Daniel Vincelette esc

POOR SUPER MAN onthe

Multivision track

AlSO IN THIS ISSUE r IN FOCUS: Hoi Docs! k Film Dtod?

WHAT'S NEW7: kodolt Oigd .. u.em. AWARDS: Gemini/Gemeoux Nominations INDUSTRY NEWS: WfW ShOW!ase THE EDITOR'S DESK: ' Something WKked Thi1 Way Com111'

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2 - From the Editor's Desk "Something Wicked

This Way Comes"

4 - Talking Pictures Poor Super Man

8 - What's New? Kodak Digital Cinema

12 - In Focus Hot Docs! Is Film Dead?

15 - Awards Gemini/Gemeaux Nominees

16 - Industry News WFW Showcase

19 - Film Clips

20 - CSC Calendar Action Production Notes

Visit: www.csc.ca

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11SOMETHING WICKED THIS WAY COMES"

f rom the Editor's Desk

The visual horror that invaded our television screens on Sept. II, and the agonizing days that

followed, left us in disbelieving shock. The senseless tragedy and the sheer madness of it all generated an out­pouring of sorrow and compassion for our American relatives, friends and colleagues, and forged an angry deter­mination to stop terrorism. It seemed like life would never be quite the same again. Our complacence was shattered.

On the fourth day, Sept. 14, while saying a silent prayer with my wife at a neighbourhood church, a phrase, a quote, popped into my troubled brain and stuck ther<?- "Something wicked this way comes." I remembered a 1983 feature film by that name that was based on a Ray Bradbury novel and starred Jason Robards Jr., but, except that it was a horror movie, there seemed tO be no o ther relevance to the catastrophic eventS of Black Tuesday. I thought the phrase sounded like something from Shakespeare, and a check in my Dictionary of Quotatiom placed it In the mouth of one of the three witches in Macb<'tlr. "Something wicked thls way comes," the witch utters as Macbeth, now a murderer, approaches.

Horror and murder. No wonder the phrase stuck in my head, I reasoned finally. For that is what the terrorists wreaked on an unsuspecting America,

and that wickedness came gushing through our television sets to assault our naive sensibilities. "Enough!"' l cried at one point and turned oH the TV. But I, like most of us, couldn't get enough. The horror was somehow compelling us to watch, perhaps because we needed to know, because we needed to be there. If innocent people were dying, how could we avert our eyes'?

The wickedness was brought into our homes by unrelenting coverage on virtually every TV channel. ENG cam­eras were everywhere, capturing the hijacked planes as they struck the World Trade Center towers and focus­ing through the smoke and dust at Ground Zero in lower Manhattan. There may be no medals of heroism for the videographers at the "front," but they brought us the live reality of war like at no time before in our histo­ry. The images were horri fying but spectacu lar, and we congratulate and thank the camerapersons for their skill, daring, and the emotional strength it must have taken to work through their own tears. They were the messengers of tTagedy, but their pictures were also the foundation of our resolve.

"Something wicked this way comes." Never ttgain, we pray.

LETTERS TO THE EDITOR Not this Christmas

S erge Desrosiers esc, featured iu tl1e cover story of tl1e SeptemiJer/OJ CSC News, writes

wit/1 a disaiJ/J<Jintiug follow-up to tile 241' HD slwot of t11e Quebec feature Station non/:

The release of the first feature (Station nord) shot in liD-1'24 in Canada with l'anavision is now post­poned until November, 2002, because of d istribution problems. For all of us

who worked hard to deliver a final product for this coming November, we worked h<~~d for nothing. If we had known, we would have shot the fea. ture in 3Smm like it was supposed to be (it was not a budget concern). To tell you the truth we would have never tried it in liD-P24, except that the delivery date was close and there was a lot of CGJ.

• !l!f poge 19

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Selecting Fujifilm won't guarantee you more trips to the podium. But in an industry that rewards original and creative thinking, broadening your choice of film stock is a smart place to start.

Anlnterviewwitb Daniel Vincelette esc Shooting

in Multivision 235 "I was quite interested in finding out what a two-perf system would do. My only reservation concerned post-production."

I t ~tarted wllh a simple e-mail, as a few of our feature stories have done. Montreal DOP Daniel Vincelette

<sc mc>~ged that he would be in Winnii>CS July 8 to t\ug. 4th shooting author Brad fraser's film directorial debut , l'oor SufWr Man~ '"'hich he adapted from his stage play of the ~me title.

So far, so good. Then Vincelette added that the feature, product'<~ by Original l'lctures of Winnipeg and Hca llime films or Edmonton, would be shot. for the first time in Canada, in Mull lvhlon 235. • it's an Australian process," tw continued, "similar to the old Tcchnlscope, in which we shoot with modified 35mm cameras running at the rate or two perforations per frame Instead of the usual four.

"I hat permits a not·IOO·rlch Canadian production to originate on 3Smm film Instead of having to shoot Super 16 or HD video. Film and dC\·el· 01>ment cost> are cut by half, and the post-production costs should be simi· lar to either or those two other for· 11Uth."

I hnm. more please. II took a while for the CSC N<•ws

By Don Angus

and VIncelette to catch up with each other for a telephone chat about Poor SufJ<·r \la/1, but In the meantime a qulcl, search on the Internet turned up >ame details on Multi vision 235.

;\ccordlng to website www. m u It i vision 2J S. com .a u/lrome .111m I, •Mullivlsion 2JS (2.35: 1) is a revisita· lion of the 1960s and '70s Techniscope >ystem. In that 20-year period, some 400 films were shot using this great rormnt. Some lilies that may be remembered Incl ude A/fir, Tlw lfJCr<'SS Filr, A FIH(11I of Dollar~. Tilt

• Mulllvi ~ ion 235 is a 35mm, tWO· perforatio n puil -down process a nd U\e; exactly half the linear footage of the convent ional four-perforation sys· tem. The release print costs are idenli· cal to either a standard 35mm, four­perf production or a released 35mm print ta~en from a blow-up lnterneg which originated from a Super 16mm origmal.•

The Australian company goes on to explain that "Multlvlslon 235 has a natural Clnemascope aspect ratio, but doc~ not employ annmorphic lenses. It use~ standard >pherical lenses, giving I he ;odvantage or I wlce the depth of

Good, n,t IJ<~<I 111111 tilt

U.~ly, 011<<' Upo11 a Ttmr in tilt 1\'l'~l, Am~r;can

(;mfliti, and THX I IJ8. Now with the modem advan tages of excep-

'Where it gets more complicated is the actual neg cutting'

tional film emulsions and sharper lenses. Multivision 235 offe" the llhnmaker large cost savi ngs with screen quality of 35mm and for o nly a budget approach ing Super 16mm.

field and twice the lens speed, which results In a llghllng·level requirement of around o ne-quarter of standard anamorphic. l:ilmma.kers can utilize a large range of ultra wide-angle, ultra

telephoto and ultra speed lenst.-s, not a\'ailable when using anamorphic lenses." •

VIncelette said it was one of the producers, Ken Mead of Realtime Hlms, who decided to shoot In Mullivision 235. The association between Realtime and producer Kim I odd of Original l'ictures made It JlO~· slble to put together the S 1.3-mllllon budget to shoot l'oor Sup<•r Mrm.

