csc May 2004 · 2019-12-09 · CSC Awards Celebration has come and gone for another year. It’s...

Canadian Publications Mail Product Sales Agreement No. 478423

May 2004Volume 23, No. 9

A PUBLICATION OF THE CANADIAN SOCIETY OF CINEMATOGRAPHERS

2004 CSC Awards2004 CSC AwardsAWARDS SPOTLIGHT:

John Walker cscMen of the DeepsAN

D

The Canadian Society of Cinematographers wasfounded in 1957 by a group of Toronto, Montrealand 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 continues to be to promote and foster the cause of cinematography and the interests of the Canadianfilm and video community.

We facilitate the dissemination and exchange of technical information, and endeavor to advancethe knowledge and status of our members within theindustry. As an organization dedicated to furtheringtechnical assistance, we maintain contact with non-partisan groups in our industry, but have no politicalor union affiliation.

CSC EXECUTIVEPresident: Joan Hutton cscVice-President: Richard Stringer cscTreasurer: Joseph Sunday phdSecretary: Antonin LhotskyMembership: Philip Earnshaw cscPublicity: Robert Brooks cscEducation: Ernie KestlerMembership inquiries: 416-266-0591

CORPORATE SPONSORSalphacine/ToyboxApplied ElectronicsArri Canada Ltd.CinequipWhite Inc.Clairmont CameraDavid J. WoodsDeluxe TorontoEyes Post GroupFour Seasons AviationFuji Photo Film Canada Inc.Kingsway Motion Picture Ltd.Kino FloKodak Canada Inc.The Lab in TorontoLee FiltersLenhoff and LenhoffLorne Lapham Sales & RentalsMaxell CanadaMole-RichardsonOsram Sylvania Ltd./LtéeOtto Nemenz InternationalPS Production ServicesPanasonic CanadaPanavision CanadaPrecision CameraRosco CanadaSim VideoSony of Canada Ltd.Videoscope Ltd.WescamWilliam F. White International Inc.ZGC Inc.

CSC OFFICECanadian Society of CinematographersAdministrator: Susan Saranchuk3007 Kingston Road Suite 131Toronto, Ontario M1M 1P1Tel 416-266-0591 Fax 416-266-3996email: [email protected]: Donald Angus (416) 699-9149 email: [email protected]: Joan Hutton csc

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

4

volume 23, No. 9May 2004

Contents

8

15

2 - President’s Report- Come Again Soon

1 4 - CSC Awards“accentuate the positive”

8 - Awards Spotlight- John Walker csc

14 - Kodak New Century Award- Paul Sarossy csc bsc

15 - Fuji Award- Philip Earnshaw csc

16 - Bill Hilson Award- Michael Spencer

17 - In Memoriam- James Grattan csc

18 - Encore- Kodak Awards Dinner

20 - Video File- Using the XDCAM

22 - News Clips- On Target

24 - Action Production Notes- CSC Calendar

Visit: www.csc.ca

It’s hard to believe that the 2004CSC Awards Celebration has comeand gone for another year. It’s

always a great event, with a specialappeal for the behind-the-scenes pro-fessionals of the Canadian film andtelevision industry. The CSC AwardsGala is one of the longest running“picture shows” in the country; thefirst awards were presented in 1961 atthe Queen Elizabeth Hotel inMontreal. Since then, this festive occa-sion has been the highlight of the CSCyear, when Society members, sponsorsand industry friends put aside theirlabours for a few hours and cometogether to acknowledge the accom-plishments of some of the most talent-ed cinematographers in the country.

I’ve heard people say that the CSCthrows the best awards party in town.It’s certainly the best venue for peoplebehind the camera to get dressed up,trade stories with folks we may onlysee once a year, and enjoy a chance toacknowledge superior cinematography— in our own house, so to speak. Wedon’t have to share the awards spot-light with producers, directors, editors,sound mixers, and the rest of themotion picture world. While we lovethem all, and admit that we might nothave jobs without them, this is ourshow — and we cherish it.

