Sony introduces the vvorld's first Digital Component Camcorder.
The one-piece
DVW-700 Digital Betaca m camcorde r prov.ides t he digital post pro
duct ion su ite with f irst generation 4:2:2 component
dig ital images.
The DVW-700 and its Betacam SP twin, the
BVW-D600, incorporate Dig ' al Signal Processing (DSP)
capabilities in the camera head. Both bring
superior performance to component production -
digital and analog.
The future is now! Check out the world's first
Digital Betacam DSP Camcorder- part of Sony's
promise to deliver the most cost effective digital
production system. A promise kept.
SONY OF CANADA LTD. COMMUNICATION PRODUCTS GROUP
411 Gordon Baker Road, Willowda le, Ontario M2H 2S6 Tel: (416) 499-1414 Fax (416) 497 -1 774 Sony is a registered trademark of Sony Corporation, Tokyo, Japan.
••••••••••••••••••••••••••••••••••••••••••
Contents Vol.14, No. 3
November 1994
Cinequip & Precision Lights, cameras, accessories - 3
A Time To Remember Lt.-Col. Ken Bell on the D-Day clips- 4
Let There Be Light john V Lindsay shares his tests on filters - 6
Profile Alar Kivilo esc - 8
Film Clips The scoop on members and industry - 10
Nightingale Report Proauction update - 16
Cover: Alar Kivilo esc
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
• • The Canadian Society of Cinematographers • was founded in 1957 by a group of Toronto, • Montreal and Ottawa cameramen. Since then • over 800 cinematographers and persons in • associated occupations have joined the • organization. • • Our members now represent the film and video • community in all ten provinces. Our aim con- • tinues to be to promote and foster the cause of • cinematography and the interests of the • Canad ian film and video community. •
• We facilitate the dissemination and exchange • of technical information, and endeavour to • advance the knowledge and status of our • members within the industry. As an organiza- • tion dedicated to furthering technical assis- • lance, we maintain contact with non-partisan • groups in our industry, but have no political or • union affiliation. •
• •
CSC: EXECUTIVE • • President: Joan Hutton esc •
Vice-President: Lance Carlson • Secretary: Lisa Bodnarchuk •
Treasurer: Philip Earnshaw esc • Membership: Jim Mercer esc •
Public Relations Richard Hergel • Education: John Lindsay •
Awards Chair: James Crowe • Membership inquiries 963-5912 •
• CORPORATE SPONSORS • • Agfa •
Anton/Bauer • Applied Electronics •
Arriflex Corporation of Canada • Cinequip •
Clairmont Camera • DSC Laboratories •
Film House • Fuji Photo Film Canada Inc. •
Greer'Com • Hollywood Canteen •
The Image Group • . lmax Corporation •
K1ngsway Mot1on P1ctures ltd. • Kodak Canada Inc. •
Lee Filters • Medallion-PFA •
MPI Productions • OLE. Canada •
Osram Sylvania ltd/ltee • Panasonic • Panavision •
Phillips/BTS Group Precision Camera •
PS Production Services :
Rosf~e L~~g~f~~i~~ • Sim Video •
Sony of Canada ltd. • Strand Lighting Canada •
Telefilm Canada • The Producer's Link •
Videoscope ltd. • Wescam •
William F. White ltd. :
CSC OfFICE • • Canadian Society of Cinematographers •
189 Dupont Street • Toronto. Ontario M5R 1V6 •
Tel 963-591 2 • Fax 968-9092. •
Editor: Donald Angus • Editor-in-chief: Joan Hutton esc •
• CSC NEWS is a publication of the Canadian • Society of Cinematographers. CSC NEWS is • printed in Toronto and is published ten times a • year. Subscriptions are available for $75.00 • per year in Canada and $95.00 per year out- • side the country. •
Canadian Publications Mail Product Sales Agreement No: 478423.
• • • • • • •
CCD Package -ony DXC 537 Hyper-HAD™ CCD Camera, plus
Sony BVV-5 Betacam SP Recorder • Electronic Shutter with Clear Scan TM -
record on oxide or metal tape • 750 TVL
0)1$250.00 per day - weekly rental also available.
Or, you can save on -DVR I 0 02 Recorders at $750 per day BVW 75 Recorders at $425 per day BVW 50 Fi:e ld Recorders at $225 per day BVW 22 Players at $1 00 per day
t:!dl Tell f'JU!
ltJbe 1-800-265-8888
111 Toronto CaU (905) 238-0654 Fax (905) 238-6182 4580 Fieldgate Drive, Unit 4 (rear) Mississauga, Ontario L4W 4K4
SUPER 16 Symposium - A CSC presentation
in Fall '93 NOW! Available on
Video Tape
Judge for yourself- is Super 16 the film format of the future? A wealth of information from industry experts - over two hours of presentations and discussions.
ONLY $35.00* Call, write or fax the
esc office with your order.
Canadian Society of
Cinematographers 189 Dupont Street, Toronto Ont. MSR 1V6 Tel: (416)963-5912 Fax: ( 416) 968-9092
*add $2.45 GST, $4.00 S & H
Light Maker Illuminates New Fresnel at Cinequip Open House -Precision Celebrates 15th Anniversary With Sony Products Party TORONTO-It was an autumn tech-Jest of sorts for Toronto-area esc members last month, as Cinequip and Precision Camera held back-to-hack gatherings to show off new lights, cameras and accessories.
At Cinequip on Occ. 12, Ross Lowell of Lowel-Light M an ufacturing Inc., Brooklyn, .Y. , introduced his company's new Fren-L 65 0 fresnel light, while C inequip vice-president John Ferguson presented a eries of folding portable refl ectO rs nets and flags Cameron Morri on of C demonstrated its new non-Lnear ideo ed.it-. . mg equipment.
T here were more te hnical aoodi at Precision' 1- th bi thda,- b h on Oct. 13, \ ith a pe ial ho' ing of Sony's ProTech Expo '9 . Displays featured ony aear uch a the D ES linear s rem, dia-ical audio-for-video post-produ tion and digital cameras.
CSC president Joan Hutton and CSC News editor Don Angus confer with Ross Lowell (centre) after the Lowei-Light president spoke at Cinequip open house. Photo: Lance Carlson
T he Sony Expo then travelled to he punctuated his demon u arion Vancouver fo r a Nov. 2 exhibition. with anecdotes and fractured defini -
uons. Lowell, well-known for his lighting innovations, entertained as well as One of the chief problem facing informed the group at the Cinequip beginners on their first lighting jobs, open house. A self-confessed punster, he said with a straight face, is decid
ing where to start, a condition he called "ligh ter's block," followed by the "mid-light crisis" that precedes the difficulty of knowing when to stop- "terminal trauma. "
Robert Willox demonstrates the Sony digital Betacam at Sony's ProTech Expo '94 in association with Precision Camera. Photo: Lance Carlson
At only 5.8 pounds (2.63 kg) with
out cable, the Fren-L 650 is light
weight (no pun intended) and
capable of accepting 650, 500 and
300 watt lamps. Highlights (it's
catch ing) include a 7 : 1 focusing
range, sharp shadow quality, and ball
bearing, rack-and-pinion lamp car
riage.•
-Don Angus,· .
