September 2008 Volume 28, No. 1

In the Trenches with Greg Middleton Shooting Paul Gross’sPaSSchendaele

Regina Shoot Paints the Set Red

Interviewwith harry lake csc

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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.

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

csc.ca

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2 President’s Report

04 Greg Middleton creates Two distinct Worlds of love and courage for Paul Gross’s Passchendaele The award-winning director of photography says it was special to work with a man of Paul Gross’s stature.

Gross is the writer, co-producer, director and star of Passchendaele, a big-budget (at least by Canadian standards) romantic drama, due for release in the fall.

By Don Angus

6 Interview with harry lake csc Harry Lake csc began his career in film in the 1950s as a gofer. He received many awards for his

commercials and music videos, and in 1982 he received a Clio Award for best cinematography. He is still the only Canadian to win the prestigious award.

By Wyndham Wise

10 Regina Shoot Paints the Set Red Not long after the first 10 of some 40 RED cameras on order had arrived at the PS Production Studios

in Toronto, most were quickly sent on a flurry of RED productions. One of the more demanding was a seven-week feature shooting in Regina entitled Hybrid, a multi-camera shoot took half the available stock.

By Lee Rickwood

13 Industry news17 classifieds18 cSc Membership list20 Production notes and calendar

cover image from Passchendaele courtesy of Alliance Films

2 • CSC News - Summer 2008

prEsIDENT’s rEpOrT

The Canadian Society of Cinema-tographers wants to congratu-late Gregory Middleton csc on a

unique honour. For the second successive year, a Canadian feature film on which he served as DOP will open the Toronto In-ternational Film Festival (TIFF). Last year it was Jeremy Podeswa’s Fugitive Pieces, and in 2008 it is Paul Gross’s epic Pass-chendaele, which Gross wrote, directed, co-produced and stars in along with Caro-line Dhavernas and Gil Bellows.

A romantic drama set against the hor-rors of the First World War, Passchendaele recreates the bloody battle of Passchen-daele, in Belgium, where 20,000 members of the elite Canadian Corps successfully overran the German lines in October/No-vember 1917, leaving nearly 16,000 dead or wounded in the process. Greg joins Paul Sarossy csc, DOP on Atom Egoyan’s Adoration, Arthur E. Cooper csc, DOP on Michael McGowan’s One Week, and Steve Cosens csc, DOP on Charles Officer’s Nurse.Fighter.Boy at North America’s larg-est and most important film festival.

Of course, TIFF is just the beginning of the long fall festival season. Following Toronto’s lead is the Atlantic Film Festi-val, Halifax (September 11-20), Cinéfest International Film Festival, Sudbury, ON (September 13-21), the Calgary Interna-tional Film Festival (September 19-28), the Vancouver International Film Festival (September 25-October 10) and the Ed-monton International Film Festival (Sep-tember 26-October 4).

In this issue of CSC News, Don Angus talks to Middleton about the difficult task of recreating the First World War battle scenes for Passchendaele in the wind, mud and sunny skies of Alberta. Wynd-ham Wise updates an in-terview with Harry Lake csc, now retired. Lake began his career in film in the 1950s as a gofer. He received many awards for his commercials and music videos, and in 1982 he received a Clio Award for best cin-ematography. He is still the only Canadian to win the prestigious award. And we visit the set of Hybrid in Saskatchewan for the

first multiple RED camera shoot. Not long after the first 10 of some 40 RED cameras on order had arrived at the PS Production Studios in Toronto, most were quickly sent on a flurry of RED productions. One of the more demanding was the seven-week shoot in Regina.

And, finally, the CSC executive wants to thank editor and contributor Lee Rick-wood for his time with CSC News. Lee has moved on, and we are pleased to an-nounce after a summer search that the new editor of the CSC News is Wyndham Wise. A well-respected writer, researcher and consultant, Wyndham comes to us with 20 years of experience in the Cana-dian film publishing business. He served as the last Toronto reporter for Cinema Canada magazine from 1988 to 1989 and launched POV magazine in 1990 for the Canadian Independent Film Caucus. He edited the last issue of Independent Eye for the Canadian Filmmakers Distribution Centre in 1991, and was the founder and

served as the publisher/editor-in-editor of Take One: Film & Television in Canada from 1992 to 2006, widely regard-ed as Canada’s finest film magazine. In 1997 he founded the Toronto Film Critics Association and launched Canadian Screenwriter for the Writers Guild of Cana-da in 1998. Wyndham edited Take One’s Essen-

tial Guide to Canadian Film, published by the University of Toronto Press in 2001. Needless to say, we are very happy that the CSC News is in such good hands and we welcome him aboard.

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4 • CSC News - September 2008

Greg Middleton creates Two distinct Worlds of love and courage for Paul Gross’s

Passchendaele The Camera Crew DOP: Greg Middleton csc A-cam – Operator: Peter Wilke; focus: Larry PortmannB-cam – Operator and 2nd unit DOP: Danny Nowak csc; focus: Robin LindalaKey grip: John Adshead Gaffer: Martin Keough

By Don Angus

Mud. Sloppy, gooey mud. It al-most stopped Greg Middleton csc in his tracks as he filmed

Paul Gross’s $20-million First World War epic, Passchendaele, in Alberta last summer and fall. It was tough slogging through the muck and the wind-driven rain. The rain was from hoses; the wind was for real. The sunny blue skies were another problem.

