CANADIAN SOCIETY OF CINEMATOGRAPHERS

NEWS JUNE 1990 VOL. 9, NO. 10 ISSN 0820-3431

THE CANADIAN SOCIETY OF CINEMATOGRAPHERS

NEWSLETTER VOLUME 9 NUMBER 10 JUNE1990 TORONT~ONTAIDO, CANADA ISSN 0820-3431

Dear Members,

Thanks for returning your listing information for the directory so promptly this year. For those who haven't, there's still time, however, Duncan would like to remind you again that you have to be a paid up member to be included in the directory.

As you know there's been some discussion on having either t-shirts or sweatshirts designed. If you would be interested in ordering one, please let us know. Based on your response, the executive will be able to go ahead with this.

Also, there are still a few films and tapes in my office from the awards and I would really appreciate it if you would arrange to have these picked up. Thanks!

Have a wonderful summer,

~

Cinematographer Robert Rouveroy esc allows director to line up a shot

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Editor in chief: Robert Hocking, esc Editor: Jennifer Hietala

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Kenneth Post esc Education: John Holosko Awards Chairman: Jim Mercer esc

Membership inquiries: (416) 538-3155

The Newsletter is printed in Toronto and is published ten times a year. Subscrip­tions are available for $75.00 per year in Canada and $95.00 outside the country.

Cover: Japan 1960. Sophomore camera assistant Kurita on an interesting high angle setup Opposite: Professor lzawa, Kuri Kurita esc and David Niven on location for "The Flying Raft".

Contents

Profile on Naohiko Kurita esc ... 3

Letter from Amsterdam ... 9

Report on the Camera Assistants Course ... 12

Beginnings: A Profile of Two Camera Assistants ... 14

Carrottop Comer ... 15

Given Kurita's family back­ground, it is hardly surprising that he has chosen to be a freelance cinematogra­pher. In the highly competitive world of filmmaking, a cinematographer ironically has to combine toughness with gentle­ness. Toughness in this case means physical stamina as well as the ability to remain steadfast in your decisions when the situation warrants it These qualities Kurita has in abundance. It is probable that he inherited them from his ancestors. His great grandfather was an unattached samurai, an independent wanior. Kurita's mother was artistically inclined. She played many musical instruments and was gifted in the art of watercolourpaint­ing and Japanese Haiku poetry. Her ambition ofbecaning an artist was dashed due to a family bankruptcy. Instead, she instilled in her son an appreciation for the arts and taught him a number of tradi­tionaJ, Japanese crafts.

Kurita was in grade one when World War II started. Like many others, Kurita's family was evacuated to the coonttyside to escape the bombing. There, he watched Japanese kamikaze pilots attack American B29 bombers. One of his most enduring memories from that period is of the food shortage. Hunger gnawed at his stomach throughout those tragic years. Kurita has an aversion for war because it victimizes the young and the innocent. He has become a peace­loving man and his approach to worlc is governed by harmony - not conflict

The turning point in Kurita's life came when, in grade eleven, he read an essay by the famous Russian filmmaker Eisenstein. Kurita was fascinated by Eisenstein's ideas about the similarities between montage and Orlnese ideograms. The astute Russian filmmaker observed that Chinese words are often made up of two or more separate characters. By combining two characters, a new word was formed. In an analogous way, two shots could be spliced together to create a new entity. Kurita was fascinated. At about this time Kurita contracted tuber-

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BRIDGING EAST AND WEST

A PROFILE ON NAOHIKO KURITA esc

culosis and was bedridden for two years. While confined by TB, Kurita made a private decision that he would like to be a film director. However, after he recov­ered from the long illness, he was unable to get a job in the film industry as employ­ers were reluctant to hire an ex-TB pa­tient. Without any hope of employment Kurita went to Nippon University to study directing. After graduating with a BA, the only job he could find was that of a camera assistant at Iwanami Productions Inc. He accepted the junior position and eventually realized that he was quite comfortable working behind the camera. He was an assistant at Iwanami for five years before being promoted to camera­man. During that time Kurita primarily shot documentaries. He enjoyed the free­dom and responsibility of documentaries because the cameraman often had to in­terpret the script and decided what to shoot ·

After shooting for three years at Iwanami Kurita wanted a change. His

3

desire to travel and seek new experiences led him to apply for a Canadian visa. Because of his experience with TB, he was afraid that he might not pass the medical exam. He was very grateful to learn that not only did he pass, but was granted permission to emigrate to Can­ada.