•The budget was not big, but t hC)' didn't want to shoot on digital Beta or Super 16mm lx'<:auw they thought this movie deserved a better quality picture. They prcfem.'<l to shoot on J5mm in an affordable way. Mead read about Mulllvlslon and gotln con· tact with the pl'Ople In Australia, and he decided it was a good idea to do It this way. When I was hired to do the picture, we went through the t>rocess of discussing It all over again and decided it made a lot of sense and offered lots or freedom.

•t had ne\'er experienced it before, although I had read about it and I knew about the format called Tcchniscope. I was quite interested in finding out what a two-perf sy>tem would do. My only reservation con­cerned post-produCtion. •

l'ost-productlon was being done at the time of writing, with tape t>dlting on an Avid suite In Winnipeg.

"An Edmonton lab did our film processing; that was straightforward," VIncelette said. "Whether you shoot one-perf, two-perf or 16-perf, you just put the film roll through the wut>· We used standa rd 35nun fi lm, except that the 1.000-foot roll would last 20 min­utes instead or 10. We shot 90 per cent of the feature wcth Kodak Vision 5277, 320 ASA, low-contrast film stock, exce1>t for a few ou tside night >equences where we used '84, the new Kodak Expression, 500 ASA, low-cOn· trast stock. It looked great aCtually.

"Then we had a post-production facility in Edmonton transferring all the film to vid('O. That part of the process was differe nt because or time­code procedures. llecause we were shooting in only two-perf, the spacing for future cutting purposes was very small between Images. They couldn't do any corrections. They had to run the rolls without stop to m:cke the

' I don' t think the layman would be able to tell the difference'

lql: ROWNG: OOP o.iel V'11<eltllt <>< optrolts tile Molti'llsioo ._. os ht AC 1<-t• s-le.s pols 1om. to tile baa,. ..... fl .. loft, •• ,-ips Roo Hoclgsoo ccnd JoH V• Rysstl 8ol1onl: FRAMED: 001' o.ie! V'11<eltlle esc (riglol) "-es o skt for the feat•• p.., Sopor M011. Ft .. tile loft en actors r ... l Stofford and V'IICHI (orono, with sooncl re<ordlsl !.too Jolonsoo in the bo<k,.Oincl.

transfer. We only had one-light dailies from beginning to end; they'd start running the neg roll and then go all the way to end. If they stopt>ed. they had to restart It again. We screened the n cshes on llCtil.

"Where it gets more complicated Is the actual neg cutting. The space between the frames Is much lighter, so the neg cutting Is touchier. It is a

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special proce's with an A and B rol l where you have to keep a couple of frames more than the ones you arc going to use so that )•Ou don'! get any glue artifac!s on your actual neg. All the ~pace between !he two perfs is occupied by !he actual pic!Urc. The line there Is very thin.•

Vincelene said negalive culling wa~ scheduled for November, and he did no! know whether it would be done in Canada , I os Angeles, Chicago or Australia.

Mulll\•ision 235 provided !he main Moviccam camera and a spare body. The movement of !he camera was modified 10 run more slowly as i t pulled down the film at two perfs per frame through a specia l 35mm gate. The camera operates at !he normal 24 frames per ;econd, the 001' confirmed, and the expo>ure lime is the same a~ a regu lar 35mm camera. "The camera we had wa-, in great shape and wa~ very quiet."

Mult ivlsion "gi ve~ you exposure from 1>crf to 1>erf o n the vertical side," the clncmatogntphcr explained. "On the horizon tal pari, you expose even over the space nor­mal ly lefl clear for !he ~oundlrack, which is ~imi l ar 10 Super 35mm. TI1is system Is like Super 16mm or Super 35mm in that you have to go through an optica l blow-up, or a digital blow-up if you have the money. You have 10 blow 11 up 10 a 35mrn lntcrncg. At some poin! you need to gct up 10 a four-1>erf for­mat.•

He said 1ests that carne back from Aus!ralia looked good when project­ed. "I don' t !hink !he layman would be able to tell !he difference between 1ha1 and film ~hot on regu­lar 3Smm. ll's a bil grainier, but not that much. II'~ very subtle.

"Regular lenses can be used wilh Multi vision and can be ~hoi as If we were shooting regular JSmm film , sa me light, same lenses. The on ly differe nce is tha t because or the sur­face of th e n eg t hat you expose. you ha ve a lillie more depth of field th an in no rma l 35mm; It's some­whe re be tween 16 mm a nd 3Smm. Th e no rma l lenses in Mult lvlslon

seem a bit longer 1han lhe) would I~ In a normal 3Smm shol. Thb can I~ considered a plus, a liule more d~pl h of rl eld. We ~hot with Ullra l 'rl rnc~ from Zch~; they worked grcal. We had a package of six lt•mcs - 14rnm, 2Smm, 3Smm, SClmm, 80mm and 13Smm. We u5ed a lt)()m h"-'lce.

• rh erc wa~ no difference In llghl­lng,• Vlncclcuc sa id. • w e had somc­lhlng I hal would resemble a normal lighting padagc for a Canadian mo' oe, nol big budge1. The on I~· dlf­ftrence wa~ I hal I ovcreAposl"<l a bu

from 1/3 10 1/2 slop- because I wanlcd a lhlcl.er neg. When you O\crc, pose, )OUr negali\'e is lhicl.er b.•uuse more llgh l hus il. Thi\ gl\es b.:uer conuol on I he blac~ and also "Ill help wilh conuasl; C\'ery lime you go lhrough an nplical ~1age you gain a bit of um ua\1. It worl.ed oul prcny well"

\'oncclcne \aid he and dln:o or Brad Fraser wamcd "10 c rea1c a spe­cial universe for lhc maon clldr,lclcr in 1he movie,,, pulnler. Wilh graph­Ic .!N de~lgm and colour\ by pro­dllctlon designer C'ralg Snndah, we crca1ed a funky Sllldlo 111a1 looked II I.e II was lmplr~d h)' I he ~upcrman comic books. llrJd and I wa111cd 10 he a~ daring a\ wt• could wllhln I he llmllallon' of I he hudgCI and the 22 days we had 10 shoal 1he movie.

•we us;.od a 101 of Rosco colour gels on lhe llghl\ - a bll on 1he camera - 10 crca1c colour S< hemcs, mostly coloured backgrounds or coloured almOSI>hcre wllh lhc llghu. We lrlt'd 10 find a Y.ay wilh lh~ lighling 10 con\C~) lhe dlflcrcnl s1ages 1ha1 1he characlt'l\ go lhrough in I he SIOr). We di\'lded I he movie inlo lhrce differeru ~c~'om, one being colder, lhe second l~lng warmer, and lhe lan being mor~ muted Iones lll.e fall.