Middleton, the award-winning West-erner based in Vancouver, spared a few minutes to talk by cell phone as he waited to board a seaplane destined for northern British Columbia. Fishing? No, another shoot – and he had only just wrapped a minseries, “Sea Wolf,” in Halifax the pre-vious week.

“Yes,” he said, he was planning on at-tending the world premiere of Passchen-daele at the Toronto International Film Festival on September 4. It’s the second consecutive year one of his pictures has been selected to open the festival. Last year it was Jeremy Podeswa’s Fugitive Piec-es, but he couldn’t attend because he was shooting Passchendaele.

The director of photography said it was special to work with a man of Gross’s stature in Canadian stage, television and cinema. Gross is writer, co-producer, di-rector and star of the big-budget (at least by Canadian standards) romantic drama, due to be released in Canadian theatres in late fall — perhaps on or about November 11, Remembrance Day.

Gross has worked towards this theatri-cal story of love and courage for over 10 years. It’s much longer if you count back to his boyhood when his grandfather told him sometimes grisly stories of his expe-riences as a soldier in the 10th Battalion, Canadian Expeditionary Force at the Battle of Passchendaele (also known as the

Third Battle of Ypres) in 1917. The movie is based on his grandfather’s accounts of the fighting.

Middleton had never worked with Gross before and, unlike the director, knew little about the battle, or the war, before signing on. However, he quickly grasped Gross’s vision and read as much as he could to catch up on the 1914-1918 conflict.

In pre-production, Middleton and Gross talked about the look of the feature in both its romantic and tense, heavily dra-matic moods – love and life on the home front and hate and death in the Belgian trenches. “The two worlds were quite dis-tinct in what we were going to film in them and what they were going to feel like,” the DOP said.

“All the scenes set in Belgium, especially in the last third of the film, were shot in com-pletely rainy, muddy conditions, with a lot of dramatic elements – like people in wool, army uniforms covered in mud. The clay-soil mud stuck to everything.” It was difficult to shoot in the rain – hundreds of gallons of wa-ter sprayed over the set – and keep the blue sky of a beautiful day out of the shot or from reflecting off the soldiers’ faces.

“I tried to come up with an interesting colour for the battlefield stuff, harking back to actual descriptions of what the colour looked like,” Middleton said. He decided to shoot all the battlefield scenes on Fujifilm’s Eterna 400T low-contrast, colour negative film stock. “Both day and night on one film,” he said. “I wanted to introduce a little bit more physical texture. We weren’t going for an extremely gritty or grainy look, but there’s just a different texture to that lower-contrast film. I think sometimes it helps to strategize with some of those characteristics built into the photography, through the choice of film stock and processing.”

The battle scenes “were a little bit more de-saturated because Paul and I dis-cussed various ways to try to make the two worlds distinct. The major clash, visually, between the two parts of the world is very powerful. The film is a war romance; we shot the landscape outside Calgary the way it is, beautiful and lush.”

For the softer, warmer, romantic look and feel of home, the DOP chose Kodak Vision2 5218 500T and 5212 100T. Middleton said he shot Passchen-daele with Panavision cameras and a set of Primo primes. The Millennium XL was A-camera and the Platinum was B-cam. The crew used three cameras for the battle scenes and had a second unit, headed by Danny Nowak csc, with two cameras for about two weeks. “Danny’s a huge World War I buff, so it was a great thrill for him to be involved,” Middleton said.

As for Paul Gross, the DOP said he had never seen anything quite like his director. “Paul is an incredibly talented writer and has an incredible amount of energy. I can’t think of anyone who could accomplish what he managed to do – write, produce, direct and star.” The cin-ematographer said he would grab a few minutes with Gross in the morning be-fore a shoot and for a few minutes on his way back to the trailer. “It’s usual to have much more time with your director on set, but on many days this was not possi-ble. We did have a reasonable prep, which proved to be invaluable. This allowed me to be able to make some decisions in his absence, because I had a strong idea of what he wanted.”

So what did Middleton think was the one thing he could not have done without on Passchendaele? “Hard work,” he replied, and he praised his crew.

Passchendaele

CSC News - September 2008 • 5

Paul and I discussed various ways to try to make the two worlds distinct. The major clash, visually, between the two parts of the world is very powerful. The film is a war romance.” – Greg Middleton

Pictured above are Caroline Dhavernas and Paul Gross. Image courtesy of Alliance Films

6 • CSC News - September 2008

Harry Lake csc began his career in film in the 1950s as a gofer in Toronto. After assisting well-

known directors of photography such as Fritz Spiess csc, Bill Gimmi csc and Her-bert Alpert csc in the 1960s, Lake began shooting in 1967. He has received many awards for his commercials and music videos. In 1982 he received a Clio Award for best cinematography in a commercial for GM Camaro, “Shadows,” competing in a field of over 2,000 U.S. entries, and he is still the only Canadian to win the prestigious award. A 90-second version played theatrically. In1992 he shot the Bessie Gold Award-winning commercial “Cancer Kids.” Lance Carlson originally interviewed him for CSC News in 1992 (V. 12 No. 2). Since that time, he shot second unit on a number of high-profile films such as Never Talk to Strangers, Push-ing Tin, Detroit Rock City and Cold Creek Manor and is now retired. CSC News caught up with Harry Lake at his home in Oakville, Ontario, in July.

WW: When and where were you born and how did you get into the business?HL: I was born in New Toronto in 1933. I dropped out of Etobicoke Collegiate and was working at a gas station on The Queensway. There was a studio on The Queensway at that time, down around

Brown’s Line. One of the guys who ran the studio, one of the Baton’s, used to come in and I got talking to him. He offered me a job as the studio driver, delivering prints and picking up packages. I started work-ing in different aspects of the business. They closed the studio down eventually, and I started freelancing, working in the electrical department.