When Kurita landed in Canada in 1967, his first job was with Western Films Ltd. in Winnipeg. Shooting film at minus 40degrees farenheit was his ini­tiation into Canadian winters. It was a fantastic experience. Coming from a culture that was basically homogeneous, Kurita was fascinated by the diversity and multi-racial mosaic of Canadian society. The little English he had learned in Japan was mostly agreeable, polite conversation. For a long time he was unable to argue and felt rather uncom­fortable. Inspite of the difficulties, Kurita was very well-treated by his Canadian employer and colleagues.

Kurita accepted the Canadian way of making films with difficulty. In Canada,

the end result is most important. In Japan, the process itself is paramount The Japanese are fanatical with details, their productions are elaborate and highly polished. Canadian films tend to be less complicated but often brilliant. Kurita saw not only the different mentalities but also the strengths and weaknesses ofboth systems.

Therewereotherdifferences. In Japan, there were no camera operators. The cameraperson always did his or her own operating. In addition, the gaffer was, after consultation with the director and cameraperson, responsible for decid­ing and setting up of all lights required. The first assistant also had far more re­sponsibility in that he or she was respon­sible for setting the exposure of the film. The one commonality that was shared by both east and west was the tools of the trade; both Canada and Japan used the same type of film equipment

As opportunities in Winnipeg were limited, KuritaleftforToronto after one year and ten months at Western Films Ltd. Inspite of his concerted effort to crack the Toronto market, Kurita had little luck in finding work. After sitting at home for many months worrying about his future in film, he took a job with the post office delivering Christmas mail. Life had hit rock bottom and he had thoughts of returning to Japan. In the end he realized the potential he had in Canada and he stayed. Slowly the jobless days became fewer and fewer. While re worlred for Canadian canpanies such as Chetwynd Films, TDF, Meridian and OECA (now TVO), he maintained contact with his Japanese associates, who occasionally engaged Kurita to shoot. A terrific op­portunity landed on Kurita's door step wren a grwp of Japanese came to Toronto to study the IMAX system and they hired . him as their translator. Not only did Kurita make some money and learn a great deal about IMAX, he established a window of opportunity to the giant for­mat

A few years later when the Japa­nese wanted to shoot IMAX, Kurita was their choice as cameraman. Although Kurita wanted to shoot IMAX for a long time, he hadnothad the opportunity. The subject was a documentary for the Sis­seki Earth pavilion at Expo '89 in Yokohama. "Only the earth" was shot on location in Iceland, Indonesia, Aus­tralia and the Badlands of Alberta.

A year later Kurita was hired for another IMAX film by the Japanese for Expo '90in Osaka. The primary location for ''Flying Raft'' was the Amazcn jungle in Brazil. This film offered a bird's eye view of the tree-top microcosm or • • can­opy'' of the Amazon from an air balloon. The competition for survival and the beauty of the plants, insects and animals are recorded in this unique film.

To caprure the teeming life forms under the canopy, the film crew hauled 99 cases of equipment weigh­ing a total of three tons into the jlmgle. The 95 day stay in Brazil made life difficult for some of the crew who left families back home, al­though they had more than enough to keep themselves occupied physi­cally and mentally. The locations were primitive, wild and occasionally laced with danger.

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The air­strip on Marajo Island was noth­ing more than a short, five meter wide dirt track. Only one pilot was fool-hardy enough to land the crew there. _After the Paddling the Amazon River on a raft with 99 cases of film equipment!

4 JUNE1990

filming, his over-burdened Cessna was so laden with equipment that it barely managed to clear the tree tops on the take off. While the pilot laughed at the incident, Kurita was shaken by the near crash.

Crew member Mike McMurray was bitten by a piranha on the deck of the boat when the eight inch, voracious flesh­eating fishleptoutofthe water and bit the unlucky McMurray on the nipple.

There were also the tiny, blood­sucking ticks that attached themselves onto flesh, particular! y parts of the anat­omy that never see the sun. There they feast themselves, leaving behind red, itchy spots. Minute to the point of being invisible, the crew had to use a magnify­ing glass to locate these parasites on each other's bodies.