"Somelimes \\C used llghl In a lheatrical way, changing lhe llacl.­ground, changing colour~ In lhc foreground as 1 he acwrs moved around from one pan of lhe ~cl 10 anolher, 10 convey emollon or 10 convey change of s1a1es lhal were happening wilh them. We dcddcd lha l type of llglu lng was good for whal we wanlcd 10 say and good 10

Illustrate lhc fac1 lhal lhl\ palnler was lhc main charac1cr In I he \lory. We were trying 10 be vhunlly ere­alive without being overly painterly.

"We med a 101 of nong~1 cn llghl­ing, from l'cppers to SKs. bc~aus~ mosl of lhc shoaling \\3\ lnlerlor and Iii from I he Inside \ wuple of limes a1 some locallon; we used a couple of 18K IIMis I hal would pro­vide oulslde light coming hHo a room, bul lhen I'd filler I he llghl al

I he windows so I hal Inside we could conllnue 10 usc 1ungs1cn.•

Vlnceleuc did hi s own Ol>eratlng. 1111 Winnipeg crew Included 1st i\/C llrya n Sanders, 2nd Shawna Townley and gaffer Michael Drabot. Before "'"'' .5111"'' .\tan, lhe DOP shol lhe Canadian feaiUre rlr~ Trmn~l In MorHreal. Thh monlh he was shoal­Ing,, hench-language feature called I r Mmais in regular-frame, lhree­pcrf lSmm.

·'-~ • Pft'mtum Du1cr ol *'" Pro{~ .. M.m.~~ Pr\ldl.k.h -.c h.l't ~ run 1mt o1 camt"f"a'i and .~u "''~ rM'l..~ 10 cmu.R' tht SUc.«SS ol )lliUI P'"Of«' \1 rmdlKt\ art ~~bbk fur ;alt 01'" mu~ (nlfll ..... f'lr'I\'W\t U1\CIUt•') gtllrtd 1o-.ard prof~.ona1 \'ltk"\l UJ'CUR' and puxfuttfon

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Kodak Unveils Prototype Digital Cinema System

K odak has unwrapped an early prototype of its digital cinema system, which Is currently being

tested a t the company's Imaging Technology Cen ter (lTC) in Los Angeles. The company I< ~taging

demonStrations of the fledgling system for filmmakt'IS, distributors and exhibitors at the lTC over the next sev­eral months.

•we are determined to push digital cinema to ever-higher standards, • says Robert J. Mayson, general manager of cinema operations, a part of Kodak's Entertainment Imaging dlvl~ ion. "The ba~ic criteria are that digital cinema must be affordable and provide realistic financial benefits along with reliable anti-piracy safeguards. At the same lime. if digital dnema I< going to li•-e up to its promise, It must accurately and consistently represent the artistic Intentions of the creative community.

•we believe that digital cinema Is not a product, but a process,• Mayson says. ·we are developing a system that begin~ with the conversion of film Images to high-quality d igital files that arc colour-graded by the cinematographer. Once the look Is locked In, we ensure that it is faith­fully presented to audiences.•

Koda~ has developed a cinema operating system, proprietary colour management technology, and high-

The Kodak Imaging Technology Center (IT() Is designed to test ond de110ostrote oew film, digital,

and hybrid imagi119 teduoologles.

Abooe: 1\e Koclok Digital Clntma system ioKO<pOrGtH a...._ operotiag syste~~, proprietary colow ••1Dflllt11 te<Mology, loiglt·p«f..-e .Wen, a protoryp. oigital projector 0114 servOf storage 0114 Mtworkiog platfonn. The operotiag syst""

wil support tho loading, schtdu&ns. and playback of features, trailers and other pre-show content on muhlple digital screens. lefr. The prototype Kodall Digital a..... projtdor uses file MW NC 204&x1 S36·piuf D-llA llliaod,;p te<Mology.

performance drivers. It is also developing and testing ~ntl-plracy soft­ware. In addition, Kodak is testing the new JVC 2048x 1536-plxel D-ILA microchip technology in a digital projector for the first time.

SUN Microsystems is providing the server storage and net work! ng platform for the cinema operating system and dlgi-

tal projector. The operating system will support the loading, scheduling, and playback of features, trailers and other pre-show content on multiple digital screens. rhe colour management soft­ware Is designed to protect the integri­ty of image through the entire process until il Is projected.

"'\rVe envision this endeavour as a collaborative proce~s with our cus­tomers,• says Glenn Kennel, digital cinema program manager. "'The reac­tions <tnd advice we obtain during demonstrations will serve as a road map for guiding and perhaps acceler­ating our o ngoing research and devel­opmental efforts."

Kennel characterizes the lTC as a conduit for enhancing communica­tiom between Kodak researchers and the company's customers in the motion picture Industry. ITC's prima­ry mission Is to test and demonstrate new film, digital, and hybrid imaging technologies and provide informed feedback. Kodak scientists and engi­neers arc also i>arliclpating in the Society of Mot ion Picture and Tclcvi>ion Engineers (SMIYrE) work groups and In other forums that arc developing standards for digital cinema.

•we anticipate that information will now in both directions,• Kennel S3)'S. ·we will keep the industry apprised of what our scientists are thinking and doing and we anticipate that our customers will see this as an opportunity to keep our research J>Ointed in the right direction.•

Kennel anticipates that the first sys­tems will be delivered to exhibitors within one to two years, though there may be test sites earlier. "We need to provide a superior movie-going experi­ence becau~e we believe that's what the cinem,o will need to offer audi­ences In order to succeed in the future," he say~. •we need to demon­strate that \\C can really offer better image quality while retaining a cine­matic look with all of Its subtleties and nuances, In add it ion to providing a S)'Stem that offers other opportunities and efficiencies. •

Kennel J>Oin ts out that he expects that rum and digital projection will coexist deep Into the foreseeable future.

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The Retolution At Clairmont

Everything ·ntc Revolution modular lens from Cine Magic has

crc:llc<l quite a ~tir in the industry by virtue of taking multi-axis filming K'ChnoiO!,'Y to the next level. It's the world's first periscope system to allow live panning of the objective len~ while maintaining a level hori7.on. But that's just one of the Revolution's many features. Others include the use of relay lenses that transmit only aerial images (which eliminates the "phantom dust" that's prevalent on systems which utili1.e internal field lenses). and objective lenses that art' capable of extreme close focus.

But that's not all. Clairmont Camera has taken this innovatiw lens system and added its own special features. So when you gN a Revolution from Clairmont. it's far and away tht' most versatile lens package in the industry.