WW: What were you working on in those days?HL: I was working on anything and every-thing, documentaries, commercials, mov-ies, although there was not much in the way of movies in those days. There were a few series, “Last of the Mohicans,” “Tug-boat Annie,” “Cannonball.” I worked as a gaffer for quite awhile, then I switched over to assistant cameraman and did that for a few years and eventually upgraded to director of photography in 1967.

WW: Which films did you work on?HL: There wasn’t much. There was a company called Klenman-Davidson, Bill Davidson and Martin Klenman. They did Now That April’s Here [1958] and The Ivy League Killers [1959]. I was a boom man on Now That April’s Here in the sound department. I don’t remember much about it. I know it was really quite cold. We shot some stuff in High Park, and that was pretty chilly shooting. Wil-liam Gimmi was the DOP. I also worked on The Mask [1961], which Julian Roff-man directed, and Herb Alpert shot that one. It was 3D, and we had a really cum-bersome camera on that thing. There were two cameras, of course, and it took a very long time to set up any shot and change rolls. I worked on A Dangerous Age [1958] and A Cool Sound from Hell [1959] with Syd Furie, and Alpert shot both of them. Furie also directed some of the “Hudson Bay” series for the CBC. I did freelance work for the CBC at the time, but never got serious about work-ing for them full time. In those days, freelance work was considered more professional than working at the CBC. I learnt my craft from guys like Sammy Samuels [aka Maurice Jackson-Samuels] and Fritz Spiess.

WW: What kept you busy in the 1970s?HL: Mostly commercials, for clients such as Labatt’s, Molson’s and Dow Ale. Re-member, I didn’t start shooting until the late 1960s. I was working with Spiess for a while at Robert Lawrence Productions, where I was the staff assistant, and Marc Champion, who came from France, and has since retired. My first film per se was a TV movie called The World Beyond, aka The Mud Monster [1978]. We shot it down around the Thousand Islands. The “mud monster” is part of Jewish folklore, the Golem. It was a weird film. Anyway the lead, Tony Van Dusen, had a real problem with bags under his eyes. So I had to be very careful with the lighting. He com-plained that I was taking too long, and I was replaced by Zale Magder.

WW: You shot The Magic Show in 1980 with Doug Henning.HL: I was working at Rabco, and Wayne Fenske and Chris Dalton were the produc-ers of The Magic Show for the CBC. I got it through them. We used seven cameras at one point during the shoot. We shot three performances and cut them together. It was at the old Queen Elizabeth Theatre down at the Exhibition Grounds.

WW: Later you shot a 3D film about Sud-bury called Shooting Star (1992). What was that about?HL: That was a good shoot. It was about the topography around Sudbury, going back to the time of invertebrates. It was made for Science North Sudbury and it was all shot outdoors. The film is based on a First Na-tions legend and it has Gary Farmer in it. We went to Australia to shoot in The Great Barrier Reef. We stayed at a research facili-tate on one of the islands on the Reef, and we got a big tank sent to us from an aquari-um and filmed the living invertebrates such as jelly fish and sea slugs found in the coral. We also went to Iceland, and we shot it all in 70 mm and 3D. The camera was as a brute, as big as a refrigerator.

WW: In 1995 you worked on Never Talk to Strangers.HL: Sir Peter Hall directed that one. I did the second unit on it. It was an interesting

InTeRvIeW WITh haRRy lake cScBy Wyndham Wise

CSC News - September 2008 • 7

shoot. When they were finished, we had to do some re-shoots, which I did. It was with Rebecca De Mornay and Dennis Miller. She was interesting to work with because she knew exactly from which side she should be lit. I had quite a good talk with her about what she considered her best side. She was quite knowledgeable. She’s a type of person who, whenever she walked on set, everyone would be quiet. She is a very good-looking lady. She was dating Leonard Cohen, and we were in-structed not to talk about him. I was shooting second unit while the main unit was shooting in the studio, and I was off in a corner somewhere. All of a sudden the power went off, and we were in the dark. A gaffer had gotten into an argument with the producer and had shut it down and walked off the set. Also around that time I shot a bunch of made-for-television movies for Tony Thatcher. The Care and Handling of Roses [1996] and Moonlight becomes You [1998] are a couple of titles I remember.

WW: Then you worked on Strike! (1998), which Robert Lantos produced.HL: I didn’t do much on that one. When we were shooting it, it was called The Hairy Bird. I worked on Mike Newell’s Pushing Tin [1999], with John Cusack and Billy Bob Thorton, which was quite interest-ing. I did the second unit at the airports in Minneapolis, Chicago and Toronto. I did some blue screen for that as well. We shot on the escarpment in Milton, just outside of Toronto.

WW: Did you shoot the scene with Cusack and Billy Bob lying under the plane as it takes off?HL: I didn’t shoot that, but it’s very unlikely that anyone would live after doing that. I mostly did planes landing and taking off. A lot of long-lens stuff. Actually, the movie opens with one of my shots in Minneapolis. We were shooting in Chicago, and we were shooting the planes as they were going over-head, just before landing. This one plane landed too close to the one in front of it, and soon as it touched down it had to take off again. That was pretty hairy.

WW: You also did second unit on Detroit Rock City that same year (1999). It’s about some kids trying to get to a KISS concert in Detroit, but it was shot in Toronto.