Congratulations to all of this year’swinners and nominees for work thatcontinues to meet new and excitingartistic and technical challenges andwhich constantly raises the bar ofexcellence. You are a distinguished

group within a profession of distinc-tion. Thank you to all who submittedentries, even if a nomination eludedyou this time. We appreciate that youcare enough about the excellence ofyour work to enlist in this much antic-ipated competition. Your work helpsthe Society fulfil its most importantmandate — to foster and promote theart of cinematography. Those mem-bers who serve on our selection jurywill tell you how difficult it is to chosenominees and winners from such awide range of talent.

I would like to give specialacknowledgement to our corporatesponsors, without whom this annualevent would not be possible. We havejust come through a rough year, yetsponsor support has continued to bepositive and generous. We have alwaysbeen, and are especially so this year,grateful for the high esteem in whichour industry partners and colleagueshold the CSC. The feeling is mutual.The future is challenging, but guidedby the positive direction of our execu-tive and membership, the CSC willpursue our goals with determination.My thanks to those hard-workingexecutive members for their manyefforts, and thanks also to the mem-bers of the awards juries for their timeand expertise.

Special thanks is reserved for SusanSaranchuk, our Awards Chair, whoonce again worked long hours withdedication and taste to put togetherthe Awards evening. ●

2 • CSC News / May 2004

2004 CSC AWARDS: Come Again Soon

Joan Hutton csc

president’s report

STUDENT: Stewart Aziz of Panavision Canada (left) presents the first-place plaque to StevenDeneault of Vancouver Film School (centre). Runners-up were Vinit Borrison of Sheridan College andIan Lister of Southern Alberta Institute of Technology.

It has been a tough year for the film and televisionindustry in Canada, especially Ontario, but I’mnot going to dwell on that,” President Joan

Hutton csc declared as she opened the 2004 CSCAwards Gala on April 3. “Things will get better. Thingsare getting better.

“I want to accentuate the positive,” she emphasized. “Andnothing is more positive than the cinematic glimpses of artisticand technical talent that we honour here tonight. If there isanything I could wish for this celebration that we are currentlyunable to accomplish, it would be to screen each and every oneof these nominations in full, so all of you could appreciate whatour jurors get to see. And also to appreciate how tough it is forthe jurors to make decisions.”

Hutton said the Canadian Society of Cinematographers,now in its 47th year, is “proud to honour the talented CSCmembers whose work as outstanding visual artists have earnednominations from their jury of peers.”

She also noted the recognition that CSC cinematographers

are winning both inside and outside of Canada fortheir world-class skills. “We extend our congratula-tions to Gregory Middleton csc for his 2004 GenieAward nomination, and to Luc Montpellier csc andMarc Gadoury csc for their 2003 Gemini Award wins.

Winners of 2003 Prix Gémeaux were Louis de Ernstead andRonald Plante csc, while at the 2004 ASC Awards in Los Angeles,Pierre Gill csc took home the prize for best telefilm on anAmerican network channel.”

She added: “As well as honouring the remarkable accom-plishments of our fellow cinematographers, we use this specialoccasion to recognize the individuals and companies whokeep our industry and our Society creatively and commercial-ly strong. The generosity of our sponsors makes this eveningpossible.”

She went on “to single out for special appreciation” the CSCexecutive, advisers and staff: Vice-President Richard Stringer csc,Treasurer Joe Sunday phd, Secretary Antonin Lhotsky,Membership Chair Phil Earnshaw csc, Education Chair Ernie


By Don AngusPhotos by

Grant Martin andJennifer Gauthier

“

The 2004 CSC Awards Gala

‘accentuate the positive’

ROY TASH AWARD FOR SPOT NEWS: Keith Whelan ofCBC The National, presented by veteran CTV newscasterLarry Stout (left), accepted by Don Purser csc.

