident: Joan Hutton cscVice-President: George Willis csc sascTreasurer: Joseph Sunday phdSecretary: Antonin Lhotsky cscMembership: Philip Earnshaw cscPublicity: Nikos Evdemon cscDirector Ex-officio: Dylan Mcleod cscEducation: Ernie KestlerEditor Emeritus: Don AngusMembership inquiries: 416-266-0591

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CSC OfficeCanadian Society of CinematographersExecutive Director: Susan Saranchuk3007 Kingston Road Suite 131Toronto, Ontario M1M 1P1Tel 416-266-0591 Fax 416-266-3996email: [email protected]: Lee Rickwood (416) 260-8859 email: [email protected]: Joan Hutton cscCo-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. 478423.

CONTENTs s u m m E r 2 0 0 8v O l u m E 2 7 , N O . 1 0

2 President’s rePort

4 - CsCers HelP Humber make a movie

7 - Hot doCs 2008 Air India Flight 182 and Daddy Tran’s Life in 3D

14 - industry news Tech Training, Product Information and Funding Announcements

17 - Classifieds

18 - CsC full and life members

20 - ProduCtion notes and Calendar

COVER PHOTO courtesy of George Hosek csc: Student actors play a deadly game of cards in the Humber College feature-length movie Blink. Left to right are Alberto Tihan, Bruno Soares, Sydney Kondruss, Qaseem Gul and Amanda Rose.

visit: www.csc.ca

7 7

4

2 • CSC News - Summer 2008

PrEsIDENT’s rEPOrT

As proud as we all are of the role that the CSC has played over the years in developing the craft of

cinematography in Canada, we know we can always do better!

That’s one reason why George Willis csc, our long-standing Vice President, has created a survey that will be distrib-uted to all our members.

It asks about the CSC’s Awards (more on that in a moment) and Gala, our web-site and online reels, our news magazine, clubhouse and more. It will go out as an insert in this issue, and the upcom-ing September issue, of CSC NEWS. As well, it will be placed on the website per-manently, once finalized.

Of course, the survey is designed to elicit your responses, and your input about the CSC and its on-going activities. We want to make every effort to ensure that you all are engaged with the CSC, that you continue to take pride in the CSC, and that all members have the opportu-nity for input into its future activities.

Based on some feedback we have al-ready received specifically about the Awards process, our Ad Hoc Committee is looking at some changes to next year's awards, including:

A new category of Lifestyles/Reality will be added, and the Corporate/Indus-trial category will be reinstated.

No matter what the category, the num-ber of nominations will range from three to five, at the discretion of the judges.

All CSC members can enter the Awards competition, no matter where they reside, and entries will be accepted from non CSC members who are Cana-dian residents. As such, entry forms will be sent to all local camera unions across the country.

As part of this expanded outreach into the Canadian cinematography commu-nity, the CSC is giving its support to an interesting film project called "Northern Lights."

Its goal is to celebrate the successes of Canadian cinematography, and pro-vide an engaging look at the importance of the cinematographer’s role in film production.

The CSC endorses Northern Lights and encourages all interested parties to support this important film, which is being produced by Antonio Galloro csc. You can find out more about the project at www.northernlights-csc.com.

CSC News Summer Issue 2008CSC Honours, Surveys Cinematographer Community

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B link, the movie’s working title, is a solid 77 minutes long, made on a shoestring budget and shot

in 18 days in May and June. It’s pretty much an average-length television fea-ture, says director John Bourgeois, not that it will likely ever air on TV. He says, somewhat wistfully, that it may make it to a couple of festivals.

Bourgeois explains that Blink was this year’s final exercise for his graduat-ing acting class at Humber College in Toronto, a chance for his students to gain first-hand experience in front of a camera in scenes professionally written, lit and shot. Bourgeois, an experienced Canadian actor and director, is head of the Acting for Film and TV Program at Humber College’s School for the Cre-ative and Performing Arts.

He was the lively and witty host for the 2008 CSC Awards dinner last March, a return performance following his presentation of the CSC TV Series Award the year before.

Bourgeois’ chief collaborators on the student movie, a murder mystery, were director of photography George Hosek csc – for the second consecutive year – and camera operator Ian McLaren, a member of the support staff for the film and TV acting program. McLaren is a Humber theatrical production gradu-ate and a recent affiliate member of the Canadian Society of Cinematographers. He was ecstatic to team with a veteran European trained cinematographer like Hosek and earlier with George Willis csc sasc, who worked on pre-production for last year’s shoot before he had to bow out for another commitment.

Bourgeois, who wrote the 55-page script, says it was important to place his 22 students in a real motion picture

set, not only to hone their acting skills but also to learn the disciplines of the filmmakers’ craft. His actors practised in front of hand-held cameras during the academic year, but here, on a surrogate set, they had to learn their marks, find their lights and survive the often back-to-front, hurry-up-and-wait frustration and confusion of shooting a movie.

Last year’s inaugural production, also shot by Hosek, was a bit frantic and re-lied on the students to help build and erect sets. With a little more money this June, Bourgeois says, Blink was shot mainly in the theatre of the Humber College Lakeshore Campus, with pro-fessional construction and art decora-tion of the nightclub setting. Some scenes were shot in the dimly lit tunnels connecting the several Victorian build-ings on the campus, formerly a mental hospital from 1890 until 1979.

“Spooky and scary,” says a member of the cast. Twenty-year-old Sydney Kon-druss, daughter of CTV news producer

Guido Kondruss and Susan Saranchuk, executive director of the CSC, could practically hear the cries of the mentally anguished. “There was talk of there be-ing ghosts … but I think we made too much noise for them.”

Kondruss says the project was “ex-tremely valuable.” Even the waiting was a learning opportunity, she says, “try-ing to keep focus while having to wait an hour before the next shot is set up, keeping your momentum going and un-derstanding where you are (in the story) when your next scene does not relate to what you did before. You’ve got to be on the ball all the time.”

In addition to director/teacher Bour-geois, she says DOP Hosek played a large part in teaching the student actors how to behave in front of the camera. And behind it, too.

Hosek says part of his job was to help show the young cast the technical ropes, including emphasis on hitting their marks and finding their own individual light. “It takes patience to teach a novice performer how to find their own light and to turn toward the camera.”

Then there was the discipline of stay-ing quiet when not in the scene. “I tried to tell them that (in real life) you could get fired or not called the next time” if set behaviour is inappropriate.

Kondruss says the cast loved Hosek. “He was so warm and such a friendly guy; he took a few minutes to talk to everyone. He had his job to do and we all took that very seriously.”

