In this issue:Factual Program Asks: How Long Is NOW • CSC Members Test Digital Cinematography Tools Plus: Industry News, Members Listing And More...

The WeIghT ON hIS ShOuLDerS

November 2007 Volume 27, No. 3Canadian Publications Mail Product Sales Agreement No. 478423

The Weight Director Gail Harvey and DOP Peter Benison csc have an additional eight scripts on which to enjoy each other’s company.

THE CHOICE IS YOURS

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HPX_Fam CSCNews ad_FA.pdf 9/12/07 10:11:33 AM

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. Our members now represent the film and video community in all ten provinces. Our aim continues to be to promote and foster the cause of cinematogra-phy and the interests of the Canadian film and video community. We facilitate the dissemination and exchange of technical information, and endeavor to advance the knowledge and status of our members within the industry. As an organization dedicated to furthering technical assistance , we maintain contact with non-partisan groups in our industry, but have no political or union affiliation.

CSC EXECUTIVEPresident: Joan Hutton cscVice-President: George Willis csc sascTreasurer: Joseph Sunday phdSecretary: Antonin LhotskyMembership: Philip Earnshaw cscPublicity: Nikos Evdemon cscEducation: Ernie KestlerEditor Emeritus: Don AngusMembership inquiries: 416-266-0591

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CSC OfficeCanadian Society of CinematographersExecutive Director: Susan Saranchuk3007 Kingston Road Suite 131Toronto, Ontario M1M 1P1Tel 416-266-0591 Fax 416-266-3996email: admin@csc.caEditor: Lee Rickwood (416) 260-8859 email: editor@csc.caEditor-in-Chief: Joan Hutton cscCo-Editor-in-Chief: George Willis csc sasc

CSC NEWS is a publication of the Canadian Society of Cinematographers. CSC NEWS is printed in Toronto and is published ten times a year. Subscriptions are available for $75.00 per year in Canada and $95.00 per year outside the country. Canadian Publications Mail Product Sales Agreement No. 478423.

CONTENTs N O v E m b E r 2 0 0 7v O l u m E 2 7 , N O . 3

2 - President’s rePort

3 - How Long is now No Opportunity Wasted for Cast or Crew

6 - industry news Canadian Film, TV, Sound and Radio Jewels Honoured

11 - tHe weigHt PiLes uP New TV Cop Drama Series Extended

12 - dC tooLs tested by CsC MeMbers PS Initiative Picks Up Steam

13 - CLassifieds

14 - CsC fuLL and Life MeMbers

16 - ProduCtion dates

on tHe Cover Colin Haupt csc on the set of The Weight shoots heavy drama. Photo by Peter Benison csc.

visit: www.csc.ca

3 12

11Gail Harvey and DOP Peter Benison csc

Doug Dales, Alan Lennox & Penny Watier

THE CHOICE IS YOURS

www.panasonic.ca

π AJ-HPX3000P

π Applications: high-end commercial

and movie productions

π 2/3 ” 3 progressive CCD 2.2M pixels

π AVC-Intra/DVCPRO HD/SD DVCPRO50

π Chromatic Aberration Correction

π Gamma; HD, SD, Film like 1/2/3, Film

π 1080/60i, 50i, 30p, 25p, 24p

π 5 P2 Card Slots, 1 SD card

π $57,700 with view�nder (Lens extra)

π AJ-HPX2000P

π Applications: broadcast and

news gathering

π 2/3 ” 3 progressive CCD 1M pixels

π AVC-Intra optional DVCPRO HD 50/25/DV

π Gamma; HD, SD, Film like 1/2/3

π 1080/60i, 50i, 30p, 25p, 24p

π 720/60p, 50p, 30p, 25p, 24p

π 5 P2 Card slots, 1 SD card

π $36,000.00 with view�nder (Lens extra)

π AG-HPX500P

π Applications: documentaries,

music videos, commercials, corporate

π 2/3 ” 3 progressive CCD 600K (HV Shift)

π DVCPRO HD/50/25/DV PAL/NTSC

π Chromatic Aberration Correction

π Gamma; News, HD, SD, Low, High,

Cinelike D Cinelike V

π 1080/60i, 50i, 30p, 25p, 24p

π 720/60 p, 50p, 30p, 25p, 24p

π 4 P2 Card slots, 1 SD card

π $14,000.00 with View�nder (Lens extra)

P2HD. Available at better rental houses across Canada

HPX_Fam CSCNews ad_FA.pdf 9/12/07 10:11:33 AM

2 • CSC News - October 2007

PrEsIDENT’s rEPOrTWhen the heat is On, Call ICe

Maintaining a sense of balanced, collected calm in the midst of looming chaos and calamity is

one of the skills that make for a successful Director of Photography.

One of a cinematographer’s greatest as-sets is the ability to remain cool when the heat is on. In the face of real or imagined emergency, the DOP must rely on careful pre-planning and preparation, his or her own experience as well as the skills and abilities of others, in order to survive and succeed.

Well, the heat is on now, for sure! The realities of a writer’s strike south of the border are sure to be felt here if the strike lasts for long. The impact of an ever-strengthening Canadian dollar is already putting pressure on our production – or any planned production – schedule.

But even as our professional life faces difficult challenges, there’s always good reason to take a moment to ensure that our personal lives are protected. A serious threat to us, our families, and our loved

ones will far outshadow any challenges that an industry faces.

That’s one reason why I want to share some important safety tips from CSC Vice-President George Willis csc, sasc and his good friend and associate, Al Crimi of Panavision.

Their suggestions are something we can all easily implement, and then feel more confident and assured once we have done so.

“We all carry our mobile phone,” they point out, “and we store lots of names & numbers in its memory. But nobody other than us could tell which number belonged to our closest family or friends.

“If we were to be involved in an ac-cident, the people tending us might have our cellphone, but they wouldn’t know who to call.”

Hence, George and Al describe, the ICE (In Case of Emergency) Campaign.

The concept of “ICE” is catching on quickly. It’s a way to establish important telephone connections during an emergen-

cy situation. All you need to do is store the number of a person or persons who should be contacted during emergency under the name “ICE” (In Case Of Emergency).

The idea originated with a paramedic, who had all too often (while at the scene of an accident or injury) located a victim’s cellphone, but been unable to determine who to call as an emergency contact.

The “ICE” campaign could change that – if necessary, good Samaritans, emer-gency service personnel and/or hospital staff would be able to quickly contact the right person by simply dialing the num-ber stored as “ICE”. For more than one contact, ICE1, ICE2 and ICE3 could be stored.

As George and Al point out, it’s a sim-ple plan that could save your life, or put a loved one’s mind at ease. Make sure it’s programmed in your kid’s cell phones, and even in a home speed dial system, too.

Let’s spread the concept of ICE by stor-ing an ICE number in our mobile phones today!

CSC News - November 2007 • 3

How Long is Now?No Opportunity Wasted for Cast or Crew On reality Show Shoot

Working at a self-described “breakneck pace”, cin-ematographer Tony Wannamaker csc had no time to waste in between shooting assignments for No Op-

portunity Wasted, a Canadian-produced TV series now airing on the CBC.

He’s the DOP for all of the 10 X 30 episode series, and he’s just back from shooting in Kenya to prepare for the next round of location shooting in California.

Reached at his home near Belleville, ON, Wannamaker says – despite the challenging, scary, even frightening hook underlying the show’s concept – that “the most profound moments from the show are the most subtle.”

The challenge: to capture the pivotal moment, the critical sign of individual character growth and personal revelation, while in the midst of usually chaotic and potentially deadly activity.

Challenge your fears. Step outside your comfort zone. And do it now.

That’s the clarion call from Canadian adventurer Brian Kirk-by, the host of the factual or reality-based TV show No Oppor-

tunity Wasted. The series concept is based on the personal life philosophy and best-selling book by The Amazing Race host Phil Keoghan; the premise gives Canadian participants 72-hours to confront their biggest fears, and live life NOW.