3
A Time to Remember: D-Day in 20 Seconds
TORONTO- "The scene shows the backs of helmeted soldiers crouching in an assault landing craft as it nears the beach . ... As the front ramp opens to disgorge the assault troops, a large building is recognizable that clearly marks it as the beach at Bernieres-sur-Mer. "
T he place is N ormandy. T he date is June
6, 1944. D-Day. The troops are T he
Queen's Own Rifles of Toronto. T he
remarkable motion pictures that record
20 breathless seconds of history are the
ingenuity of a Canadian film
who brought home a moment
of gallantry in the hor
rors of
sto ry the
famous D-Day film clips
co ld b retired Lt.-Col. Ken
Bell of Gib ons, B.C. , to photograph
er Robert Lansdale in the September
i ue of Exposure Ontario.
front-line cinemawaraphy goes to Capt.
Colin McDougall of me Canadian Film
and Photo Unit. T here was no way to fit
movie and stills photographers in a land
ing craft, so "Capt. McDougall came up
with an idea to o ercome the problem. "
McDougall, Bell related, "gathered up six
Eyemo 35mm mo ie cameras and made
brackets to fit them to the inside of the
landing craft ju t in front of the helms
man. The E emo. equipped with a
spring-driven motor carried
only 100 feet of ilm in
arranged -or each of the six
the
Bell told Lansdale that "with all the dis
tractions, chances were slim that the film
would capture key action of the invasion.
When Capt. McDougall hit the beach
es, he made a very dangerous search to
retrieve the cameras. Unexploded mines
and upturned boats littered
the beach. Two land
ing craft
their
were
"But the gamble paid off as out of one
camera came the historic footage of the
Canadian troops going ashore on June
6th, 1944 ."
as
motor.
Bell said the original 35mm film was
des troyed in a fire, and the only remain
as th e ten ioa in me pring ing images are 16mm copies which were
duplicated for distribution as Canadian
"M. (Sammy) Ja on- amue c of newsreels.
Toronto, who ed me E, ·e 0 ,or ,.ears The author of three books about his as a newsreel photoora her. a; ;:hat
e.x:periences, Ken Bell has returned on there was a small rhumb le" r at the om-
e" ral occasions to photograph the rom of the camera . On e that leYer '"'·'
European battlegrounds.• pushed, the camera ' auld run concinu-
Bell, a young lieutenant who went ashore ously. With one winding, the camera ( d d b h h k ~ E i e. y Don Angus, wit t an s to
with a standard-lens Rolleiflex after the could run a maximun1 of 20 econds at Robert LansdaLe, M PA, HLM, and
first assault waves, said credit for the 24 frames per second." Exposure Ontario magazine.)
4
ASC Calls for Entries in Television Film Competition
LOS ANGELES-The American Society of Cinematographers is accepting entries in its 1994 Outstanding Achievement Awards competition for television.
There are three separate categories:
episodic television, motion pictures or
pilots made for television, and mini
series. Up to five nominees will be select
ed in each category.
The entry deadline is 12 noon Pacific
time on Jan. 3, 1995. Winners will be
announced on Feb. 26 at the 9th annu
al ASC Outstanding Achievement
Awards at the Beverly Hilton Hotel.
Canadian cinematographers may enter.
The only criterion is that all entries
must have aired on television in the
United States during 1994. Programs
originally exhibited in motion picture
theatres or initially sold or rented for
home video viewing are not eligible.
For competition applications, contact:
Patty Armacost
ASC Outstanding Achievement Awards
1782 North Orange Drive
North Hollywood, California
90028 U.S.A.
Telephone: (213) 969-4333;
Fax: (213) 876-4973
The ASC awards committee asks:
"Please do not send a videocassette with
the entry form! "•
CSC SHOOTERS DRAW GENIE NOMINATIONS
Toronto - Four esc members are among nominees for the 15th annual Genie Awards to be presented Dec. 7. Nominations for Best Achievement in Cinematography include Peter Wunstorf for Double Happiness and Paul Sarossy esc for Exotica. Among Best Documentary nominees are Jean-Claude Labrecque esc for Andre Mathieu Musicien, and Charles Konowal esc for Fat Chance.
Show Your Support! CSC Hats & T-Shirts
100% cotton CSC Hats- Black or Unbleached Cotton $15.00 each CSC T-Shirts- Black or White $15.00 each
Call (416) 963-5912 or fax us this ad at (416) 968-9092.
Caps Black
T -Shirts Black Large
Credit Card# ________ Exp. Date ___ VISA 0 MC 0
Name ................................................. .
Address ................................... . ........... .
City ................... Prov ........ Postal Code .......... .
Tele ........ .. .. . . Fax ............................ .
5
Let There · Be Light: Filtere cinematic theme. By John V.
Part I "No picture reproduction system can, without adjustment, handle the variations of light intensity encountered in the world about us. " (The Technique of Lighting for Television and Motion Pictures, 2nd ed., Focal Press, Boston, 1988, p.23) As an aspiring cameraman, I have made
it a point to try to establish two parallel
tracks in my career. As I struggled to learn the technical skills and gain the experi
ence that would keep me gainfully
employed, I also resolved to study the
forms and processes of the art form in
which we work.
Coming from a non-technical, universi
ty background, I knew I would have to
teach myself the basics of the photo
graphic process. And as I studied I real
ized how important the basics are, for it
is through an understanding of how they
work, an ability to use the tools of our
craft and to modify and combine them
in new and meaningful ways that, I feel,
the an of cinema is born.
O ne of the first basics I learned was that of co nrrasr; the first tools to which I was m troduced \ ere low contrast filters. The
John V. Lindsay in mid-experiment.
and darker areas lea ing the bright areas
of the image brigh L T he dark areas are
lighter, enabling you to see more detail
in shadow areas. Because there is no F
stop compen arion you will not overex
pose any portion of the image. This filter
also creates a ery l.i l7h t flare or halation
around hot pms or individual light
sources. T hi fearnre can be a useful
effect. T he more liohr there is for the fil-
ter to work ith, the greater the effect. "
The same T iffen brochure that intro
duced me to didymium ulass also told me
about soft contrast filters . Although I had
cause a slight amount of flaring or hala
tion. The soft contrast filter has a neu
tral grey appearance which drops the
exposure. Although it may seem to
require it, Tiffen does not recommend
any exposure compensation since this
will negate the effect of the filter."
