Sony introduces the vvorld's first Digital Component Camcorder.

The one-piece

DVW-700 Digital Betaca m camcorde r prov.ides t he digital post pro­

duct ion su ite with f irst generation 4:2:2 component

dig ital images.

The DVW-700 and its Betacam SP twin, the

BVW-D600, incorporate Dig ' al Signal Processing (DSP)

capabilities in the camera head. Both bring

superior performance to component production -

digital and analog.

The future is now! Check out the world's first

Digital Betacam DSP Camcorder- part of Sony's

promise to deliver the most cost effective digital

production system. A promise kept.

SONY OF CANADA LTD. COMMUNICATION PRODUCTS GROUP

411 Gordon Baker Road, Willowda le, Ontario M2H 2S6 Tel: (416) 499-1414 Fax (416) 497 -1 774 Sony is a registered trademark of Sony Corporation, Tokyo, Japan.

••••••••••••••••••••••••••••••••••••••••••

Contents Vol.14, No. 3

November 1994

Cinequip & Precision Lights, cameras, accessories - 3

A Time To Remember Lt.-Col. Ken Bell on the D-Day clips- 4

Let There Be Light john V Lindsay shares his tests on filters - 6

Profile Alar Kivilo esc - 8

Film Clips The scoop on members and industry - 10

Nightingale Report Proauction update - 16

Cover: Alar Kivilo esc

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• • The Canadian Society of Cinematographers • was founded in 1957 by a group of Toronto, • Montreal and Ottawa cameramen. Since then • over 800 cinematographers and persons in • associated occupations have joined the • organization. • • Our members now represent the film and video • community in all ten provinces. Our aim con- • tinues to be to promote and foster the cause of • cinematography and the interests of the • Canad ian film and video community. •

• We facilitate the dissemination and exchange • of technical information, and endeavour to • advance the knowledge and status of our • members within the industry. As an organiza- • tion dedicated to furthering technical assis- • lance, we maintain contact with non-partisan • groups in our industry, but have no political or • union affiliation. •

• •

CSC: EXECUTIVE • • President: Joan Hutton esc •

Vice-President: Lance Carlson • Secretary: Lisa Bodnarchuk •

Treasurer: Philip Earnshaw esc • Membership: Jim Mercer esc •

Public Relations Richard Hergel • Education: John Lindsay •

Awards Chair: James Crowe • Membership inquiries 963-5912 •

• CORPORATE SPONSORS • • Agfa •

Anton/Bauer • Applied Electronics •

Arriflex Corporation of Canada • Cinequip •

Clairmont Camera • DSC Laboratories •

Film House • Fuji Photo Film Canada Inc. •

Greer'Com • Hollywood Canteen •

The Image Group • . lmax Corporation •

K1ngsway Mot1on P1ctures ltd. • Kodak Canada Inc. •

Lee Filters • Medallion-PFA •

MPI Productions • OLE. Canada •

Osram Sylvania ltd/ltee • Panasonic • Panavision •

Phillips/BTS Group Precision Camera •

PS Production Services :

Rosf~e L~~g~f~~i~~ • Sim Video •

Sony of Canada ltd. • Strand Lighting Canada •

Telefilm Canada • The Producer's Link •

Videoscope ltd. • Wescam •

William F. White ltd. :

CSC OfFICE • • Canadian Society of Cinematographers •

189 Dupont Street • Toronto. Ontario M5R 1V6 •

Tel 963-591 2 • Fax 968-9092. •

Editor: Donald Angus • Editor-in-chief: Joan Hutton esc •

• CSC NEWS is a publication of the Canadian • Society of Cinematographers. CSC NEWS is • printed in Toronto and is published ten times a • year. Subscriptions are available for $75.00 • per year in Canada and $95.00 per year out- • side the country. •

Canadian Publications Mail Product Sales Agreement No: 478423.

• • • • • • •

CCD Package -ony DXC 537 Hyper-HAD™ CCD Camera, plus

Sony BVV-5 Betacam SP Recorder • Electronic Shutter with Clear Scan TM -

record on oxide or metal tape • 750 TVL

0)1$250.00 per day - weekly rental also available.

Or, you can save on -DVR I 0 02 Recorders at $750 per day BVW 75 Recorders at $425 per day BVW 50 Fi:e ld Recorders at $225 per day BVW 22 Players at $1 00 per day

t:!dl Tell f'JU!

ltJbe 1-800-265-8888

111 Toronto CaU (905) 238-0654 Fax (905) 238-6182 4580 Fieldgate Drive, Unit 4 (rear) Mississauga, Ontario L4W 4K4

SUPER 16 Symposium - A CSC presentation

in Fall '93 NOW! Available on

Video Tape

Judge for yourself- is Super 16 the film format of the future? A wealth of information from industry experts - over two hours of presentations and discussions.

ONLY $35.00* Call, write or fax the

esc office with your order.

Canadian Society of

Cinematographers 189 Dupont Street, Toronto Ont. MSR 1V6 Tel: (416)963-5912 Fax: ( 416) 968-9092

*add $2.45 GST, $4.00 S & H

Light Maker Illuminates New Fresnel at Cinequip Open House -Precision Celebrates 15th Anniversary With Sony Products Party TORONTO-It was an autumn tech-Jest of sorts for Toronto-area esc members last month, as Cinequip and Precision Camera held back-to-hack gatherings to show off new lights, cameras and accessories.

At Cinequip on Occ. 12, Ross Lowell of Lowel-Light M an ufacturing Inc., Brooklyn, .Y. , introduced his com­pany's new Fren-L 65 0 fresnel light, while C inequip vice-president John Ferguson presented a eries of folding portable refl ectO rs nets and flags Cameron Morri on of C demon­strated its new non-Lnear ideo ed.it-. . mg equipment.

T here were more te hnical aoodi at Precision' 1- th bi thda,- b h on Oct. 13, \ ith a pe ial ho' ing of Sony's ProTech Expo '9 . Displays featured ony aear uch a the D ES linear s rem, dia-ical audio-for-video post-produ tion and digital cameras.

CSC president Joan Hutton and CSC News editor Don Angus confer with Ross Lowell (centre) after the Lowei-Light president spoke at Cinequip open house. Photo: Lance Carlson

T he Sony Expo then travelled to he punctuated his demon u arion Vancouver fo r a Nov. 2 exhibition. with anecdotes and fractured defini -

uons. Lowell, well-known for his lighting innovations, entertained as well as One of the chief problem facing informed the group at the Cinequip beginners on their first lighting jobs, open house. A self-confessed punster, he said with a straight face, is decid­

ing where to start, a condition he called "ligh ter's block," followed by the "mid-light crisis" that precedes the difficulty of knowing when to stop- "terminal trauma. "

Robert Willox demonstrates the Sony digital Betacam at Sony's ProTech Expo '94 in associa­tion with Precision Camera. Photo: Lance Carlson

At only 5.8 pounds (2.63 kg) with­

out cable, the Fren-L 650 is light­

weight (no pun intended) and

capable of accepting 650, 500 and

300 watt lamps. Highlights (it's

catch ing) include a 7 : 1 focusing

range, sharp shadow quality, and ball­

bearing, rack-and-pinion lamp car­

riage.•

-Don Angus,· .