NOW - No Opportunity Wasted debuted in Canada in Octo-ber, as the first of ten half-hour episodes appeared on the CBC (the original version aired on Discovery Channel US in October 2004).

In each episode, two challengers (who did not know they had been chosen ahead of taping) are surprised by Kirkby and asked to take the 72-hour NOW challenge. With their sched-ules cleared and all excuses eliminated, the two challengers, total strangers with a common goal, work step-by-step to complete a series of time targets that push them to the extreme and help them complete their challenge.

The series is produced by NOW Canada Productions Inc., a Suddenly SeeMore Production Company. Keoghan acts as the series’ executive producer. Suddenly SeeMore... is an award win-ning Canadian production company with experience in broadcast

By Lee Rickwood

4 • CSC News - November 2007

and cable television in both Canada and the U.S. Suddenly SeeMore’s Emmy-nominated producer Morgan Elliott is an adventurer and a story-teller herself. She has crafted an award-winning career from the most exotic and remote corners of the world through her production of docu-mentaries and reality television.

Despite all the external challenge, fear, excitement and exhilaration embodied in the program’s premise, for the production crew, there could be “no opportunities wasted.” Even with as many as six cameras available, the shooting team did not have time for a lot of deliberations.

“On this show, every moment was ‘a reality moment.’ Every department was checked and double checked. Once we heard the ‘I’m a go here.’ ‘I’m a go…’ we just went for it,” recalls DOP Wannamak-er. “We had to really distill the moment, with no re-fabrication. I’m a big fan of the long take. Renoir worked at it, and Hitch-cock picked up on it. Verisimilitude; if you can nail that, you’re there. That’s what we wanted. A real aggregate moment, dis-tilled to its essence.”

The award-winning cinematographer faced aesthetic, technical and environ-mental challenges at almost every turn, and not only on the episode filmed in shark infested waters. Shooting in a ‘mise en scene’ style, the camera crew must work as a single unit, and rather than taking a

technical break during a shoot, they de-pend on shared experience, pre-planning as much as possible, but also short hand communications that helps maximize the experience at hand.

For example, because the half-hour program makes excellent use of its online component, and certain segments or teas-er clips can be viewed on its website, host Kirkby must be aware of ‘breaks’ for the Web-isodes, as well as the broadcast TV segments. Depending on the setting and action, host Kirkby’s throw to break can happen at any time.

“I could ask for a break, and go for the perfectly articulated frame and all,” ex-plains Wannamaker, “but I think it would be obvious there was a break and some dead content. So we have worked it all out with his signals, and I am there. We reach the precipice, and he makes his throw. I’ve got the shot, but the moment has not been broken.”

Coming to grips with all the technical requirements on NOW was a continuing technical challenge. For example: rigging a microphone into Kirkby’s diving mask so the host could clearly be heard on camera, while still underwater. Or, strapping the cameraman and camera gear into a bizarre open air harness for a ‘fear-of-flying’ epi-sode.

Surely, for the award winning CSC cinematographer, these challenges can’t

be anything new. Wannamaker has worked with Ed the Sock, so how dangerous can any life-threatening situation really be!?! He’s also worked on the Project Grizzly shoot, and in one of his award-winning turns (Best Cinematography in a Documentary, 1994) he worked on Mondo Mos-cow, and a segment about the life of alleged presidential assassin, Lee Harvey Oswald. (Other awards and nominations honour Wannamaker’s cinematography in performance and dramatic short categories, as well as his documentary work.)

“For me, NOW is a lot different than other shows like Fear Factor,” Wannamaker says. “This show really

looks for inner growth as well as adven-ture. We look for the enlightenment, that subtle moment that makes a big difference in someone’s life.

“But capturing that moment means you have to be ready to react, creatively, technically and emotionally,” Wannamak-er continues. “I tell you, there have been moments…. I have been so moved by the emotion, the dedication of these people, I was crying!”

Some episodes represent that tension more than others, and Wannamaker does acknowledge there have been problems. The need to balance ‘storyline’ with that ‘real moment’ does not allow any mo-ments to be wasted. “We are always ready,” Wannamaker says of his crew, “but then, we are always wondering, ‘What will go awry…?’”

If anything, he’s confident that his camera won’t be the source of major prob-lems, even with the show’s demanding and challenging shooting environments.

Working with two of what he calls “the hermetically sealed” Sony 350L HD cam-corder, Wannamaker says he has “as prag-matic an application as is available for this environment. It’s disk-based, it’s weather-proof. It’s an absolute vanguard camera for us,” he says, noting the main consider-ations that led him to choose the unit.

Being disk-based, it offers a quick play-back option by displaying thumbnail im-ages of recorded sequences. This enables the director and shooting crew to know with confidence if they “got the take or not.” Instant random clip access and re-play of full clips or proxy data means that immediate logging on location, off-line editing and screening of daily rushes is much easier no matter where they are.

The camera also features an interval recording feature for real time-lapse pho-tography; it can record video at pre-deter-mined intervals and over long periods of time, up to 24 hours.

As noted, the camera’s disc drive bay is tightly sealed by two lids to prevent any dust from entering. In addition, four rub-ber dampers are used to hold the disc drive block in place helping to absorb shocks that would otherwise reach the disc drive.

“Lastly, there’s the ability to over- and undercrank,” Wannamaker describes. “I used it a lot for white water sequences, overcranking it to slo-mo for white water (Sony calls the function ‘Slow & Quick

Previous page TOP NOW Challengers Kyle and Michael get ready to enter shark-infested water. Kyle, a Vancouver resident who was mauled by a tiger shark in Maui last year, steps back into the ocean for the first time since the attack. For Calgarian Michael, overcoming his paralyzing fear of sharks will help free him from a burden he has carried since childhood. BOTTOm NOW’s production crew – including DOP Tony Wannamaker csc, at work on the ocean floor filming the program’s shark episode, working in waters off the coast of the Bahamas. The work of cast and crew is not done when filming is over; participants write and update their own online blogs and website entries about their experience.

‘‘“It’s so goddamn exciting…!”

CSC News - November 2007 • 5

NOW - No Opportunity Wasted is a new reality or factual-based TV show airing on the CBC; the show forces cast, crew, challengers, viewers and other participants into scary, threatening and character-building situa-tions. As a result, DOP Tony Wannamaker csc and host Bruce Kirkby can end up in several unusual and challenging positions. Location photo credits to NOW Canada Productions.

Motion’, noting that the F350 can shoot frame rates different from the playback frame rate, providing an effect similar to using over- and undercranking with a film camera.)

“The camera’s only downfall is the ½” chip – it’s a bit of a drawback, and I would have liked better resolution,” adds Wannamaker. “But the camera had all the peripherals we needed, and it was an excel-lent choice for this production.” He noted the set-up and assistance he received from Greg Williams and the team at Tellavi-sion and Camera Department in Toronto, from which the units were rented.

The PDW-F350 supports HD acqui-sition in 1080, true 24P recording, as well as SD mode recording. Wannamaker is shooting for 16 x 9 (“cuz that’s where it’s all going”) with the two main 350s, and he is supplementing the 1080 acquisition with smaller handicam-type units, such as the Sony Z1U (often mounted in a Blue Fin underwater housing, with underwater illumination and monitoring support).

“I like this set-up, because others are difficult to see,” he says of the underwa-ter configuration. “You really want to see what is going on, especially when those leviathans come my way. Those sharks were less than six inches away! It’s like a game of chicken with sharks – they come right up, they push you around, they get a feel for you and go get a feel for them very quickly!”

Nevertheless, the NOW shoot is not “a cowabunga-fest” says Wannamaker. “We have a solid game plan, and we have a solid safety plan, even before we come to grips with the technical requirements. You take as many precautions as possible, then you commit.”