Top: Julian Roffman’s The Mask, DOP Herbert Alpert.Bottom: Harry Lake taking a light reading for Fritz Spiess at Robert Lawrence Productions.

8 • CSC News - September 2008

HL: Actually, we shot the concert in Hamilton, and used the studios around Toronto and the Skydome for the rest of it. We also did some stuff around Cambridge, Ontario. It was a lot of fun on that pic-ture. The best wrap party ever. We shot the concert in Copps Coliseum. I remember they had a KISS cover band to warm up the crowd. Those were very long days, and it’s not my type of music. We also shot in the Skydome in Toronto. There was a lot of skin in that film. One of the band mem-bers had this elaborate trailer set up with a

hot tub and lots of topless women. Now that was an interesting shoot. I was on Serendipity [2001] with John Cusack, and actually did some shooting with him. He remembered me from Pushing Tin, when I re-introduced myself. He is a really good guy, very co-operative. Some of them are not so co-operative. And I was also on The Mighty [1998], which had a big underwa-ter shoot. I did several of those set-ups.

The last one I did was Cold Creek Man-or [2003]. I did a lot of night stuff, and we had a large crew on that one. I mostly

did the re-shoots. The toughest part of sec-ond unit is matching somebody’s style. You have to match it so it looks like it belongs. If you are lucky, you get to meet the DOP and work alongside of him. A lot of times that doesn’t happen, but you usually get a chance to meet them. And sometimes you can get someone from his electrical crew to work as your gaffer, which helps a lot be-cause they know the original lighting. It’s not an easy thing to do.

WW: What was the best part of the job?HL: I got to travel a lot. I commuted be-tween Toronto and L.A. for a while, and out of L.A. I got to shoot in Hong Kong, and lots of different places. Working in L.A., with all its equipment…if we have one crane here, they have 30 down there. Everything is there, and the weather is good, so it’s much easier to shoot. People on the whole are more inventive up here, because they don’t have everything on hand and it’s a challenge to shoot sometimes.

WW: Having been in the business since the 1950s, you must have seen huge changes over the years.HL: Oh, yeah, even more so in the last few years with HD. Still, I would say, predomi-nately, most of the features are still shot on film, and I still like film. I like its tonal range as opposed to videotape. But there have been so many changes. The biggest change for me was…we used to shoot with rack-over cameras, where you looked through the camera to line it up, and then you’d rack it over so the lens was in line with the film instead of the eyepiece. You composed the shot with an external viewfinder, so you were fighting the parallax all the time and the background from your external view-finder was not the same as the lens. There was six-to-eight inches difference if you went in for a close-up, so the background was quite different from what you were ac-tually shooting. And at the end of the shot, you would have everyone freeze, and open the blimp and rack-over the camera. It was quite cumbersome. That camera we had on The Mask on was really quite a monster.

The digital equipment today is easier. You have to know a lot of technical stuff, but it still takes a good eye to shoot it. It’s not as easy as it looks. I did a lot of tests for Sony when HD first came out, and it’s harder to make things look good, harder than film.

“She knew exactly from which side she should be lit, she was quite knowledgeable.”

harry lake on lighting Rebecca de Mornay in never Talk to Strangers.

CSC News - September 2008 • #

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Not long after the first 10 of some 40 RED cameras on order had arrived at the PS Production

Studios in Toronto, most were quickly sent on a flurry of RED productions.

One of the more demanding was a sev-en-week feature shooting in Regina titled Hybrid (originally known as Hunter) – the multi-camera shoot took half the available stock.

Among those who immediately took the opportunity to jump on board the digital cinematography process was Ken Krawczyk csc (in-between and around his regular “Corner Gas” duties).

The camera is in many ways a computer, and many users jokingly re-fer to it as a “camputer.” But Krawczyk described the experience as “essen-tially a film shoot, done with RED cameras. John treated it like film, and there was no more or less time spent on the shoot with the RED than with a 35-mm camera. I suspect if a 35 was on set, it would have been the same time – no extra, at any rate. The RED reloads, for example, are pretty much the same time as it takes to reload a film camera. We had four or six min-utes per flash card, so maybe the change is more frequent, but it’s very quick.”

Krawczyk, as OP, worked with cinema-tographer John Leonetti asc, who tested out various film stocks, and following a blind projection comparison, decided RED was definitely the way to go.

“What I’m amazed about is how seam-lessly I can treat it like a film camera, and because it has a contrast ratio very close to film, it’s like going back to the film days but in a digital world,” Leonetti con-curred. “I do not light from a monitor…and I view my stills every night. During

the shoot, if I have a moment to go over to the data management station, I can eas-ily view quick reference footage while we download directly off the compact flash cards. It’s just such a wonderful opportu-nity to be able to work this way.”

“John seemed to take to it very quickly and confidently,” describes Krawczyk. “I didn’t see anything we were doing to com-pensate [due to the digital-shooting pro-cess]. “He might call a shutter angle with the stop, but I agree we did very little light-

ing off the monitor. We lit it like a feature film, the lens flares look the same as on a feature film – the whole idea is to work as seamlessly as possible. There should be no difference. Crew commands are exactly the same, from lighting and grip point of view.”

Nevertheless, that “camputer” designa-tion does include some different produc-tion considerations.

So, assisting in the camera set-up and workflow initialization, PS camera reps Jack Mosor and Kyle Kurbegovich provid-ed on-location RED technical services for the production, and were present for both the initial prep and the start of principal photography.