In turn, Hosek, who deep-discount-ed his service fees for a “good cause,” lauds the students for their talent and eagerness and Bourgeois and McLaren for their work over the long, fatigu-ing hours of production. “Ian was the

Lights, Camera… BlinkCSCers Help Humber Make a Movie

By Don Angus

‘There was talk of there being ghosts… but I think we made

too much noise’

Acting Students

CSC News - Summer 2008 • 5

DOP George Hosek csc (left) and camera operator Ian McLaren (centre) shoot a scene for the Humber College movie Blink in the confines of a tunnel on the college’s Lakeshore campus in Toronto. Key grip Erica Sherwood is in the background and camera assistant Frances Lai is at right. Below Blink writer/director John Bourgeois talks with several members of his cast: (from left) David Schilling, Sydney Kondruss, Qaseem Gul, Alberto Tihan and Amanda Rose.

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producer guy,” the DOP says. He man-aged the set development, obtained equipment, hung lights, operated the lone HD camera, and generally was cook and bottle washer. Bourgeois con-curs that the 24-year-old McLaren made the show run.

McLaren’s route to Blink was driven by a virtual love affair with all of show business from an early age. Growing up in small-city Ontario, first in Kitchener and then Brantford, young Ian was guid-ed into arts by his parents, and was “an avid symphony-goer since age six.” He got into choral music, and toured Can-ada with a youth choir, but “I’ve always had a passion for, I’ve always wanted to make movies.”

In high school, he taught himself to make small, primitive movies and in-terned at a small production house in Brantford, learning the rudiments of framing, composition and editing. How-ever, when his efforts to get into film school were unsuccessful he enrolled in Humber’s theatrical production pro-gram about five years ago. Barely out of his teens, McLaren worked as a freelance technician and production manager for Kingswood Music Theatre at Canada’s Wonderland and then returned to Hum-ber to work with Bourgeois.

He says it has been a good move. His contact with experienced DOPs like Hosek and Willis “has taught me a lot,” and he adds that he would enjoy being part of any mentorship program the CSC may develop.

McLaren says Blink cost about $18,000, barely enough for a good used car, but it covered the DOP, a gaffer, key grip, camera assist and audio recorder. The HD camera was the college’s Pa-nasonic AG-HVX200 P2 mini-DV, mounted with a Kinomatik MOVIE- tube ST converter to accommodate a set of Zeiss high-speed 35mm primes: 16, 18, 25, 35, 50, 65, 85 and 100mm (“We didn’t use the 16mm or 100mm”).

The camera package was provided by David Woods at D.J. Woods, lenses by Leslie Mercado at PS Production Servic-es. Existing lights for the theatre stage were used in the nightclub scenes. Addi-tional lighting, grip and dolly grip were provided by Brian Dugan at William F. White International. All production consumables were provided by Michael O’Connor at CinequipWhite.


THE CREwRemington North - Production ManagerFrances Lai - Assistant CameraKevin Brown - GafferErica Sherwood - Key GripRachelle Audet - Location Audio RecordistGarth Droog - Production AssistantTECHNICAL DATALIGHTING:16 – Alkalite VersaBar 270 LED fixtures20 – Altman 6” Fresnel 500w10 – Altman 8” Fresnel 1Kw16 – ETC Source 4s 750w10 – Strand SL 575 watt10 – Selecon Pacific 12o-28o 1k Zoomspots10 – Selecon Pacific 23o-50o 750w Zoomspots8 – wFw 18” Arena Scoop 1kw2 – 18” Altman Photo scoop 1kw2 – KinoFlo Diva 4001 – Lowel SuperAmbi 6pc. Light KitAdditional lighting, grip and dolly grip provided byBrian Dugan at william F. white InternationalCAMERA:Panasonic AG-HVX200 P2 HD

Kinomatik MOVIEtube STZeiss high speed 35mm primes:16mm, 18mm, 25mm, 35mm, 50mm, 65mm, 85mm, 100mmChrosziel follow focusArri LMB-3 4x4 matte boxSony electronic viewfinderMarshall VR70P HDA 7” monitorAnton Bauer Dionic 90 digital batteriesCartoni Delta tripodShot in DVCPRO HD 720p 24nPCamera package provided by David woods at D.J. woods.Lenses provided by Leslie Mercado at PS Production Services.SOuND:Sennheiser ME66/K6 shotgun microphone x2Shure FP33 3ch mixerSony MDR7506 Headphones(All audio gear was in-house)

PRODuCTION MATERIALS:All production consumables provided by Michael O’Connor at Cinequip white.

Camera operator Ian McLaren and AC Frances Lai (in the background) shoot a scene for Blink with student actors Sydney Kondruss (left), Shadia Ali.


CSC Members Shine at

By Lance Carlson csc

Canadian International Doc-umentary Festival wrapped up its most successful event ever this time around with a record-breaking attendance of 85,000, a 25% increase over last year.

Over the 11-day festival, 172 films repre-senting 36 countries were featured in 240+ screenings. Hot Docs hosted over 200 film-makers and subjects who attended screen-ings to participate in informative post-screening Q&As with festival audiences.

“The success of this year’s Festival is a testament to our audiences,” said Executive Director Chris McDonald. “Their passion for docs and investment in the Festival is inspiring. Filmmakers love screening their work in this city.”

Docs for Schools, Hot Docs’ educa-tional initiative that offers free in-school and in-theatre screenings of festival films for students and educators in Toronto and the surrounding area, also saw remarkable growth with 22,000 students participating, up from 15,000 in 2007.

Also North America’s largest documen-tary conference and market, Hot Docs welcomed 2210 industry delegates, ac-credited media and sponsors, including official delegations from Catalan, South Korea, Brazil, Italy and the Nordic region, who all took part in a wealth of profes-sional sessions and market events. The Toronto Documentary Forum, Hot Docs’ renowned market event, also had a banner event with 550 delegates, including 190 broadcasters and distributors.

rom its humble beginnings fifteen years ago,

HotDocs has matured into a documentary festival

of significance (largest in North America) and class.

I remember in the first few years, screening films on

less than stellar televisions set in the Bar Italia and

others along the College Street strip through Little

Italy. The good old days were fun and not so bad,

but let’s just say, thanks to the organizers for their

vision and organization and “Vive la difference!”

F


The Industry Centre is now housed at Victoria College and some of the main screening venues are the Isabel Bader Theatre, Innis College and the ROM Theatre, giving a pleasant intellectual air. The refurbished Bloor and the Royal offer some comfortable classic Art Deco ambi-ance and the Cumberland add a touch of multiplex chic. And, for spectacle and real class, the opening night Gala was rolled out at the Wintergarden Theatre.

And, speaking of opening night gala; the Sturla Gunnerson directed film, AIR INDIA FLIGHT 182 is a brilliant, tour de force of investigative documentary and re-constructions to create forceful state-ment from the vantage point of those who lost family in this barbarous act terrorism. It was brilliantly shot by Kirk Tougas and Tony Westman csc; please see the adjacent report and review for more on this film.