Precautions are needed for the many different shooting environments, but so, too, a full grip package – including what Wannamaker calls “a massive HMI light kit” – as one never know when a fire walk-ing sequence must be lit up. “We want to see not just the threat (such as red hot coals) but we also need to a get a sense of the place (and not just as an all-black background).”

And if no lights are possible, Wanna-maker says he tends to shoot a little wide open anyway. “I have polarizers for dis-tance and sky, and there’s enough ND on the camera to knock it down when need-ed. I like to throw the background soft,

as again, it is all about the moment and seeing the person’s emotional and fa-cial reactions to that mo-ment.”

Despite all the high tech video gear, Wan-namaker says the most important piece of equip-ment on the shoot may be his solar-powered watch! “It’s my best friend. It’s got a compass, an altim-eter, a barometer. It shows the best time of day for certain scenes, where the sun is, it tells me a lot of things.”

Of course, it is not all natural, physical or envi-ronmental challenges that put fear into the heart of crew members or program participants. To some, poi-sonous four metre snakes are no problem. Standing at the edge of an active volcano is no big deal. Standing on the glass floor high atop the CN Tower is not worth a second thought.

But a corporate

speaking engagement is one of the most threatening challenges they could ever face; hence, a recent episode featured two people facing their NOW moment at the podium, during the program’s public launch in Toronto.

6 • CSC News - November 2007

Canadian Film, Tv, sound and radio Jewels Honoured

This year, MasterWorks, the Audio-Visual Preservation Trust of Cana-da’s (AV Trust) gala celebration of

Canada’s film, television, radio and record-ed music heritage, embraced TV, cartoons and Moses.

The annual event incorporated various Cinémathèque québécoise exhibits includ-ing a photo exhibit on the NFB’s Labyrinth Pavilion at Expo 67; a permanent exhibit of vintage televisions donated by broadcasting icon Moses Znaimer and a lively look at the history of animation.

The event, held Tuesday, October 30 at the Cinémathèque québécoise in Montréal, is co-chaired by Yolande Racine, Executive Director of the Cinémathèque québècoise, and Stephen Ellis, President of Ellis Enter-tainment of Toronto.

Founded by the AV Trust (www.avtrust.ca) in 2000, MasterWorks, which alternates between Montréal and Toronto, annually honours 12 culturally significant works or personalities, David Novek, President of the Trust described, three each from the film, TV, sound recording and radio genres.

MasterWorks are designated for a work or body of work that have had a critical or popular impact on Canadian culture or have been influential in shaping its genre. The honourees are chosen by panels of ex-perts from the Canadian film, radio, TV and music industries.

Where a MasterWork is in danger of be-ing lost, the AV Trust helps ensure the res-toration or preservation of the work so that it will remain a cornerstone of the country’s audio-visual heritage and can be enjoyed by future generations of Canadians. Cur-rently film and music restoration programs are supported with grants from Canadian Heritage and the Astral Media feature film restoration program, with other AV Trust programs aided by Vivendi Universal Mu-sic Canada and Universal Studios Canada.

Library and Archives Canada, CBC/Radio-Canada, and the National Film Board, who themselves are actively involved in preservation of the country’s heritage, are sustaining partners of the Trust along with Telefilm Canada.

Past MasterWorks titles and honourees include some of the most revered Canadian

audiovisual works and icons: Mon Oncle Antoine, The Grey Fox, Le Déclin de l’empire américain, This Hour Has Seven Days, Go-ing Down The Road, La Famille Plouffe, The Rowdyman, Point de mire, Anne of Green Gables, The Beachcombers, The Appren-ticeship of Duddy Kravitz, Rawhide, René Lévesque, Barbara Frum, Wayne and Shuster, Gordon Lightfoot, Luc Plamondon, Marcel Dubé, and Guy Maufette.

The AV Trust also honoured Pierre Karl Peladeau, President and CEO of Quebecor at the Gala, for his company’s investment of $2.5 million to digitalize all Quebec fea-ture films ensuring access to Québec’s film heritage.

Quebecor’s preservation project Élé-phant: mémoire du cinéma québécois proj-ect will gradually make all Québec feature films available on Videotron’s Illico on De-mand digital television platform. It involves digitalizing approximately 800 feature films made in Québec to date. At present, many of the movies exist only on the original film stock and are at risk. The digitalization will make these works available for future gen-erations. Films that have already been re-stored by other organizations will also be included. Coordinated by Québec cinema experts Marie-José Raymond and Claude Fournier, the movies will be accessible 24 hours a day, 7 days a week.

All revenues from the broadcast of the films will be turned over to the rights hold-ers, except for a nominal fee to cover oper-ating costs. Access to the catalogue will be free for film students and researchers.

The largest online database on Québec movies will be created on the Canoe web-site, with input from movie industry play-ers and organizations, to include synopses, stills, interviews, posters and reference ma-terials. Movie buffs around the world will be able to read, watch and listen to the online content, which will powerfully pro-mote Québec’s cinematographic heritage.

The Audio-Visual Preservation Trust of Canada is a national charitable non-profit public/private organization dedicated to promote awareness of and access to Can-ada’s rich and diverse audiovisual heritage, and to facilitate access to and usage of re-gional and national collections. Master-Works is the Trust’s main vehicle for raising awareness of preservation issues, with the

goal of safeguarding cherished works from the past.

New source for source shopThe Source Shop has moved to new

digs. The Toronto-based rental and supply shop has provided lighting and grip equip-ment, crew gear, promotional supplies and accessories for the film and entertainment industry for nearly 15 years. Its new loca-tion will open November 2nd in the Liberty Village area (119 Jefferson Ave.); the same phone and fax numbers will be used.

Have You seenNone of the Above?

An Ottawa-based online DVD rental company, Zip.ca, recently conducted a survey among its subscribers to determine their favourite Canadian feature film. A choice of seven movies - as selected by Zip.ca’s team of experts - plus the “none of the above” option were presented to voters.

More than 1,500 votes were cast, re-ports indicate, and the classic “none of the above” finished first! Montreal-made Bon Cop, Bad Cop came in second (if finishing behind “none of the above” matters at all); Strange Brew, C.R.A.Z.Y., Meatballs, The Sweet Hereafter, Jesus of Montreal and The Changeling also charted.

The survey is, of course, unscientific, but at least a little revealing about how Ca-nadian cinema is perceived in this country. Interestingly, Zip.ca and its sister channel, Zip.tv, are extending to independent film-makers and media producers the ability to place their own feature films on the site (placement is free; Zip handles hosting and serving).

As previously reported in CSC NEWS, Zip.tv plans to give independent producers the ability to earn revenue from such films, either shared advertising revenue or pay-per-view revenue.

“Finding channels for film distribution has long been a challenge for independent producers, here in Canada and around the world,” said Rick Anderson, President & CEO of Zip.tv. “We are now starting to see more and more video content from major Hollywood and television studios distrib-uted legally via the Internet, and Zip.tv is keen to extend the benefits of this revolu-tionary new means of distribution to the

INDusTrY NEWs

CSC News - November 2007 • 7

independent film community.”Films of up to 500MB filesize may be

uploaded by producers directly, or if pre-ferred conveyed to Zip.tv for uploading. For longer or feature-length films, Zip.tv will accept films in any digital format and handle uploading to the Zip.tv site, mak-ing the service equally accessible for short film creators as for feature filmmakers. At the moment, all viewing is free; starting this fall, producers and filmmakers will be free to decide if their films will be viewable for free or on a Pay-Per-View basis. Should they select PPV, they are entitled to 100% of their PPV revenue until such time as they achieve commercial recognition. Con-tent producers will retain all copyright to their material for traditional distribution channels.

‘Green’ Gear at Industry swap meet

As part of last month’s BC Film Industry Week, production supply company Holly-North sponsored the Second Annual Van-couver Film Industry Gear Swap-Meet.

Plans called for the event rain or shine, but as HollyNorth’s Erin Neely reports, a torrential downpour forced the entire event indoors. Nevertheless, it turned out well by all accounts, and lots of reuseable, resellable and re-rentable equipment was sold, traded and displayed.