3

A Time to Remember: D-Day in 20 Seconds

TORONTO- "The scene shows the backs of helmeted soldiers crouching in an assault landing craft as it nears the beach . ... As the front ramp opens to disgorge the assault troops, a large building is recognizable that clearly marks it as the beach at Bernieres-sur-Mer. "

T he place is N ormandy. T he date is June

6, 1944. D-Day. The troops are T he

Queen's Own Rifles of Toronto. T he

remarkable motion pictures that record

20 breathless seconds of history are the

ingenuity of a Canadian film

who brought home a moment

of gallantry in the hor­

rors of

sto ry the

famous D-Day film clips

co ld b retired Lt.-Col. Ken

Bell of Gib ons, B.C. , to photograph­

er Robert Lansdale in the September

i ue of Exposure Ontario.

front-line cinemawaraphy goes to Capt.

Colin McDougall of me Canadian Film

and Photo Unit. T here was no way to fit

movie and stills photographers in a land­

ing craft, so "Capt. McDougall came up

with an idea to o ercome the problem. "

McDougall, Bell related, "gathered up six

Eyemo 35mm mo ie cameras and made

brackets to fit them to the inside of the

landing craft ju t in front of the helms­

man. The E emo. equipped with a

spring-driven motor carried

only 100 feet of ilm in

arranged -or each of the six

the

Bell told Lansdale that "with all the dis­

tractions, chances were slim that the film

would capture key action of the invasion.

When Capt. McDougall hit the beach­

es, he made a very dangerous search to

retrieve the cameras. Unexploded mines

and upturned boats littered

the beach. Two land­

ing craft

their

were

"But the gamble paid off as out of one

camera came the historic footage of the

Canadian troops going ashore on June

6th, 1944 ."

as

motor.

Bell said the original 35mm film was

des troyed in a fire, and the only remain­

as th e ten ioa in me pring ing images are 16mm copies which were

duplicated for distribution as Canadian

"M. (Sammy) Ja on- amue c of newsreels.

Toronto, who ed me E, ·e 0 ,or ,.ears The author of three books about his as a newsreel photoora her. a; ;:hat

e.x:periences, Ken Bell has returned on there was a small rhumb le" r at the om-

e" ral occasions to photograph the rom of the camera . On e that leYer '"'·'

European battlegrounds.• pushed, the camera ' auld run concinu-

Bell, a young lieutenant who went ashore ously. With one winding, the camera ( d d b h h k ~ E i e. y Don Angus, wit t an s to

with a standard-lens Rolleiflex after the could run a maximun1 of 20 econds at Robert LansdaLe, M PA, HLM, and

first assault waves, said credit for the 24 frames per second." Exposure Ontario magazine.)

4

ASC Calls for Entries in Television Film Competition

LOS ANGELES-The American Society of Cinematographers is accepting entries in its 1994 Outstanding Achievement Awards competition for television.

There are three separate categories:

episodic television, motion pictures or

pilots made for television, and mini­

series. Up to five nominees will be select­

ed in each category.

The entry deadline is 12 noon Pacific

time on Jan. 3, 1995. Winners will be

announced on Feb. 26 at the 9th annu­

al ASC Outstanding Achievement

Awards at the Beverly Hilton Hotel.

Canadian cinematographers may enter.

The only criterion is that all entries

must have aired on television in the

United States during 1994. Programs

originally exhibited in motion picture

theatres or initially sold or rented for

home video viewing are not eligible.

For competition applications, contact:

Patty Armacost

ASC Outstanding Achievement Awards

1782 North Orange Drive

North Hollywood, California

90028 U.S.A.

Telephone: (213) 969-4333;

Fax: (213) 876-4973

The ASC awards committee asks:

"Please do not send a videocassette with

the entry form! "•

CSC SHOOTERS DRAW GENIE NOMINATIONS

Toronto - Four esc members are among nominees for the 15th annual Genie Awards to be presented Dec. 7. Nominations for Best Achievement in Cinematography include Peter Wunstorf for Double Happiness and Paul Sarossy esc for Exotica. Among Best Documentary nominees are Jean-Claude Labrecque esc for Andre Mathieu Musicien, and Charles Konowal esc for Fat Chance.

Show Your Support! CSC Hats & T-Shirts

100% cotton CSC Hats- Black or Unbleached Cotton $15.00 each CSC T-Shirts- Black or White $15.00 each

Call (416) 963-5912 or fax us this ad at (416) 968-9092.

Caps Black

T -Shirts Black Large

Credit Card# ________ Exp. Date ___ VISA 0 MC 0

Name ................................................. .

Address ................................... . ........... .

City ................... Prov ........ Postal Code .......... .

Tele ........ .. .. . . Fax ............................ .

5

Let There · Be Light: Filtere cinematic theme. By John V.

Part I "No picture reproduction system can, without adjustment, handle the variations of light intensity encountered in the world about us. " (The Technique of Lighting for Television and Motion Pictures, 2nd ed., Focal Press, Boston, 1988, p.23) As an aspiring cameraman, I have made

it a point to try to establish two parallel

tracks in my career. As I struggled to learn the technical skills and gain the experi­

ence that would keep me gainfully

employed, I also resolved to study the

forms and processes of the art form in

which we work.

Coming from a non-technical, universi­

ty background, I knew I would have to

teach myself the basics of the photo­

graphic process. And as I studied I real­

ized how important the basics are, for it

is through an understanding of how they

work, an ability to use the tools of our

craft and to modify and combine them

in new and meaningful ways that, I feel,

the an of cinema is born.

O ne of the first basics I learned was that of co nrrasr; the first tools to which I was m troduced \ ere low contrast filters. The

John V. Lindsay in mid-experiment.

and darker areas lea ing the bright areas

of the image brigh L T he dark areas are

lighter, enabling you to see more detail

in shadow areas. Because there is no F­

stop compen arion you will not overex­

pose any portion of the image. This filter

also creates a ery l.i l7h t flare or halation

around hot pms or individual light

sources. T hi fearnre can be a useful

effect. T he more liohr there is for the fil-

ter to work ith, the greater the effect. "

The same T iffen brochure that intro­

duced me to didymium ulass also told me

about soft contrast filters . Although I had

cause a slight amount of flaring or hala­

tion. The soft contrast filter has a neu­

tral grey appearance which drops the

exposure. Although it may seem to

require it, Tiffen does not recommend

any exposure compensation since this

will negate the effect of the filter."