Somewhat like computers, the RED camera follows an on-going upgrade and development path, with enhanced ver-sions making their way to eager hands.

Releasing the camera in “beta” lets those hands put the camera through vigorous field testing, far more thorough than an in-house test might achieve. Users report the camera manufacturer has been quick to address and resolve many of the issues with the initial software through its popu-lar REDuser.net forum.

“Shooting on Build 15 is great. I’ve actually no-ticed a difference from Build 13,” explained Le-onetti of the various ver-sions. “At first I thought the ASA had changed, but in 15 there’s just more information. You can rate this camera at 400 if you like but I would still say it’s 320. I think it’s just won-derful, the combination of the RED camera with the Cooke S4’s and the Opti-mos are amazing.…I love the images we’re making,” he added.

Eric Greensmith, data management technician on Hybrid, was quick to

add that “data management is really a task of its own, so we wanted to be sure, with the sheer amount of footage being in-gested into the computers, that everything gets stored accurately and effectively.

“Five cameras going all the time puts quite a strain on the data management technician, and so it was decided that video assist would be a standalone. Also we opted to shoot on the RED compact flash cards, the RED drives are more than capable but considering the simplicity of changing a ‘mag’ every four minutes, com-pact flash offers the opportunity to verify all the footage relatively quickly and keep download times to a minimum. Another benefit is that since a lot of what we’re

Regina Shoot Paints Set RedBy lee Rickwood

CSC News - September 2008 • 11

DOP Ken Krawczyk csc said he was impressed with the features and functions of the RED camera; he is on order and waiting for his own unit. Photo credit: David Giesbrecht

left Cinematographer Ken Krawczyk csc (at left), with Lowell Schrieder, marketing manager at PS Production Studios, during a break in shooting on Hybrid, on which multiple RED digital cameras, were used.

shooting involves high-action sequences, embracing a solid-state format is a huge benefit to us.

“Shooting RED also gave Hybrid the op-portunity to start from the ground up with editorial. The edit suites were designed and tailored to the RED workflow, allowing for a more seamless and streamlined workflow. By matching the on-set data management station to the editor we extend the abilities of each so they can communicate more flu-ently so as to foster a great relationship. It took some trial and error to find the best method for delivering all the data. Cur-rently, the day’s footage is backed-up onto several disks and verified, after which it travels to the editorial and production of-fice where the editor generates media based on selected takes. When the editor has our generated media, it is shipped off to Plaster City Post in Los Angeles for the digital in-termediate and film-out process.”

But post workflows aside, Krawczyk reiterates that working with the camera on set is much the same. “It’s a little bit

heavier than I thought; heavier than 16, for sure. We would run two batteries, one for the camera, one for the moni-tor, but there are options that way. You can easily lighten the load by taking off a battery and putting it on the block. Cable-wise, there are just about as many cables on a film camera these days as on the RED.”

If he had any misgivings, he was making light of them. “I have a bit of a peeve with the viewfinder,” Krawczyk said. “It can be moved to many different locations on the camera, which is good, but the controls are right on the outside, so every time I went to grab it, I accidentally hit a button and reset the monitor. The guys made me a cover to keep me from too many accidents.” Now you can disable them in Build 16.

Krawczyk noted that all the camera tech-nicans, camera crew and production cast and crew members were great to work with. “John Leonetti is one of the nicest, kindest men I have ever worked with. He has done

a ton of great movies, but he was always the gentleman and always open to suggestion.

“I worked with another great operator, Dave Sheridan, who did amazing work, great steadicam,” he continues. Mark Cyre worked mostly with the ultimate arm, and it takes a lot of knowledge and practice to run that with the joysticks.

“Jack and Kyle were with us for a couple of weeks,” Krawczyk added, mentioning the invaluable contributions of the on-set technicians from PS. “It was very helpful that they were there, and we moved very quickly with the support of the PS team.”

Based on the Hybrid experience, would he work again with the RED, Krawczyk was asked?

In a word? Inevitably! He is on the purchaser’s waiting list, and

will soon have a RED camera of his own. “Once I DP, once I spend more time

on it, I will have way more to say about it. But so far, they show really well. It was a first for PS to supply more than one at a time, and when we unloaded them here,

The cast and crew of Hybrid, including Ken Krawczyk csc, Todd Irving 1st AC (A camera), Nick Lamb 2nd AC (A camera), Dean Stinchconbe 1st AC (B camera), Fedreico De Marco 2nd AC (B camera), Mark Cyre and Nicole Winchar.

12 • CSC News - September 2008

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they all came out of boxes, and started working. I was definitely impressed – as were we all.”

“One of the things we noticed, “ said Kurbegovich, PS’s digital cameera technical specialist, “was that the crew was hesi-tant to work with the RED. But once

they started, they could see that the camera is a step in the right direction and they came to love it. It went from skepticism to absolute love. In retro-spect, Hybrid was the perfect show for the debut of the RED camera. It was new to PS and it was new to RED to

have a five-camera shoot happening in such a remote location. It was a new experience for everyone involved. We were fortunate to have RED’s contact information. We could call them any-time to get tech support if we needed it. They are phenomenal.”

CSC News - September 2008 • 13

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mICHAEl GrIppO CsC rECEIvEs EmmY NOD

When the nominations for the Annual Emmy Awards of News and Documen-tary were announced earlier this year, in the category of Outstanding Individual Achievement in a Craft: Cinematography News Coverage/Documentaries was the fa-miliar name of Michael Grippo csc. Faith without Fear, directed by Ian McLeod and shot by Grippo, was produced by 90th Parallel Film and Television Productions of Toronto and the National Film Board of Canada. It was first broadcast as part of the “America at a Crossroads” series shown in April 2007 on PBS with a repeat view-ing on Global TV the same month. The awards will be presented September 22 in New York City.