New products were also shown, and

a locally produced apple box – which re-portedly snaps together like Lego, and is constructed of recycled plastic – was on displayed. Dan Bennett (at right), grip and equipment designer at Black Equip-ment brought along Black’s new gear. Mike Kaerne, of HollyNorth Production Sup-plies, is holding the box.

In addition to encouraging re-use/ re-cycle of production gear, the event was also intended to promote innovations, particu-larly items that are produced locally, and/or have taken into consideration “greener” approaches to production, Neely describes. Also participating in the event were eco-friendly organizations like SHAPE, CPAWC and EcoNeutral - a local firm that assesses and offsets carbon production.

Plans are now underway for the Third Annual Gear-Swap, to be held during next year’s BC Film Week.

New CEO at DGC NamedThe Directors Guild of Canada (DGC)

has named its new National Executive Dir-ector and CEO, Brian Anthony, who will assume the post on November 12, 2007.

“I feel confident that we have selected the right leadership for the Guild,” says Alan Goluboff, president of the DGC. “Brian has extensive experience in the cul-tural sector and understands our position on protecting and advancing the Canadian film and television industry. I believe he has

Dan Bennett, grip and equipment designer at Black Equipment, and Mike Kaerne, of HollyNorth Production Supplies, pictured at a recent BC equipment swap.

Photo by Erin Neely

8 • CSC News - November 2007

the right complement of skills and experi-ence to successfully serve this membership,” adds the president.

Anthony brings to the Guild an ex-tensive background in Canada’s cultural industries. His distinguished career over three decades includes Executive Direc-tor for the Heritage Canada Foundation, consultant to a number of cultural organ-izations, Chief of Staff to the Minister of Communications and Policy Advisor in the Department of Communications. He has served on a wide variety of cultural advisory committees, task forces, boards and foun-dations. Most recently Anthony has been Executive Director of the Governor Gen-eral’s Performing Arts Awards Foundation.

The Directors Guild of Canada (DGC) is a national labour organization that repre-sents over 3,800 key creative and logistical personnel in the film and television indus-try covering all areas of direction, design, production and editing. The DGC negoti-ates and administers collective agreements and lobbies extensively on issues of concern for members including Canadian content conditions, CRTC regulations and ensur-ing that funding is maintained for Can-adian film and television programming.

NFb Appoints Executive Producer, North West Centre

David Christensen has been appoint-ed to the position of Executive Producer, North West Centre, based in Edmon-ton. The appointment was announced by

Sayedali Rawji, Interim Director General, English Program for the National Film Board of Canada.

“David brings to the NFB his vast expe-rience in both documentary and dramatic film production, and a tremendous per-sonal connection to the Alberta indepen-dent film community. What’s more, David has a deep love for cinema, as shown by his work as a film curator, lecturer and found-ing member of Calgary Cinematheque,” said Rawji. “His talent and passion for filmmaking will greatly help the NFB in our commitment to promoting artistic in-novation and social relevance in documen-tary, animation, alternative dramas and new media.”

Christensen is currently wrapping pro-duction on a feature documentary, The Heart of Viganella, and is a well-known writer, director, director of photography, and associate producer. Along with Damien Lewis, he worked on the acclaimed 2005 NFB/NHK feature co-production War Hospital.

While working with Calgary-based production company Agitprop Films Inc., Christensen directed and co-wrote the Genie-nominated dramatic feature Six Figures. His credits include Writing Icons (1999), The Breath of God (2002) and a fea-ture documentary on the Bhopal gas disaster, The Heart Becomes Quiet (2002).

In addition to his film produc-tion experience, Christensen’s great interest in cinema has led him to cu-rate two shows at the Alberta College of Art and Design: a retrospective series on Werner Fassbinder and a film series exploring Japanese cine-ma, post-Akira Kurosawa. He is one of the founders and a current board member with the newly inaugurated Calgary Cinematheque.

Prior to Christensen’s appoint-ment, the Executive Producer of NFB Prai-rie Centre, Derek Mazur served as Interim Executive Producer of NFB North West Centre. Derek Mazur will continue as Ex-ecutive Producer with NFB Prairie Centre.

First 4K Feature shot WithDAlsA Origin Camera

Tempting Hyenas, a new film directed by actor LeVar Burton, is being described as the first feature length film shot with the

DALSA Origin 4K digital cinema camera.Burton described the camera as “a

Godsend. It is the 4K solution for film-makers interested in working with a digital medium.”

In addition to directing, LeVar Burton also acts in the film, lensed by DP Kris Krosskove.

Tempting Hyenas is set in a hospice during the final days in the lives of Alvin

David Christensen, newly appointed NFB Executive Producer

TOP Director of Photography Kris Krosskove (left), and Director LeVar Burton with DALSA Origin camera on the set of the film Tempting Hyenas, the first feature length film shot with the Origin camera. ABOVE The DALSA Origin cinematography camera captures at 4K resolution.

CSC News - November 2007 • 9

(Oscar nominated Seymour Cassel) and Kevin (Johnny Whitworth), where they discover that it’s not the minutes one has left that are important, but how those mo-ments are spent. Charlene Blaine-Schulen-burg, Susan R. Rodgers and Mark Wolfe produced the film through AMediaVision.

The film is undergoing a full 4K DI process at Post Logic Studios in L.A.

Post Logic’s Image Science Division provided on-set supervision during prin-cipal photography, and worked with the production team to oversee the transfer of digital assets and ensure that the 4K image quality was maintained throughout, the production team described.

“Post Logic Studios truly provided what we as filmmakers need when entering into the world of true digital cinema,” added-Burton. “Their Image Science Division not only introduced us to the DALSA team and their spectacular Origin camera, but worked with us hand in hand to deliver a complete work process.”

Post Logic’s 4K workflow, developed in cooperation with DALSA Digital Cinema, begins with the handling of assets at the end of each day of shooting. Data from the Origin 4K camera—up to two terabytes a day—was recorded onto a Codex unit and output as 2K ProRes files for viewing dailies and for creating an edit decision list (EDL) during online editing.

The files were offloaded daily from the Codex onto a Ciprico Media Vault for transporting back to Post Logic Studios in Hollywood. Upon arrival, the data was backed up onto 400GB LTO3 tapes, with all assets and metadata catalogued in a pro-prietary database. With the LTO3 tapes serving as the 4K image master files, Post Logic Studios will match up the time codes with the EDL to create the final 4K prod-uct.

“With the new digital cameras, post production houses are becoming involved in every stage of production. We’re there during pre-production, during produc-tion and afterward in post,” said Dr. Mitch Bogdanowicz, Executive VP of Imaging Science, Post Logic Studios. “Early on, we made very specific suggestions about work-ing with the DALSA camera. The quality output of any digital camera you shoot with requires not only an understanding of what you’re capturing, but also the limitations of the curves you’re placing images on, so that when you get to the final product you can

really optimize things.”Designed for cinematographers with

35mm cine lenses and a through-the-lens reflex viewfinder, the award winning camera combines 4K output with a wide exposure latitude for high quality motion picture production. Dalsa’s corporate head-quarters are in Waterloo, ON.

Theatres Go 4K with sONYSony Electronics is equipping four of

AMC Theatres’ new movie theatres in

the U.S. with CineAlta SXRD 4K digital cinema systems.

Sony will provide 54 SXRD 4K digi-tal cinema systems at new AMC theatres in Dallas (12 screens); Indianapolis (14 screens); Riverside, Calif. (16 screens); and San Diego (12 screens). Work will begin next month, with the theaters scheduled to open in December.

The theaters will feature a combina-tion of Sony’s SRX-R210 10,000 lumen model and the SRX-R220 18,000 lumen

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

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unit. The systems, which were specifically designed for theater applications, will be paired with Sony’s LMT-100 Media Block servers.