These were the two filters that were avail­able to control contrast during the early years of my career, but then Tiffen announced recently the arrival of its ultra contrast filter. Until the filters became

available in Toronto, I again relied on T iffen's product literature:

never had a chance m ork wich one, I "Ultra contrast filters work with ambient discovered that: cameraman who owned the U .S. com- light from surroundings as well as the

"Soft contrast fi lters reduce contrast in light in the actual image area. They lower

the opposite way of the low contrast. contrast uniformly throughout the scene,

This filter absorbs light, di~ni billa the e en when there are varying degrees of

highlighted areas while retaining the brigh tness within the image. Shadow

darker look of the shadow areas. In other area are opened up, revealing more

words, the hot spots or brigh t areas of the derail , bur without any flare or halation

image are reduced while the shadow areas from direct ligh t sources or bright reflec­

mercial hou e, at which I was a trainee, o ned a et of Tiffen LCs, as he called

rhem, and they were my introduction to

controlling contrast through filtration. As I later learned from Tiffen's own

brochure, entitled Insight-Controlling Contrast:

"Low contrast filters work by spreading remain dark, hence a reduction in con­

light from the highlights to the shadowed trast. This filter, like the low contrast, will

6

tion . E en direct shooting into the sun

produces no fl are or halation."

d variations on a .indsay

After this heady claim, the brochure 3. Myself, as a skin-tone reference, with

continues with some comparative pho- a slate ID that stayed in at all times.

tographs, and concludes:

"Therefore, Tiffen recommends ultra

contrast filters in scenes where you need

4. A piece of black lace, mounted on

white card, and white lace mounted on

black card. to lower the contrast bur ,-----------J-V-L-------------,

the minimal amount of

flaring produced by the

low contrast and soft con­

trast filter is undesirable. "

Of course all of these

examples and claims only

whetted my appetite to

compare these filters in

some sort of objective,

standardized way. After

much thought, the follow­

• 500W lnkie ·

with barndoors 3030° K 500W lnkie

with a pencil snoot

3080° K

• 500W In ie with barndoors

281 0° K

ing is the method I chose: '---------------------~

METHODOLOGY

I set up a target that would enable me to compare objectively the (supposedly) different effects of the filters. As the accompanying phoro shows, it consist­ed of:

1. A grey scale, with zone steps as well as a solid 18% grey patch.

T his set-up was illuminated as shown

above:

The test was shot on two different fi lm

stocks, Kodak 5296 and 5293. The two

stocks were rated at 500 ASA and 200

ASA respectively. T he set-up was lit for

200 ASA and then full stops were put in

the lamps, and they were moved slight­

ly farther away for the 500 ASA test. The

2. A 500w lnkie, with a pencil snoot, readings were as follows:

which was switched on during each test

exposure.

r THE WIDEST RANGE OF LIGHTING ~n-e FILTERS FOR THE CONTROL OF LIGHT

Cont. on page 12

For further details contact your local authorized Rosco dealer or Rosco Laboratories Ltd.:

1271 Denison Street#66, Markham, Ont.L3R 485 Tel.(•905) 475-1400 Fax (905) 475-3351 Offices in New York, Hollywood, London, Lisbon, Madrid, Sao Paulo and Sydney

SONY Communication Products Group Sony of Canada Ltd. 41 1 Gordon Baker Road Willowdale, Ontano M2H 256 Te l: (416) 499-1414 Fax : (416) 497-1n4

Sony is a registered trademark of Sony Corporation. Sony of Canada Ltd . is an authorized user.

FUJICOLOR PROFESSIONAL

MOTION PICTURE FILM

FUJICOLOR NEGATIVE FILM

F- SERIES

F-64 E.l64 F-640 E.l 64 Da)Aight Balance

F-125 E.l125 F-250 E.l250 F-2500 E.l. 250 Da)Aight Balance

F-500 E.ISOO

Available in both 35mm and 16mm.

For further information, please contact:

FUJI PHOTO FILM CANADA INC.

MONTREAL TORONTO VANCOUVER Denise Langis David Cheng Taylor Ogston (514)331·3854 (905)800·661 1 (604)271·2512

YOUR BEST CHOICE.

7

Profile: Alar Kivilo

Kivilo cscof Toronto is the winner of two esc awards, for Best TV Drama in 1983 and for Best Music Video in 1987. He was also presented with a Gold Campaign Bessie in 1988, and, for good measure, was the cameraman for the Academy Award winner, Boys and Girls, in 1983. In this interview, he talks about his prolific career as a cinematographer, from music videos to TV commercials to feature films.

Hutton: How did you get started?

Kivilo: I first started shooting when Insight Productions offered me a job as a cameraman on a seismic research ship to Greenland for four weeks. They need­ed someone to shoot a storm at sea, but it turned out to be the nicest weather in

8

200 years. Then I did some commercials division of Champagne for like one two years. At that point I got out of for the music videos.

Ontario government called Gasoline and Hutton: How did you feel doing music

You, and I shot videos? They're really quite different.

Canada's offi-cial film that

they showed

embassies all over the world.

and m very first drama, called The mgaret Lawrence

Story, and v hen Aclanti did their first series of six children film I ended up shooting fi e of r.hem. omewhere around that time I sr.aned hooting music videos, my aim being £O crer inro com­mercials. So I did r.har for a couple of years for Champagne Picru.r and our of that my focus puller, Carl H arve , and I got a chance w bid on a commercial for Sears. At that point I decided I was aoina to start di recting as well as shooting, and Carl decided w start producing, o \ e spent the next year honing our skills on Sears' commercials. That caught a lor of attention, so Carl and I headed up the

Kivilo: On the positive side, music videos

were very loose and you could really

experiment. You could overexpose and if

it didn't work out, it didn't work out; they

could use another shot. On the negative

side, and what finally made me start dis­

liking them, was there wasn't a rigid form

to them. You'd just try to grab some

stuff and if it worked out, OK, and

if it didn't, you'd do something

else. I found in commercials

and dramas you are going

after a very specific look,

sort of a pre-planned look,

and I found that much more sat­

isfYing than stumbling across incredi­

ble things.

Hutton: What do you consider your

most challenging job in the commercial­

world?

Kivilo: I worked both as director and

cameraman, and I think the trickiest

thing is the interpersonal side of it-deal­

ing with the clients and the agency. It's

quite time and energy consuming. When

you are working with old filmmakers

who totally understand the medium

there is a certain shorthand that you can

talk, but with clients the medium is often

so foreign to them they don't really

understand how it works. They have a

gut feel ing for what they want but they

don t know how to get it. The other chal­

lenge, of course, is living up to expecta­

tions. There is an awful lot of money

spent on such a short little piece of film.