These were the two filters that were available to control contrast during the early years of my career, but then Tiffen announced recently the arrival of its ultra contrast filter. Until the filters became
available in Toronto, I again relied on T iffen's product literature:
never had a chance m ork wich one, I "Ultra contrast filters work with ambient discovered that: cameraman who owned the U .S. com- light from surroundings as well as the
"Soft contrast fi lters reduce contrast in light in the actual image area. They lower
the opposite way of the low contrast. contrast uniformly throughout the scene,
This filter absorbs light, di~ni billa the e en when there are varying degrees of
highlighted areas while retaining the brigh tness within the image. Shadow
darker look of the shadow areas. In other area are opened up, revealing more
words, the hot spots or brigh t areas of the derail , bur without any flare or halation
image are reduced while the shadow areas from direct ligh t sources or bright reflec
mercial hou e, at which I was a trainee, o ned a et of Tiffen LCs, as he called
rhem, and they were my introduction to
controlling contrast through filtration. As I later learned from Tiffen's own
brochure, entitled Insight-Controlling Contrast:
"Low contrast filters work by spreading remain dark, hence a reduction in con
light from the highlights to the shadowed trast. This filter, like the low contrast, will
6
tion . E en direct shooting into the sun
produces no fl are or halation."
d variations on a .indsay
After this heady claim, the brochure 3. Myself, as a skin-tone reference, with
continues with some comparative pho- a slate ID that stayed in at all times.
tographs, and concludes:
"Therefore, Tiffen recommends ultra
contrast filters in scenes where you need
4. A piece of black lace, mounted on
white card, and white lace mounted on
black card. to lower the contrast bur ,-----------J-V-L-------------,
the minimal amount of
flaring produced by the
low contrast and soft con
trast filter is undesirable. "
Of course all of these
examples and claims only
whetted my appetite to
compare these filters in
some sort of objective,
standardized way. After
much thought, the follow
• 500W lnkie ·
with barndoors 3030° K 500W lnkie
with a pencil snoot
3080° K
• 500W In ie with barndoors
281 0° K
ing is the method I chose: '---------------------~
METHODOLOGY
I set up a target that would enable me to compare objectively the (supposedly) different effects of the filters. As the accompanying phoro shows, it consisted of:
1. A grey scale, with zone steps as well as a solid 18% grey patch.
T his set-up was illuminated as shown
above:
The test was shot on two different fi lm
stocks, Kodak 5296 and 5293. The two
stocks were rated at 500 ASA and 200
ASA respectively. T he set-up was lit for
200 ASA and then full stops were put in
the lamps, and they were moved slight
ly farther away for the 500 ASA test. The
2. A 500w lnkie, with a pencil snoot, readings were as follows:
which was switched on during each test
exposure.
r THE WIDEST RANGE OF LIGHTING ~n-e FILTERS FOR THE CONTROL OF LIGHT
Cont. on page 12
For further details contact your local authorized Rosco dealer or Rosco Laboratories Ltd.:
1271 Denison Street#66, Markham, Ont.L3R 485 Tel.(•905) 475-1400 Fax (905) 475-3351 Offices in New York, Hollywood, London, Lisbon, Madrid, Sao Paulo and Sydney
SONY Communication Products Group Sony of Canada Ltd. 41 1 Gordon Baker Road Willowdale, Ontano M2H 256 Te l: (416) 499-1414 Fax : (416) 497-1n4
Sony is a registered trademark of Sony Corporation. Sony of Canada Ltd . is an authorized user.
FUJICOLOR PROFESSIONAL
MOTION PICTURE FILM
FUJICOLOR NEGATIVE FILM
F- SERIES
F-64 E.l64 F-640 E.l 64 Da)Aight Balance
F-125 E.l125 F-250 E.l250 F-2500 E.l. 250 Da)Aight Balance
F-500 E.ISOO
Available in both 35mm and 16mm.
For further information, please contact:
FUJI PHOTO FILM CANADA INC.
MONTREAL TORONTO VANCOUVER Denise Langis David Cheng Taylor Ogston (514)331·3854 (905)800·661 1 (604)271·2512
YOUR BEST CHOICE.
7
Profile: Alar Kivilo
Kivilo cscof Toronto is the winner of two esc awards, for Best TV Drama in 1983 and for Best Music Video in 1987. He was also presented with a Gold Campaign Bessie in 1988, and, for good measure, was the cameraman for the Academy Award winner, Boys and Girls, in 1983. In this interview, he talks about his prolific career as a cinematographer, from music videos to TV commercials to feature films.
Hutton: How did you get started?
Kivilo: I first started shooting when Insight Productions offered me a job as a cameraman on a seismic research ship to Greenland for four weeks. They needed someone to shoot a storm at sea, but it turned out to be the nicest weather in
8
200 years. Then I did some commercials division of Champagne for like one two years. At that point I got out of for the music videos.
Ontario government called Gasoline and Hutton: How did you feel doing music
You, and I shot videos? They're really quite different.
Canada's offi-cial film that
they showed
embassies all over the world.
and m very first drama, called The mgaret Lawrence
Story, and v hen Aclanti did their first series of six children film I ended up shooting fi e of r.hem. omewhere around that time I sr.aned hooting music videos, my aim being £O crer inro commercials. So I did r.har for a couple of years for Champagne Picru.r and our of that my focus puller, Carl H arve , and I got a chance w bid on a commercial for Sears. At that point I decided I was aoina to start di recting as well as shooting, and Carl decided w start producing, o \ e spent the next year honing our skills on Sears' commercials. That caught a lor of attention, so Carl and I headed up the
Kivilo: On the positive side, music videos
were very loose and you could really
experiment. You could overexpose and if
it didn't work out, it didn't work out; they
could use another shot. On the negative
side, and what finally made me start dis
liking them, was there wasn't a rigid form
to them. You'd just try to grab some
stuff and if it worked out, OK, and
if it didn't, you'd do something
else. I found in commercials
and dramas you are going
after a very specific look,
sort of a pre-planned look,
and I found that much more sat
isfYing than stumbling across incredi
ble things.
Hutton: What do you consider your
most challenging job in the commercial
world?
Kivilo: I worked both as director and
cameraman, and I think the trickiest
thing is the interpersonal side of it-deal
ing with the clients and the agency. It's
quite time and energy consuming. When
you are working with old filmmakers
who totally understand the medium
there is a certain shorthand that you can
talk, but with clients the medium is often
so foreign to them they don't really
understand how it works. They have a
gut feel ing for what they want but they
don t know how to get it. The other chal
lenge, of course, is living up to expecta
tions. There is an awful lot of money
spent on such a short little piece of film.
You have w make sure that it is perfect.