The 4K digital projection systems for the new AMC theatres are designed to be compliant to the Digital Cinema Initiatives specification – providing 2K and 4K play-back/projection, interoperability with cur-rently installed systems and full-wrap secu-rity. They will be linked to Sony’s Screen Management System.

The motion picture industry recently announced that it is working with major

cinematographers to start production on 4K originated features, and the industry has accelerated development of 4K cameras in recent months. Sony says it intends to build a complete system of digital cinema-tography production equipment, including 4K acquisition, storage and infrastructure solutions.Theatres Get 2-D and 3-D upgrades

Canadian companies are behind a new initiative to bring 2-D and 3-D live content to movie theatres with digital projectors.

CineLive is a new proprietary hardware

offering that allows live 3-D and 2-D con-tent to be converted from satellite feeds into theatrical entertainment.

CineLive was developed exclusively by Montreal-based Sensio Technologies and Ottawa’s International Datacasting Corpo-ration for Access Integrated Technologies.

CineLive combines IDC’s SuperFlex broadband satellite technology with the SENSIO 3D Cinema Decoder technology to create an integrated solution for both movie file distribution as well as 2D and 3D live streaming delivery. The core tech-nology of the two companies combined in the CineLive product represent a potential competitive advantage for AccessIT:- The SENSIO 3D Cinema Decoder tech-

nology allows playback of broadcast and prerecorded stereoscopic (3D) content, up to 1080p 60fps, using the standard 2D video distribution infrastructure and being compatible with all types of digital projection systems available on the mar-ket.

- IDC’s SuperFlex technology provides the latest in DVB-S2 broadband IP trans-mission needed to achieve the maximum possible throughput on satellite, es-sential for timely and secure delivery of JPEG2000 movie files and also for the highest quality HD delivery for live per-formances. The SuperFlex product in-cludes IDC’s HDTV hardware decoder card which provides the high speed digi-tal HD-SDI output needed by the SEN-SIO 3D Cinema Decoder.The Access Integrated Technologies Inc.

(AccessIT) digital cinema system provides feature movies and alternative content via satellite. Through its alternative content distribution division, The Bigger Picture, AccessIT offers channels of programming including Kidtoons, Faith Based, Music, High Octane Sports and Anime. Its ongo-ing Phase One 4,000-screen deployment is the largest of its kind in the world.

Founded in 1999, SENSIO Technolo-gies Inc. is headquartered in Montreal, QC. Working with major Hollywood stu-dios and large format 3D film producers, SENSIO says it has built up the one of the world’s largest library of 3D movies for the home entertainment market.

IDC provides advanced products, systems and services for the implementa-tion of broadband wireless infrastructure networks used to distribute broadband multimedia data. IDC is headquartered in Ottawa, ON.

10 • CSC News - November 2007

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CSC News - November 2007 • 11

As reported last time in CSC NEWS, work on a new eight-part TV cop drama series, The Weight, is un-

derway for The Movie Network. Since that report was released, eight additional scripts have been commissioned, and The Movie Network and Movie Central have agreed to support development of the sec-ond season. The first season of the series will premiere on the pay networks in the fall of 2008.

But the series almost did not get off the ground, as a serious accident nearly stopped the DOP in his tracks, even be-fore principal photography began!

The series is directed by DGC nomi-nated filmmaker Gail Harvey (Some Things That Stay, Terry); the producer is Norman Denver (Show Me Yours). Award-winning cinematographer Peter Benison csc is the Director of Photography and Peter Em-mink is Production Designer.

Benison’s dramatic TV reel includes his work on popular and critically-acclaimed series such as Street Legal, Captain Power, Thunderpoint and Bullet to Beijing, among others.

But, as Benison described in corre-spondence with CSC, The Weight marks his first episodic show since 1990! Almost too accidentally, he had just returned from a U.S.-based production, when he ‘ran into’ Harvey – or vice versa!

Heading back to his car after doing some banking, suddenly, he was cut off by a speeding car bombing down the street.

Harvey jumps out, calls to Benison, and says “Meet me at the Second Cup in five minutes!”

Despite the life-threatening opening gambit, Benison says he was hooked on the concept as soon as Harvey explained it to him. “It was to be an eight hour movie broken into eights episodes,” he recalled. “One story and one director for the whole thing. Coming from the playwright pens of George Walker and Dani Romain, Gail wanted to shoot each scene as if it were a play....not the sort of thing a DP wants to hear. She wanted to have each set as a stage and let the whole scene play out....well some scenes are eight pages long!”

In its promo material, the show is de-scribed as a “visual novel” set in a “bleak landscape.” The series centres on Max (Ron White, Screamers, Tag: The Jonathan Wamback Story) and Donny (Daniel Kash, Fugitive Pieces, Cinderella Man), two cops as damaged and morally ambiguous as the criminals they pursue.

The Weight’s add-itional ensemble cast is an outstanding mix of talent, includ-ing Sharon Lawrence (Desperate House-wives, NYPD Blue), Linda Hamilton (The Terminator, Termi-nator 2: Judgment Day), Edward Asner

(Studio 60 on the Sunset Strip, The Mary Tyler Moore Show), and Clé Bennett (Doomstown, This is Wonderland).

But Benison says he and the pro-duction team wanted to inject as much colour as they could (so Art Department, Wardrobe etc. were all given the ‘Colour Mandate’).

The lighting had to give some sense of drama, Benison describes, but still let the actors be free to use all the set. Practical lo-cations throughout forced him into what he calls “some simplified lighting designs”, but each set provided him with “challeng-es (a lot of them) and opportunities (not as many of those!).”

DOP Benison provided the extra photos from the shoot; he is working with camera crew members Operator/Steadicam Rod Crombie; Operator Colin Hoult csc; ACs Kerry Smart and Carolyn Cox and 2nd ACs Michael Blatchford and Ben Smith on the Toronto-based production.

The Weight Piles up

RIGHT Dolly Grip Mike “Atlas” Yabuta works out between takes; there are some 80 actors on the shoot – including 30 mains – so there’s no shortage of exercise time. ABOVE Operator/Steadicam Rod Crombie shares a moment with AC Carolyn Cox

By Lee Rickwood

12 • CSC News - November 2007

There’s little doubt that new tech-niques and technologies in digital acquisition and production are

dramatically affecting the Canadian film and TV industry.

But the specifics of just how those ef-fects will play out ‘on-screen’ are being in-vestigated as part of a comprehensive digi-tal camera and workflow evaluation, now being conducted by members of the CSC, along with technical staff at PS Produc-tion Services Ltd., Silicon Imaging and Technicolor, among others.

The production world is abuzz about the “RED” camera system which, even as leading edge as it is, is one of more than a dozen new products being developed by camera manufacturers (including Silicon Imaging, Panavision and Arri) as digital acquisition systems that have a potential well beyond that of today’s high definition video systems.

Production crews, equipment rental houses and post- houses across the coun-try are all gearing up for this revolutionary shift in production workflows that have been described as an important a develop-ment as the arrival of sound on film.

At PS Production Services, these de-velopments are drawn together under the banner “Digital Cinematography” – addressing both the on-set technical workflow of conventional film cinema-tography, and the new disciplines that record images as digital data files based on

computer, rather than chemical emul-sions on film.

Heading up the recently-launched ini-tiative at PS is Alan Lennox, who reports to the Manager of Camera, Sales and Cus-tomer Service, Penny Watier. As described by PS President & CEO Douglas Barrett, they will have “a complete arsenal” of new cameras for the 2008 inventory with which to work. In fact, PS recently ob-tained a prototype Silicon Imaging cam-era in order to test out the technology, its assets and limitations.

Lennox’s career in film and television spans 25 years of experience as a post-production manager, video editor, electri-cian, gaffer, broadcast operator, steadicam operator and DOP. A graduate of the Film and Television Production Program at Ottawa’s Algonquin College, he has professional cinematographic expertise in feature films, television series, commer-cials and sports.