You have w make sure that it is perfect.

By

esc ~an Hutton esc

After nvo years running

the commercial division

for Champagne, Carl and

I decided to form our own

company, Propeller, and

we've had that now for 11

years.

Hutton: How is setting up

your own company different

from working for someone else?

Kivilo: It was strange at first

because as a freelancer I was used

to coming in to work when there was a

job, and suddenly I was coming in every

day because I had a company. But we've

had a lot of fun. The satisfaction is great

"I got into this business in the first place to make movies. Irs like magic. Irs so exciting. You cast a spell over an audience for two hours and you totally Irick them with all sorts of

neat 1ricks. "

because we took a very grassroots

approach to commercial work. We kept

our offices simple. We kept our overhead

down. Commercial shooting tends to be

uptight because of all the money and the

different personalities involved, but we

always prided ourselves in having happy

and fun shoots. We picked and chose the

commercials that we wanted to do and

we always took our summers of£ Now

I'm getting into dramas which are a bit

more haywire in terms of scheduling and

family life. But it's very important to feel

satisfied in your work. I consider people

in the film business, where people enjoy

their

work, to be so lucky.

We actually get paid to have fu n.

Hutton: Why did you make the move

from commercials to drama?

Kivilo : I guess the main thing was that I

was being pigeon-holed as a comedy

director, and the nature of a lot of the

comedy shoots didn't leave much room

for creative photography. The photogra­

phy took a back position to the actors,

which makes sense, but I started missing

working with light and the camera work

and I also missed the excitement of work­

ing with actors delivering a dramatic

scene. You know, something with sub­

stance, something that dealt with the

human condition. The commercials were

fun but I needed a change. Commercials

were little films that sold products, so

ultimately there isn't a huge contribution

to humankind. There is nothing wrong

with commercials and I'll continue doing

them occasionally, but I just wanted the

thrill of movie making. I got into this

business in the first place to make movies.

It's like magic. It's so exciting. You cast a

spell over an audience for t\'lo hours and

you totally trick them with all sorts of

neat tricks. We're magicians. I like the feel

of sitting in the movie theatre or hearing

people talking about a TV movie and it

feels good to be part of the process that

es other people's lives.

Also, from the craft level of using light

and composition to tell a story that's

structured and specifi c, I find that very

exci ting. Commercial photography tend­

ed to be more about making pretty pic­

tures. D ramatic photography is more

about supporting the sta r telling the

story in pictures, and that' the next step

in the evolution of me.

Hutto n: You seem to be approaching

things from both the D O P and rhe

directing viewpoint; it a1

interesting t\'list to it.

a on of

Kivilo: I think ultimate! my aoa1 is tO

direct. I think an ideal life is shomino one

or t\'lo movies a year as a DOP and men

working on my own personal project as

a director. I guess the 11 year that I've been directing has left some kind of mark

on me, but I think basically all good DOPs come to that position where the realize that it's not about pictures, it's

about how those pictures tell the story. When you look at films where just one

simple elegant image is telling every­thing, that's movie making to me. It's the

cutting, the composition, the light, the

actors, it's everything coming together to

tell the story. I'd like movie making to get back to the '70s, when there were a lot

of powerful movies with strong simple

scripts, well executed films. For some rea­

son we' e lost that. T here are orne

Con.t. on page 13

9

FILM CLIPS: A compilation of member and industry news.

International Conference on Hidden

Children/Child urvivors of the

Holocaust.

APARTME TS NEARLY

FINISHED

TORONTO- The Michelle Apartments, John Pozer's new feature film shot mainl in Toronto, is in post-production for probable release late this year, repor DOP Peter Wunstorf of Edmonton. Wunstorf, associate esc mem ber, worked with fellow associate Greg Middleton of Vancouver as camera operator and affiliate mernbe;:- Reni Hoz of Toronto as second assistant on shooting chat "·"apped in July. The film, produced b,· ravros Stavrides for Arto-Pe!Li _ Ioion Pictures of Toronto, ' as a ":ork-in-progress

ChildPen of the Shadows Photo: Heather Morgan when invited ,ich six other

STORY OF HIDDEN CHILD Canadian ea - - m th e Independenr Feall!1"e Film Market in

TORONTO-CSC affiliate member New York in ep-e;:nber. Other screen­Gregory Bennett was cinematographer ings included _ lina Shwn's Double and co-producer, with director

Marc Cukier, of a compelling doc­

umentary on a "hidden child of

the Holocaust" that is screening on

Canadian TV. Children of the Shadows, in black and white from

Toronto's Dream Ribbon

Productions, tells in just over 24

minutes the story of a Jewish girl,

one of many children ' ho were

taken from their homes by the

Belgian Resistance, gi en false

idemities and hidden from the

l azis wich Gentile families, in

orphanages and with the Catholic

church . T he film premiered on

TVOnrario on Remembrance Day

last year and is slated for other

Canadian public and specialty­

cable channels. It was screened in

Montreal last month at the 3rd

10

(Left to right) Arthur Cooper, Greg Middleton, Reni Hoz, Tad Seaborn and Peter Wunstorf on location.

Campanelli (right) in China.

Happiness, on which Wunstorf was DOP, Middleton was operator and Hoz was second assistant, along with Fat Chance, Highway of Heartache, Picture of Light, The Soul Investigator and Whale Music.

TO CHINA AND BACK

NORTH VANCOUVER-"We filmed

in the national park of]uizhaigou," esc associate member Stephen Campanelli

writes about his "three incredible

months" of shooting in China last sum­

mer. "A" camera operator for director

Chris Cain and DOP Jack Green asc on

the Warner Bros. feature film Little Panda, Campanelli traded comfort for

adventure in mountainous panda coun­

try high above the Yangtze River-"I was

suspended over a raging river about 200

feet up for one shot and dangled off cliff

edges for some others, but we came back

with some spectacular footage ."

Pri ations included travel on Air

China- "now there's an airline"-and

bus rides on .mountain goat trails, smell

ac ommodations and food from "pans of

a..-llmal I don't think were meant to be

earen." and language translations that

orr· ~ed a request for a lens into a

room-sen-ice yak. T he pandas were cute,

rho <>h .

MAN ON THE MOVE 1WINNIPEG-CSC affiliate member

Glen Treilhard, recently relocated to

Winnipeg from Toronto, was

Saskatchewan this summer shooting the

feature movie Decoy, which wrapped at

the end of August. Treilhard, behind the

camera at right-centre in the accompa­

nying photo, was ''A" camera operator for

the film, which starred Peter Weller

(Robocop). Mfiliate member Todd Irving

of Regina, second from right in the back,

was clapper/loader.

International, a family fantasy under the Agency Group. Two giant eyes on the

working tide Rainbow, was produced by billboard, backlit on timers, reflected a

Nicolas Clermont and directed by Bob scene from the Imax film Grand Canyon

Hoskins , who also stars with Dan then faded to grey every few seconds.