CSC News / May 2004 • 5

STAN CLINTON AWARD FOR NEWS ESSAY: Keith Eidse of AChannel Manitoba (not present), presented by CBC NewsworldInternational anchor Helen Mann, accepted by Lowell Hall.

MUSIC VIDEO: Christopher Soos csc (not present),presented by singer/songwriter Kim Mitchell(left), accepted by Brendan Steacy.

DOCUDRAMA: Douglas Munro csc (left),presented by the fifth estate host BobMcKeown.

Kestler, Publicity Chair Bob Brooks csc, Adviser Bob Bocking csc,Adviser Sammy Jackson-Samuels csc, Adviser Harry Lake csc,CSC Editor Don Angus, and “last, but certainly not least, ourAdministrator and Awards Chair Susan Saranchuk, who under-takes a thousand tasks and moves the occasional mountain tomake these amazing parties happen.”

The president also thanked the members of the awards jury,with special mention to Jury Co-Chairs Bob Brooks csc and JimMercer csc. She wrapped with congratulations to this year’snominees and special honourees, and the introduction of hostMartin Doyle, a versatile and funny actor who returned to thepodium for the second straight year.

The 2004 CSC AwardsWinners and Nominees

There were 11 categories in the 2004 cinematography com-petition, plus three special honourees:

The Bill Hilson Award was presented to Michael Spencerfor outstanding service contributing to the development of themotion picture industry in Canada; the Fuji Award was receivedby Phil Earnshaw csc for outstanding service to the CanadianSociety of Cinematographers; and the Kodak New CenturyAward went to Paul Sarossy csc bsc, for outstanding contribu-tion to the art of cinematography.

Here, listed first and in bold type, are the winners in com-petitive categories, followed by other nominees in brackets:

DOCUMENTARY: John Walker csc, Men of the Deeps(Jay Ferguson, Animals; Michael Jorgensen, Battle of the X-Planes)

DOCUDRAMA: Douglas Munro csc, On the Edge of Destruction: The Frank Slide Story(Michael Boland csc, Mayday: Flying Blind; Richard Stringer csc, Angel of Death)

STUDENT: Steven Deneault, Vancouver Film School,White Grease Paint(Vinit Borrison, Sheridan College, Stalker; Ian Lister, Southern Alberta Institute of Technology, The Ice Box)

MUSIC VIDEO: Christopher Soos csc, Christina Aguilera Fighter(Bernard Couture csc — Vanessa Mandito Viens sur moi; Marc Laliberté Else csc — Sean Paul I’m Still In Love with You)

ROY TASH AWARD FOR SPOT NEWS: Keith Whelan,HMCS Montreal, CBC The National(Cheng-Hsian Chang, Kelowna on Fire, CTV Vancouver (CITV);James MacDonald, Hurricane Isabel, CTV)

STAN CLINTON AWARD FOR NEWS ESSAY:Keith Eidse, Manitoba Mushers, A Channel Manitoba(Randy Maahs, Kayak School, CJOH/CTV Ottawa; Paul Wing, Death & Taxes, CJOH/CTV Ottawa)

DRAMATIC SHORT: Yves Bélanger csc,Wildflowers/Les fleurs sauvages(Michael Balfry csc, Passageway; Milan Podsedly csc, Atwood Stories: Betty)

TV SERIES: Ronald Plante csc,Les Aventures Tumultueuses de Jack Carter(John Berrie csc, Playmakers “The Choice-Part 2”; Bert Dunk csc asc, Street Time “Born to Kill”)

TV DRAMA: Pierre Gill csc,Hitler: The Rise of Evil(Rene Ohashi csc asc, Shattered City; Attila Szalay csc hsc, Peacemakers pilot)

FRITZ SPIESS COMMERCIAL: Barry Parrell csc, Bacardi Rigo(James Gardner csc, Nissan Chinook; Barry Parrell csc,Volkbanken 100%)

• see page 6


DRAMATIC SHORT: Yves Bélanger csc, presented by WIFTpresident Kate Hanley.