“We are delighted that Alan has decided to join PS,” Barrett said. “We believe that in the new world of digital cinematogra-phy people leadership and deep knowledge will play as critical a role as the new equip-ment. We are thrilled that Alan is bringing both qualities to this critical project for us. He is the perfect ambassador to make all the difference to our customers.”

Many of those customers gathered at the PS Toronto facilities recently to learn more about the RED tests, and to see the array of camera, computer and related technology used to support the Digi-tal Cinematography workflow. Nearly fifty DOPs, including a couple of RED owners, as well as service providers, craft guilds, industry partners and interested observers gathered for informative panel presentations and test process descrip-tions.

As CSC Associate Member D. Gregor Hagey described, “PS graciously provided their facilities for some technical testing on [three separate days], and in our shoot-ing of a short film with director Rob Ste-faniuk (Phil The Alien) and Capri Films producer Robin Crumley. We used RED camera #98, one that my brother ordered at NAB ’06, and likely one of the first to be available in Toronto this year.”

Hagey explained that, thanks to Tech-nicolor coming on board to produce a 35mm output of the finished short as part of the testing process, he plans to present at a ‘RED Day’ before the year is out to discuss the process and screen the results. DSC Labs and DJ Woods are also provid-ing equipment, Hagey noted.

As well, Hagey and an associate, Philip McGregor, will report on the DC test-ing process for CSC NEWS, in an article planned for the December issue.

“I just returned from a training ses-sion in LA at RED’s headquarters,” Hagey explains, “and I’m very excited about this camera. I really see it becoming the main cinematographer’s tool over the next two years!”

Because these new DC devices incor-porate a single chip or image sensor, there is a single image plane (just like film). This allows cinematographers to use all of their preferred lenses and accessories. The sys-tems generally have an exposure latitude similar to that of the finest motion picture negative films.

In digital cinematography, the com-puter files are stored in a ‘raw’ digital for-mat – possibly eliminating any tedious (and committed) camera set-ups. The colour, contrast, and other adjustments are made at the end of the editing process (similar to the timing which happens at the end of the laboratory process), DC observers describe.

As such, terminology and technology issues abound. Bandwidth and storage capacities become critical. Videocard com-patibilities are paramount. CDLs (colour decision lists) and digital meta-data be-come as important as EDLs and shot logs. First and Seconds may disappear, only to be replaced by DITs (digital intermediate technicians).

With all these issues and many more swirling around the topics known as DI and DC, further testing, evaluation and communication is crucial, as Lennox and the PS team see it. That’s just one reason the company has added a new blog to its corporate website, where information, opinions and perspectives on the new world of digital cinematography can be found.

DC Tools Tested by CSC Members As PS Initiative Picks up Stream By Lee Rickwood

CSC Associate Member D. Gregor Hagey checks out a RED camera during presentations at PS Production Services in Toronto. Technical tests and a location shoot were part of a weeklong investigation of the camera and workflow. Complete reports and a screening of the test footage will be forthcoming, Hagey says.

Photo

: Lee

Rick

wood

CSC News - November 2007 • 13

CAmErA ClAssIFIEDs

CAmErA ClAssIFIEDs: A FREE service to CSC members. If you have items you’d like to

buy or sell, please e-mail your list to editor@csc.ca

NEW LISTING- O’Connor 50 Head - Mitchell mount with

Foba collapsible legs - telescoping centre platform. Great working condition $600.00

- Arri III Rain cover (clear) w carry bag. Mini-mal use. Excellent cond.) $100

- 1 Petroff 3x3 filter tray $30.00- 2 Sony ECM-50 lav mics with wind covers,

clips and steel cases $100.00- 2 Mole Richardson “MightyMole” 2K

lights with barn doors, scrims, new- AC tail and original case. Great condition.

$500.00

Contact John Banovich, csc, BFMT: 604-726-5646E: john_banovich@telus.net director@JohnBanovich.net

FOR SALE: Meerkat Jib ArmMint condition, very little use. Comes with hard transport case. Full specs online, at:http://filmairinternational.com/camera_mounts.aspThe Meerkat is a mini jib made by Filmair In-ternational.It can take 35mm camera, lens and matte box combinations. It has been designed with maximum rigidity and optimum action for its size and weight, making use of a quick action sliding counter weight arm for speedy set-ups. This jib arm fits on top of standard heavy tripods, bazookas, dollies or tracking vehicles and accepts any conventional or nodal fluid head. These can be mounted in either the upright or inverted mode, to the 150 mm bowl or Mitchell plate front offset fitting. The Meerkat is constructed using corrosion proof materials, and is finished in a black anodizing making it a durable, easy to take anywhere piece of equipment.Asking price $ 3800.Contact Milan PodsedlyT: 416 409-5758E: milan.podsedly@gmail.com

FOR SALE: Elmo TransVideo TRV1616mm Film-to-Video ConverterColor CCD; converts mag or optical filmFrame, Color, Iris, Focus adjustmentsExcellent working order.Best Offer Accepted.Contact BeaE: feldab@rogers.com

Video Equipment for Sale:Betacam SP D30 camera, PVV3 Recorder Back, Fujinon 16X, 9-144 Zoom Lens, Six Bat-teries, Charger, Power Supply and case, Sony PVM 80Q 71/2” Monitor and case - $5000Lowel lighting kit, 4 totalights and 1 omni With umbrellas, accessories and hard case - $1200 Call Joan Hutton at 416-693-9776

Film Equipment for Sale: Arri 35mm 2C cam-era 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 constant motors - $1000. Two empty tube tripod cases. Email: stringercam@shaw.ca

FOR SALE: Padded Barney for Arri SR. Bright Red...look cool while keeping you camera hot. $100.00 OBO. Please contact Peter 416-698-4482; 604-730-0860 or peter@peterbenison.com

WANTED: One or two 400 ft Mags for Arri “S” 16mm by member of 669 Please contact Enrique 604-313-9736 or delrio_fam@hotmail.com.

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

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

FOR SALE: Sony DSR-500WSL DV CAM camcord-er hours: A=1435 B=0776 C=1810 Eng + French

manuals. $4,400. Canon YJ18x9-BRS zoom lens $2,200. Canon YJ12x6.5B4zoom lens $4,000. Sony UVW-100 Betacam SP camcorder, Fujinon S16X6.7BRM- 18 zoomlens, Porta Brace soft carrying case $1,250. Contact Nick de Pencier, Mercury Films 416 516-2661 mercfilm@istar.ca.

FOR SALE: Arri SRII camera, excellent condition: SRII camera body (metered); magazine 40 ft.; Zeiss 10-100mm T2.0 II BA-auto; Zeiss 9.5mm T1.3; right-hand grip on & off (flat plug); support LS.6 for Zeiss 10-100 & 2x Mutar; clap ring for Zeiss 10-100mm T2.0 II; guide rails (give light-weight support); Arri variable speed unit VSU; custom case (for 16mm camera package).$19,900 plus taxes. Call 613-255-3200 cell.

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

FOR SALE: 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.