Aykroyd and Saul Rubinek. HDVS is a

widescreen video medium which offers

an image quality comparable with 35mm

film and a digital post-production

process with multi-generation capability.

Both Sony and HD Vision were involved

in the project.

DIRECTOR DEFENDS NFB

M ONTREAL-Tahani Rached,

director of the French-language

documentary, ·Doctors With

H eart, that played at this year's

Toronto International Fil m

Festival, is angry at suggestion

THAT'$ SHOW BUSINESS

TORONTO-Toronto Film Commis­sioner David Plant reports that total bud­

gets by film and TV companies in the Metro Toronto area have skyrocketed by 600 per cent in 15 years. Budgets that totalled $80 million in 1979 are up to an

estimated $480 million this year, not including music videos and TV com­mercials. The low was $36 million in 1982. Plant said his office figures there are 12,000 jobs with film and TV crews and another 18,000 in related areas.

WINS ATLANTIC FILM AWARD

the National Film Board should HALIFAX-CSC associate member Ton

turn over most of its activities ro

the private sector. Referring to

the still-confidential Secor

Report, which Ottawa leaks say

recommends turning the TFB

into just a film-training school, Glen Treilhard (right centre) & Todd Irving (sec­ond from right in back) in Saskatchewan.

Rached, who has been with the

board since 1980, said, "The NFB is the

Merzerti of Fredericton, I .B. , on rhe

Moonsnail Award for Cinemarography at

the 1994 Atlantic Film Fesri al in Halifu_x

in September. Merzen i vvas DOP on

Reading Tom Sawyn; a black-and-white

20-minute drama based on rbe rrue story

of two police officers an empring ro ing a confession out of a scared and confUsed

young man. Director Ken Furlona said

Merzetti's brilliant cinematography and

lighting added to the film's dark com­

plexion.

MENU IS A KILLER

VANCOUVER-Laszlo George esc was

DOP on the movie-of-the-week, Ray

Alexander: A Menu For Murder, which

was shot in Vancouver Aug. 12-Sept. 9

for Viacom/NBC. Affiliate member

only place not only in Canada but in the

world where you can do the kinds of

films we do, where you can do the

research we do. I need it; we need it. "

!MAX EYES PRIZE

Attila Szalay of Vancouver was camera TORONTO-A bill-operator.

FEATURE HDVS FIRST

MONTREAL-The first major feature

film to be shot in the digital High

Definition Video System and delivered

on 35mm negative was completed here

early this month with British DOP

board for Imax Corp. of Toronto, featuring a clever and hypnotic "IMAX EYES" image, won the

Craft Award for Innovation at the Outdoor Advertising Association of

Canada's recent 16th annual Billi Awards. The

Freddie Francis bsc at the camera. The prize went to art director

$12-million Canadian-U.K. production Todd Sloane and copy­

(65 per cent Canadian) from Filmline writer Steve Boyd for The lmax comes out on top.

Com on. page 15

11

Let There Be Light Cont. from page 1

5293 - 200 ASA

INCIDENT isPOTMETER (FROMALM

PLANE)

18% Grey T5.6 o/10 T5.6 o/10

Face-Shadow T1.4 5/10 T1.4 5/10

Normal T5.6 o/10 N/A

Hot N/A T8

Lace-Shadow T1.42/10 T2.0 6/10 Normal T5.6 T8.oo,1o

Hot T113/10 T165t1o

5296 - 500 ASA

INCIDENT ~POT METER (FROMALM

PLANE)

18% Grey T5.6 o/10 T5.6 o/10

Face-Shadow T1 .4 5/10 T1.4 5/10

Normal T5.6 o/10 N/A

Hot N/A T8.oo,1o

Lace-Shadow T1.4 3/10 T2.0 3/10 Normal Ts.so,1o T8.Q0/10

Hot T114/10 T162/10

tor for the lab, graciously gave sev­

eral hours of his time in order to

take status M densitometer read­

ings on all of the strips. Mike

patiently worked through what

turned out to be a big job, as well

as my naivete, and for that I thank

him.

The base stop for all tests shot on this stock was T5.6 0/10.

The base stop for all tests shot on this stock was T5.6 3110.

We took three densitometer read­

ings on each test strip: hot spot,

grey card, and blacks. (The hot

spot in question is the white card

with lace. More on this later.) For

each value we took a density of the

red, green and blue layers.

The incident readings were taken with a

Minolta Aut~ Meter III set for the appro­

priate ASA and a shutter speed of l/50th

of a second. All spot meter readings were

taken from the film plane, with a Minolta

Spotmeter F, also set at ll50th of a sec­

ond and the appropriate ASA. All colour

temperature readings were taken with a

Minolta Colormeter III. All tests were

shot at 24 FPS, using negative stock all

of one emulsion and cut number.

The camera system used

was an Arriflex 35III with a

50mm Zeiss prime. For

each stock the test was shot

with a normal (clean) expo­

sure first, and then low con­

tra;t (LC), soft contrast

(SC) and ultra contrast

(UC) filters of equal

strengths. The strengths

tested were 1, 2, 3 and 5. I

was unable to acquire a soft

contrast No.4, and so elect­

ed not to test the other fil­

ters in that strength.

The tests were all processed

normally and then printed

on Kodak print stock 5384

all of one emulsion and cut

number.

12

The printer lights were:

5293 - 25-29-22

5296 - 23-28-21

I screened the print at Spot Labs, and

then used it to cur out test strips of each

test exposure. I visually evaluated the test

strips on a ligh t box with a colour tem­

perature of 5000K. I also took them into

Spot where M ike Racine, technical direc-

I then took all these readings and,

using some graph paper supplied

courtesy of Film Opticals, produced a

graph for each value on each colour layer.

(H ere I m ust thank my daughter, Beth,

for the loan of her red and green colour­

ing pencils. H ey, I promised.) . I then con­

sulted M ike about how to interp ret these

graphs. But more on that later ...

(Let There Be Light will continue in the next issue ofCSC News)

-Edited by Don Angus

A. Kivilo Cont. ftom page 9

Kivilo in 'action'.

movies that stick out, but in general

there seems to be a lack of scripts for some reason.

Hutton: Tell me about the next project

you're going to be working on.

Kivilo: It's called Crusader, The Margaret

Sanger Story, which is a true story about

a woman who is fighting for birth con­

trol rights for women in 1914. What

we're aiming for is to tell the story as ele­

gantly and as simply as possible. I think

I'll be using a lot of strong north light.

Actually, over the last three pictures I've

done, I've become a huge fan of fluores­

cent light. It's incredible; it looks like

bounce light but it takes up no space. A

trick I discovered on Larry Silverman's

Wtir, a period piece set in the 1790s, was

to hide small fluorescent fixtures under

the table to simulate candlelight. In

Crusader, the main challenge will be to

keep it simple and elegant so it tells the

story clearly.