DOCUMENTARY: John Walker csc, present-ed by producer Debbie Nightingale.

FRITZ SPIESS COMMERCIAL: Barry Parrell csc (notpresent), presented by actor Tim MacMenamin,accepted by agent Dora Sesler.

• from page 5

THEATRICAL FEATURE: RobertMcLachlan csc asc, Willard(Serge Ladouceur csc, The Favorite Game;Larry Lynn csc, Histoire de Pen)

In AppreciationThe 2004 CSC Awards celebration

was made possible through generouspatronage by:alphacine/Toybox, pre-edit viewing,dubbing and nominee giftsApplied Electronics, door prizesClairmont Camera, hors-d’oeuvreDavid J. Woods, door prizes, supportand nominee giftsdeluxe toronto, nominee gifts, programand awards sponsorshipFour Seasons Aviation, door prizeFuji Photo Film Canada, pre-dinnercocktails, after-dinner liqueurs,raffle/door prizes, nominee gifts and moreFujinon, door prizesI.A.T.S.E. 667, door prizeKodak Canada, reception champagne,photography by Narvali DigitalPhotography, raffle/door prizes, nomineegifts and jury hostThe Lab in Toronto, support andawards sponsorshipMaxell Canada, for nominee and juror giftsPanasonic Canada, support and door prizesPanavision Canada, student prizes,nominee gifts, door prize and supportPrecision Camera, dessert, nominee

gifts, support and production supportPS Production Services, nominee giftsand production supportRosco Canada, entertainment through-out the eveningSim Video, door prizesSoho, production of the show tapeSony of Canada, raffle/door prizesVideoscope, production of show anddoor prizesWilliam F. White International, dinner wines, take-home gifts and nominee gifts

The PresentersPresenting the Roy Tash Award was

reporter and anchor Larry Stout of CTVNews. Larry has been an award-winningjournalist for more than 40 years, withexperience in radio, television and print.He has covered top national and interna-tional stories for the CBC and, since 1989,the CTV network. He is currently a men-tor and coach in a professional develop-ment and training program for CTV Newsand its affiliates, as well sitting in as occa-sional news anchor on Newsnet .

The Stan Clinton Award was present-ed by Helen Mann, the host of hourlynewscasts and live events on CBCNewsworld. Helen came to Toronto in2002 after four years in Edmonton, whereshe anchored CBC’s local newscast. Shehas also been a guest anchor on TheNational, Saturday Report, NewsworldMorning and the national portion ofCanada Now.

The award for Music VideoCinematography was presented by

entertainer Kim Mitchell, a Canadianrock ‘n’ roll legend whose music hassoared to global popularity over an amaz-ing career of nearly 30 years. The winnerof three Juno Awards, Kim has turned outa string of gold and platinum albums,both with the group Max Webster and onhis own. Patio Lanterns is only one of hismany hits, but it’s an all-time favourite.

Presenting the Bill Hilson Award wasPaul Gratton, vice-president of the cabletelevision channels Bravo, Space, andDrive-In Classics, and chair of theAcademy of Canadian Cinema andTelevision.

Every year, for many years now,Panavision Canada presents awards andcash prizes to three student cinematogra-phers nominated from among entriessubmitted by undergraduates at collegesand universities across the country. It isone of the many ways Panavision assistsyoung filmmakers. Making the StudentCinematography presentation this yearwas Stewart Aziz, Eastern Canada vice-president of Panavision Canada.

Presenting the Docudrama Awardwas Bob McKeown, currently co-host ofthe CBC news magazine the fifth estate. Hehas won two Emmy Awards for newsreporting, one of them for his work forCBS during the Persian Gulf War. He wasalso a correspondent for Dateline NBC.Back home, he has produced and directedseveral feature-length documentary filmsfor CBC Television, and picked up twoGemini Awards.

The presenter of the DocumentaryAward was Debbie Nightingale. If you


TV SERIES: Ronald Plante csc (not present), presented andaccepted by actor Siu Ta.