While not all the Brazilian loca­tions were perilous, most demanded hard, physical worlc. To film the sunrise over the canopy, the crew had to scale a 48 meter observation tower. Some of the camera equipment was hauled up by rope and pulley while the rest was hand-car­ried. The long staircase leading to the top was rusty with steps missing in some places. The platform, approximately 6 meters by 6 meters, cleared the tree-tops nicely and it was used for two or three days. Since dismantling the equipment at the end of the day was ruled out, it was decided that Tim Sauder and Mike McMurray would set up a tent on the platform and guard the equipment over­night. As a safety precaution, the two men armed themselves with knives. During the night they heard disquieting foot steps on the staircase under their tent, but no one ever came up. In the morning they discovered that a group of curiousmonkies had been checking them out in the darkness. Their wave-like howling was a haunting experience.

Kurita used the IMAX IW5 camera with an assortment of Zeiss and Canon lenses. These were still lenses adapted to IMAX with a special lens mount. Macro shots were made with Canon lenses with extensim tubes. Kurita

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cautioned that using extension tubes on location is tricky because the lens has to be centered precisely or the shutter may be seen in the shot

The high speed Kodak 5296 IMAX film stock came in 1000' rolls. At 24 fps, it has a running time of2 minutes and 58 seconds. The flatness of the film during exposure is maintained by a vac­uum (same as during projection).

The all-up weight of the IW5 with film is more than 85 lbs. Location changes of more than 10 meters required foor crew members to transport the camera in a stretcher-like cradle. When avail­able, a helicopter was used to move the equipment from shot to shot

The IW5 camera is very sensi­tive to humidity. In Brazil it broke down on the second day of the shoot. From then on, silica was put into equipment cases along with the gear at the end of each day in order to protect it from humidity.

Kurita offers a few tips to those who will be shooting IMAX for the first time. While the camera is rolling, cam­era vibration has to be kept to a mini­mum. Since the projected image is ten times cmventiona135mm, even the slight­est jitter will be magnified to an annoy­ing degree. Kurita tried placing a cush­ion under the camera to prevent this. While this didn't help, weights were found to be very effective. Along the same lines, camera movements (dolly­ing, craning, helicopter etc.) such as pans, tilts have to be executed mo~ slowly. Camera set ups usually take longer than conventional shooting.

In Kurita's opinion, the grip is a veryimportantmemberofthecrew. Tim Sauder did an excellent job en both IMAX films that Kurita shot. Of special interest is the camera platform he rigged up under the air balloon with the help of a few C­clamps. As an addition to the gondola suspended under the belly of the balloon, Tim Sauder built and attached a make­shift side-mount to facilitate aerial shoot­ing. In the middle of nowhere, using only a handsaw, a few C-clamps and 30

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Afloat in the hot-air balloon over the Amazon jllllgle. Kurita on far right over IMAX IW5.

ratchet straps, he created his clever con­traption in about one hour! Once air­borne, it worked very well indeed. (see photos!)

Sound was recorded separately on 35mm magnetic tape. A CD system is now available. The release print was on IMAX 70mm stock. The extra 5mm, added to accommodate the 6-channel stereo sound track, does not affect the size of the picture area.

While on location in Brazil, the

6

exposed film was hand-delivered weekly to the Metrocolour Lab (later switched to Technicolor) in California. Someone had to accompany the film in order to protect it against excessive x-rays, theft or loss. Kurita felt the once-a-week de­livery was inadequate. Needless to say, the cost of even this was very high. Kurita estimates that the IMAX films he has shot cost up to $200,000 per minute. Because of the distance between lab and location, seeing the rushes was impos-

JUNE1990

Grip Tim Sauder designed and constructed this camera platform under the hot-air balloon for "The Flying Raft".

sible. Kurita relied on a consultant/ mediator from IMAX who supervised the processing and regularly reported to Kurita by telephone to let him know how the footage was. Video transfers were sent out to location, but Kurita did not have faith in them. After a while, he didn't watch them because he couldn't assess his work properly on a small TV screen.

Having shot IMAX and other film and video fonnats, Kurita has gained a great deal more insight into motion pic­tures. There was a time when he thought the large size of IMAX was just a gim­mick. Now, after shooting two IMAX films, size and clarity of the large image means quality to him. With IMAX, the image fills one's entire field of vision and the viewer becomes immersed in the action. The frame is no longer a distrac­tion.