Another film in the ‘tour de force’ category was PASSAGE, co-produced, written and directed by John Walker csc. This is a beautiful film which attempts

to clarify much of the mystery that still surrounds the Sir John Franklin expedi-tion to discover the NorthWest Passage in the 1840s and the efforts of the British Admiralty to write (and maintain to this day) their own history regarding these events.

Thank you, John, for weaving together this amazing adventure in a brilliant bal-ance of historical facts, fictions, as well as real and re-constructed sequences. Only a seasoned and mature filmmaker of John’s capability and integrity could even attempt this. And, thank you John for bringing Kent Nason into the club. Welcome aboard Kent: I hope you will continue to reap benefits. Down the road, Zoe Dirse will be talking to John and Kent for further revelations of this fabulous documentary.

Then there is the charming film DAD-DY TRAN shot by John Minh Tran and produced and directed by his wife Siu Ta. It is a very personal story chronicling the Tran family’s exodus from Viet Nam as ‘boat people’ in 1979, his Dad’s fascina-

tion with photography. Hai Tran (John’s Dad) is now a jolly 65 year old who now revels in 3-D photography and enthusi-astically thrusts a 3-D viewer (2 ¼ square transparencies) into the face of anyone who will pause to chat. There’s more on this film, too, in this Hot Docs report.

Last but not least is a bit of a mood piece, again co-produced and by John Walker and co-DOP-ed (is that right?) by John and Kim Derko. Here, Alison McAlpine is delving into territory John explored at in his film on Fairies; perhaps a fascination of Johns?

There were 170 films in total with about 30 being Canadian. While I did scan the list for more CSC shot films, I didn’t find any so if I have missed anyone please let me know and I will try to give you the exposure you deserve.

Perhaps if the CSC were a little more pro-active in recruiting members (a la John Walker), more of these Docs would be shot be our members.

The Hot Docs’ 2009 edition will take place April 30 – May 10.

The 2008 Hot Docs top 10, as determined by audience ballot

1. TAKING ROOT: THE VISION OF WANGARI MAATHAI (D: Lisa Merton, Alan Dater; USA)

2. PLANET B-BOY (D: Benson Lee; USA)

3. DEAR ZACHARY: A LETTER TO A SON ABOUT HIS FATHER

(D: Kurt Kuenne; USA)

4. THE ENGLISH SURGEON (D: Geoffrey Smith; UK)

5. TRIAGE: DR. JAMES ORBINSKI’S HUMANITARIAN DILEMMA

(D: Patrick Reed; Canada)

6. ANVIL! THE STORY OF ANVIL (D: Sacha Gervasi; USA)

7. THE BEETLE (D: Yishai Orian; Israel)

8. DADDY TRAN: A LIFE IN 3-D (D: Siu Ta; Canada)

9. STRANDED, I’VE COME FROM A PLANE THAT CRASHED IN THE MOUNTAINS

(D: Gonzalo Arijon; France)

10. ALL TOGETHER NOW (D: Adrian Wills; Canada)


hen CSC Associate Member John Tran (Cinematographer) and his wife Siu Ta (Producer/

Director) started shooting anecdotal foot-age in and around his dad’s camera store, Vintage Visuals in Calgary, several years ago, they had no idea that it would one day not only be a popular headliner at the HotDocs Festival, but also a television special as well as a heartfelt tribute to the family with his father, Hai (Daddy) Tran as the star.

Tran Senior, became fascinated with photography as a child in Viet Nam and his passion for photography and cam-eras has never abated. He started taking pictures as child and as a young man he bought cameras and began earning money with them.

However his Chinese heritage made him unwelcome in his own homeland and in the late seventies the family had to leave Viet Nam on fairly short notice. At the time the only way out was by boat to Hong Kong.

So the family, including three young children (Tim, John and Anne), became “boat people”, escaping their home in a panicked crush (300 folks in a boat that should have held 150). Their belongings included a suitcase of pictures and three of Hai’s cameras; one of which was bar-tered to a rescue boat off Hong Kong to save their lives, when their boat was about to sink. Several months in a refugee camp made them anxious to move on and while their first choice was France they settled for Canada and arrived in Calgary in February 1980.

With help from locals, the family settled in and Huong (Mother) took two jobs while Hai (because he was a photogra-pher) got a job at a photo lab. During this settling in phase, Tim, John’s older brother looked after the family while their parents worked. But, it wasn’t long before Daddy Tran began buying cameras, even though

the money might have been better used to support the family. Another baby sister and a house full of cameras (many hidden away) meant that sooner or later some-thing had to give. So, the store “Vintage Visuals” came into existence and eventu-ally became one of the largest of its kind in North America (not just used-cameras but vintage and collectible).

Tim’s maturity and business sense was a blessing in disguise as he became manager of the store which soon began to thrive. But no digital, as Hai’s, love for photog-raphy just did not extend that far. Instead, about seven years ago he discovered ste-reoscopic 3D photography and embarked on his new mission, to shoot all manner of 3D images (on medium format 2 ¼ slides) and show them to anyone who would pause long enough to be captivated by his charm, enthusiasm and some very spectacular 3D views via a hand viewer holding a pair of stereo transparencies.

With the store operating successfully and employing Hai and Tim as well as the rest of the family from time to time, life was reasonably good and a far cry from their humble beginnings. However peace, tranquility and prosperity were not to rule indefinitely. Another life-changing dead-line was about to confront Hai and Tim (and the rest of the family). Approach-ing what he thought was a customer one day, a bombshell was dropped. The new owner of the building was giving them two months to vacate and had no interested in renewing the lease. At sixty four Hai was just not up to relocating or rebuilding a new store (or in expanding into digital), so in short order the camera sale signs went up and much of the inventory was sold off. But not all; as the Tran family home once again grew to accommodate hundreds of cameras and other memorabilia from the store.

Fortunately Tim’s savvy while running the store included establishing a website

and online sales were substantial even be-fore the store was forced to close. In the aftermath, sales are continuing to go well and Hai is free to travel and indulge in his time and his passion of 3D stereo picture making. And yes, he misses the interplay of chatting enthusiastically with his cus-tomers at the store but he is equally happy to show and share his slide viewers with anyone he meets and does so at any op-portunity.

John did attempt several tests and ex-periments to see if somehow, some of the 3D images could be included in the film (in 3D form). While it is not impos-sible on standard definition it is virtually

2008DADDY TRAN: A Life in 3D

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impossible to do conveniently (with-out viewing glasses), so he had to pass on the idea. He does however show several of the picture pairs and some tracked shots matched to the still frames, to illustrate as realistic a feel as one can in the 2-dimensional me-dium of video. Perhaps a museum/gallery type display with 3D viewers set up for observation, might be one possible method of offering 3D ste-reoscopic views to the public.