By
esc ~an Hutton esc
After nvo years running
the commercial division
for Champagne, Carl and
I decided to form our own
company, Propeller, and
we've had that now for 11
years.
Hutton: How is setting up
your own company different
from working for someone else?
Kivilo: It was strange at first
because as a freelancer I was used
to coming in to work when there was a
job, and suddenly I was coming in every
day because I had a company. But we've
had a lot of fun. The satisfaction is great
"I got into this business in the first place to make movies. Irs like magic. Irs so exciting. You cast a spell over an audience for two hours and you totally Irick them with all sorts of
neat 1ricks. "
because we took a very grassroots
approach to commercial work. We kept
our offices simple. We kept our overhead
down. Commercial shooting tends to be
uptight because of all the money and the
different personalities involved, but we
always prided ourselves in having happy
and fun shoots. We picked and chose the
commercials that we wanted to do and
we always took our summers of£ Now
I'm getting into dramas which are a bit
more haywire in terms of scheduling and
family life. But it's very important to feel
satisfied in your work. I consider people
in the film business, where people enjoy
their
work, to be so lucky.
We actually get paid to have fu n.
Hutton: Why did you make the move
from commercials to drama?
Kivilo : I guess the main thing was that I
was being pigeon-holed as a comedy
director, and the nature of a lot of the
comedy shoots didn't leave much room
for creative photography. The photogra
phy took a back position to the actors,
which makes sense, but I started missing
working with light and the camera work
and I also missed the excitement of work
ing with actors delivering a dramatic
scene. You know, something with sub
stance, something that dealt with the
human condition. The commercials were
fun but I needed a change. Commercials
were little films that sold products, so
ultimately there isn't a huge contribution
to humankind. There is nothing wrong
with commercials and I'll continue doing
them occasionally, but I just wanted the
thrill of movie making. I got into this
business in the first place to make movies.
It's like magic. It's so exciting. You cast a
spell over an audience for t\'lo hours and
you totally trick them with all sorts of
neat tricks. We're magicians. I like the feel
of sitting in the movie theatre or hearing
people talking about a TV movie and it
feels good to be part of the process that
es other people's lives.
Also, from the craft level of using light
and composition to tell a story that's
structured and specifi c, I find that very
exci ting. Commercial photography tend
ed to be more about making pretty pic
tures. D ramatic photography is more
about supporting the sta r telling the
story in pictures, and that' the next step
in the evolution of me.
Hutto n: You seem to be approaching
things from both the D O P and rhe
directing viewpoint; it a1
interesting t\'list to it.
a on of
Kivilo: I think ultimate! my aoa1 is tO
direct. I think an ideal life is shomino one
or t\'lo movies a year as a DOP and men
working on my own personal project as
a director. I guess the 11 year that I've been directing has left some kind of mark
on me, but I think basically all good DOPs come to that position where the realize that it's not about pictures, it's
about how those pictures tell the story. When you look at films where just one
simple elegant image is telling everything, that's movie making to me. It's the
cutting, the composition, the light, the
actors, it's everything coming together to
tell the story. I'd like movie making to get back to the '70s, when there were a lot
of powerful movies with strong simple
scripts, well executed films. For some rea
son we' e lost that. T here are orne
Con.t. on page 13
9
FILM CLIPS: A compilation of member and industry news.
International Conference on Hidden
Children/Child urvivors of the
Holocaust.
APARTME TS NEARLY
FINISHED
TORONTO- The Michelle Apartments, John Pozer's new feature film shot mainl in Toronto, is in post-production for probable release late this year, repor DOP Peter Wunstorf of Edmonton. Wunstorf, associate esc mem ber, worked with fellow associate Greg Middleton of Vancouver as camera operator and affiliate mernbe;:- Reni Hoz of Toronto as second assistant on shooting chat "·"apped in July. The film, produced b,· ravros Stavrides for Arto-Pe!Li _ Ioion Pictures of Toronto, ' as a ":ork-in-progress
ChildPen of the Shadows Photo: Heather Morgan when invited ,ich six other
STORY OF HIDDEN CHILD Canadian ea - - m th e Independenr Feall!1"e Film Market in
TORONTO-CSC affiliate member New York in ep-e;:nber. Other screenGregory Bennett was cinematographer ings included _ lina Shwn's Double and co-producer, with director
Marc Cukier, of a compelling doc
umentary on a "hidden child of
the Holocaust" that is screening on
Canadian TV. Children of the Shadows, in black and white from
Toronto's Dream Ribbon
Productions, tells in just over 24
minutes the story of a Jewish girl,
one of many children ' ho were
taken from their homes by the
Belgian Resistance, gi en false
idemities and hidden from the
l azis wich Gentile families, in
orphanages and with the Catholic
church . T he film premiered on
TVOnrario on Remembrance Day
last year and is slated for other
Canadian public and specialty
cable channels. It was screened in
Montreal last month at the 3rd
10
(Left to right) Arthur Cooper, Greg Middleton, Reni Hoz, Tad Seaborn and Peter Wunstorf on location.
Campanelli (right) in China.
Happiness, on which Wunstorf was DOP, Middleton was operator and Hoz was second assistant, along with Fat Chance, Highway of Heartache, Picture of Light, The Soul Investigator and Whale Music.
TO CHINA AND BACK
NORTH VANCOUVER-"We filmed
in the national park of]uizhaigou," esc associate member Stephen Campanelli
writes about his "three incredible
months" of shooting in China last sum
mer. "A" camera operator for director
Chris Cain and DOP Jack Green asc on
the Warner Bros. feature film Little Panda, Campanelli traded comfort for
adventure in mountainous panda coun
try high above the Yangtze River-"I was
suspended over a raging river about 200
feet up for one shot and dangled off cliff
edges for some others, but we came back
with some spectacular footage ."
Pri ations included travel on Air
China- "now there's an airline"-and
bus rides on .mountain goat trails, smell
ac ommodations and food from "pans of
a..-llmal I don't think were meant to be
earen." and language translations that
orr· ~ed a request for a lens into a
room-sen-ice yak. T he pandas were cute,
rho <>h .
MAN ON THE MOVE 1WINNIPEG-CSC affiliate member
Glen Treilhard, recently relocated to
Winnipeg from Toronto, was
Saskatchewan this summer shooting the
feature movie Decoy, which wrapped at
the end of August. Treilhard, behind the
camera at right-centre in the accompa
nying photo, was ''A" camera operator for
the film, which starred Peter Weller
(Robocop). Mfiliate member Todd Irving
of Regina, second from right in the back,
was clapper/loader.
International, a family fantasy under the Agency Group. Two giant eyes on the
working tide Rainbow, was produced by billboard, backlit on timers, reflected a
Nicolas Clermont and directed by Bob scene from the Imax film Grand Canyon
Hoskins , who also stars with Dan then faded to grey every few seconds.