For Kurita, IMAX enables him to express on the screen what he sees with his eyes. Having said that, he cautions that IMAX and other fonnats are merely

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tools; they cannot replace good taste or creativity. It is very important to select the right fonnat for the subject

Kurita believes that a cinema­tographer has to have passion for his craft if he is to succeed. Passion is the driving force that pushes him to try new tech­niques and to take risks. Without risk­taking, Kurita believes a cameraperson 's work becomes stale and uninteresting. He cites the example of pioneer aviators who dared to dream up the ''crazy'' idea of flying. They took great risks and the fact that their dream came true proves his point. Kurita adds that a cameraperson 's job is not always as dangerous or daring as the pioneers aviators. His or her re­sponsibility consists of maintaining fo­cus and exposure. Interestingly, these simple tasks have tonnented cinematog­raphers for over 100 years.

Since the completion of the Japa­nese-produced IMAX films Kurita has shot'' Home for Christmas'' a TV drama with Mickey Rooney.

Both Kurita's experience and

7

knowledge of two cultures have made him a valuable commodity to producers. Inhisownwords,hesays, "Ihavefilmed from inside a coffin, attached to the mast of a ship, shot from helicopters and in­side racing cars. Moreover, both Japa­nese and Canadian producers value highly my dual understanding of western and eastern cultures.''

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LETTER FROM AMSTERDAM

It took a while before the pieces of this report clicked together, but I think you'll be interested in the following. I'm not a 'regular' reporter so I cannot vouch for all the facts. Actually, some of this in­formation is not verifiable. The conclu­sion is therefore more of an educated guess than I would have wished, but as I have had a pretty fair track record in pre­dicting stuff as you know and because it will most surely affect you within the next decade, I will proceed.

At a recent War Veterans dinner I found myself talking to an old friend. We had been in the same Japanese con­centration camp in Indonesia where we had the dubious pleasure of spending the war years. At the time we were both very interested in radio and all kinds of electri­cal stuff. Remember, the word 'elec­tronic' had not been invented yet. We built a clandestine receiver incorporating a smuggled tetrode valve, a stolen tele­phone and some other junk, fed by batter­ies made of coconut shells filled with urine from diabetes patients with appro­priate electrodes of brass doorknobs and strips of zinc. Never mind the other details, that is for another story, but be­lieve me, it worked.

We parted ways after the war, I to find my future profession in the army, he to return to Holland where he studied radio propagation and rapidly climbed in the hierarchy at Philips Electronics. A few years ago, he retired and formed a private company interested in pretty weird and esoteric stuff, mostly computer re­lated, etc.

In the last few years, I had be­come a "MacFreak" and we were able to renew our friendship at a comfortable level. I mean, at that dinner I was able to at least partially comprehend his disser­tations. I visited him a few weeks ago and through him I found a very interest­ing story.

It all started with Professor Mandelbrot who more or less invented, or let's say proposed, fractals, the mathe­matical formulas to describe digital

9

computer language in organic, even ana­logue, terms. A long time curiosity, it was understood as a very beautiful in­sight into the matter of synthetic im­agery, but soon enough there were indi­cations that it could be used to 'fold up' as it were, vast amounts of digital infor­mation. A form of compression then, but with a serious loss of information upon unfolding. I wrote about this in the May 1988 issue of your Newsletter. Those of you who keep the issues will find it on page 22. The conclusion there was, I'm sad to say, a bit optimistic at that time.

The problem was that we trans­mit in video every bit of every picture, 30 times a second. This makes the prob­lems of transmitting or recording TV enormously complex. If you stop for a moment and contemplate what is going on, the fact that we succeed at all is a wondrous thing!

In camp in 1945, my Dutch friend and I used to speculate about television as we tried to imagine what would be going on after the war. I was utterly convinced that TV, the transmission of video pictures was impossible to sustain. God, we were all of seventeen years old at the time. We weren't even aware that Germany started transmission in 1934, Americain '36(andwasfullypreparedto schedule regular transmissions from Sch­enectady in 1939, but the war intervened).

What we were talking about was television out of 1938 technical books, most of which were badly mutilated by our fellow inmates who found the pages thin enough (although not as thin as a Bible's) for rolling their cigarettes. Yet Jan already had some weird ideas that are now the mainstay of his affairs.

He proposed 'information the­ory', saying, in short, that it is crazy to

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send the same signal over and over again, to write and rewrite the same picture at the other end. He thought it more logical to send the picture once, somehow store it at the other end to be released over and over again, while continuing transmit­ting only the changes in the picture.