TV DRAMA: Pierre Gill csc (left), presented byactor Cedric Smith.

THEATRICAL FEATURE: Robert McLachlan cscasc, presented by director Patricia Rozema.

say Hot Docs, you have to sayNightingale. Debbie was founding execu-tive director of Hot Docs and helped itgrow into one of the world’s leadingdocumentary film festivals. For the lastseveral years, her Nightingale companyhas produced numerous documen-taries and features, including Chickswith Sticks, and has produced eventsfor virtually every major film organiza-tion in the country. She has also co-produced the successful Canada atCannes event during the Cannes FilmFestival to promote doing business inCanada.

Presenting the Kodak New CenturyAward was Kim Snyder, country man-ager and vice-president of KodakCanada Entertainment Imaging.

The Dramatic Short Award waspresented by Kate Hanley, presidentof Women in Film and Television.With her education in law and experi-ence as a senior media executive, Kateruns all WIFT operations, such as itsyear-round professional training pro-grams, national research activities, andthe annual Crystal Awards gala.

Presenting the Fritz Spiess Awardfor Commercial Cinematography wasactor/ firefighter Tim MacMenamin.In everyday life, Tim is a Toronto fire-fighter and ambulance attendant, buthe also has performed in numerouscommercials and been cast in severalfilms. For instance, he was killed bythe late Charles Bronson in Death Wishand he beats up Robin Williams inDeath to Smoochy.

The pleasant duty of presenting theFuji Award went to Graeme Parcher,Sales Director of Motion Picture Productsfor Fuji Photo Film Canada.

Cedric Smith, presenter of the TVDrama Award, has entertained a wholegeneration of television viewers. One ofCanada’s finest and most prolific actors,Smith has transported us from GreenGables to Avonlea, from happyChristmas stories to the dreams of Goya,with miles of drama in between. British-born but Ontario raised, Cedriclaunched into show business as a folksinger with the Perth CountyConspiracy. It is his acting, however,that has earned our lasting recognitionand applause.

For the TV Series Award, MartinDoyle welcomed the talented Siu Ta aspresenter. Siu, a drama graduate of theUniversity of Toronto and GeorgeBrown Theatre School, is an emergingfilmmaker and has just finished her firstseason on the new CBC series This isWonderland. She plays Nancy Dao, anarticling law student.

Presenting the Theatrical FeatureAward was accomplished Canadiandirector Patricia Rozema. Patricia isbest known for her acclaimed featurefilms I’ve Heard the Mermaids Singing,White Room, When Night is Falling, andMansfield Park. Her credits on both fea-tures and her highly-lauded short filmsalso include writing, producing andediting. Her work has resonated withfilm critics and audiences across Canadaand around the world.

Short Ends• Awards Chair Susan Saranchukreported that 307 guests attended theAwards Gala at Toronto’s WestinPrince Hotel, compared with 328 lastyear. She noted that the deletion thisyear of the Industrial and CameraAssistant categories may account formost of the decrease, allowing forthree nominees in each category,award presenters, and their guests. Thetwo categories were dropped becauseof the low number of entries in recentyears. There were 141 entries in 11competitive categories, up from 138 in2003.• In her opening remarks, SusanSaranchuk thanked the jurors for theirtime, knowledge and talent. The juries,co-chaired by Bob Brooks csc and JimMercer csc, included Robert Bockingcsc, Damir Chytil csc, Arthur Coopercsc, Bert Dunk csc asc, Phil Earnshawcsc, Richard Fox, John Goldi csc, JohnHodgson, George Hosek csc, MartinJulian csc, John Lesavage csc, DonPurser csc, Craig Mullins csc, MilanPodsedly csc, Branimir Ruzic csc. RonStannett csc, Andrew Watt csc, and KitWhitmore csc. She also thanked KodakCanada Entertainment Imaging for theuse of their theatre at Toronto headoffice for viewing the entries.• Vice-president Richard Stringer cscbrought the evening to a close bythanking Martin Doyle, “our eloquentand witty host.” He also thanked thepresenters for “adding humour, classand style to our celebrations.” ●

When John Walker csc isn’tmaking a documentaryfilm, his mind is pretty

much occupied thinking up the nextone. Some ideas, however, like hisaward-winning Men of the Deeps, take along time to germinate.