Michael Grippo has previously won three Gemini Awards in the category of Best Photography in a Documentary Program or Series, in 2003 for A Child’s Century of War, and twice in 2007 for Martyr Street and Faith without Fear. And is 2008 he was nominated for the CSC

Robert Brooks Award for Documentary Cin-ematography for Faith.

Over a 20-year ca-reer, he has filmed over 60 network documen-taries on five conti-nents. Faith without Fear is based on the best-selling book The Trouble with Islam Today by Canadian author and activist Ir-shad Manji, a controversial and outspoken critic of radical Islam, and the film travels

the globe with her in search of its roots. The Victoria Times-Colonist wrote at the time of its broadcast in 2007, “Faith with-out Fear is a gorgeous

to look at, filmed through the Middle East, Europe and [Manji’s] mother’s homeland in Vancouver… [the film] is about more than pretty pictures, however. It’s about ideas, about how Islam has come to be perceived as an ideology of fear.”

Ottawa-born actress Sandra Oh has also been nominated for Outstanding Support-ing Actor in a Drama Series (“Grey’s Anat-omy”) at the Primetime Emmy Awards, which are held a weekly earlier, on Sep-tember 16. This is the fourth nomination for Ms Oh in the role of Christina Yang in the popular series. And receiving four Primetime nominations is the Irish-Cana-dian-financed series “The Tudors,” which is broadcast on the CBC in Canada and the Showtime cable network in the U.S.. Ousama Rawi csc won the CSC Award for TV Series Cinematography in 2008 for his work on the series.

sONY XDCAm HD422 At NAB this year, Sony introduced

its PD700 XDCAM HD422 optical disk camcorder; however, the feature set did not initially offer support for the 24-frame rate. In July, Sony announced that it would be able to support the 24-frame mode, but this will be a chargeable option and it will not be available until some time after the version 1.2 upgrade planned for No-vember. The HD422 camcorder is Sony’s top-of-the-line product in its XDCAM series. It provides stunningly high qual-

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Irshad Manji

CSC News - September 2008 • 15

ity in image and audio, as well as versatile operations enabled by a range of interfaces. In addition to its impressive HD picture quality (1920 x 1080 pixels), what makes the XDCAM HD422 so distinguished is its file-based disc recording capability. This brings benefits such as instant ran-dom access and IT connectivity, to name just two. It provides recording capabilities in both 1080i and 720P (which requires a software upgrade planned to be available in Fall 2008), an S/N ratio of 59 dB with a noise suppression mode an sensitivity of F11 at 59.94 Hz (F12 at 50 Hz). It can record four-channel 24-bit audio of un-compromising quality.

FIlmpOrT OpENs FOr busINEss IN TOrONTO

Phase I of Toronto’s long-awaited Film-port opened for business in June, although the official opening with Mayor David Miller in attendance came in August. Offer-ing seven stages – including North America’s largest purpose-built soundstage at 45,900 square feet – it should help attract large productions to the city. When fully built in about 10 years time, the facility, built on re-claimed polluted Port Lands formerly owned by Imperial Oil, will be able to accommo-date up to five mid-budget feature films and two huge blockbuster productions on a 20-hectare landscape. The original Toronto Film Studios at 629 Eastern Avenue are closing at the end of 2008, while TFS’s stages at 65 Heward Avenue will remain open and are being renamed under the Filmport banner.

British Columbia, Saskatchewan and Nova Scotia are aiming to compete with the newly opened Filmport with megastages of their own in the works. Construction on Pacific Studios, a 37,000-square-foot pur-pose-built studio and a new 23,000-sqaure-foot soundstage is underway at Burnaby, BC’s Canadian Motion Picture Park, which already houses eight stages. A proposal for two new Nova Scotia soundstages is also in the works to deal with the studio crunch ex-pected with the imminent closure of Elec-tropolis Motion Picture Studios in Halifax, which up to now has been the province’s main soundstage. Tour Tech East in Dart-mouth is hoping to make up for the short-fall by expanding its own studio facility into a 40,000 square-foot studio with a 5,000 square-foot studio and a 30-foot submer-sion tank.

Meanwhile in Saskatchewan, Playback reports that producer Kevin DeWalt (The Englishman’s Boy) of Minds Eye Entertain-ment says he is in the preliminary stages of putting together a deal to build a new pur-pose-built studio with two interconnecting 22,000-square-foot stages, where he will shoot the $80 million feature Wicked City in the summer of 2009 with German partner Stallion Media.

FIlm TrAINING mANITObA ANNOuNCEs FIlm EXpO II FOr NOvEmbEr

Neila Benson, executive director, Film Training Manitoba, has announced the dates for Manitoba Film Expo II to be held from November 28 to 30 2008. “Film Training Manitoba invites equip-ment suppliers, producers, technicians and filmmakers to converge at Manitoba Film Expo II. We will be collaborating once

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16 • CSC News - September 2008

again with an amazing group of sponsors and participants, and you can be sure that our dedicated industry will put together a series of presentations and demonstra-tions that you won’t want to miss.”