These were, of course, the ideas of two very young, ill infonned and ill­educated boys. But as I progressed through the years, saw the birth of commercial TV, worlced as news cameraman in the early stages (1952 in England, 1958 first with CHANNancouver, later CBC Ed­monton) and picked up a substantial amount of technical gibberish I often thought aboutJ an's weird and wonderful ideas. For instance, one of his ideas was to generate yet another TV standard, one that would start the signal in the middle of the screen and write concentrically expanding until completion of the field before returning again to the point of origin. This would make the signal considerably smaller than the system now used, where a retrace is needed after every written line, 525 times a second. He did develop that system, by the way, when he was working at Philips and I believe it is used in some military gear. But to get back.

Those two ideas, fractals and Infonnatim1heory (that word was coined by Forbes magazine in the '50s) will, most probably, be influencing your life, as I said in the beginning, in the very near future.

A company called C-Cube Mi­crosystems of San Jose, CA has anoounced their latest VLSI (Very Large Scale Inte­grated) chip that will revolutionize the computer and ultimately the video indus­try. The chip, called the CLSS0-1 0, runs at just 10 megahertz, will compress a 25MB continuous colour image (roughly equivalent to a digitally processedNTSC image) to about 5 MB in about a second.

That same chip in future ver­sions, running at 27 Mhz will compress at a 20: !level and that will be enough for real-time (30 frames per second continu­ous tone colour images) video, if trans­lated to NTSC or PAL. But still, even a 5Mhz signal (5 million cycles) is much to large for telephone cable that can barely accommodate 5000 cycles. Here is where

10

the combination of the fractal processing chip of Iterated Systems in Atlanta and the contribution of my good friend Jan will get you a HDTV D-1 signal on a Sony 8mm videorecorder.

The VLSI chip itself will cost around $200. Until now it cost $10,000 in digital signal processing chips to proc­ess a single 4:2:2 frame, taking about a minute to do so. In comprehensible tenns, it would take a Macintosh SE-30 around three minutes to process a single CCIR 601 frame.

The prototype board by C-Cube is now capable of compressing a CCIR 601 4:2:2 size frame that represents a very high quality video frame of about 28 Mhz down to a 2 Mhz realtime video at 30 frames/second. Of course it will just as easily compress ROB or 4:4:4 or YUV. And the first application will be for Macintosh based video editing systems.

In every compression and ex­pansion of visual data there must be some loss. By using an algorithm underwritten by the JPEG (Joint Photographic Experts Group) of the International Standards Organization (that is deciding how you will see your video tomorrow) the loss is limited to that part of the colour content and frequency of the signal that 'matches the human visual data response'. In other words, it matches the eye so you loose data that you cannot see.

The vice-president of C-Cube also says that an unnamed European company is using four of these chips to compress HDTV. Steps are underway to develop a motion picture standard chip. You may gird your loins to the fact that 16mm might well become obsolete as it cannot give the same quality as 35mm for nonnal video use and in the foreseeable future that 35mm film will become obso­lete when the 2.5 million pixel chip announced by a Japanese finn comes on stream.

Jan now contemplates further reduction by utilizing fractal folding, adaptive discrete cosine transfonns, combined with infonnation theory · to reduce the signal from the now achieved real-time 2 Mhz to real-time 4.8 khz. This opens high quality video over the regular telephone wires, very small, in­expensive videorecorders far surpassing

JUNE1990

Betacam technology and a few other goodies that I will tell you about in future issues. In the meantime, those among you who dabble a bit in the stock market, take a close look at Philips, which is now shedding several outdated electronic di­visions and about to fire about 20,000 employees around the world. Their stock is falling, but surprisingly, not as fast as normally would be the case. Guess that Philips has another interesting develop­ment coming up ... soon.

On something completely dif­ferent A few days ago my longlifelove returned from Canada where she had some business to take care of. Talking to some mutual friends she found that most expected me to tum up again in Canada, like a bad penny. It is impossible for me to write all my friends, so I use these pages to inform you all. Here goes.

I am quite happy with my deci­sion to move here, evenifitis sometimes frustrating to deal with people who are essentially foreign to me. Somehow I 'took' to Canada when I left my home country Indonesia and the freedom that is inherent in Canada is dear to me. As newscameraman I travelled extensively through all provinces and I enjoyed the total individual freedom that eludes, sadly, most inhabitants of this world.