The film chronicles the Tran fam-ily’s voyage to freedom and expres-sion; and the triumph of the entire family in their new homeland and that indeed Daddy Tran is a very special character. The film does not white wash the fact that Hai can be irascible and overbearing and even let his temper get out of hand at times. While Siu and John were concerned that this honesty on their part might ruffle the feathers of his parents, such was not to be the case. At the screen-ing at the Al Green Theatre, which was the first time their parents had actually seen the completed film, they accepted with good natured hu-mour the portrayal of the good with a bit of the not so good. John goes so far as to say that while his Dad is the star of the film, his Mother is the heart and soul of the film and of the family.

But John also attributes his father’s influence for his own interest in pho-tography and the fact that he now earns his living as a cinematographer and feels his career is in some way a tribute to if not a form of payback to his Dad. The delightful charm and honesty of the film bear this out.

Run time: 47 min. | Canada | Language: English, Vietnamese

Six years ago, 65-year-old pho-tographer Hai Tran fell in love with 3-D photography and is on a mis-sion to share its wonders with as many people as possible. His passion for photography began as a child in Vietnam, continued when he fled with his young family in a small boat with three cameras and a suitcase of photographs, and culminated in Calgary where he eventually opened one of Canada’s largest vintage cam-era stores. Director Siu Ta reveals the history of the family through Hai’s wonderful photos as well as intimate and funny stories from his wife and children. Ta captures Hai’s ebullience when a moose poses for his camera, his joy as he shows his work to strang-ers and his sadness as he is forced to close the store. Hai’s charisma, vola-tile personality and love for photogra-phy light up this film. In English and Vietnamese with English subtitles. - Lynne Fernie

Hai Tran taking photo with his 3-D camera. when he discovered 3-D photography seven years ago, Tran’s Calgary-based store became more than his living - it became his R&D lab, and the key to recapturing a vibrant past.

Hai Tran - Daddy Tran: a life in 3-D is a 47-minute documen-tary follows a man’s lifelong obsession with photography and the lengths he would go to leave a legacy of 3-D photos. Daddy Tran: a life in 3-D is produced and directed by Siu Ta, cinematographer is John Minh Tran, Roderick Deogrades is editor and David wall composed the music.

Hai Tran mounting his 3D slides. Tran founded Vintage Visuals, the largest used camera store in western Canada.


ir India Flight 182 is cited as Canada’s entry into the terrible, destructive and deadly

world of international terror-ism.

Premiering as the opening night gala presentation at this year’s edition of the HotDocs Documentary Festival, the film is a testament not only to those affected by the incident, but also to the delicate and bal-anced perspective of the direc-tor and the cinematographers who masterfully created and re-constructed a documentary film about the tragedy.

According to director Sturla Gunnarsson, he wanted to maintain the look and feel of a documen-tary, but the result is much more than a mere retelling, re-enactment or boiling down of events in the weeks, days and hours leading up to the event itself, over twenty years ago.

Both Kirk Tougas csc and Tony West-man csc had previous experience working

with Gunnarsson and each was involved in planning the look and feel of the film, but the project still posed several techni-cal and aesthetic challenges for the film-makers.

As Sturla explains it, he did not attempt

to impose a structure on the story, as in a drama or drama-documentary and strove

to let the narrative play out based on research interviews with those involved, such as CSIS and RCMP investigators, airport personnel, recovery workers and relatives of the victims. The ob-jective was to place the viewer as much as possible, in that world and in that time and observe the playing out of this rather omi-nous event utilizing a delicate balance of re-constructed scenes, natural lighting and a deliberate style choice/technique for the on-camera interviews. All of this is to support of the story while not distracting the audience or

taking anything away from the telling of the story.

Since many of the actors playing roles of passengers were non-professionals, every attempt was made to utilize only minimal lighting so as not to be distracting to them

AIR INDIA, Flight 182

A

The Crash Site Recovery scene (above) and a Farewell at the Departure Gate are among the many emotionally powerful scenes in the documentary about what’s called Canada’s worst case of terrorism.


or other airport personnel during shoot-ing of the reconstructions, letting them walk through their rolls focused on being who they were intended to be. Similarly the hand-held camera frames follow them in an observational or searching nature, adding to the believability or acceptance of this as an event playing out (in the mo-ment) rather than a dramatic story played out as perfectly as possible for maximum effect. As Sturla explains it, if you find a perfect frame, you have gone too far. The DOP/operators were standing in and

adopting a point of view; capturing spon-taneously without rehearsals, a feeling or a quality of searching through memory. For example subtle things like a searching camera or slight snap zooms maintained the feeling of reality as opposed to the more stylized dramatic approach.

The film certainly looks and feels like something very unique, in its gentle com-bination of reportage, reconstruction and the unique experience and perspective the team brings to the project as well as the restrained aesthetic that enable the viewer

to experience that otherwise ordinary day playing itself out, with the foreboding of our current knowledge.

The script or narrative came from the interviews with the involved subjects and there was no attempt to impose film con-ventions onto or around the subjects or actors who played the roles of the victims. The script is subordinate to the stories as told, as the director looked for qualities of the individuals in re-constructing the required scenes. The goal at all times was to capture or be “in the moment”, be-lievably and without a sense of the im-pending catastrophe. Thus working with cinematographers with documentary ex-perience they were actually able to main-tain a believability and impact that few dramas achieve.

In his discussion with Sturla; Kirk sug-gested that they avoid stylized or heavy lighting for portraying ordinary people who would not be comfortable in that environment. He also felt that a similar approach be utilized for the on-camera interviews in terms of eye-lines and back-grounds while, utilizing a direct to cam-era approach. All felt that the background of home or office would be cluttered and distracting. Green screen was considered as was black but the story was already pretty bleak so this would have only added to the gloom. In the end white was selected with open lighting to best allow the ‘witnesses’ to share their truth.

Tony remembers suggesting the high key portraiture of Richard Avedon against a white limbo, so all were in agreement and Sturla recalled that in India white was associated with death so it was in fact the most appropriate. To maintain the direct to camera eye-line, Sturla po-sitioned himself directly behind the cam-era, achieving an effect similar to some Errol Morris films but without the cum-bersome apparatus.

Shot in Hi Definition, another thing that made the interviews stand out was to use 60i, while utilizing 24P in the recon-structions. This was also a better match for the found or archival footage, most of which was on film in any case.

The film is spellbinding (from our van-tage point), played out in this matter of fact way, by the (stand-in) participants, as well as the investigators, police, air-port personnel and relatives all looking back over the twenty years of unanswered questions and loss.


The RED One Digital Camera system was designed to deliver a high performance digital cine camera with the quality of 35mm film.

In his discussion with Sturla; Kirk suggested that they avoid stylized or heavy lighting for portraying ordinary people who would not be comfortable in that environment.