We Dare To Compare There will obviously be compansons between lhe Cine

Magic Revolution and other lenses of this type. We at Clairmont Camera honeslly be~cve that Ollr modified Revolution is equal or superior to any competitive designs on all counts. llcre's why:

Synchronized Horizon Trackina

Easily th<:> most useful c;apabil:\y of the Revolution is being able to pan on an optical center. instead of an arc. And to ensure that both vertical ami horizontal movements ao·e synchroni1.cd. we motorized the functions

and worked with Preston Ciot('llla Systems to clevelo1> a highly sophisticated controller for us. llowm·d Preston

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Mini or Arri PL Mount Lenses

TI1e Revolution system comes "ith eight very compact objective lenses (9.8mm to

GOmm). They are especially well suited for commercial work. as you can get very close to

lhe object and have a depth of field comparable to any other periscope/ snorkel lens.

Recognizing lhe different requirements for big screen use. Clairmont Camera also offers you the Revolution with an Arri PL mount. This. of course. lets

you use the lenses you've come to prefer for feature films.

You can also usc zoom lenses with the Revolution"' -small 17·35mm Century zoom lenses or Optar 25--SOmm 1.00111 lenses.

You ·Expeft ... And We've Moved the Rods

On moSl camera~. lens support rods are anached at the base. Howewr. wc found tltal in extreme close-up work the rods would ofien get in the way and prevent optimwn camera positioning. So we developed special supports that eliminate the t>roblem and provide more clearance for Jablelop photo!(rnphy. Another Clairmont advantage!

More Filter Options Instead of having a drotrin filter located at the back of

the lens. our R~volutions have a screw-in 40.5mm filter in the mount and can also hold one or two 2x3" mters in Cront. Tite filter holder is equipped with a removable sunshade.

The " Phantom Dirt" Mystery You\·e probably h«.'ard horror stories about these

mysterious SPl'CS of dirt tltal show up at the most inopportune limes and ruin shots. Not with the Revolution. Titcre are no internal field lenses for duSl to colleet on. Only aE'rial images are transmined, effectively eliminating the problem.

Anamorphic Friendly You can use our rcur.~nounted anamorphicizer or

an anamorphic wking lens. Our lightweight Clairmont anamorphic lens is especially well suited to the R«.'volution.

It ,e~~in~~~!rt~tet feature-for-feature the Cine Magic Revolution with exclusive enhancements by Clairmont Camera i~ unquestionably the most versatile snorkle-stylE' lens you can use.

More and more cinematowaphers. direetors and producers are discovering the myriad of creative (and cost· saving) advantages of using the Revolution. For example. think about what you can do with a conventional camera/lens seluJ> and a Power Pod ... then. consider how much more the !~evolution is cat><tble of. Let your creativity suar to new heights!

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' •

HOT DOCS! Port II: Is Film Dead?

The Hot Docs Conodion International Documentary Festival presented its eighth annual program in

Toronto los1 spring, screening over 70 non-fiction films from Canada and abroad. In addition, over 1,000

delegates from 25 countries ol1ended the extensive industry program. CSC Associate Zoe Dirse, o noted

documentary cinematographer and director, was there, and Port I of her two-port report appeared in

lost month's CSC News. This month, she reviews o filmmakers' panel discussion on Is Film Dead? Film

Revolt Versus Digital Revolution.

T he ><object of one of the Fll mmaker Discussions held during the 2001 Hot Docs Festival was: Is Film Deatf? Film Rt•wJlt Versus Digital

RC'I'OIIIIiOII. rhe question for debate was: "lias the digital revolution Improved the quality of films and the lives of their makers?• There were many cinematographers in attendance and a heated discussion ensued.

The panelists were Fred Franzwa, hybrid R&D technical director at Kodak llcad Office in Rochester, N.Y.;

Terry llorbatluk, senior manager of broadcast and industrial video at J>anasonlc Canada; Kevin McMahon, an indepen­dent flhnmaker; and john Walker oc, a cinematographer and director of 17oe Fairy Faillr. NFB pro­ducer Gerry Flahive moderated the session.

I au ended hoping to get some defin­itive answers from this debate. Since my dep.1rture from the National Film Hnard in Mnntrf'"al following the cl()..

sure or the French and English camera depnrtments and the film development laboratory In 1997, I have been on a

FilM pr.,._t Joloo Walter esc oses lis Aatoa ....,. to """'' o poiot clorioog tire lreated Hot Dou ,_l olismsloo oo Is n. Dootl? TN ,-.rs wort, Jr .. left, lodtpu.ut .....,.., Kevil ~ frtd fr•zwa.llyhrid R&D tedooricalolirector ot Ko4alr !Mod Olfktlo Rochester, N.Y.; Tecry HO<botM. ...,;.. -.rgtr of lrroockast aod indvstriol Yicleo at P-soai< <-cia aod Walker.

constant lookout for documentaries to <hnnr nn fi lm. Ironically enough. the head of the F.ngllsh camera department at the time, ))avid Devolpi, was certain that he could convince the administra-

lion that If the Film Board continued shooting its documentaries on film it would hold a unique place in the docu­mentary world. The money crunchcrs dii<1!JrCt.'() and all that vanished.

The Film Board did hold on to Its cache of Aaton l6mm cameras, but I have heard lately that those are now being sold orr at ba rgain basement prices. I stil l continue to work on documen taries, bu t more and more the shooting format is video.

During the panel discussion, the pro-video side argued that the digital revolution was mo re economica l and more acce~si bl c. Joh n Walker, on the cinema-side, argued tha t when photography came on to the ;,cene critics claimed that painting was dead. He added that film has texture and expression, that lenses give him a visio n an d richer range, and that ultimately film~ feel less dated.

Franzwa, the Kodak representa­tive, said that technolog)• does not take the place or creative talent and tlwt creativity is the key. Horbatlu~. the l'anason ic represen tative, coun­

tered by saying tha t everything ha> gone digital and It is all about acquiring content. He said that dis­tribution has changed due to the dig­Ital revolution, and that the key Is content and consumer commonality in a global community. lie added that film was not dead but moving lnro another facet.

Walker argued that the economic facts did not a l wo~ys hold up, as w,os the case o f the llot Docs OI>Cnl ng night documentary, StafluJI.Com,

which was shot on mini-DV and transferred to JSmm film for theatri­cal release. The blow-up cost $50,000 (U.~.). which could have fln;onced a film ~hoot. When Kevi n McMahon countered with the Issue or intimacy, Walker pulled out his Aaton with a prime lens and demon­~trated that this was not necc~saroly the case. He concluded that fi lm docs not limi t you but give; you more options.

This part of the discussion became quite heated, and finally apologies were doled out. McMahon did concede that fi lm schools should con ti nue to instruct In the fi lm format, although this Is being pha>ed out gradually as the schools respond to the marketplace.

As for myself, I am still searching for the opportun ity to once again shoot a documen ta ry o n fi lm.

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CSCN"" '~lOOI • 13

N ineCSCmemberswereamong nominees for 2001 Gemini Awards in four photography

categories, to be presented at the 16th annual Gemini gala in Toronto on Oct. 27-28-29. One member was nominated in competition for the Prix Gemeaux in Montreal Sept. 30.