Over here, such freedoms are also written in law, but they are maybe impossible to realize as Holland is the most densely populated country in Eu­rope, possibly the world. That entails harnessing these freedoms with masses of rules and regulations that are unavoid­able. A small instance. A little town here has just upped its fines from around $20 to $50 for peeing in the wilds. It literally means that if you are driving around, need a pit stop and find the nearest bush, you will be fined, if apprehended. But any alternative will cost you money. For example, all restaurants have ladies sit­ting outside the restrooms who fleece you for about 15 cents to use the facili­ties, even, you would believe, in the MacDonald's in Amsterdam!

It is understandable if you read that the number one problem in Holland is the surplus of cow, pig and chicken dung that stinks up the countryside: a result of the unreal prosperity of the cow,

CSCNEWS

pig and chicken exports. The dung is impossible to get rid of so official dung police make their rounds to control the farmers so they won't secretly dump it

But the pluses are also enormous. Life is inexpensive, the food is unbeliev­able, the social well-being is very high. Europe is totally vibrant. It is, as we say, all happening here, now. Soon I will drive east, pernaps as far as Moscow, which is the same distance from Amster­dam as Winnipeg is from Toronto, but will pass through eight language barriers and sample God knows what kinds of food and wine (a pretty good bottle of wine sets you back around two or three bucks). There is a vitality, a healthy unrest here that is exciting.

Other plans include renting a boat to ply the canals and lakes in Hol­land and France and to "winter" in Mo­rocco. I don't plan to return to Canada, at least not for a great while. But then again, I have changed my mind so many times already, you never know! Have a good shoot this summer. Bye for now!

Robert Rouveroy esc

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The 1990 CSC Camera Assistant's Course is over. The success of this intensive nine day course depends upon the time and support of many individuals and companies.

I would like to thank John Lindsay and Rick Kearny, two excellent first assistant camercqnen, who helped me tremendously in coordinating the program. We couldn't run the course without people like John and Rick.

The course is designed for students who are serious about assisting as a career. I feel the board did an excellent job in selecting the candidates. It is always a difficult task and this year was no exception.

Our out-of-town students were represented in the east from Montreal and the west Calgary. The students this year were: Francois Daignault, Richard Daley, Christopher Hayward, Judith Lindo, Kelly Mason, Khalen Percival-Neubacher, Ro­man Neubacher, Karen Partridge, Michael Saito, Ian Scott, Rob Sekersky, Rebekka V allan, and Rob W~a.

The course took us to Production Services, Cine Village, Arri/Nagra, Wil­liam F. Whites, Spot Film & Video, Kingsway Film Equipment, and Panavision. I would like to thank the following individuals on behalf of the CSC: John Feeny, Doug Dale, Peter Parks and Roger Playter atPS Production Services; Don Pym, Fritz Krockenberger, and Pierre Careau at Arri/Nagra; Michael Zakula and Colin Davis at Kodak; David Cheng at Fuji; Hans Gahr, Dean Tartaglia at Whites; Helmut Cremer and Glen Ferrier atPanavision; Mike Wilder and Gregory Mirand at Kingsway; Peter Edwards at Rosco; AI Lindsay and Jim Hardie at Spot Film & Video; and Imperial Coffee (for keeping me going), the Society, Marianne Gracey and Ken Post

Special thanks to the world's best instructors: Rick Kearney, John Lindsay, Roger Finlay, David Perkins, Mark Cyr, Ernie Kestler, Mitch Ness, Ryan McMaster, Ray Charles, Christopher Raucamp and Greg Farrow.

In closing I would like to personally thank (how else can I?) everyone who contributed. If I have forgotten anyone, forgive me. Thanks for your support

JOHN HOLOSKO

P.S. Thanks students for the jacket!

12 JUNE1990

CSCNEWS 13

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Top: Richard Daley, Rebekka Valian, Ray Charles, Karen Partridge, Francois Daignault, Rob Wytka and Rob Sekersky at William F. Whites.

Middle: Judy Lindo, Michael Saito and Greg Farrow at William F. Whites. Judy is currently working on Degrassi with Phil Earnshaw esc and Colleen Norcross. Michael is currently work­ing at Rawi Shennan.

Bottom: John Holosko, Mike Wilder of Kings way, and Rob Sekersky. Rob is also worldng at Rawi Shennan.