In March of this year, a well-attended lighting workshop was held at the historic Garrick Theatre in Winnipeg, presented by the International Photographers Guild, IATSE Local 669, Film Training Manito-ba, The Winnipeg Film Group and Mo-tion Pictures Technicians and IATSE Lo-cal 856. It was part of a continuing series of professional development classes put on by Film Training Manitoba, organized by Darlene Choo. The focus was on spe-cial effects make-up for the camera and costume departments.

A presentation and demonstration on Special Effects Make-Up Applications was a big hit with the audience. Doug Morrow, a Winnipeg-based professional make-up artist since 1989, whose recent films include the Oscar-winning Capote (2005) and Robert Cuffley’s Walk All over Me (2007), created numerous examples that were put before the cameras. Mor-row’s department was accompanied by the teamwork of Forest Sala and his crew. Sala is a key hair stylist whose work can be seen in series such as “The X-Files” and “Traveler.” Technicolor Creative Services (Vancouver) oversaw the post process, and the completed tape of the demonstration will be presented alongside a Q&A session at the upcoming Manitoba Film Expo II. For more information, contact Film Training Manitoba at info@filmtraining.mb.ca.

ApplY FOr TrAINING AT THE NATIONAl sCrEEN INsTITuTE

The National Screen Institute-Canada, based in Winnipeg, is seeking Canadian filmmaking teams to participate in NSI Features First 2008, a professional develop-ment program designed to help emerging filmmakers advance their first or second feature films. It aims to help filmmakers hone their script while also understanding the business aspects of feature-film devel-opment.

Up to five teams are chosen for this 10-month, three-phase program and are selected based on the strength of their film concepts and the potential develop-ment and packaging of same. The cur-riculum includes script and story develop-ment, market research, legal requirements, pitching, financing, distribution as well as marketing and sales training delivered by leaders in the Canadian film industry. The teams chosen for the program are not re-quired to pay tuition fees or relocate and, after initial training, learning opportunities are developed close to home. Guidelines and application forms are available on the NSI website. The deadline is Monday, September 22 2008.

THE bANFF WOrlD TElEvIsION FEsTIvAl AND THE NEW YOrK TElEvIsION FEsTIvAl ANNOuNCE pArTNErsHIp

The Banff World Television Festival an-nounced in August that it has joined with the New York Television Festival as part of the TV Festival PassPort Program. This unique artist exchange program, launched in 2007 by the New York festival, provides up-and-coming independent television cre-ators and producers from Canada with free Arts Passes to the 2008 New York Televi-sion Festival and the ability to screen their films at the festival in New York City. In exchange, members of the 2008 New York Television Festival Fellowship program will be welcome at the 2009 Banff festival and have the opportunity to screen their work for attendees at the Canadian festival. The Banff festival is the third to join the Pass-Port program, following the MediaGuard-ian Edinburgh International Television Festival and the Rio de Janeiro Interna-tional Television Festival. The Banff World Television Festival takes place in June and the New York version in September.

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CSC News - September 2008 • 17

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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 Canada, US & Asia. Package includes Carl Zeiss Digi-Prime full-set, Tripods, Matt-box, Waveform-Monitor, 8” onboard and 24” TV-logic Monitor, etc. The equipment 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 equipment firm based in Seoul, Korea. For more details, please contact ‘Clem-ens Chang’ Mobile: 82-11-9271-9081 E-mail: cle-mens27@empal.com

EquipmEnt For SalESonY dSr-130 mini dV/dVCam Camera ENG Rig in excellent condition, comes with soft-shell carrier. Includes: DXC-D30 Camera Head, DSR-1 DVCAM VTR, Canon YJ18x9 KRS Internal Focus Lens, DXF-701WS ENG Viewfinder, con-denser mic, Anton Bauer battery. DSR-1 hours: A:233, B:133, C:327. Recent professional and factory servicings and report.$10,955.00 obo. Justin Guimond, 604-568-8023, justin.guimond@gmail.com.tWo 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: rmclachlan@mac.comdVW700WS 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 604-726-5646Elmo 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: feldab@rogers.comBetacam 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 - $3,500 Call Joan Hutton at 416-693-9776Sony dVW700 digital Betacam camera, excellent 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. Pad-ded Barney for Arri SR. Bright Red...look cool while keeping you camera hot. $100.00 OBO. Please con-tact Peter 416-698-4482; 604-730-0860or peter@peterbenison.comarri 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: stringercam@shaw.caSony dSr 570WS with Canon lens YJ 18X9B4 IRS Head Drum Operating 1364 hours, tape transport 613 hours, total operating 1877 hours. Package in-cludes: Porta Brace with rain cover, Circular Polar-izer filter, 1/2 Black Promist filter. Some minor cos-

metic wear and tear but in good working condition. C$15,000. For more info and pictures contact Mike Sorel at (403) 451-4484 ext 273 or mike@corkscrew-media.netField and post-production equipment. Cinematog-rapher’s personal Betacam camera and film sound equipment: Neumann mics, Micron wirelesses, 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 Betacam SP camcorder, Fu-jinon S16X6.7BRM- 18 zoom lens, Porta Brace soft carrying case $1,250. Contact Nick de Pencier, Mer-cury Films 416 516-2661 mercfilm@istar.ca.arri Srii camera, excellent condition: SRII camera body (metered); magazine 40 ft.; Zeiss 10-100mm T2.0 II BA-auto; Zeiss 9.5mm T1.3; 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.