THE GEMINI NOMINEES ARE: Best Photography in a Dramatic

Program or Series: Gregory Middleton esc, After tire Harvest; David Moxness, Gene Roddenh<'rry's &rrrlr: Final Conflict ("Hearts and Minds"); Guy Oufaux esc, /Iaven (Part I ); Alain Dostie,

14 • CSC New,<Xrob<r ZOO/

Gemini Award & Prix Gemeaux Nominations

Nuremberg (Part I); l'h ilip Earnshaw esc, Tire Associates (" Family Values")

Best Photography in a Comedy, Variety, Performing Arts Program or Series: Ren e Ohashi esc, Don Gfmrmmi Unmflsketl; jean

Renaud, East Coast Mrr.~ic Awaflls; Barry Parrell esc, Four Seasons; j ason

Tan, Love Me Madly . Wild Dog Choir; Michael Balfry, Sola

Best Photography in an Information Program or Series: Neil Carleton, CBC News: Country Cmmda ("Sharon Butala"); Robert Fresco, Exlribil A: Secrets o( Fore11sic Science (" Beauty Shop Bandit"); Gilles Blais, tier Money ("Olympic Hopeful"); Jim Cassidy, tlockey Day in Canada: Prime Time; Jan Kerr, Quiet Pinus ("fly­Fishing Retreat"); Jan Kerr, Quiet l'lnces ("Pottery Retreat")

Best Photography in a Docu mentary Program or Series: Michael Sweeney esc, Cmmda: A People's History ("Whe n the World Began "); John Petrella, Eclroes of the North; German Gutierrez, Claude-Julie Parisot, /nsectia ("Outlaws"); Eric Shurman, The Fliglrt ("Departure"); David Frazee esc, Tokyo Girls

THE Pill GEMEAUI NOMINEES ARE:

Meilleure di rection photogra­phique: d ramatiques et documentaires sur SUPPOrt film Ou video numerique (le prix est rem is en collaboration avec Kodak Canada - divisio n Cinema et Television): Alain Dupras, 2 FRERES ("Episode 9"); Georges Archa mbault,

FORTIER ("Episode 7); Pierre W. Mainville, LE CANADA, UNE HIS­TOIRE I'OI'ULAIR£ (" Rebel lion et rHorme"); Gaetan Mo risset, t..E CANA­DA, UNE HISTOIRE I'OJ>ULA IRE ("Les aventuriers et les mystiques"); Louis de Ernsted esc, WILUE ("Episode I")

Mei IIeure di rection pho-tographlque, video (le prix est remis en collaboration avec Kodak Canada • d ivision Cinema et ·nHevlsion): Renald Bellemare, GRANOIR DANS LA RUE, 12 ANS PLUS TARO; Alain Belhumeur, Mario Cyr, Marc Gadoury, LA GRANDE MOUV££; Frederick jouin, LF. SEPT/EM£ ("Episode 25"); Sylvain Roy, UN GARS, UNE FILL£ ("Episode 74"); Gilbert Lemire, VI VRE SANS HOMME

A GEMINI REMINDER CSC President joan !·Iutton

esc, who was on the jury for the 2001 Gemini Awards, reminds CSC members that VHS videotapes s ubmitted with entries in the four cinematography categories must not include visi· ble time codes. I r there is a ViS· ible time code on a tape, the entry is immediate­ly disquali­fied. For next year, sure you. your agent or pro­ducer submits a tape with n o visible time code. •

161ens. An b.symet lnOlllt With Aatoo qwct­ree..se ~. 4 1n round f,ters and sun­shade. $5.00> 01 best offllf N <on 200rrwn !ells T4 5. Aaton adaptOt Wlth screw-an ~lters and attached sunshade, S200; Sarncu-.e M\ II depth of held calculatOI, $70, healed base­plate for frlrn carne.as. runs off 12v power, S50 Call(41616939776 FOR RENT: Arro 5358. body and 4x400ft. mags. Am 4351:$, body and 4x400h. mags, A111 35-111, bod'( and 4x400h mags, Arri IIC, bod'( and 400ft mag and 200ft. mag. Call Henry less at 416·678·5377 FOR SALE: Eclau NPR 16mm. Ecla~r and C· moom. 2 x 400' mags. 12·12nnm Ange111eux kns. Seauv,...la aystal sync motOt battery. case. Se<ICS 9 frll.,s. Change tent. lens hood. aSSOited f lm stoc\ IM!mauted by c..easst. fall 200>. hardly used su11:e $5.400 01 best offer Contact Rob 519-336·5745 budmanCcbtech net FOR SALE: Prome lenses for AmfleJ\. will fit JSmm Ar11 2C or 16mm Ar11 S Zeiss 16mm T2 J. $750. Schoorder 50mm & 75mm. Cooke Speed Panchro 32mm T2 3. $250 each; Kilar telephoto f4, cornbrnatroo 400mm & 600mm wrth 2Xoonvcrter(800 & 1200mml. S750. var· rous toilers (121 3x3. 4x4, S250. new large 16mm matte box $400. small matte box with glass & gel hlters and holders. S200; higl· speed 35mm Am 2C motor S400; wooden babytllgs $1 00. ca 116041 921-8260 FOR SALE: Aaton rnagnetor: OX S16mm 400' magaDne. Otnar 8mm S16 ht·speed. Arri 8 motlll. Am lrghtwerght follow focus unrL E· marl K .. Gcompuserve oom FOR SALE: 2·35mm Prrmc lenses: Aaton mount 85mm Contax (Zerssl T1.4 and 135mm Contax (Zerssl T2. $600 each - mrnt oondi· Iron (6041291·1550 FOR SALE: Canon XU. strll under warranty. metal case, extra J·hour new battery. filters and all the tovs. $6.000 If rnterested. contact Waller my_d•mensronChotmarloom FOR SALE: Aaton lTR Supert6 (rmmaallatet 3 mags lbatts Canon 11 5-135 zoom. Sachlef Urpod and portable wheels. bars. matte boxes and lots of oue exuas. US$15.000 01 best offe< Contact raph_saberOhounarl oom anrkhlrnsC'home oom

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INDUSTRYNEWS William F. White's 2001 Tech nology Showcase

•

--CHECKING OUT the bow of the HMCS Hoida is the Hydro Head, the 1 OO·per·<ent sobmersible remote heed from Hydroflex with tho remote Aqua<om. The Hydro Head is mounted on a Filmair International arm.

OVERHEAD is The CDnKot, a new remote camera cable transport. L---------------------....;;;;...-....1

William F. White Ltd. pre­sented its 2001 Technology Showcase on and around

the liMCS Haida at Onta rio Place in Toronto on Sept. 6, and WFW pro· nounced the event a big success.