Aykroyd and Saul Rubinek. HDVS is a
widescreen video medium which offers
an image quality comparable with 35mm
film and a digital post-production
process with multi-generation capability.
Both Sony and HD Vision were involved
in the project.
DIRECTOR DEFENDS NFB
M ONTREAL-Tahani Rached,
director of the French-language
documentary, ·Doctors With
H eart, that played at this year's
Toronto International Fil m
Festival, is angry at suggestion
THAT'$ SHOW BUSINESS
TORONTO-Toronto Film Commissioner David Plant reports that total bud
gets by film and TV companies in the Metro Toronto area have skyrocketed by 600 per cent in 15 years. Budgets that totalled $80 million in 1979 are up to an
estimated $480 million this year, not including music videos and TV commercials. The low was $36 million in 1982. Plant said his office figures there are 12,000 jobs with film and TV crews and another 18,000 in related areas.
WINS ATLANTIC FILM AWARD
the National Film Board should HALIFAX-CSC associate member Ton
turn over most of its activities ro
the private sector. Referring to
the still-confidential Secor
Report, which Ottawa leaks say
recommends turning the TFB
into just a film-training school, Glen Treilhard (right centre) & Todd Irving (second from right in back) in Saskatchewan.
Rached, who has been with the
board since 1980, said, "The NFB is the
Merzerti of Fredericton, I .B. , on rhe
Moonsnail Award for Cinemarography at
the 1994 Atlantic Film Fesri al in Halifu_x
in September. Merzen i vvas DOP on
Reading Tom Sawyn; a black-and-white
20-minute drama based on rbe rrue story
of two police officers an empring ro ing a confession out of a scared and confUsed
young man. Director Ken Furlona said
Merzetti's brilliant cinematography and
lighting added to the film's dark com
plexion.
MENU IS A KILLER
VANCOUVER-Laszlo George esc was
DOP on the movie-of-the-week, Ray
Alexander: A Menu For Murder, which
was shot in Vancouver Aug. 12-Sept. 9
for Viacom/NBC. Affiliate member
only place not only in Canada but in the
world where you can do the kinds of
films we do, where you can do the
research we do. I need it; we need it. "
!MAX EYES PRIZE
Attila Szalay of Vancouver was camera TORONTO-A bill-operator.
FEATURE HDVS FIRST
MONTREAL-The first major feature
film to be shot in the digital High
Definition Video System and delivered
on 35mm negative was completed here
early this month with British DOP
board for Imax Corp. of Toronto, featuring a clever and hypnotic "IMAX EYES" image, won the
Craft Award for Innovation at the Outdoor Advertising Association of
Canada's recent 16th annual Billi Awards. The
Freddie Francis bsc at the camera. The prize went to art director
$12-million Canadian-U.K. production Todd Sloane and copy
(65 per cent Canadian) from Filmline writer Steve Boyd for The lmax comes out on top.
Com on. page 15
11
Let There Be Light Cont. from page 1
5293 - 200 ASA
INCIDENT isPOTMETER (FROMALM
PLANE)
18% Grey T5.6 o/10 T5.6 o/10
Face-Shadow T1.4 5/10 T1.4 5/10
Normal T5.6 o/10 N/A
Hot N/A T8
Lace-Shadow T1.42/10 T2.0 6/10 Normal T5.6 T8.oo,1o
Hot T113/10 T165t1o
5296 - 500 ASA
INCIDENT ~POT METER (FROMALM
PLANE)
18% Grey T5.6 o/10 T5.6 o/10
Face-Shadow T1 .4 5/10 T1.4 5/10
Normal T5.6 o/10 N/A
Hot N/A T8.oo,1o
Lace-Shadow T1.4 3/10 T2.0 3/10 Normal Ts.so,1o T8.Q0/10
Hot T114/10 T162/10
tor for the lab, graciously gave sev
eral hours of his time in order to
take status M densitometer read
ings on all of the strips. Mike
patiently worked through what
turned out to be a big job, as well
as my naivete, and for that I thank
him.
The base stop for all tests shot on this stock was T5.6 0/10.
The base stop for all tests shot on this stock was T5.6 3110.
We took three densitometer read
ings on each test strip: hot spot,
grey card, and blacks. (The hot
spot in question is the white card
with lace. More on this later.) For
each value we took a density of the
red, green and blue layers.
The incident readings were taken with a
Minolta Aut~ Meter III set for the appro
priate ASA and a shutter speed of l/50th
of a second. All spot meter readings were
taken from the film plane, with a Minolta
Spotmeter F, also set at ll50th of a sec
ond and the appropriate ASA. All colour
temperature readings were taken with a
Minolta Colormeter III. All tests were
shot at 24 FPS, using negative stock all
of one emulsion and cut number.
The camera system used
was an Arriflex 35III with a
50mm Zeiss prime. For
each stock the test was shot
with a normal (clean) expo
sure first, and then low con
tra;t (LC), soft contrast
(SC) and ultra contrast
(UC) filters of equal
strengths. The strengths
tested were 1, 2, 3 and 5. I
was unable to acquire a soft
contrast No.4, and so elect
ed not to test the other fil
ters in that strength.
The tests were all processed
normally and then printed
on Kodak print stock 5384
all of one emulsion and cut
number.
12
The printer lights were:
5293 - 25-29-22
5296 - 23-28-21
I screened the print at Spot Labs, and
then used it to cur out test strips of each
test exposure. I visually evaluated the test
strips on a ligh t box with a colour tem
perature of 5000K. I also took them into
Spot where M ike Racine, technical direc-
I then took all these readings and,
using some graph paper supplied
courtesy of Film Opticals, produced a
graph for each value on each colour layer.
(H ere I m ust thank my daughter, Beth,
for the loan of her red and green colour
ing pencils. H ey, I promised.) . I then con
sulted M ike about how to interp ret these
graphs. But more on that later ...
(Let There Be Light will continue in the next issue ofCSC News)
-Edited by Don Angus
A. Kivilo Cont. ftom page 9
Kivilo in 'action'.
movies that stick out, but in general
there seems to be a lack of scripts for some reason.
Hutton: Tell me about the next project
you're going to be working on.
Kivilo: It's called Crusader, The Margaret
Sanger Story, which is a true story about
a woman who is fighting for birth con
trol rights for women in 1914. What
we're aiming for is to tell the story as ele
gantly and as simply as possible. I think
I'll be using a lot of strong north light.
Actually, over the last three pictures I've
done, I've become a huge fan of fluores
cent light. It's incredible; it looks like
bounce light but it takes up no space. A
trick I discovered on Larry Silverman's
Wtir, a period piece set in the 1790s, was
to hide small fluorescent fixtures under
the table to simulate candlelight. In
Crusader, the main challenge will be to
keep it simple and elegant so it tells the
story clearly.