Hutton: How do you feel about working

again with director Paul Shapiro on

Crusade~

Kivilo : I really enjoy working with dif­

ferent people but there is also something

special about working with someone that

you've worked with so many times. We

just have to look at each other and it hap­

pens. At the same time, one of the joys

of filmmaking is meeting a lot of new

and interesting people. It's very satisfYing,

and you find that film crews all around

the world are all the same. T hey speak

the same language.•

-Edited by Don Angus

LEE Filters

CELEBRATING 25 YEARS

CONSISTENCY &

EXCELLENCE

400 Matheson Boulevard Unit 1 Mississauga, Onario Canada L4Z 1N 8 905-890-0935

When you're I production e You want to talk to someone who knows your business as well as you do.

You want the best equipment for the job.

You want excellent follow-up service because delays cost you .money.

You want a company you can count on. We know that. Professionals like you have been counting on Cinequip for more than 20 years.

CINEaUIR Production support starts here

lO BanrganOme, TorontoM4H H9 lel 467-7700T oll hee 1-800-465 0160

~

,~HOUSE

LABORATORY

FORMATS 35mm or 16mm

Color and Black & White

Film House is the largest laboratory found outside Hollywood, and is a full service facility providing professional service for processing original negatives and answer prints, blow up, wet gate printing, intemegattves, and interpositives for feature film and television production.

Film House offers 24-hour service, with the capability to tum rushes around in four to six hours. Before a film leaves the premises, each reel is screened and thoroughly checked to ensure optimal quality.

For further information contact Stan Ford or Tom Burner at (416) 364-4321 or {416) 464-1310 {fax).

Film Hous e Laboratory 380 AdelaJde Street West

Toronto, Ontario M5V 1R7

THE SOURCE OF EXCELLENCE

Camera • Arrillex 535 • Arrillex 7 65 • Arrillex 35-3 • Arrillex 16-SR

Service

• Zeiss, Angenieux & Cooke le nses

• Tripods for film & video • Full range of advanced

accessones

Lighting ---- • Location HMI,

Bluebells, Fresnels & Softlights

• Studio Fresnels & Soft Lights

• Lighting Control Dimmers & Consoles

• Technical stall with the best skills, training , tools & equipment in Canada

• Responsive to your demands

ARRI CANADA INC. 23 FRASER AVENUE, TORONTO, ONTARIO M6K 1Y7 PHONE (416) 537-8440 FAX (416) 531-5989

13

Camera Classifieds FOR SALE: Nagra Quartz Crystal Generator Model T GX fo r Nagra III's or IV's. Also 1 agra mic preamp Model BSII. It converts line input to mic channel. Call Ron Wegoda esc

(514) 845-6731.

W A TED: 16mm Sync

II4-I, power supply module, cables and dipole antenna. Minr condition. All serious offers con­sidered. Ingrid Cusiel, tel: 01131-20-616-0742, fax: 01131-20-683-7439 or write: 2 de Helmerssrtraat 1 03hs, 1054CG Amsterdam, Holland .

Camera in good condition. FOR SALE OR RENT: Many Prefer Eclair NPR or ACI, but assorted Tiffen Filters: 138mm, open to anything. Also a Bolex 4-112", 3" x 3", Series 9. Also 6, of any model, prefer reflex view- 6" x 8" Lee graduated filters ing bur not essential. Please call with filter-holder for Arriflex Glen Winter (604) 980-2104. Production Matte-Box. For fur-

ther information please call Fria FOR SALE: 35BI, 1-2-3 Body Spiess esc at (416) 225-5 9 0. of One (overhauled by Arri New York in '91 for $25,000 US) . FOR SALE: Lowell So hlighr Some Two wiring - including 1500 with barndoors and case, heater, electronic tach and $450; 6 plate flat bed Moviola footage counter. Three - pull M86A editor, $4,750; r i-cad down, with quieter sleeve bear- 12-14V overnight charger 4-ings as used in the BL Ills; 4x AHr, 120-220V, $ 125 . Call 400 ft. magazines, TV ground (604) 253-0047. glass and wide screen ground glass; video assist eyepiece relay FOR SALE: Pan-Arri l ie wim lens and modified W a tee CCD Cinema Products flat bed motor camera, regular eyepiece and in Steadicam lo mode !!e.

pistol grip, Steadicam lo mode Panavision front, four bohs and handle, 4 excellent hard cases, it's a BNC hard from or Arri B Zeiss DistagonTI.4 lenses 18, lens with adaptor, crystal speeds 25, 35, 50 and 85mm, and 12' 16' 24125 ' 30' 36 and blimp all geared for radio con­trolled remote iris and foc us motors. This camera has been well maintained and has not had a lot of use since it was rebu.ilr. Unusually good for its image. Lightest of the Arris, perfect for the Steadicam Opera tor ~ ho likes to arri e ready ro hom. $65,000 ( · Cdn.) No G or brokerage ro pay . Call Bob Crone ar (604 ) 921-6 -00.

FOR ALE: Four m icrophones cype model TX50 1 and

wll:el ICRO N

R510 uansmi([ers and recei ers in rhe 174.56 Mhz band . 3 black and 2 skin coloured TRAI\IIS and I Sennheiser microphone. Connections for condensor mikes, complete wir.h mobile dis­tribution amplifier, type ADA

14

frames plus, variable speeds &om 18 to 22 frames for "impcoving• speed of running sho ; viewfind­er door adapted fo r video · Phillips camera presendy in p but a CCD Watec could e2S:i.ty he substituted; 2 Arri long duoai: magazines, Cannon pheri lens­es wir.h BNC mouncs, me I mm lens is F2.8, bur r.he 4 35 55mm are all TI.4 and all femes have gears fo r bor.h iris and fOcus so mey can be adjusted by wireless remore conrroUed mowrs whik shom:ing, 3 excellem cases. This camera is in mint condirion - mUS£

be een w be believed. Ir did nor gei much use because most o my work as on TV series oc karures and we either used my Arri BLoc r.he production's Panavision pack­age . $36,500 ( Cdn.) No GST or brokerage to pay. Call Bob Crone (604) 921-6500.

WANTED: Arriflex BLI body, zoom lens, blimp housing, and prime lens blimp housing, 400 or 1000 ft. mags. Call Mark Job (514) 453-6312.

Camera Classitieds

is a

FREE

service to esc members.

If you have items

that you'd like to

sell, please fax

your list to

968-9092

or call

esc office for

additional

information.

CSC CALENDAR: Schedule of fall meetings

TORONTO:

Monday, Nov. 14, 7:30 p.m.-in the client lounge at Film House, 424 Adelaide St. East, David MacDonald of Encyclomedia will con­duct a briefing for all those interested in BBSs and 'accessing new com­munications technology.