Products/manufacturers on display included: Arri Canada's Arricams, The llig Freeze, the Cyron FS gyro-stabi­lized remote head, the Hydro Head submersible remote head fro m Hydroflex, with the remote Aquacam,

16 • esc Ne .. <~O.:.ob<T 2001

the Libra 3 gyro-stabilized remote head, Wesca m's gyro-stabi lized remote head, the Mega 3 three-axis repeatable remote head, Four Seasons Helico pters with Megamount aeria l nose mount, the Giraffe compact 24-foot modular camera crane, the Long Ranger 42-foot modular camera crane, the Strada Crane (at 85 feet the world's longest modular camera crane), the 30-foot telescoping Technocrane, the new Camcat remo te

camera cable transport, Sony F900 HD24P cameras, Musco White Light 30-92-foot-high , telescoping, 4x6 K HMI light system, the Leelium helium ­fi lled balioon light, Avid's po rtable no n-linea r location video ed iting, WFW's new concept camera car and process tra iler, the WFW Chase Bike mo to rcycte and sidecar camera platform, Lite Power's portable loca­tion generators, and the Z-Jib three­axis jib arm. •

READY TO FlY, the WFW camera helicopter Is fully tquipped far aerial cinematography. At the upper right iJ tht lttllum htllum·filled balloon light.

STAn Of THE ART dHaiHs WFW's .. w <oactpt c-o c• COld proms trailo<.

SEBASTIEN loffou COld Gratme Weston (behind cCMIItra) af Arri (a..,da shaw off the new Arricam Studio CCMIItro.

esc N, .. , Oaoo.r 1001 • 17

FULL MEMBERS

Hkholas .ut .. woo~e esc Jim AquiiJ esc Eduordo Allll1!Ui esc Christopilel &I esc Jolln BoooYich esc Jolln Bartley esc osc Y~s B!longer esc Perer Be11ison esc &rry BergtflOilOn esc Jolln Berrie esc !hom Besr esc ( yrus Bloc!: esc Robefl Boding esc lodek B~er esc Michael Boland esc Robefl B<ooks csc Thomas Bootyn csc Bony (ossoo esc He!VY Chon csc Mt¥.c Chorlebo~ csc Rodney (!Jorte~ esc Oomir ()ryhl esc Ridlord Ciupl:o csc Ar1lliJI (OQilef (!(

Wolle~ Corben csc Bernard Couture esc Rkhord Crudo csc osc Oeon Cundey esc osc franco~ Oogenois esc Ste'le Oony\Jk csc louis de fmsted csc Oovid De ~ (!( Kim Oerko lSC

J«ques Desharnais lSC

Serge Desrosiers csc leon-Yves Oion csc Mork Dobrescu csc Guy Ouloux csc AJbefllillnl: esc osc Philip Eamshow csc ton Ukil esc

Midloel Er~ esc Alol Kivio esc Nikas Eidemon esc lbrglas Koch esc Henri fiks esc Chorlel Kooowal esc Dooiel Fournier esc Rudi KCM:Jnic esc llorid frazee esc frn Kozmrl csc Ouislophef Frvmon esc ken K-1)1: esc Jomes Goolner esc Its Krillon esc llorid Gettles esc Alwyn ktrnll csc l'<lln Gekhofl CSC Jeoo(IJude wlxe(que esc Laszlo George esc Serge lodouceo.< esc len GiiOOy csc Gearge~esc Pierre Gill csc Hooy lol:e esc Jolrl Golm esc &rry W.k esc R11116oozee esc Henry lebo esc Sre.e Gordon esc N.& lente esc llorid Greene csc Hoory less csc John Gliffil csc Piefle letorle esc Morired Guthe csc PM~ Unzey esc Thomas Hilling csc Wmrlloyd esc Pete. Hori!OOM csc J.P. lochere. esc Pouline Heo100 csc Perer Luxford esc lkion Hebll (!( wrry lynn esc llorid Hl!fri~ton csc OOO<on MocforiJne csc fiJword H~ginson csc DviJnModeodcsc Robbi Hinds esc Berlie MocNei esc Robert Holmes esc Glen~csc Jolln Holos'<o esc Richard Moguwe esc George Hose!: esc Harry Mol:in esc (oil> Noulr esc Dono~ McCooig esc Don<*~ Hunrer esc Robefl Mdochlon csc loon Hunan esc Ryan IW.Moslel (S(

Tom Ingle esc Michael /kMJJnay (I( Mork Irwin esc osc £rnesr McNabb esc ~ Jonsoos (!( Stephen McNun esc Jomes Jeffrey esc Groeme Meoo esc Dooiel Jobin Cl( in Mercer csc Piefle Jodoil csc Simon Meslel csc Millin Julon esc Slonley Mesrel esc NafllV! KosiJe< esc Gril1101Y Midd~IOO esc Glen Keenan csc Gordon Mler esc lbrglos Kiefer lSC Robin Miller esc Jon Kiesser csc osc Poul ~ljkh.-ck csc

I I \ I -PANAVISION

I ' , I

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l.u< Moorpellier esc Roger Morile esc Gearge MrxiiO esc Croig Mullins csc lbrglos Mooro esc Robe<t New esc DooNowotesc Rene Ohollli csc Ron Chieux esc Horold l)lenburye~ csc Gero~ Podoor esc Rod Porkhtnt esc Booy Panel esc BriM P801!00 csc llorid Pelelier esc llorid Pe11oulr esc &rry Peterson esc Blooo Philip csc Arilr! Pieooor csc Edward P'~~zkiewicz esc Roooij l'lonre csc RIJ'dol Pion esc lliln Podsed~ csc Sle'len Pas1e. osc esc Arilreos Poulsson esc Joel Rnnsom csc Ousomo Rawi (!( bsc Wilm Reeve esc Stephen R~zes csc Derek Rogm esc Brad Rushing esc Raben Sood esc Vicllll Soril esc roo So!OS1'( esc bsc Chrislotlher Soos csc Jolln $poonl!f csc Rnnold SIOIIlell esc Barry Slone (!( John Sronemon esc Midloel Srocey csc R'drord $~~~~~ csc Midloel Sweenoy csc

®

Adorn Swico esc AlfiiJ Sroloy csc Christopher bnmoro esc Gobol Tort.o m Jolin TOM!r csc BOOn lhomson lSl

Poul Tolron csc Bertfougascsc Chris Triffo esc Seon Volenliri esc Poll '<lln rler lilden csc Roger Vernon esc Sre~ Vernon csc Daniel Vleneuve Cl(

Dooiel V"lll.Ne csc John Walker csc Tony Wonnorooker lSC

Tony Westmon csc ki1 Wl'ilmOre esc Gearge Wls csc Richard \V"Il(ertty (!( Perer W~te esc Bill Wong esc Bruce Womlll csc uaig WroNesti csc Yuri Yotriliw !SC

FULL LIFE MEMBERS

Herben Alper1 csc osc Eugene Boyko esc Oovid Co• csc (hrisropilel Cho~ csc Robert Crone csc Kenneth Oowy csc Erbond Oefay csc Kel~ lillncan csc dg! Doo GiJloo esc James Gronon csc Kefllelfl Gril119 csc Brion Holmes csc Maurice Jockson-Somuels csc Myroo Kupdwck csc Douglas Winon csc Oonold McMIIoo csc Reginold Morris csc Dean PeleMl csc Kennem Post esc Roger Rocine csc Robefl Rouveoay csc l'<lln Sorassy esc Josef Sederesll csc Wolter Wosi csc Ron Wegodo csc LM Wolfe~ csc

~ILmC:LIPS time, she a~ks. 1) L>id you have your first 3(-Xlhtl C"ncountcr In the

GOING TO THl MOVIES lack Row, llthts low - Got a Story?