Photos: Ken Post esc

BEGINNINGS: A PROFILE OF TWO CAMERA ASSISTANTS BY WANG CHOW

In this first column on assisting, we feature two camera assistants who are trying to establish themselves in the very competitive and tough film and video business.

Colin Hoult As a youngster Colin wanted to be an astronaut But as he got older he

realized it was easier to make films about space than to go out there himself. He started making 8mm space films when he was ten years old. On Saturdays he would stage little film festivals with his friends. By the time he was seventeen, Colin started thinking seriously about a film career. He began to read American Cinematographer.

In 1988 after graduating from high school he landed a job as a camera trainee on a low budget horror/suspense film entitled ''Whisper to a Scream''. Since then, Colin has worked as second and first assistant on a number of projects that include music videos, TV dramas and others. Last Christmas he assisted Naohiko Kurita esc on a film with Mickey Rooney.

Colin Hoult is a firm believer that experience is the best teacher. The fact that he hasn't taken any courses doesn't bother him in the slightest. Most of his technical knowledge comes from working and hanging around rental houses. His main concern is getting enough work so that he can grow.

One aspect of the industry that he likes is the unpredictability. Colin enjoys the challenge of new projects and the opportunity of meeting people. On the down side, he is concerned about how difficult it is for the notice to break into this overcrowded industry. There are far too many aspiring filmmakers, camer­apeople, assistants, etc. than there are jobs available.

At 21, Colin Hoult has come to the realization that filmmaking is a tough business. It is not quite as tough as being an astronaut, but close. In seven to ten years Colin would like to be a DOP. His ambition is to take Canada to the forefront of filmmaking on the international stage.

Carolyn Wong A native of Victoria, B.C., Carolyn

worked as a technical and administrative as­sistant for various organizations for the frrst five years of her professional life. Her interest in still photography led her to a job as a production assistant in 1986. Two years later she received the opportunity as a trainee/ camera assistant on the tv series ''My Secret Identity''. Since then Carolyn has branched off to other areas. She has assisted on music videos, tv dramas, commercials and docu­mentaries. She has also acquired some Betacam experience.

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14 JUNE1990

I I

The Festival of Festivals Trade Forum has announced an exciting addition to the 1990 event. The Forum has created a " Speakers Corner" as an arena for people and interest groups to express their views. According to Forum producer Debbie Night­ingale, "We want to encourage debate, and give everyone a chance to speak up. Speaker's Corner can be used as a platform for an organization or an idea, for lobbying or just discussing the current state of the industry.' '

Participants will be given thirty to sixty minutes to make speeches on the sub­ject of their choice. The only requirement is that topics must be submitted in advance to the Trade Forum Office.

The Festival of Festivals Trade Fo­rum, now in its twelfth year, takes place Sep­tember lOth through 12th at the Sutton Place Hotel, Toronto.

The Festival of Festivals Trade Fo­rum office is locatedat387 Bloor Street East, Suite402, Toronto, Ontario M4W 1H7. Tel: (416) 962-0549. Fax: (416) 962-3036. For further information call Alan J, Schwarz at (416) 467-9444.

CSCNEWS

Well, it actually happened! Lori (Carrottop) Longstaff took the plunge and got married on June 29th. Well, I was there and I finally get a chance to write about Lori instead of reading all about my shoots in Carrottop Comer. "Uncle" Ken Post was there putting in a few good words and taking some pictures (when his flash worked!). The lucky man is Fred Willey who is in the construction business. Fred and Lori have been an item for many years, but we got a clue settling down was in the plans when they bought a house in Keswick a few months ago. Lori has been my focus puller for two years now and she does a great job. Her constant enthusiasm is an inspiration for all crew members (and she is always running around taking notes on her micro recorder for more CSC gossip!). The wedding was a happy event for all who attended, especially her mom, Mrs. Peggy Longstaff. The ceremony took place at Richmond Hill Presbyterian Church. The reception afterwards included the best man putting on a frrst rate magic show, although the real trick was seeing Lori tying the knot!

R.A. STRINGER esc

CARROTTOP CORNER

For those who attended the official Canadian release of the Panther dolly on June 22, I'm sure you would agree that the evening was a tremendous success (as well as quite the party!). There were a number of exhibitors there including Steve Campanelli who had his S teadicarn on display. Steve just finished operating S teadicam on " World's Oldest Bridesmaid'' (Perry Hoffman assisted him) and has a Molson commercial coming up with DOP Rhett Morita.