Suspect Inderjit Singh Reyat (played by Gurpreet Chana) in an RCMP Interrogation scene, an investigation that lasted nearly a decade.


TOrONTO rED usEr GrOuP sTaGEs DIGITal CINEma FEsTIval, symPOsIum aND BOOT CamP.

Toronto RED is a regional organi-zation of filmmakers who have 35mm digital cinema technologies, as found in camera systems such as RED ONE, from

RED Digital Cinema Company. The UG is focused on educating filmmakers about the technology, and is therefore holding a symposium and Boot Camp as one of its principal events.

The Red One Digital Camera Boot Camp & Symposium (CFC July 18, 19, 20) will introduce this new technology to filmmakers, production facilities, multi-

media and industry professionals through workshops, lectures and in depth hands on live shooting, editing, post production and screening experiences.

The Boot Camp will be part of the scheduled events, including RED SHORTS program of short films shot on the RED ONE, and a preview of RED FEST which will premier in 2009 as part of the Digital Cinema Festival.

Images produced by these new Digital Cinema Cameras are said to compare very favorably with 35mm film and in some cases have effectively closed the quality gap. This newly accessible 35mm digital Cinema Technology is set to usher in an era of truly democratized filmmaking.

For more information, call 416-604-5749 or email [email protected]

CaNwEsT HOT DOCs FuNDING GuIDElINEs avaIlaBlE

Hot Docs and Canwest have partnered in the creation of the Canwest-Hot Docs Documentary Funds, with a $3-million completion fund and a $1-million devel-opment fund.

Canwest’s $4-million infusion into the Canadian documentary production com-munity via the Funds will provide much-needed financial support to filmmakers facing financing gaps at critical stages in their projects. Hot Docs will manage and disperse the Funds’ benefit monies over the next seven-year period.

The Canwest-Hot Docs Completion Fund is a grant program that will pro-vide financial support of up to $100,000 (limited to a maximum of 20% of a proj-ect’s budget) for production companies to complete specific projects. The Comple-tion Fund is open to producers who have attracted demonstrated market interest in their documentaries. The Completion Fund is expected to support on average 6 to 9 projects per year.

The Canwest-Hot Docs Development Fund is a loan program designed to help producers get specific projects developed, researched, written and/or packaged and ready for market. The Fund will provide non-interest loans averaging between $10,000 - $15,000 in the early develop-ment stage, when projects are at the high-

INDusTry NEws

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est risk and may have not yet secured a market partner. The Development Fund is expected to support on average 10 to 12 projects per year.

Application forms for Canwest-Hot Docs Funds will be available at www.hot-docs.ca beginning June 15. Canwest-Hot Docs Development Fund and Canwest-Hot Docs Completion Fund applications will be accepted twice in 2008, with dead-lines of July 15 and October 15.

DEmysTIFyING DIGITal CamEra sPECs DEBuTs ONlINE

Demystifying Digital Camera Specifica-tions, a seven-part series focusing on the complex science of image resolution and digital cinema cameras is now available on the Panavision website.

The in-depth symposium is presented by two icons of digital cinema technol-ogy: John Galt, Panavision Senior Vice President, Advanced Digital Imaging; and Larry Thorpe, National Marketing Man-ager, Canon Broadcast & Communica-tion Division.

A master class for motion picture pro-fessionals and students, the series is also in the minds of its creators a precursor to a broader, crucial industry-wide discussion: the need for a scientifically valid, objective method of assessing the quality of digital and film images.

Recorded in high-definition video, the symposium was held before an audience of invited guests in the Panavision Theater, located in the company’s world headquar-ters in Woodland Hills, CA. The URL is: http://media.panavision.com/Screening-Room/Screening_Room/BoxOffice.html

Throughout the series, Galt and Thor-pe challenge the simplistic and inaccurate assumption that digital camera resolution is “all about the camera output pixels.” Instead, they help serious motion pic-ture creators to understand the difference between optical sampling from camera imagers (where resolution is totally deter-mined) and the camera digital sampling.

“With programs like ‘Demystifying Digital Camera Specifications,’” said Bob Beitcher, President and CEO, “Panavision is trying both to educate our customers as well as raise the level of industry discus-sion about emerging technologies to focus on the science of what we do. I think that most everyone stands to benefit from a

good look-and-listen at this stimulating presentation from two true experts.”

NEw ONlINE HOmE FOr CaNaDIaN DOCumENTary

DOCspace is a new Canadian web-site designed to help filmmakers and fans search out documentary films and the people who make them, with greater ease.

The goal of DOCspace is to help raise awareness and improve access and avail-ability of Canadian documentary films. Despite success on the film festival circuit

and good word-of-mouth as well as me-dia, Canadian documentaries are still hav-ing difficulty reaching potential audienc-es, site developers say. Traditional outlets do not have sufficient shelf space for either rental or purchase of documentaries, de-fining them as too “niche market.”

This first phase of DOCspace, offers producers the opportunity to supply in-structions to potential buyers about how and where to purchase their films. For an initial trial period, both DOC and non-DOC members will be able to promote

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their films this way. After the introductory offer expires, this feature will be available only to DOC members, organizers re-port.

In Phase Two, an online alterna-tive distribution network for Canadian documentary films will be created, and films will be distributed directly from the DOCspace site.

This project received funding from the Ontario Media Development Corpora-tion (OMDC), on behalf of the Ministry of Culture, through the innovative Enter-tainment and Creative Cluster Partner-ships Fund.

The Documentary Organization of Canada / Documentaristes du Canada (DOC) is the driving force behind this project, along with DOC partners Cop-tor Productions, Markham Street Films, Primitive Entertainment, PTV Produc-tions and Symmetree Media.

For more information, email: [email protected]

sONy uPs DIGITal CINEma wOrkFlOw

Sony of Canada expanded the func-tionality of its HDCAM SR videotape recorders, adding new file transfer capabil-ities to its SRW-5800 deck, and introduc-ing an affordable companion player deck, model SRW-5100, to the product line.

“HDCAM SR technology is the in-dustry format of choice for digital TVand motion picture production, as well as for high-end post productionand computer graphics,” said Brian Young, Marketing Manager,Acquisition Systems, Broadcast Communication Solutions Group, Sony of Canada Ltd. “With these new capa-bilities and products, our decksgreatly improve and enhance the HD and digital intermediate production workflows.”

With the new HKSR-5804 file trans-fer option board, users can transfer Digital Picture Exchange (DPX) files over Gigabit Ethernet networks, allowing for easy im-porting and exporting of 4:4:4 RGB con-tent in high-bandwidth applications such as DI work.

Also, with the HKSR-5804 board, the deck can now record HD standard signals as well as uncompressed data recording of up to 4K full aperture (4096 by 3112) images for media in-terchange, data back-up and archiving with picture monitoring.