14 • CSC News - November 2007

CSC MEMBERSCSC FULL MEMBERS

Jim Aquila csc Eduardo Arregui csc John Badcock csc Michael Balfry csc Christopher Ball csc John Banovich csc John Stanley Bartley csc, asc Stan Barua csc Yves Bèlanger csc Peter Benison csc John Berrie csc Thom Best csc Michel Bisson csc Michael Boland cscRaymond A. Brounstein csc Thomas Burstyn csc Barry Casson csc Eric Cayla csc Henry Chan csc Marc Charlebois csc Rodney Charters csc, asc Damir I. Chytil csc Arthur E. Cooper csc Walter Corbett csc Steve Cosens csc Bernard Couture csc Richard P. Crudo csc, asc Dean Cundey csc, asc Franáois Dagenais csc Steve Danyluk csc David A. De Volpi cscKamal Derkaoui csc Kim Derko csc Serge Desrosiers csc Jean-Yves Dion csc Zoe Dirse csc Mark Dobrescu csc Wes Doyle csc Guy Dufaux csc Ray Dumas csc Albert Dunk csc, asc Philip Earnshaw csc Michael Ellis csc Carlos A. Esteves csc Nikos Evdemon csc David Frazee csc Marc Gadoury cscAntonio Galloro csc James Gardner csc, sasc David A Geddes csc Laszlo George csc, hsc Leonard Gilday csc Pierre Gill csc John Goldi csc Russ Goozee cscSteve Gordon csc Barry R. Gravelle csc

David Greene csc John B. Griffin csc Michael Grippo csc Manfred Guthe csc Thomas M. Harting csc Peter Hartmann csc Pauline R. Heaton csc Brian Hebb csc David Herrington csc Karl Herrmann csc Kenneth A. Hewlett Robert Holmes csc John Holosko csc George Hosek csc Colin Hoult csc Donald Hunter csc Joan Hutton csc Mark Irwin csc, asc James Jeffrey csc Pierre Jodoin csc Martin Julian csc Norayr Kasper csc Glen Keenan csc Ian Kerr csc Jan E. Kiesser csc, asc Alar Kivilo csc, asc Douglas Koch csc Charles D. Konowal csc Rudolf Kovanic csc Ken Krawczyk cscLes Krizsan csc Alwyn J. Kumst csc Jean-Claude Labrecque csc Serge Ladouceur csc George Lajtai csc Marc Lalibertè Else csc Barry Lank csc Henry Lebo csc John Lesavage csc Henry Less csc Pierre Letarte csc Philip Linzey csc J.P. Locherer csc Peter C. Luxford csc Larry Lynn csc Dylan Macleod csc Bernie MacNeil csc Glen MacPherson csc, ascShawn Maher cscDavid Makin csc Harry Makin cscAdam Marsden csc Donald M. McCuaig csc, asc Robert B. McLachlan csc, asc Ryan McMaster csc Michael McMurray csc Stephen F. McNutt cscSimon Mestel csc Alastair Meux csc

Gregory D. Middleton csc C. Kim Miles csc Gordon Miller csc Robin S. Miller csc Paul Mitchnick csc Luc Montpellier csc George Morita csc Rhett Morita csc David Moxness csc Douglas Munro csc Stefan Nitoslawski csc Danny Nowak csc Rene Ohashi csc, asc Harald K. Ortenburger csc Gerald Packer csc Rod Parkhurst csc Barry Parrell csc Brian Pearson csc Bruno Philip csc Matthew R. Phillips csc Andrè Pienaar csc, sasc Zbigniew (Ed) Pietrzkiewicz csc Randal G. Platt csc Milan Podsedly csc Hang Sang Poon csc Andreas Poulsson csc Don Purser csc Ousama Rawi csc, bscWilliam Reeve csc Stephen Reizes csc Derek Rogers csc Brad Rushing csc Branimir Ruzic csc Robert G. Saad csc Victor Sarin csc Paul Sarossy csc, bscMichael Savoie csc Gavin Smith csc Christopher Soos cscMichael Spicer csc John Spooner csc Ronald Edward Stannett csc Barry Ewart Stone csc Michael Storey csc Michael Sweeney csc Adam Swica csc Attila Szalay csc, hsc Christopher D. Tammaro csc Jason Tan csc John P. Tarver csc Paul Tolton csc Bert Tougas csc Chris Triffo csc Sean Valentini csc Derek VanLint csc Gordon Verheul csc Roger Vernon csc Daniel Villeneuve csc Daniel Vincelette csc

Michael Wale csc John Walker csc James Wallace csc Tony Wannamaker csc Peter Warren csc Andrew Watt csc Jim Westenbrink csc Tony Westman csc Kit Whitmore csc, soc Brian Whittred csc Ron Williams csc George A. Willis csc, sasc Glen Winter csc Peter Woeste csc Bill C.P. Wong csc Bruce Worrall csc Craig Wrobleski csc Yuri Yakubiw csc Ellie Yonova csc

CSC ASSOCIATE MEMBERS

Don Armstrong John W. Bailey Douglas Baird Kenneth Walter Balys Gregory Bennett Jeremy Benning Jonathan Bensimon Andrè Bèriault Roy Biafore Christian Bielz Francois M. Bisson Christophe Bonniere Scott Brown Richard Burman Lance Carlson Jon Castell Mark Caswell Maurice Chabot Stephen Chung David Collard Renè Jean Collins Jarrett B. Craig Rod Crombie Micha Dahan Nicholas de Pencier Randy Dreager John E. Durst Jay Ferguson Richard Fox Thomas C. Gatenby Brian Gedge Vladimir Gosaric D. Gregor Hagey John Hodgson

CSC News - November 2007 • 15

Cliff Hokanson Suave Hupa George Hupka David Johns Jorma Kantola Ernie Kestler Shannon Kohli Charles Lavack Jim Laverdiere Robin Lawless soc Byung-Ho Lee Philip Letourneau Antonin Lhotsky John V. Lindsay Dave Luxton Robert Macdonald Mario Anthony Madau Jeff Maher David A. Makin Roy Marques Kelly Mason Andris D. Matiss Paul McCool Patrick McLaughlin Tony Meerakker Gerry Mendoza Tony Merzetti Bill Metcalfe Bentley Miller Paul Mockler Helmfried Muller Brian Charles Murphy Keith Murphy Christopher M. Oben Eric Oh Ted Parkes Deborah Parks Pavel Pasha Patriki Rick Perotto Allan Piil Scott Plante Dave Rendall Cathy Robertson Peter Rosenfeld Don Roussel Michael Patrick Savoie Ian Scott Neil Scott Neil Seale Wayne Sheldon Michael Spicer Marc Stone Michael Strange Joseph G. Sunday phd Andrè Paul Therrien George (Sandy) Thomson Kirk Tougas John Minh Tran Y. Robert Tymstra John Walsh Lloyd Walton

Glenn C. Warner Douglas H. Watson Richard Wilmot Peter Wayne Wiltshire Dave Woodside Peter Wunstorf

CSC AFFILIATE MEMBERS

Christopher Alexander Dwayne Alexander Donald G. Angus Derek Archibald Garth Archibald Robin Bain Iain Alexander Baird P. J. Barnes P.Eng. Peter Battistone Milagros Beaudoin Jacques F. Bernier Mark A. Biggin Caroline Brandes Adam Braverman Gordon A. Burkell Stephen Campanelli Tim A. Campbell Arnold Caylakyan Jason Charbonneau Bernard Chartouni Maggie Craig Brad Creasser Michael Jari Davidson Colin Davis Nicholas Deligeorgy Micah L. Edelstein Tony Edgar Andreas Evdemon Andrew Forbes Randy French Richard Gira Joshua Gollish Aizick Grimman James D. Hardie Bruce William Harper

John Richard Hergel BA CD Jeffrey Hicks Vincent Hilsenteger Kristy Hodgson Perry Hoffmann Brad Hruboska Derek Hutcheon Marcel D. Janisse Christine Jeoffroy Rick Kearney Boris Kurtzman Nathalie Lasselin Tony Lippa John Lipsz Matthew J. Lloyd Christopher G. Logan Lori P. Longstaff Jill MacLauchlan Parks Yoann Malnati Sean Marjoram Julie McDowell Justin McIntosh Andrew Medicky Kar Wai Ng Brent O’Hagan Ted Overton Andrew Oxley Gino Papineau Graeme Parcher Kalpesh Patel Borislav Penchev Greg Petrigo Gottfried C. Pflugbeil Douglas B. Pruss Manuel Alejandro Rios Ceron Lem Ristsoo Susan Saranchuk Chirayouth Jim Saysana James Scott George Simeonidis Brad Smith Gillian Stokvis-HauerJohn Minh Tran Francois Tremblay Steven Tsushima Paula Tymchuk