Wednesday, Dec. 7-lmage Gear Inc. (a new esc sponsor) in con­junction with Cine-Asst will present the new Optika Series of prime lenses for Super-16. A esc Christmas reception follows. Time and loca­tion next month. Tuesday, Jan. 10,1995, 7:30 p.m.-Fuji Photo Film Canada Inc. will present new film stocks, at Ontario Science Centre, 770 Don Mills Rd. Reception follows.

Saturday, Jan. 21, 9:30 a.m.-Second annual Super-16 Symposium.

VANCOUVER:

Monday, Nov. 28, 7:30 p.m.-Kodak Canada Inc. will present new film stocks at Gastown Labs. Thursday, Jan. 12, 1995-Fuji Photo Film Canada Inc. will present new film stocks. Location and time to be confirmed.

Film Clips Cont. ftom page 11

OTHER CREDITS

Laszlo George esc was DOP and affili­

ate member Attila Szalay was camera

operator on the filming of M other Love

in Vancouver; Ron Orieux esc of

Vancouver was DOP and affiliate mem­

ber Larry Portmann, also of Vancouver,

was first assistant on the CBS mini­

series Children of the Dust shooting in the

Calgary area; Brigitte Berman's The

Circle Game, filmed by associate mem­

ber Mitchell Ness ofToronto, makes its

theatre debut at the Carlton Cinemas in

Toronto on Nov. 18; Atom Egoyan's

Exotica with Paul Sarossy esc ofToronto

as DOP, opened at Cineplex Odeon the­

atres in October.•

-Edited by Don Angus

You and your production team move mountains to make an image more memorable. At Precision Carner?. we understand your needs to find custom manufactured products that perform the job and are priced within your budget.

But there's more to Precision camera than just cameras. We've got years of experience as industry leaders in new products and new product technology. There's our dedication to customer service and our dependability. And our sales know-how you can turn to and count on.

We invite you to try our full line of Cameras. Power. lighting and Accessories as well as state· of-the-art Studio/Production Equipment.

Precision Camera Inc. No problem is insurmountable.

+"EQUAllED TECHNOLOGY lL'iEc;oA.lLED SERVICE

YAIICOUVER TOROITO - 5 Sea A'ttnoOt 181 Carfaw Av.enue ~. ac. Toronto. Ontano 5G 4K{ M-4111 2S1

~~ : · 2':9 i (41 6) .46 1-~ 11 : -2'4 4 FAX {416) 461-4869

like to thank Kodak & Television

donating print DhotOJgraoh esc

WILLIAM F. WHITE LIMITED MOTION PICTURE, TELE VISIO N & THEATRICAL EQUIPMENT SUPPLY SERVING CINEMATOGRAPHERS FOR OVER 30 YEARS!

Vancouver George Margellos tel(604)983-5300 fax(604)983-5309

Calgary Paul Roscorla

tel(403)279-2693 fax(403)279-8683

Toronto B. White / M. Sinclair

tel(416)252-7171 fa x(416)252-6095

Montreal Emmanuel Lepine

tel (514)939-1989 fax(514)939-3681

Clairmont Camera is on the

Lot at North Shore Studios.

555 Brooksbank Avenue, Bldg 7, Suite 130 N. Vancouver, B.C. V7J3S5 • (604)984-4563

15

The

Nightingale Repod

PRODUCTION NOTES: (Ontario)

BILLY THE THIRD, TOMMY BOY (new title) , (Feature) Billy The Third Prods, L.P., Exec Prod: Robert Weiss; Prods: Lorne Michaels, Barnaby Thompson; Dir: Peter Segal; Shoot: Sept. 12-Dec. 9, 1994. Tel: (416) 368-1156. DUE SOUTH, (TV Series) Alliance Communications For CBS/CTV, Exec Prod : Paul Haggis; Co-Exec Prod: Kathy Slevin; Prod: Jeff King; Dir: var­ious; Shoot: July 27-Dec. 1994. Tel : (416) 531-8680. FOREVER KNIGHT, (TV Series) Paragon Entertainment/Forever Knight Prod Inc., Exec Prods: Jon Sian, Jim Parriot; Prod: Richard Borchiver; Dir: various; Shoot: Mar. 20-Dec. 8, 1994. Tel : (416) 441-2442. KRATI'S CREATURES, (TV Series) Paragon Ent./Kreatures Prods. Inc., Exec Prods: Jon Sian, Richard Borchiver; Prod: Ann O'Brian; Dir: TBA; Shoot: Oct. 1994-Aug. 1995. Tel: (416) 516-1600. KUNG FU: THE LEGEND CONTINUES, (TV Series) Warner Bros. Dist. Canada Ltd. , Exec Prod: Michael Sloan; Prod: Susan Murdoch; Dir: vari­ous; Shoot: July 7-Jan. 18,1995. Tel: (905) 279-6011. NATIONAL LAMPOON'S SENIOR TRIP, (Feature) Alliance Communications, Exec Prod: Stephanie Reichol ; Prod: Wendy Grean; Dir: Kelly Makin; Shoot: Aug. 15- Nov. 15, 1994. Tel: (416) 539-8155. ROAD TO AVONLEA, (TV Series) Shining Lake Prods Inc., Exec Prods: Kevin Sullivan, Trudy Grant; Prod: Kevin Sullivan; Dir: various; Shoot: Aug. 15-Feb. 1995. Tel: (416) 750-1848. TAKING THE FALLS, (Series) Alliance Communications, Exec Prod: Ch ristine Shipton; Prod: Peter Mohan; Dir: Cynthia Dale; Shoot: Oct. 12-Mar. 1995. Tel: (416) 9671174. TEKWAR, (TV Series) Atlantis Films Ltd., Exec Prods: William Shatner Peter Sussman; Prods: John Calvert, Stephen Roloff; Di rs: Greg Evigan, Eugene Clark; Shoot: Sept. 19-Apr. 1995. Tel : (416) 466-4245.

PRODUCTION NOTES: (B.C.)