The SRW-5800 model is a studio edit-

ing deck with HDCAM SR recording and playback capability. It has 880Mbps recording capability, and supports 4:2:2 1080 50P/60P, 4:4:4 1080 HQ recording and Dual-Stream (3D) recording modes.

The newest addition to the HDCAM SR family is the SRW-5100 model. It has 880Mbps “playback-only” ca-pability, which includes 4:2:2 1080 50P/60P, 4:4:4 1080 HQ and Dual-Stream modes. 2x high-speed feed is also supported. The new deck is ideal for on-set dubbing, screening, ingesting, or outputting HDV content for off-line applications Playback compatibility with the HDCAM and Digital Betacam for-mats is also available through option boards.

Sony’s line of HDCAM SR decks also includes the SRW-5000 and SRW-5500 models. These have been adopted for use in a range of pro-duction applications including epi-sodic TV programming, comercials, sports and digital cinematography as a high-end mastering format.

CsC mEmBErs HElPs COasT mENTal HEalTH raIsE mOrE THaN $2 m

Ticket sales, partnerships, donations and other and funds raised for the 10th An-niversary Courage To Come Back Awards was $2,009,711, Coast Mental Health an-nounced.

Awards on the night were given to CSC member John Banovich of Surrey (Physical Rehabilitation category), Trisha Baptie of Burnaby (Social Adversity), Mi-chael Childs of Burnaby (Youth), Zosia Ettenberg of Langley (Medical), Debbie Sesula of White Rock (Mental Health) and Marlene Swift of Prince Rupert (Ad-diction). Each recipient’s journey high-lights a courageous battle back from ill-ness, adversity or injury.

Funds raised the night of Courage are earmarked for Coast to respond to the growing need for services to people recovering from a mental illness. Since 1974, the Coast Foundation Society has been providing high-quality housing, employment programs, social opportuni-ties and other community mental health services for people with serious and per-sistent mental illnesses, many of whom are homeless and/or have other serious physical issues.


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]

EquipmEnt WantEdLooking for 35 mm Bell & Howell, Eyemo, either Q model or Single Lens. Would prefer a donation but will pay if reasonably priced. It is intended for the Canadian Army Film Unit Museum in Calgary, AB Please call Norm Quick: 1-613-728-2487.EquipmEnt For rEntViper-Filmstream Camera Full-Package for Cana-da, US & Asia. Package includes Carl Zeiss Digi-Prime full-set,Tripods, Matt-box, Waveform-Monitor, 8” on-board and 24” TVlogic Monitor, etc. The equip-ment has 2 years & is well maintained. Along with the above, we can add “Shinki” or “S-Two” recording system (Uncompressed hard-disk based) with 2 digital engineers, also a D.I service is offered. Camera is owned by an equipmentfirm based in Seoul, Korea. For more details, please contact ‘Clemens Chang’ Mobile: 82-11-9271-9081 E-mail: [email protected] For SalEtWo ComplEtE VidEo VILLAGES FOR SALE $2000 At this price these units will pay for them-selves in less than 5 weeks on a normal TV se-ries. Cost to create new would be over $5000. Plus these very sharp, robust AC/ DC monitors are no longer available! •Includes • 4 - 9” Sony AC/DC monitors • 4 12 V batteries and chargers • 4 A&J hard cases • Remote controls and an-tenna signal boosters, spare power cords, con-nectors, etc • BNC cables in winder • 2 stands • Dolly carts and doorway boxes with storage drawers Contact :Robert McLachlan Office: 604-926-5253 Cell: 604-761-4041 Email: [email protected] digital Betacam with viewfinder and 2 wide screen zoom lenses Canon J15ax8B-4WRS SX12 and Fujinon 5.5-47. Very low hours on new heads. $20,000 plus taxes. Contact: Mi-chael Ellis 416-233-6378BEtaCam Sp Camera BVP550 BetacamSP camera with BVV5 recorder, complete with: - Fujinon 15 x 8 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 $5000 call Christian @ 416.459.4895Clear rain cover for Arri III with carry bag (very little use) $100 Delta-4 NP-1 four battery charger $50.00 1 Petroff 3x3 filter tray $30.00 2 Sony ECM-50 lav mics with wind covers, clips and steel cases $100.00 O’Connor 50 Head - Mitch-ell mount - with Foba collapsible legs $800.00 2 Arturto (Quartz Color) 3KW soft lights. Both have egg crates and yokes. 1st never used. 2nd has gel holders, feet, standard spud and $200 worth of new bulbs. Excellent condition. $400.00 for both. John Banovich director@JohnBanovich. net or 604-726-5646 Elmo transVideo trV16 16mm Film-to-Video Converter Color CCD; converts mag or optical film Frame, Color, Iris, Focus adjustments Excel-lent working order. Best Offer Accepted. Contact Bea E: [email protected] Sp d30 camera, PVV3 Recorder Back, Fujinon 16X, 9-144 Zoom Lens, Six Batteries, Charger, Power Supply and case, Sony PVM 80Q 71/2” Monitor and case - $5000 Call Joan Hutton at 416-693-9776Sony dVW700 digital Betacam camera, excel-lent condition:1 Sony viewfinder; 1 Sony battery case; 1 Sony tripod adaptor; 1 8x160mm Canon zoom lens. $19,900 plus taxes. Call 613-255-3200 cell. Padded Barney for Arri SR. Bright Red...look

cool while keeping you camera hot. $100.00 OBO. Please contact Peter 416-698-4482; 604-730-0860or [email protected] 35mm 2C camera kit with 3x 400’ magazines and 5 Zeiss 2.2 primes plus 9.8mm Kinoptik - $7900. Cooke 25-250mm T3.9 zoom - $5000. Ronford 2004 fluid tripod (150mm bowl) with regular and baby legs - $4500. Nikon 50-300mm F4.5 ED lens with support for Aaton or still photography - $1500. Arri S 16mm camera - older body with variable and con-stant motors - $1000. Two empty tube tripod cases. Email: [email protected] 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 Po-larizer filter, 1/2 Black Promist filter. Some minor cosmetic wear and tear but in good working condi-tion. C$15,000. For more info and pictures contact Mike Sorel at (403) 451-4484 ext 273 or [email protected] and post-production equipment. Cinema-tographer’s personal Betacam camera and film sound equipment: Neumann mics, Micron wire-lesses, etc. Sony BVW400 camera, tripod, lights, grip. Full list at www.saltwater.ca/equipment Sony DSR-500WSL DV CAM camcorder hours: A=1435 B=0776 C=1810 Eng + French manuals. $4,400. Canon YJ18x9-BRS zoom lens $2,200. Canon