Hutton: How do you feel about working
again with director Paul Shapiro on
Crusade~
Kivilo : I really enjoy working with dif
ferent people but there is also something
special about working with someone that
you've worked with so many times. We
just have to look at each other and it hap
pens. At the same time, one of the joys
of filmmaking is meeting a lot of new
and interesting people. It's very satisfYing,
and you find that film crews all around
the world are all the same. T hey speak
the same language.•
-Edited by Don Angus
LEE Filters
CELEBRATING 25 YEARS
CONSISTENCY &
EXCELLENCE
400 Matheson Boulevard Unit 1 Mississauga, Onario Canada L4Z 1N 8 905-890-0935
When you're I production e You want to talk to someone who knows your business as well as you do.
You want the best equipment for the job.
You want excellent follow-up service because delays cost you .money.
You want a company you can count on. We know that. Professionals like you have been counting on Cinequip for more than 20 years.
CINEaUIR Production support starts here
lO BanrganOme, TorontoM4H H9 lel 467-7700T oll hee 1-800-465 0160
~
,~HOUSE
LABORATORY
FORMATS 35mm or 16mm
Color and Black & White
Film House is the largest laboratory found outside Hollywood, and is a full service facility providing professional service for processing original negatives and answer prints, blow up, wet gate printing, intemegattves, and interpositives for feature film and television production.
Film House offers 24-hour service, with the capability to tum rushes around in four to six hours. Before a film leaves the premises, each reel is screened and thoroughly checked to ensure optimal quality.
For further information contact Stan Ford or Tom Burner at (416) 364-4321 or {416) 464-1310 {fax).
Film Hous e Laboratory 380 AdelaJde Street West
Toronto, Ontario M5V 1R7
THE SOURCE OF EXCELLENCE
Camera • Arrillex 535 • Arrillex 7 65 • Arrillex 35-3 • Arrillex 16-SR
Service
• Zeiss, Angenieux & Cooke le nses
• Tripods for film & video • Full range of advanced
accessones
Lighting ---- • Location HMI,
Bluebells, Fresnels & Softlights
• Studio Fresnels & Soft Lights
• Lighting Control Dimmers & Consoles
• Technical stall with the best skills, training , tools & equipment in Canada
• Responsive to your demands
ARRI CANADA INC. 23 FRASER AVENUE, TORONTO, ONTARIO M6K 1Y7 PHONE (416) 537-8440 FAX (416) 531-5989
13
Camera Classifieds FOR SALE: Nagra Quartz Crystal Generator Model T GX fo r Nagra III's or IV's. Also 1 agra mic preamp Model BSII. It converts line input to mic channel. Call Ron Wegoda esc
(514) 845-6731.
W A TED: 16mm Sync
II4-I, power supply module, cables and dipole antenna. Minr condition. All serious offers considered. Ingrid Cusiel, tel: 01131-20-616-0742, fax: 01131-20-683-7439 or write: 2 de Helmerssrtraat 1 03hs, 1054CG Amsterdam, Holland .
Camera in good condition. FOR SALE OR RENT: Many Prefer Eclair NPR or ACI, but assorted Tiffen Filters: 138mm, open to anything. Also a Bolex 4-112", 3" x 3", Series 9. Also 6, of any model, prefer reflex view- 6" x 8" Lee graduated filters ing bur not essential. Please call with filter-holder for Arriflex Glen Winter (604) 980-2104. Production Matte-Box. For fur-
ther information please call Fria FOR SALE: 35BI, 1-2-3 Body Spiess esc at (416) 225-5 9 0. of One (overhauled by Arri New York in '91 for $25,000 US) . FOR SALE: Lowell So hlighr Some Two wiring - including 1500 with barndoors and case, heater, electronic tach and $450; 6 plate flat bed Moviola footage counter. Three - pull M86A editor, $4,750; r i-cad down, with quieter sleeve bear- 12-14V overnight charger 4-ings as used in the BL Ills; 4x AHr, 120-220V, $ 125 . Call 400 ft. magazines, TV ground (604) 253-0047. glass and wide screen ground glass; video assist eyepiece relay FOR SALE: Pan-Arri l ie wim lens and modified W a tee CCD Cinema Products flat bed motor camera, regular eyepiece and in Steadicam lo mode !!e.
pistol grip, Steadicam lo mode Panavision front, four bohs and handle, 4 excellent hard cases, it's a BNC hard from or Arri B Zeiss DistagonTI.4 lenses 18, lens with adaptor, crystal speeds 25, 35, 50 and 85mm, and 12' 16' 24125 ' 30' 36 and blimp all geared for radio controlled remote iris and foc us motors. This camera has been well maintained and has not had a lot of use since it was rebu.ilr. Unusually good for its image. Lightest of the Arris, perfect for the Steadicam Opera tor ~ ho likes to arri e ready ro hom. $65,000 ( · Cdn.) No G or brokerage ro pay . Call Bob Crone ar (604 ) 921-6 -00.
FOR ALE: Four m icrophones cype model TX50 1 and
wll:el ICRO N
R510 uansmi([ers and recei ers in rhe 174.56 Mhz band . 3 black and 2 skin coloured TRAI\IIS and I Sennheiser microphone. Connections for condensor mikes, complete wir.h mobile distribution amplifier, type ADA
14
frames plus, variable speeds &om 18 to 22 frames for "impcoving• speed of running sho ; viewfinder door adapted fo r video · Phillips camera presendy in p but a CCD Watec could e2S:i.ty he substituted; 2 Arri long duoai: magazines, Cannon pheri lenses wir.h BNC mouncs, me I mm lens is F2.8, bur r.he 4 35 55mm are all TI.4 and all femes have gears fo r bor.h iris and fOcus so mey can be adjusted by wireless remore conrroUed mowrs whik shom:ing, 3 excellem cases. This camera is in mint condirion - mUS£
be een w be believed. Ir did nor gei much use because most o my work as on TV series oc karures and we either used my Arri BLoc r.he production's Panavision package . $36,500 ( Cdn.) No GST or brokerage to pay. Call Bob Crone (604) 921-6500.
WANTED: Arriflex BLI body, zoom lens, blimp housing, and prime lens blimp housing, 400 or 1000 ft. mags. Call Mark Job (514) 453-6312.
Camera Classitieds
is a
FREE
service to esc members.
If you have items
that you'd like to
sell, please fax
your list to
968-9092
or call
esc office for
additional
information.
CSC CALENDAR: Schedule of fall meetings
TORONTO:
Monday, Nov. 14, 7:30 p.m.-in the client lounge at Film House, 424 Adelaide St. East, David MacDonald of Encyclomedia will conduct a briefing for all those interested in BBSs and 'accessing new communications technology.