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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

CSC News - Summer 2008 • 19

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: dmaguire@maguiremarketing.com

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

Calendar of Events of Interest to CsC membersSeptember 2008Sept. 4–13 Toronto International Film Festival, Toronto, 416-968-3456, tiffg.caSept. 5–6, Master Lighting Workshops, Seminars and Equipment Expo, Vancouver, 778-883-8040, vlaff.org/en/workshopsSept. 11–20, Atlantic Film Festival, Halifax, 902-422-3456, atlanticfilm.comSept. 13–21, Cinéfest International Film Festival, Sudbury, ON, 705-688-1234, cinefest.comSept. 17–21, Ottawa International Animation Festival, Ottawa, 613-232-8769, animationfestival.caSept. 19–28. Calgary International Film Festival, Calgary, 403-283-1490, calgaryfilm.comSept. 19–27, Antimatter: Underground Film Festival, Victoria, BC, 250-385-3327, antimatter.ws

Sept. 23, CSC screening of Emotional Arithmetic with DOP Luc Montpeller csc in attendance; Technicolor, 111 Peter Street, 9th floor, Toronto; as seating will be limited, please RSVP to admin@csc.ca or phone Susan at 416-226-0591Sept. 25 –Oct. 10, Vancouver International Film Festival, Vancouver 604-685-0260, viff.orgSept. 26–Oct. 4, Edmonton International Film Festival, Edmonton, 780-423-0844, edmontonfilmfest.comOctober 2008Oct. 4-5, CSC Red Camera Assistants Workshop, Sim Video, 1 Atlantic Avenue, Toronto, register on-line at www.csc.ca or call the CSC office, 416-266-0591 Oct. 8–19, Festival du nouveau cinéma, Montreal, 514-282-0004, nouveaucinema.caOct. 13–17, MIPCOM, Cannes, France, 33-141904580, mipcom.comOct. 14–18, St. John’s International Women’s Film Festival, St. John’s, NL, 709-754-3141, womensfilmfestival.comOct. 22–26, Planet in Focus: International Environmental Film & Video Festival, Toronto, 416-531-1769, planetinfocus.orgNovember 2008Nov. 8-9, CSC Basic Lighting Workshop, William F. White International, 1030 Islington Avenue, Toronto, register on-line at csc.ca or call the CSC office at 416-266-0591Nov. 22-23, CSC Intermediate Lighting Workshop, William F. White International, 1030 Islington Avenue, Toronto, register on-line at csc.ca or call the CSC office at 416-266-0591February 2009Feb. 13-22, CSC Camera Assistants Course, Toronto, register on-line at csc.ca or call the CSC office at 416-266-0591

production Notes

20 • CSC News - September 2008

“Aaron Stone” (series): DOP Steve Danyluk csc; OP Johnny Askwith; to December 22, Toronto“The Best Years” Cycle II (series): DOP David Perrault csc; to November 14, TorontoCell 213 (feature): DOP Luc Montpellier csc; August 18–Septem-ber 19; Toronto“Corner Gas” Season 6 (series); DOP/OP Ken Krawczyk csc; to September 22, Regina“Degrassi: The Next Generation” 8 (series): DOP Jim West-enbrink csc; OP David Towers; 1st Tony Lippa; to October. 28, Toronto“Durham County” II (series): DOP Éric Cayla csc; to November 14, TorontoFarewell Atlantis (feature); DOP Dean Sernier; OP John Clothier; 2nd unit/visual effects DOP Donald M. McGuaig csc; OP Dean Heselden; July 28–December 9; VancouverThe Good Times Are Killing Me (TV movie); DOP Thomas Michael Hurting; OP Kim Derko csc; August 11–September 5, Toronto“The Guard” S2 (series); DOP Bruce Worrall csc; OP Robert Kaluza; B camera DOP Brian Whittred csc; to September 17; Burnaby, BC“Harper’s Island” (series); DOP Robert McLachlan csc, asc; OP Trig Singer; to January 2009; VancouverIl était deux fois dans un jardin (documentary): DOP Marc Gadoury csc; to December 15, Montreal

“The Listener” (series): DOP David Greene csc; OP Monty Rowan; to December 1, Toronto“L Word” Season 6 (series); DOP Bob Aschmann; OP Neil Seale; B camera OP Michael Wale csc; to October 1; Vancouver“Murdock Mysteries” Season II (series); DOP James E. Jeffrey csc; OP Brian Gedge; to November 11, Toronto and Hamilton, ONOut of Control (TV movie); DOP Daniel Villeneuve csc; August 25–September 19; Montreal“Reaper” 2 (series); DOP Attila Szalay csc; OP Richard Wilson; to December 22; Burnaby, BC“Sanctuary” S1 (series); DOP David Geddes csc; OP Steven Adelson; to September 30; Burnaby, BCScooby Doo: The Beginning (home video); DOP Jan Kiesser csc, asc; OP Pieter Stathis; B camera OP Karl Hermmann csc; to September 26; Burnaby, BC“Smallville” 8 (series); DOP Glen Winter csc; OP Doug Craik; to April 2009; Burnaby, BC“Supernatural” 4 (series); DOP Serge Ladouceur csc; OP Brad Creasser; to March 2009; Burnaby, BCThe Trotsky (feature); DOP Guy Dufaux csc; August 27–October 12; Montreal“The Weight” Season II (series); DOP Peter Benison csc; OP Colin Houit csc; to October 3, Toronto

Client: ___________________________________________________________ Docket: _________________

Media: __________________________________________________________ Placement: _____________

Trim Size: _________________________ Safety: ______________________ Bleed: __________________

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

Tel: 416-423-9825 Fax: 416-423-7629 E-mail: dmaguire@maguiremarketing.com

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.