YJ12x6.5B4 zoom lens $4,000. Sony UVW-100 Beta-cam 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] Srii camera, excellent condition: SRII camera body (metered); magazine 40 ft.; Zeiss 10-100mm T2.0 II BA-auto; Zeiss 9.5mm T1.3; righthand grip on & off (flat plug); 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. 52 filters 4 x 5.6, Enhancer, Neutral 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.Volunteer available for CSC DOP Having recently finished my post-secondary education and won the 2008 CSC award for best student cinematography, I am looking to volunteer my services and work under a CSC DOP. I hope to not only be able to learn from an experienced cinematographer, but to also be of assistance with both on set and off set tasks. I am efficient, well organized, reliable, enthusiastic, self-motivated, and resourceful. For more information and references please contact: Chuck Taylor | 416 697 7301 | [email protected]


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

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

Simon Mestel cscAlastair Meux cscGregory D. Middleton cscC. Kim Miles cscGordon Miller cscRobin S. Miller cscPaul Mitchnick cscLuc Montpellier cscGeorge Morita cscRhett Morita cscDavid Moxness cscDouglas Munro cscKent Nason cscRobert C. New cscStefan Nitoslawski cscDanny Nowak cscRene Ohashi csc, ascHarald K. Ortenburger cscGerald Packer cscRod Parkhurst cscBarry Parrell cscBrian Pearson cscDavid Perrault cscBruno Philip cscMatthew R. Phillips cscAndrè Pienaar csc, sascZbigniew (Ed) Pietrzkiewicz cscRandal G. Platt cscMilan Podsedly cscHang Sang Poon cscAndreas Poulsson cscDon Purser cscOusama Rawi csc, bscWilliam Walker Reeve cscStephen Reizes cscDerek Rogers cscBrad Rushing cscBranimir Ruzic cscRobert G. Saad cscVictor Sarin cscPaul Sarossy csc, bscMichael Patrick Savoie cscGavin Smith cscChristopher Soos cscMichael Spicer cscJohn Spooner cscRonald Edward Stannett cscPieter Stathis cscBarry Ewart Stone cscMichael Storey cscMichael Sweeney cscAdam Swica cscAttila Szalay csc, hscChristopher D. Tammaro cscJason Tan cscJohn P. Tarver cscPaul Tolton cscBert Tougas cscChris Triffo csc

Sean Valentini cscDerek VanLint cscGordon Verheul cscRoger Vernon cscDaniel Villeneuve cscDaniel Vincelette cscMichael Wale cscJohn Walker cscJames Wallace cscTony Wannamaker cscPeter Warren cscAndrew Watt cscJim Westenbrink cscTony Westman cscKit Whitmore csc, socBrian Whittred cscRon Williams cscGeorge A. Willis csc, sascGlen Winter cscPeter Woeste cscBill C.P. Wong cscBruce Worrall cscCraig Wrobleski cscYuri Yakubiw cscEllie Yonova csc

CSC aSSoCiatE mEmBErSDon ArmstrongJohn W. BaileyDouglas BairdKenneth Walter BalysDavid BattistellaGregory BennettJeremy BenningJonathan BensimonAndrè BèriaultRoy BiaforeChristian BielzFrancois M. BissonChristophe BonniereScott BrownRichard BurmanLance CarlsonJon CastellMark CaswellMaurice ChabotStephen ChungDavid CollardRenè Jean CollinsJarrett B. CraigRod CrombieMicha DahanNicholas de PencierGareth DillistoneRandy DreagerJohn E. DurstJay FergusonAndrew Forbes


Richard FoxTom GatenbyBrian GedgeVladimir GosaricJohn HodgsonCliff HokansonSuave HupaGeorge HupkaDavid JohnsJorma KantolaErnie KestlerShannon KohliCharles LavackJim LaverdiereRobin Lawless socByung-Ho LeePhilip LetourneauJohn V. LindsayDave LuxtonRobert MacdonaldMario Anthony MadauJeff MaherRoy MarquesKelly MasonAndris D. MatissPaul McCoolPatrick McLaughlinTony MeerakkerGerry MendozaTony MerzettiBill MetcalfeBentley MillerPaul MocklerHelmfried MullerBrian Charles MurphyKeith MurphyChristopher M. ObenEric OhTed ParkesDeborah ParksPavel Pasha PatrikiRick PerottoAllan PiilScott PlanteDave RendallCathy RobertsonPeter RosenfeldDon RousselJèrùme SabourinChristopher SargentIan ScottNeil ScottNeil SealeWayne SheldonBarry E. SpringgayPaul SteinbergMarc StoneMichael StrangeJoseph G. Sunday phdAndrè Paul TherrienGeorge (Sandy) Thomson

Kirk TougasJohn Minh TranY. Robert TymstraFrank VilacaJohn WalshLloyd WaltonGlenn C. WarnerDouglas H. WatsonRoger WilliamsRichard WilmotPeter Wayne WiltshireDave WoodsidePeter WunstorfSteven Zajaczkiwsky

CSC aFFiliatE mEmBErSChristopher AlexanderDwayne AlexanderDonald G. AngusDerek ArchibaldGarth ArchibaldRobin BainIain Alexander BairdP. J. Barnes P.Eng.Peter BattistoneJacques F. BernierMark A. BigginCaroline BrandesAdam BravermanGordon A. BurkellStephen CampanelliTim A. CampbellArnold CaylakyanJason CharbonneauBernard ChartouniMaggie CraigBrad CreasserMichael Jari DavidsonColin DavisNicholas DeligeorgyDominika DittwaldMicah L. EdelsteinTony EdgarAndreas EvdemonRandy FrenchRichard Gira

Aizick GrimmanJames D. HardieBruce William HarperJohn Richard Hergel BA CDJeffrey HicksVincent HilsentegerKristy HodgsonPerry HoffmannBrad HruboskaMarcel D. JanisseMichael JasenChristine JeoffroyRick KearneyBoris KurtzmanNathalie LasselinTony LippaJohn LipszMatthew J. LloydChristopher G. LoganLori P. LongstaffRobert H. LynnJill MacLauchlan ParksYoann MalnatiSean MarjoramJulie McDowellJustin McIntoshIan McLarenAndrew MedickyKar Wai NgBrent O’HaganTed OvertonAndrew OxleyGino PapineauGraeme ParcherKalpesh PatelBorislav PenchevGreg PetrigoGottfried C. PflugbeilDouglas B. PrussManuel Alejandro Rios CeronLem RistsooSusan SaranchukChirayouth Jim SaysanaAndrew W. ScholotiukJames ScottGeorge SimeonidisBrad SmithMichael Soos

Gillian Stokvis-HauerSteven TsushimaPaula TymchukAnton van RooyenTrevor J. WiensRyan Woon