R !chard Stringer esc is the DOP on tt nrw documentary pro· jcct by toronto filmmaker

Gail Singer that gets us where we live ... and work. It's all about Goiug to Ill<' Movh•s, and Singer is looiJng lor personal stories about memories of and experiences at the movie the.mc that can help her explore •one or the most moving, and sometimes comical, rituals of our llm<'S.·

Let )·our memory slip back in

LETTERS TO THE EDITOR

My piCa\ure In shooting liD was, and ~till I>, true. No scanning had to he made lor CGI, and CGI work could start right after the shoot. Along with the dclars we had in the hcg1nnlng. that wa> a b1g reason wh)' St•llitm uor.l was shot on HD. However, I comlder It a great risk that new technology will come out next rear that will leave us one year behind. With a release delay of IS months, we cou ld have shot the pic~ ture In .15mm, edited it and then started the CGI.

St"tiou uonl, dirt'CtCd by Jean­Claude Lord and produced by Pierre Gendron from !\loom Films, was ~hot in 26 days, live of them in April in the snow one hour north of Montreal. The re~t was shot in Montreal and surrounding area. After I had been to the CSC screen­Ing In Toronto of iiD transferred to film, we dt'Cidl'<lto go with HO-P24. All of it wa~ shot In HD-1>24 with cameras that came from Panavision Canada, Toronto. The on ly parts done in ,lSmm were high-speed green ;crecn :ond a high-speed shot

back row? 21 What happened to you at a movie that was more intercsling than the

movie on the screen? 3) Did you get ushered out of a movie? Why? 4) What movie changed your life, and how? 51 Ever find your~elf in the projec· tion booth? 6) Ever have a cru~h on an usher(ette)? 7) Ever go on a movie date with someone who lawr became famous? II Eat more popcorn than anyone else? 9 ) What is/was It like going to the mo,·ies and how has It affected your life?

of a bottle fa ll ing (not yct;>ossiblc in video wit hout a moi>lng effect).

l'anavlslon Canada really backed us up In this adventure, and thanks to them we had a lot of great equip­ment. We had the possibility or doing whatever we could Imagine­from the i>l>gasus crane, the Milo with an 18-foot e~tension arm, remote heads from c·gears, ~mart lens srstem, etc. But what will hap­pen in the next )'car by the time Sttltlon nord come> out In theatres? What will he the newest liD cam­eras? What will be the best li D-to­film 1ransfe1· sy,tems and who will have them? What will be the best lens to work with? Who will have the best camera accessories?

A proJect shot In 1'24 like we did had to go In theatres as rapidly as possible to ~tay up to date. Technology 111 \Ideo is rapidl)' grow­ing. We have to stay up to date every year if not every month.

Another big disappointment is all the energy that I ga,·e 10 this pro­duction, and I brought with me a lot of people who gave 200 percent for the production and to me. I would like to th:u1k all of them. Also, a lot

Singer may w:ont to usc your story in her featu re documentary film, so Jf yvu'vc I)Vl um.: (Crum tile viewing side of the 'ICrecn) that you'd like 10 share, e-mail your account to: soingtotlltmol'if'il' llot-1/lllil.com or phone (416) 802-4245. THE ENDLESS GIIND Grinds to an lnd In Ottawe

Affiliate Marc I cpage c-malls: • It's always nice to hear about pro­ductions in ' non-production' areas in the CSC Nrws. Well, have I got one for you. 111e limllt•>( Grind just recently completed ; hooting in Ottawa. It is 13 half-hour ~hows lor the Comt'<ly Nctwor~ ... shot with the 24P liD format. The series was shot entirely In and around the Ottawa area with local crew. louis Durocher was the DOP and I was camera operator. and the only esc affiliate member in the area. •

of conversations with great directors of photography help<'d me do th is project, people such a' Allen Davlau asc, David Tatersall bsc, and my good friend Daniel Vi lleneuve esc.

On Station mml, we were li ke a Formula One car. We had the pole position, we Matted off the race at least I 0 =on<h ahead of every· body, and then, BAI'\G, the engine blew up.

A Question of Size /11 our Scptember/01 co''" story,

Serge Desrosiers esc sold: "DetJtll of field will oiiVoys be tt proiJicm iu HD, just /Jectmsc of t11c stu of tile cllip. T/1e CCI) clllp rt•scm/Jies t1

Super 8 uegafive; ,.eally su"'/1 for tlept/1 of fi eld." Willie l)e.(rosiers didu't m e(lll to imply tlwt tile HI)

a11d Super 8 imflges wt'rt rlr r stum! size, Gertl Kur~, owuer tu ul [~resi­

dent of Preclsou Cmnem luc., of(~rs Litis tee/mimi clflrlfimtlou :

Regarding the statement by Serge Desrosiers: Putting Super 8 into the same size of Image compared to HDTV is totally wrong! Super 8 is 7.12mm diagonal, li D Is I I.Omm d iagonal, and 16mm Is 12.7m m diagonal.Thcrc Is a very big differ· cncc between 7. 12 and II.Omm.