Wednesday, Dec. 7-lmage Gear Inc. (a new esc sponsor) in conjunction with Cine-Asst will present the new Optika Series of prime lenses for Super-16. A esc Christmas reception follows. Time and location next month. Tuesday, Jan. 10,1995, 7:30 p.m.-Fuji Photo Film Canada Inc. will present new film stocks, at Ontario Science Centre, 770 Don Mills Rd. Reception follows.
Saturday, Jan. 21, 9:30 a.m.-Second annual Super-16 Symposium.
VANCOUVER:
Monday, Nov. 28, 7:30 p.m.-Kodak Canada Inc. will present new film stocks at Gastown Labs. Thursday, Jan. 12, 1995-Fuji Photo Film Canada Inc. will present new film stocks. Location and time to be confirmed.
Film Clips Cont. ftom page 11
OTHER CREDITS
Laszlo George esc was DOP and affili
ate member Attila Szalay was camera
operator on the filming of M other Love
in Vancouver; Ron Orieux esc of
Vancouver was DOP and affiliate mem
ber Larry Portmann, also of Vancouver,
was first assistant on the CBS mini
series Children of the Dust shooting in the
Calgary area; Brigitte Berman's The
Circle Game, filmed by associate mem
ber Mitchell Ness ofToronto, makes its
theatre debut at the Carlton Cinemas in
Toronto on Nov. 18; Atom Egoyan's
Exotica with Paul Sarossy esc ofToronto
as DOP, opened at Cineplex Odeon the
atres in October.•
-Edited by Don Angus
You and your production team move mountains to make an image more memorable. At Precision Carner?. we understand your needs to find custom manufactured products that perform the job and are priced within your budget.
But there's more to Precision camera than just cameras. We've got years of experience as industry leaders in new products and new product technology. There's our dedication to customer service and our dependability. And our sales know-how you can turn to and count on.
We invite you to try our full line of Cameras. Power. lighting and Accessories as well as state· of-the-art Studio/Production Equipment.
Precision Camera Inc. No problem is insurmountable.
+"EQUAllED TECHNOLOGY lL'iEc;oA.lLED SERVICE
YAIICOUVER TOROITO - 5 Sea A'ttnoOt 181 Carfaw Av.enue ~. ac. Toronto. Ontano 5G 4K{ M-4111 2S1
~~ : · 2':9 i (41 6) .46 1-~ 11 : -2'4 4 FAX {416) 461-4869
like to thank Kodak & Television
donating print DhotOJgraoh esc
WILLIAM F. WHITE LIMITED MOTION PICTURE, TELE VISIO N & THEATRICAL EQUIPMENT SUPPLY SERVING CINEMATOGRAPHERS FOR OVER 30 YEARS!
Vancouver George Margellos tel(604)983-5300 fax(604)983-5309
Calgary Paul Roscorla
tel(403)279-2693 fax(403)279-8683
Toronto B. White / M. Sinclair
tel(416)252-7171 fa x(416)252-6095
Montreal Emmanuel Lepine
tel (514)939-1989 fax(514)939-3681
Clairmont Camera is on the
Lot at North Shore Studios.
555 Brooksbank Avenue, Bldg 7, Suite 130 N. Vancouver, B.C. V7J3S5 • (604)984-4563
15
The
Nightingale Repod
PRODUCTION NOTES: (Ontario)
BILLY THE THIRD, TOMMY BOY (new title) , (Feature) Billy The Third Prods, L.P., Exec Prod: Robert Weiss; Prods: Lorne Michaels, Barnaby Thompson; Dir: Peter Segal; Shoot: Sept. 12-Dec. 9, 1994. Tel: (416) 368-1156. DUE SOUTH, (TV Series) Alliance Communications For CBS/CTV, Exec Prod : Paul Haggis; Co-Exec Prod: Kathy Slevin; Prod: Jeff King; Dir: various; Shoot: July 27-Dec. 1994. Tel : (416) 531-8680. FOREVER KNIGHT, (TV Series) Paragon Entertainment/Forever Knight Prod Inc., Exec Prods: Jon Sian, Jim Parriot; Prod: Richard Borchiver; Dir: various; Shoot: Mar. 20-Dec. 8, 1994. Tel : (416) 441-2442. KRATI'S CREATURES, (TV Series) Paragon Ent./Kreatures Prods. Inc., Exec Prods: Jon Sian, Richard Borchiver; Prod: Ann O'Brian; Dir: TBA; Shoot: Oct. 1994-Aug. 1995. Tel: (416) 516-1600. KUNG FU: THE LEGEND CONTINUES, (TV Series) Warner Bros. Dist. Canada Ltd. , Exec Prod: Michael Sloan; Prod: Susan Murdoch; Dir: various; Shoot: July 7-Jan. 18,1995. Tel: (905) 279-6011. NATIONAL LAMPOON'S SENIOR TRIP, (Feature) Alliance Communications, Exec Prod: Stephanie Reichol ; Prod: Wendy Grean; Dir: Kelly Makin; Shoot: Aug. 15- Nov. 15, 1994. Tel: (416) 539-8155. ROAD TO AVONLEA, (TV Series) Shining Lake Prods Inc., Exec Prods: Kevin Sullivan, Trudy Grant; Prod: Kevin Sullivan; Dir: various; Shoot: Aug. 15-Feb. 1995. Tel: (416) 750-1848. TAKING THE FALLS, (Series) Alliance Communications, Exec Prod: Ch ristine Shipton; Prod: Peter Mohan; Dir: Cynthia Dale; Shoot: Oct. 12-Mar. 1995. Tel: (416) 9671174. TEKWAR, (TV Series) Atlantis Films Ltd., Exec Prods: William Shatner Peter Sussman; Prods: John Calvert, Stephen Roloff; Di rs: Greg Evigan, Eugene Clark; Shoot: Sept. 19-Apr. 1995. Tel : (416) 466-4245.
PRODUCTION NOTES: (B.C.)