JUMANJI , (feature) Big Board Prod-lnterscope Prods for Tristar, Exec Prods: Larry Franco, Ted Field, Robert Cart; Prods: Scott Kroopf, Bill Teitler; Dir: Joe Johnston; Shoot: Nov. 14-April1 , 1995. Tel: (604) 298-9171. HAWKEYE, (TV Series) Hawkeye Prods Ltd., Exec Prod: David Levinson; Co-Exec Prod : Steve Feke; Prod: N. John Smith; Dir: various; Shoot: July 12-Feb 2, 1995. Tel : (604) 983-5000. MANTIS, (TV Series) Film XII Prod-Universal-Fox, Exec Prods: James cAdams, Bryce Zabel; Prod: Tim lacofano; Dir: various; Shoot: June 20-Feb. 10, 1995. Tel: (604) 255-3355. HIGHLANDER, (TV Series) Filmline lnt'l Highlander Inc., Prod : Ken Gor : Dir: various; Shoot: June 27-Nov. 17, 1994. ROBIN'S HOODS, (TV Series) RH Prods Ltd . Partnership, Exec Pro : Aaron Spell ing ; Prod: John Maranville; Dir: various; Shoot: June 13-Feb. 1, 1995. Tel: (604) 421-4234. THE MARSHALL, (TV Series) Paramount-The Marshal Part, Exec Pro s: Aaron Lipstadt, Don Johnson; Prod: Gareth Davies; Dir: various; Shoot: July 26-Dec. 1994. Tel: (604) 983-5462. THE X-FILES (TV Series) X-F Prods for FOX, Exec Prods: Chris Ca rte . .W. Goodwin; Prod: J.P. Finn ; Dir: various; Shoot: July 11, 1994-May 1995. Tel : (604) 983-5391. THE COMMISH, (TV Series) Commish Prods for ABC, Exec Prods: S~ .: en J. Cannell, Stephen Kronish; Prod: John Kousakis; Dir: various; Shoot: July 1994-Mar. 15, 1995. Tel: (604) 983-5000. OUTER LIMITS (TV Series) Outer Limits Prods, Exec Prods: Pen De s a.. . ichard B. Lewis, John Watson; Prod : Justis Greene; Dir: various; Shoot: Sept. 8-May 1995. Tel: 604) 299-7119. NO FEAR (Featu re) No Fear Prod Ltd. Prtnrshp Universal , Exec Pro : i .,~ : Prod : Brian Glazer; Dir: James Foley; Shoot: Sept 30-Dec. 21 , 1994. Tel: (604) 730-8580 A CHRISTMAS ROMANCE, MOW) Christmas Romance Prod Inc., Exe · o s: .1ichael Jaffe, Howard Braunstein; Prod: Matthew O'Conner; Dir: Shel don Larry; Shoot Oct 20-Nov. 14, 1994. Tel : 604) 683-88.11. CRYING FREEMAN, (Feature) Freeman Prod of Canada Exec Prod: Ta a lc ise· P s: Samuel Had ida, Brian Yuzna; Co-Prod: Robert Frederick; Dir: Christophe Gans; Shoot Start Oct. 12, 1994. Tel: 604) 730-1667. THE OTHER MOTHER, (MOW) Masquerade Prods Inc., Exec Prods: ic ael o·Ha a D . Larry Horowitz; Prod: Michelle Maclaren; Dir: Bethany Rooney; Shoot: Oct. 31-Nov. 18, 1994. Tel : (604) 983-5620. ON WINGS OF FEAR, (MOW) Wings of Fear Prods & Co. Ltd . Prtnrshp for CBS Exec Prod: Annette Handley, Dir: Michael Uno; Shoot: Nov. 7-Dec. 2, 1994. Tel: (604) 983-5422.

The Nightingale Report is published by D. Nightingale & Associates Ltd., 189 Dupont St. , Toronto, Ont., M5R 1V6. Tel: (416) 975-3977. Fax: (416) 968-9092

16

WESCAM's GYROSTABILIZED camera systems are used by leading industry professionals for smooth, crystal-clear footage in the most demanding environments.

Take advantage of WESCAM's highly skilled technicians and operators for rock solid, worry-free shooting in virtually any situation. The WESCAM team will customize the system configuration to get your shot. Video or film-by air, land or water-our experience means we're ready when you are.

Over 9 locations worldwide means no delays and unmatched support -from Australia to North America, from Europe to Africa. Need a second, third, fourth unit? More? No problem. We have crews and camera units anywhere you are.

Choose WESCAM for total system solutions, and extraordinary depth of service and support. WESCAM­the world's most complete line of film and video equipment for capturing imagery in motion.

Check out the WESCAM and see why we lead the industry in ROCK SOLID performance-w orldwide .

Our footage speaks for itself. DAVE • IN TERV IEW W IT H A V AMPIRE • CLEAR AN D PRES ENT D A NGER • PELIC A N B R IEF • LO V E A F FAIR • FALLING DOWN • TERMINA L V ELOCIIY • H UNT FO R RED OCTOBER • BACK T O T HE FUTURE • T HE S PEC IA LIST • T HE REAL M c COY • BASIC INSTINCT • TRU E LIES • THE FUGITIVE • LETHA L WEAPON Ill • WOL F • THE CLIENT • WHEN A MAN LOVES A WOMAN • PATRIOT G A MES• ROBIN HOOD • HEARTS AND SOULS • M AVE R IC K • STAR WARS • TIME COP • HONEYMOON IN VEG AS • THE GOOD S ON • WITCHES OF EASTWICK • UNDER SEIGE • M URDER IN THE FIRST • INDIANA .JONES Ill • S U P = II & Ill • PHILADELPHIA • TOUR DE FRANCE • S U PE.=iBOWL • W ORLD SERIES • NEW YORK M ARA"Il-10 • A CU RA • KODAK • PEPSI • AMERICAN EXPRESS • " :ORCEDES BENZ • BUDWEISER • LEXUS • C ADILL-;.C · ;:. S"liCA'SCUP • O LY MPIC GAMES •IBM • H O 0 · =c"'.J • A LT DISNEY W ORLD • HOFFA

1810 Highway 6 North , Hamilton, Ontario Canada L9J 1H2 Telephone (905) 529- 5132 Telefax (905) 529-5311

Toll Free 800 668-4355 in North America Only

AUSTRALIA • BELGIUM • CANADA • ENGLAND • FRANCE /TAL Y • SWEDEN • UNITED STATE5-EAST AND WEST

It could well be the most original, profoundly

intelligent, incredibly difficult shoot ever attempted.

Which is probabl why people get that glazed look

when you try and describe it.

Let' just say it's our mission at Kodak to replace that

look with one of admiration and em)'· So smile smugly

and tell them that anything's possible \'\·hen you know

what resources are available to you.

Then give them our number: 1-800-GO-KODAK. We'll

Then perhaps we'll chat about the huge array of

Eastman films - the most ex~nsive range of niche films

out there. We'll explain how the digital world meets film

with Cineon Cinesite and how HDTV Telecine lets the

expressiveness of film stay true for tomorrow's TV.

And at the risk of sounding immodest, we'll also

mention that nothing beats the EXR Film System when

they're shooting for film display. In the end, they'll

know that we're behind them all the way. After all, when

probably start by telling them

about EXR films. Because loading

the best is shooting it right. (G eastman Putting ideas in motion.

everyone's working towards the

same goal, things tend to get

done. Funny how that happens.

© Kodak Canada Inc., 1994