CSC Full liFE mEmBErSHerbert Alpert csc, ascRobert Bocking cscDavid Carr cscMarc Champion cscChristopher Chapman csc, cfeRobert C. Crone csc, cfc, dgKenneth R. Davey cscKelly Duncan csc, dgcJohn C. Foster cscKenneth W. Gregg cscEdward Higginson cscBrian Holmes cscDouglas Kiefer cscNaohiko Kurita cscHarry Lake cscDouglas E. Lehman cscDuncan MacFarlane cscDouglas A. McKay cscDonald James McMillan cscJim Mercer cscRoger Moride cscRon Orieux cscDean Peterson cscRoger Racine cscRobert Rouveroy cscIvan Sarossy cscJosef Sekeresh cscJohn Stoneman cscWalter Wasik cscRon Wegoda csc

CSC HonourarY mEmBErS

Roberta BondarVi CroneGraeme FergusonWilson Markle

Client: ___________________________________________________________ Docket: _________________

Media: __________________________________________________________ Placement: _____________

Trim Size: _________________________ Safety: ______________________ Bleed: __________________

Colour: __________________________ Publ. Date: ___________________ Prod. Date: ______________

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

Panavision Canada PAN-COR-1634-08

CSC News

5.25" W x 2.125" H N/A N/A

B&W 2008 Feb. 12, 2008

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

July 10-13Mississauga Film FestivalMississauga, ONwww.miff.ca

September 4-13Toronto International Film FestivalToronto, ONwww.tiffg.ca

Special Event In The Fall (Dates and Venues TBA):– Screenings in Toronto & Vancouver of the 2008 CSC Theatrical Feature Cinematography Award Winner and Nominees:Civic Duty – Dylan Macleod csc – Toronto (award winner)Emotional Arithmetic - Luc Montpellier csc – TorontoPartition – Vic Sarin csc – Vancouver

Calendar of Events of Interest to CsC members


PrODuCTION NOTEs British ColumBia, Prairies

Battlestar Galactica, Season 4 (Series): DOP: Stephen McNutt csc; OP: Ryan McMaster, to Jun 27, Vancouver, BCCorner Gas, Season 6 (Series): DOP/OP: Ken Krawczyk csc; to Sept 22, Regina, SKDear Prudence (MOW): A Cam DOP: Peter Benison csc; OP: Corey Toner, B Cam OP: Wes Doyle csc, to Jun 19, Calgary, ABFear Itself (Series): DOP: Alwyn J. Kumst (667), Attila Szalay csc, hsc, John Spooner csc; Rod Crombie csc, OP: Colin Hoult (667); to July 11, Edmonton, ABThe Guard (Series): A Cam DOP: Bruce Worrall csc; OP: Norbert Kaluza; B Cam: DOP/OP/VFX: Brian Whittred csc, to June 18, Burnaby, BCImpact (Mini-Series): DOP: Gordon Verheul csc; OP: Jim Stacey, to Jun 21, Victoria, BCKyle XY, Season 3 (Series): DOP: Philip Linzey csc; OP/St: Dean Heselden, to Aug. 11, North Vancouer, BCRuslan (Feature Film): DOP: Thomas Harting csc; OP: TBA; to June 16, Vancouver, BCSamurai Girl, Season 1: (Series): A Cam DOP: Bert Dunk csc, asc; OP: Junici Hasoi, B Cam DOP: Michael Wale csc, to Jul 3, North Vancouver, BCSanctuary S1: (Series): DOP: David Geddes csc; OP/St: Steven Adelson, to Sept 30, Burnaby, BC The Thaw (Feature Film): DOP: Jan Kiesser csc, asc; OP: TBA, to July 18, Burnaby, BC

ontario, QueBeC, atlantiC

Aaron Stone (HDTV Series): DOP: Steve Danyluk csc; OP: Johnny Askwith, to Dec. 22, Toronto, ONAn Accidental Friendship (MOW): DOP: John Berrie csc; OP: Keith Hlady, to June 17, Toronto, ONda Kink in My Hair, Cycle II (TV Series): DOP: John Berrie csc; OP: TBA, to Aug 30, Toronto, ONDad’s in the Attic (Family Biz) (HDTV Series): DOP: Barry Gravelle csc; OP: Jeffrey Hohener; to Aug. 30, Ottawa, ONDegrassi: The Next Generation 8: (16mm TV Series): DOP: Jim Westenbrink csc; OP: David Towers; to Oct 1, East York, ONFlashpoint (aka: Critical Incident/Sniper) (35mm TV Series): DOP: Stephen Reizes csc; OP: Tony Guerin; to Aug 22, Toronto, ONThe Listeners (HDTV Series): DOP: David Greene csc; OP: Month Rowan, to Dec 1, Mississauga, ONLittle Mosque on the Prairie III (TV Series): DOP: Mark Dobrescu 669; OP: Frank Polyak, to July 29, Toronto, ONMurdoch Mysteries, Season II (HDTV Series): DOP: James E. Jeffrey csc; OP: TBA; to Nov 11, Toronto, ONScreamers (DVD): DOP: John Tarver csc; OP: Nigel Markham; HDTV Atlantic CanadaSea Wolf (Mini-series): DOP: Richard Greatrex; 2U-DP: Christopher Ball csc; to Jul 24, to Halifax, NS

Client: ___________________________________________________________ Docket: _________________

Media: __________________________________________________________ Placement: _____________

Trim Size: _________________________ Safety: ______________________ Bleed: __________________

Colour: __________________________ Publ. Date: ___________________ Prod. Date: ______________

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

Kodak Canada Inc. KOD-EI-1653-08

CSC News OBC

8.5" W x 11" H N/A Yes

B&W 2008 May 9, 2008

ONFI

LM

SHAWNWILLIAMSON

PRODUCER“I began my career as a stage manager

in live theatre. I realized early on theimportance of hiring the most skilled

creative talent available to me,and placed tremendous value in mywork with the playwrights, directors,

and actors. Now, as a feature film andtelevision producer, the creative talent

that I bring to productions is key,especially the cinematographer.

Cinematographers decode and articulatethe vision of the director and capture the

artistic nuance inherent in thescreenplay. As a producer, I am honest

with cinematographers about our budgetdemands and work with them

collaboratively to get the greatest valuepossible on-screen. In the end, it is thecreative vision on-screen that matters,and my job is to enable that creative

vision to its fullest potential.”

Since entering the film and televisionindustry in 1992, Shawn Williamson has

produced more than 72 productionsincluding television movies, feature films

and episodic series. In 2001,he co-founded Brightlight Pictures,

a Vancouver-based production companywith international scope. His credits

include White Noise, The Guard,The Wicker Man, Going the Distance,The Long Weekend, Edison, Slither,About a Girl, Addicted, Passengers,and the forthcoming Far Cry and

Fifty Dead Men Walking.

To read the full transcript ofShawn’s interview visit us onlineat www.kodak.ca/go/williamson

To order KODAK Motion Picture Film,call (800) 621-FILM (3456).

© Kodak Canada Inc., 2008.

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