ENG starts up again. Mark Hroch is first assistant and Chris Thompson is second assistant

' 'Counterstrike'' wrapped a few weeks ago. Miklos Lente esc was DOP and Ron Stannett esc shot a couple of the shows. Brian Gedge was full-time operator and Michael Soos was frrst assistant. (Michael is also a recent " honey moaner"). Paul Mitchnick had about 30 days on second unit with Mitch Ness assisting him. Scott McDonald was clapper loader and Lisa Brill, the trainee. The Counterstrike crew expects to return to the series in September. Right now the show is shooting six episodes in France.

Ron Stannett esc will be the OOP for "Top Cop". There'll be three camera units on this one! Sounds like an interesting project

Per loge Shei upgraded from focus puller to DOP on the last few weeks of an IMAX shoot Joe Dasilva assisted Per, while filming in Toronto.

Manfred Guthe esc is DOP on "Road to Avonlea". They started shooting on June 25th and will finish the 13th episode in January. Bob Saad is operating and Kerry Smart and Wendy Walgate are assisting.

Have a terrific summer! LORI LONGSTAFF

15

REPORT ON JUNE MEETING

The June meeting was planned as a screening evening of all the award winning films from the annual esc awards. Because of the volume of films the meeting had to be split into two evenings. The first screening, on June 11, was the films that were finished on film. I felt it was unfair to screen projected film and video side by side. Video projection still being in its infancy it can't yet compare to film projection, and I felt it unfair to make a direct comparison.

Film House generously provided screening fa­cilities for the film screenings. The first film to be screened was Millennium, D.O.P. Rene Ohruihi esc. Because of time restraints we could only screen the first and last reels. This was screened in Film House's Theatre One, a THX dolby stereo mixing theatre, and the sound was im­pressive. The reels we screened contained a night plane crash scene that was spectacular and in the last reel a series of special effects scenes which make it easy to understand why this film was chosen as best feature film.

After this we took a short coffee break and then adjourned to Theatre Four, another THX dolby stereo theatre, this one equipped with 16mm projection equip­ment. Here was saw "Ressac" and "Roaches" two entries by the winner of best Student Production John Freeman. Both films were very entertaining and John was present to make some comments on them. It was very interesting to see how the quality of student films has improved over the years.

Last, but not least, we watched the winner in Unique Cinematography, "Oasis in the Sea" by John Stoneman esc. This film is one episode of a series produced by John for CTV. It was wonderful to see this underwater world on a large screen instead of our TV sets.

Unfortunately, neither Rene or John could be with us at this meeting, a pity because I'm sure there were many things members would have liked to discuss with them.

The meeting adjourned with more coffee, cookies and talk. I would like to thank Film House for their kind donation of facilities and the production companies who made the films available to us for the screen-in g.

JOAN HUTTON CSC

PRODUCT NEWS ... FROM Rt1SCO

A 65-minute videotape pw gram, hosted by Emmy Award winning cameraman and videographer, Dick Reizner, provides dozens of useful tips for lighting video productions in the studio, or in such locations as offices, warehouses and factories.

The videotape, titled' 'Lighting In The Real World'' focuses on the real life lighting situations faced by producers and cameramen every day. It explains how to deal with the typical mixed light location: the windows are daylight, there are fluorescent lamps o ·er' d and the fill is tungsten - all in the same shot!

Along the way, Reizner offers a number of ideas on lighting. Here are just a few of the subjects he covers: Which lighting filters to use for those special - but not so uncommon tasks - like videotaping the CEO who is balding and wears glasses or getting good ·mages of the speaker who is working next to a slide or overhead projector; Choosing the right diffusion material in the studio, or on location. Using patterns, or gobos, to break up the light and make the picture look more interesting; How to ''gel'' windows quickly and easily so the daylight balances correctly to your tungsten fill light and the intensity doesn't overwhelm your lighting; How to get the green/magenta (or CC) balance right when shooting under fluo­rescent lights; What the video white balance button or the lab can and can't do in getting the color balance right. Using the vectroscope and the light meter on location. What to do with metal halide or other ghoulish discharge sources.

"Lighting In The Real World" is available at Rosco 1271 Denison Street, #66, Markham, Ontario L3R4B5 Tel: (416) 475-1400, Fax: (416) 475-3351 and will be shown at either the October or November CSC meeting.

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