Anton van Rooyen Trevor J. Wiens Ryan Woon

CSC FULL LIFE MEMBERS

Herbert Alpert csc, asc Robert Bocking csc David Carr csc Christopher Chapman csc, cfe Robert C. Crone csc, cfc, dg Kenneth R. Davey csc Kelly Duncan csc, dgc Kenneth W. Gregg csc Edward Higginson csc Brian Holmes csc Douglas Kiefer csc Naohiko Kurita csc Harry Lake csc Douglas E. Lehman csc Duncan MacFarlane csc Douglas A. McKay csc Donald James McMillan csc Jim Mercer csc Roger Moride csc Ron Orieux csc Dean Peterson csc Roger Racine csc Robert Rouveroy csc Ivan Sarossy csc Josef Sekeresh csc John Stoneman csc Walter Wasik csc

Ron Wegoda csc

CSC HONOURARY MEMBERS

Roberta Bondar Vi Crone Graeme Ferguson Wilson Markle

PrODuCTION NOTEs

Calendar of Events of Interest to CsC members

British ColumBia, Prairies

Aliens In America (Series): DOP: Randal Platt csc; OP: Alison Beda; to Oct. 24, Vancouver, BCBattlestar Galactica, Season 4 (Series): DOP: Stephen McNutt csc; OP: Ryan McMaster; to Mar. 14/08, Vancouver, BCBionic Woman, Season 1 (Series): DOP: Robert McLachlan asc, csc; OP: Michael Wrinch; to Dec 12/07, Vancouver BCIntelligence, Season 2 (Series): DOP: David Frazee csc; OP: Kevin Hall; to Nov. 8, Burnaby, BC Interns, Season 1 (Series): DOP: Michael Wale csc; OP: Richard Walden; to Nov 27, Burnaby, BC Jpod, Season 1 (Series): DOP: Henry Chan csc; OP: Mark Chow; to Oct 22, Vancouver, BCMen In Trees, Season 2 (Series): DOP: David Geddes csc; OP: Kevin Thompson; to Apr 18/08, North Vancouver, BCReaper, Season 1 (Series): DOP: Attila Szalay csc, hsc; OP/St: Richard Wilson; to Nov 30, Burnaby, BCSearch & Rescue (Series): DOP: Bruce Worrall csc; OP/St: Norbert Kazula; B Cam Op: Brian Whittred csc; 2nd Unit/Visual Effects: DOP: Brian Whittred csc, Pauline R. Heaton csc (underwater); to Feb 5/08, Squamish, BCSmallville, Season 7 (Series): DOP: Glenn Winter csc, David Moxness csc; OP: John Davidson (alternating) Doug Craik: to Apr 30/08, Burnaby, BCSupernatural, Season 3 (Series): DOP: Serge Ladouceur csc; OP: Brad Creasser; to Apr 11/08, Burnaby, BC Egg Factory (Independent Feature): DOP: C. Kim Miles csc; OP: Craig Powell; to Oct 31, Victoria, BCJoyride - The End of the Road (Home Video): DOP: Richard New csc; OP/St: Lou Gruzelier; to Nov. 19, Vancouver, BC45 RPM (Independent Feature): DOP/Op: Craig Wrobleski csc; to Oct 18, Regina, SK Cowgirls (Pilot): DOP: Laszlo George csc, hsc; OP: Keith Murphy; to Oct 25, Calgary, ABFreezer Burn (HD Genesis): DOP: John Spooner csc; OP: Wes Doyle csc; to Oct 31, Edmonton, ABPasschendaele (Feature Film): DOP: Gregory Middleton, csc; OP: Danny Nowak csc; to Oct 23, Calgary, ABWalled In (Independent Feature): DOP: Karim Hussein; OP: Mark Dobrescu csc; to Dec 4, Regina, SK

ontario, QueBeC, atlantiC

Adoration (Feature Film): DOP/OP: Paul Sarossy csc, bsc; to Oct 23, Etobicoke, ONAnne of Green Gables: A New Beginning (TV Movie): DOP: Yuri Yabukiw csc; OP: Gerald Russell Goozey csc; to Nov 8, Toronto, ONCasino II (Series): DOP: Ronald Plante csc; to Nov. 15, Montréal, QCCry of the Owl (Feature Film): DOP: Luc Montpellier csc; OP: Michael Spicer; to Dec 11, Toronto, ONDegrassi: The Next Generation 7: (TV Series): DOP: John Berrie csc; OP: David Towers; to Dec 5, East York, ONGooby (Low Budget Feature): DOP: Michael Storey csc; OP: David Sheridan; to Nov 15, Barrie, ONGrave Obsession (Video): DOP Yves Bélanger csc, to Oct. 12, Montréal, QCInstant Star (TV Series): DOP: John Berrie csc; OP: David Towers; to Nov 5, East York, ONLife With Derek Cycle IV (TV Series): DOP: Milan Podsedly csc; OP: Paul Boucher; to Nov 15, Toronto, ONLong Island Confidential (TV Pilot): DOP: Ron Stannett csc; OP: Kevin Jewison; to Oct 25, Toronto, ONRoxy Hunter 3 - The Myth of the Mermaid (TV Movie): DOP: Alwyn Kumst csc; OP: TBA; to Dec 19, Toronto, ONRoxy Hunter 4 - The Horrific Halloween (TV Movie) DOP: Alwyn Kumst csc; OP: TBA; to Dec 19, Toronto, ONSkyrunners (TV Pilot): DOP: Steve Danyluk csc; OP: Johnny Askwith; to Oct 25, Toronto, ONThe Summit (Mini-Series): DOP: Alwyn Kumst csc; OP: J.P. Locherer; to Nov 11, Etocicoke, ONA Teacher`s Crime (Low Budget MOW): DOP/OP: Bert Tougas csc; to Nov 10, Ottawa, ONTrue Confessions of a Hollywood Starlet (TV Movie): DOP: David Harrington csc; OP/SC: Micheal Soos; to Nov 3, Toronto, ONThe Watch (Low Budget MOW): DOP: Manfred Guthe csc; OP: Anthony Seck; to Nov 4, Ottawa, ON The Weight (TV Series): DOP: Peter Benison csc; OP: Colin Haupt csc; to Nov 2, Toronto, ONWisegal (TV Movie): DOP: Gerald Packer csc; OP: Andrew Cull; to Nov 23, Toronto, ONWithrow Road (Docu-drama): DOP/OP: Tony Westman csc; to Nov 14, Toronto, ONXIII (Mini-Series): DOP: David Greene csc; OP: Tony Guerin; to Feb 1/08, Toronto, ON

atlantiCSilver Wave Film FestivalNov. 8-11Fredericton, NBScreenings, Industry Presentationshttp://swfilmfest.com

ontarioAn Introduction to New Media for Film and TV ProfessionalsNovember 22Toronto, ONSeminar and Discussion on New Media and New Technologywww.twosolitudes.com

Windsor International Film FestivalNovember 6-11Windsor, ONScreening and Seminarshttp://www.windsorfilmfestival.com

B.C. / PrairiesFTXWest Digital Entertainment ExpoNovember 15-18Vancouver, BCConference and Exhibitionwww.ftxwest.com

Whistler Film FestivalNov. 29-Dec. 2Whistler, B.C.Screenings, Presentations, Tribute to Norman Jewisonwww.whistlerfilmfestival.com

internationalrealscreen SummitJanuary 22-24, 2008 Washington DCFilm & TV Creative and Business Sessions www.realscreensummit.com

16 • CSC News - November 2007

Congratulations to the 2007 Gemini Award

winners for Best Photography in a Dramatic Program

or Series and Best Photography in a Comedy, Variety,

Performing Arts Program or Series.

Kodak is a proud sponsorof the Gemini Awards.

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-1567-07

CSC News OBC

8.5" W x 11" H N/A Yes

4 Colour November 2007 Oct. 18, 2007

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