BRITISH COLUMBIA. PRAIRIES AO 21130(series); Op: Doug Munro esc; 2nd: Daniel Quesnel; to Oct. 5. Winnrpeg. ANDROMEDA (series). B-Op & 2nd-unit DO!': James Wallace; to Dec. 21. Burnaby. Sumo (series): OOP/Op: John Banovich esc; to Nov. 9. Surrey. B.C. TH~ CNRJSISMK SHow(suri&$); OOP: A4ndat Platt esc: 2nd: GCJrth Longmore; to May I. Vanoouver. CoLo SouAo(seriest OOP: Stephen Reizes esc; to Nov. 5. Burnaby. DARK ANCEL (series). DO!': David Geddes esc; to April 20. North Vancouver. OA VrNC( S INDUEST(series); DOP: David Frazee esc; tO Oct. 26, Burnaby. DoN'T EAT THE NoCHBDRs(series); Op: Glen Dickson; 2nd: lockwood Moore; Oct. 7, Burnaby (HDlV) GLORY DAYS (series): DOl': John Bartley esc asc; Oct. 9 to Feb. 26. Burnaby. INCREDIBU STORY Sruo1os (series): OOP/Op: Ken Krawczyk esc; to Oct. 10. Regina. THE INVfSTIGATION (MOW); I st. Kirk Clliswell; to Oct. 3, Calgary. I SPY(feature); 2nd-unit DOP/Op: Jan Kiesser esc asc; feb. 2. Vancouver. JEREMIAH(seriesJ. DOP: Henry Chan esc; to April22. Burnaby. JusT DEAL (series): B-Op: Keith Young: to Oct. 26. Vancouver. M EmoRs (series): DOP: John Spooner esc; Op: Wes Ooyle; 1st: Chris Hassen; 2nd: Katherine Deugau: to Oct. 3. Edmonton. MYSTERious WAYs(seriest. Op: Kevin Hall; to Dec. 16, North Vancouver PASAOENA (seriest. Op & 2nd-unit DOP: Neil Seale; 1st: Grizz Salzl: 10 Dec. 6. Vancouver. SMAUVIUE (series): DOl': Anila Szalay esc: Op: Brad Creasser; B·Op/SC: Michael Davies; to Dec. 18, Burnaby. STARGATE (series); DOP: Peter Woeste esc: to Oct. I 0. Burnaby. TAKEN (series): DOP: Joel Ransom esc; B-Op: Ryan McMaster esc; May 31. North Vancouver. UNDERCOVER (se<ies); DOP: Tony Westman esc: Dec. I 0. Vancouver. THE YOUNG PERSoN's GUIDE TO BECOMING A ROCK STAR (series); DOP: Henry lebo esc; B-2nd: lecily Corbett; to Dec. 12. Burnaby ONTARIO AcE LICHTNINC (series): 1st: Lori Longstaff; to Nov. 23. Toronto. AME111CAN IN CANADA (pilot); DDP: luc Montpellier esc: Oct. 1-12, Toronto. THE ASSOCIATES (series); DOP: Phil Earnshaw esc; Op/SC: Rod Crombie; to Jan. 15. Toronto. BwE M URDER (series); DOP: James Jeffrey esc; Op: Glenn Warner: to Nov. 15. Mississauga. Ooc (se<ies); DOP: Barry Bergthorson esc: 2nd·unit DOP: Graeme Mears esc; to Oct. 23. Toronto (HDTVI.

EAHTH: fiNAL CoNntCT(series); DOP: Thomas Durnan: Op: Anton van Rooyen; B-Op: CUdah Andarawewa; to Dec. 2t. Toronto (HDTV). fACTS OF LIFE (MOW); 1st: Jim Saysana; to Oct. 16. Toronto. HE11 BEsT fRIENo's HuseANO (MOW); Op: Harald Orten burger esc; to Oct. 14. Toronto. Hourwooo. Hourwooo {feature); DOP/Op: Douglas Koch esc; Oct. 1 to Nov. 13, Toronto.

LEAP YEARS(seriest OOP: David Perrault esc: to Nov. 13. Toronto. MARY HIGGINS CLARK MYSTERIES (MQW). DOl': Richard Wincenly esc; tO Nov. 9. Toronto. M UTANT X(series); 001" Nikos Evdernon esc; to Feb. 25. Toronto. N fJID WoLFE(seriest. DOP: John Berrie esc; Op/SC: Andris Matiss: to April 5. Toronto. PERFECT PIE(feature): OOP/Op: Paul Sarossy esc bsc; to Oct. 5. Toronto. Oucfll As fotX (se<ies); DOP: Thorn Best esc; 2nd: Tony Oliver: B·2nd· Marcel Janisse to March 26. Toronto. THE Rare HuNTER (series); 001': Alwyn Kumst esc; Op· Colin Hoult esc: 1st: Paula Tymchuk: to Nov. 6. Toronto. SAINT MONICA (feature); DOP/Op: Arthur Cooper esc; to Oct. 5. Toronto. SCREECH OWLs (series); DOl': Russ Goozee esc; Op. J.P. locllerer esc: to Oct 12. Toronto. SOME KINOA WONOERRIL (MOW); DOP/Op: Branirnir Ruzic; 1st: Dnno Weeda; to Oct. 12. Oakville (HDTV). SrRm TrME(pilot): DOP; Jonathan Freeman. to Oct20. Toronto. TRACK£R {series); DOP: Milan Podsedly esc; Op: Marl: Willrs: 1st Peter Bamstone; 2nd-unit 001': Raymond Braunstein esc: 10 Dec. 24. Toronto. THE TuxEDO (featuret. 2nd·unit OOP: Glen Keenan esc; 2nd-unit Op: Christopher Tammaro esc; to Dec. 7. Toronto. QUEBEC. ATLANTIC AFTERMATH. DOP: Bert Tougas esc; to Oct. 19. Montreal. IL ETAff DES Fors, OOP: Pierre Gill esc; Oct. 9to Nov. 19. Montreal. JEAN OuctPPE; DDP: Daniel Jobrn esc; to Nov. 9. Montreal. THE LAsr CHAPTER (I.E DERNIER CHAPtTRf); DDP: Marc Charlebois esc; to Nov. 19. Montreal. LExx: THE DARK lONE(seriest DOP/Op: les Krizsan esc; 1st: Gareth Roberts; to Oct. 5. Halifax. I.E MARAIS. DOP: Daniel Vincelette esc: to Oct. 28. Quebec City. TRUDEAU(rnini·series); DOP: Norayr Kasper esc; to Nov. 6. Dartmouth. N.S. UNIVERSITY. DOP: Pierre Jodoin esc; to Oct. 24. lachine. Oue.

Schedule of Meetings and Events of Interest to CSC Members TORONTO At press time. no CSC meeting had been scheduled for October. Wed .• Nov. 21 - Cinequip Inc. presen1s Show Time! - featuring demonstra· tions or the Dedolight sys1ems by Dedo Weigert. the new 50-200 sys<em from O'Connor Engineering by Bob low, the new focal shift lens system for film and video cameras by Rene Collins of Collinscraft. and the new Sennheiser wire· less systems and Neumann microphones by Terry Crack or Cinequip. Open house from 2 p.m .• formal presentations at 7 p.m. At the Oak Room of Inn on the Parle. Info a1 (4t61467-7700. Sat-Sun., Nov. 17-18,9 a.m.· 5 p.m.- CSC BASIC FILM CAMERA WORKSHOP An opportunity for aspiring film/video camerapersons and filmmakers to get basic instruction from expens on professional. state·of·the·an 16mm Aaton and Arriflex cameras. Instruction includes loading magalines and shooting

20 • esc Ntw$ I OctObeT 2001

tests, and the care, cleaning and set-up of cameras - including lenses, mane boxes. and filters. At PS Ptoduction Services. 80 Commissioners St. - $2:25 esc members. S295 non-members Sat-Sun. Nov. 24-25, 9 a.m. · 5 p.m.- CSC BASIC LIGHTING WORKSHOP Participants handle and set up a variety of lighting fixtures and leam basic pro­cedures and techniques for television, video and film·style lighting. At PS Production Services. 80 Commissioners St- S225 CSC members. S295 non· members.

To register for workshopts), please call. fax or e·mait The Canadian Society of Cinematographers 131 -3007 Kingston Rd .. Toronlo M1M 1P1 Tal: (416)266.()591 Fox: (416) 266·3996 e-mail.: admin@csc.ca