JUMANJI , (feature) Big Board Prod-lnterscope Prods for Tristar, Exec Prods: Larry Franco, Ted Field, Robert Cart; Prods: Scott Kroopf, Bill Teitler; Dir: Joe Johnston; Shoot: Nov. 14-April1 , 1995. Tel: (604) 298-9171. HAWKEYE, (TV Series) Hawkeye Prods Ltd., Exec Prod: David Levinson; Co-Exec Prod : Steve Feke; Prod: N. John Smith; Dir: various; Shoot: July 12-Feb 2, 1995. Tel : (604) 983-5000. MANTIS, (TV Series) Film XII Prod-Universal-Fox, Exec Prods: James cAdams, Bryce Zabel; Prod: Tim lacofano; Dir: various; Shoot: June 20-Feb. 10, 1995. Tel: (604) 255-3355. HIGHLANDER, (TV Series) Filmline lnt'l Highlander Inc., Prod : Ken Gor : Dir: various; Shoot: June 27-Nov. 17, 1994. ROBIN'S HOODS, (TV Series) RH Prods Ltd . Partnership, Exec Pro : Aaron Spell ing ; Prod: John Maranville; Dir: various; Shoot: June 13-Feb. 1, 1995. Tel: (604) 421-4234. THE MARSHALL, (TV Series) Paramount-The Marshal Part, Exec Pro s: Aaron Lipstadt, Don Johnson; Prod: Gareth Davies; Dir: various; Shoot: July 26-Dec. 1994. Tel: (604) 983-5462. THE X-FILES (TV Series) X-F Prods for FOX, Exec Prods: Chris Ca rte . .W. Goodwin; Prod: J.P. Finn ; Dir: various; Shoot: July 11, 1994-May 1995. Tel : (604) 983-5391. THE COMMISH, (TV Series) Commish Prods for ABC, Exec Prods: S~ .: en J. Cannell, Stephen Kronish; Prod: John Kousakis; Dir: various; Shoot: July 1994-Mar. 15, 1995. Tel: (604) 983-5000. OUTER LIMITS (TV Series) Outer Limits Prods, Exec Prods: Pen De s a.. . ichard B. Lewis, John Watson; Prod : Justis Greene; Dir: various; Shoot: Sept. 8-May 1995. Tel: 604) 299-7119. NO FEAR (Featu re) No Fear Prod Ltd. Prtnrshp Universal , Exec Pro : i .,~ : Prod : Brian Glazer; Dir: James Foley; Shoot: Sept 30-Dec. 21 , 1994. Tel: (604) 730-8580 A CHRISTMAS ROMANCE, MOW) Christmas Romance Prod Inc., Exe · o s: .1ichael Jaffe, Howard Braunstein; Prod: Matthew O'Conner; Dir: Shel don Larry; Shoot Oct 20-Nov. 14, 1994. Tel : 604) 683-88.11. CRYING FREEMAN, (Feature) Freeman Prod of Canada Exec Prod: Ta a lc ise· P s: Samuel Had ida, Brian Yuzna; Co-Prod: Robert Frederick; Dir: Christophe Gans; Shoot Start Oct. 12, 1994. Tel: 604) 730-1667. THE OTHER MOTHER, (MOW) Masquerade Prods Inc., Exec Prods: ic ael o·Ha a D . Larry Horowitz; Prod: Michelle Maclaren; Dir: Bethany Rooney; Shoot: Oct. 31-Nov. 18, 1994. Tel : (604) 983-5620. ON WINGS OF FEAR, (MOW) Wings of Fear Prods & Co. Ltd . Prtnrshp for CBS Exec Prod: Annette Handley, Dir: Michael Uno; Shoot: Nov. 7-Dec. 2, 1994. Tel: (604) 983-5422.
The Nightingale Report is published by D. Nightingale & Associates Ltd., 189 Dupont St. , Toronto, Ont., M5R 1V6. Tel: (416) 975-3977. Fax: (416) 968-9092
16
WESCAM's GYROSTABILIZED camera systems are used by leading industry professionals for smooth, crystal-clear footage in the most demanding environments.
Take advantage of WESCAM's highly skilled technicians and operators for rock solid, worry-free shooting in virtually any situation. The WESCAM team will customize the system configuration to get your shot. Video or film-by air, land or water-our experience means we're ready when you are.
Over 9 locations worldwide means no delays and unmatched support -from Australia to North America, from Europe to Africa. Need a second, third, fourth unit? More? No problem. We have crews and camera units anywhere you are.
Choose WESCAM for total system solutions, and extraordinary depth of service and support. WESCAMthe world's most complete line of film and video equipment for capturing imagery in motion.
Check out the WESCAM and see why we lead the industry in ROCK SOLID performance-w orldwide .
Our footage speaks for itself. DAVE • IN TERV IEW W IT H A V AMPIRE • CLEAR AN D PRES ENT D A NGER • PELIC A N B R IEF • LO V E A F FAIR • FALLING DOWN • TERMINA L V ELOCIIY • H UNT FO R RED OCTOBER • BACK T O T HE FUTURE • T HE S PEC IA LIST • T HE REAL M c COY • BASIC INSTINCT • TRU E LIES • THE FUGITIVE • LETHA L WEAPON Ill • WOL F • THE CLIENT • WHEN A MAN LOVES A WOMAN • PATRIOT G A MES• ROBIN HOOD • HEARTS AND SOULS • M AVE R IC K • STAR WARS • TIME COP • HONEYMOON IN VEG AS • THE GOOD S ON • WITCHES OF EASTWICK • UNDER SEIGE • M URDER IN THE FIRST • INDIANA .JONES Ill • S U P = II & Ill • PHILADELPHIA • TOUR DE FRANCE • S U PE.=iBOWL • W ORLD SERIES • NEW YORK M ARA"Il-10 • A CU RA • KODAK • PEPSI • AMERICAN EXPRESS • " :ORCEDES BENZ • BUDWEISER • LEXUS • C ADILL-;.C · ;:. S"liCA'SCUP • O LY MPIC GAMES •IBM • H O 0 · =c"'.J • A LT DISNEY W ORLD • HOFFA
1810 Highway 6 North , Hamilton, Ontario Canada L9J 1H2 Telephone (905) 529- 5132 Telefax (905) 529-5311
Toll Free 800 668-4355 in North America Only
AUSTRALIA • BELGIUM • CANADA • ENGLAND • FRANCE /TAL Y • SWEDEN • UNITED STATE5-EAST AND WEST
It could well be the most original, profoundly
intelligent, incredibly difficult shoot ever attempted.
Which is probabl why people get that glazed look
when you try and describe it.
Let' just say it's our mission at Kodak to replace that
look with one of admiration and em)'· So smile smugly
and tell them that anything's possible \'\·hen you know
what resources are available to you.
Then give them our number: 1-800-GO-KODAK. We'll
Then perhaps we'll chat about the huge array of
Eastman films - the most ex~nsive range of niche films
out there. We'll explain how the digital world meets film
with Cineon Cinesite and how HDTV Telecine lets the
expressiveness of film stay true for tomorrow's TV.
And at the risk of sounding immodest, we'll also
mention that nothing beats the EXR Film System when
they're shooting for film display. In the end, they'll
know that we're behind them all the way. After all, when
probably start by telling them
about EXR films. Because loading
the best is shooting it right. (G eastman Putting ideas in motion.
everyone's working towards the
same goal, things tend to get
done. Funny how that happens.
© Kodak Canada Inc., 1994