Men of the Deeps, the story of therenowned Cape Breton coal minerschoir by that name, earned Walker theDocumentary Cinematography Awardat the CSC Awards Gala last month, thelatest honour forthe acclaimed filmand filmmaker. Theshow, which aired on CTV inDecember, 2003, opened the Hot DocsFestival in Toronto last year and tookan honourable mention in the categoryof best Canadian documentary, short tomid-length. It also garnered anotherhonourable mention at the AtlanticFilm Festival in Halifax.

The 51:30-minute film — and itreally is film — was produced by PicturePlant (Terry Greenlaw), John WalkerProductions and the National Film

Board (Kent Martin). Walker, a strongproponent of film over video for docu-mentaries, was the writer, director anddirector of photography, as well as aproducer.

He told CSC News that he had beenthinking about a film on Nova Scotia’sCape Breton miners ever since he hadshot in the uranium mines at ElliotLake, Ont., 30 years ago. “There were

• see page 10


awards spotlight

John Walker cscTHE DOCUMENTARY

CINEMATOGRAPHY AWARD“When I look out at the world I

see it the way film sees it”

By Don Angus

John Walker csc

‘We lit a lot with just the miners’ headlamps’

• from page 8miners from all over the country,” herecalled, “but it was the Cape Bretoncoal miners there who really struck me.We were underground for six weeks,and the Cape Bretoners kept me upevery night with their stories. From thattime I always wanted to do somethingabout them.”

Thus, when Kent Martin of the NFBmentioned the possibility of a projecton the Men of the Deeps choir, Walkerwas already aware that the last coalmine in Cape Breton — the Prince col-liery in Glace Bay, N.S. — was soongoing to close down. “I realized if I did-n’t make this film now I would nevermake it.”

For Walker, it was a natural fit. He isa native of Montreal who is based main-ly in Toronto, but he has been a NovaScotian at heart since his first trip therewith his family when he was eight yearsold. He now has a home in LaHave onthe province’s South Shore where hespends two to six months a year. He hasa keen eye for Nova Scotia’s ruggedbeauty, including the craggy, ocean-view hills and lush, green valleys ofCape Breton Island, and an apprecia-tion of its long and vivid history.

You get both in Men of the Deeps.Through the lens of Walker’s Super16mm Aaton camera, the film con-trasts a land of astounding physicaldistinction with the often grim 300-year-old tale of Cape Breton coal andthe people who have lived and diedfor it. Riding the storyline and themelodious soundtrack is the Men ofthe Deeps choir, 30 former minerswho sing about their work and themany lives lost down in the pits. Intheir dark blue overalls, hardhats andheadlamps, they have performedacross Canada, the United States andabroad, including China.

Walker said principal photographyfor Men of the Deeps was in June, 2002,but underground scenes had to be shotbefore the Prince mine closed down onDec. 15, 2001. That was actually beforeproduction funding had been secured,but “CTV was a big supporter of theproject and they gave me some moneyto go up to Glace Bay for the shoot inthe mine.” It was just a few weeksbefore Prince closed, and Walker andfocus puller Robin Bain were permitted


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only one full day below the surface. “Ireally had to be organized.”

The next morning he was allowed toride “the trip” — the string of open railcars the miners ride to and from work— “to get some POV shots going downand coming back up. But that was it.”

Walker said he filmed the choir atthe Savoy Theatre in Glace Bay, only afew miles from where coal was firstmined on Cape Breton Island in theearly 18th century. “The Savoy,” hesaid, “was built at the turn of the 20thcentury and it’s a big, beautiful theatre.Musicians from all over the world comethere to play — it’s sort of sacredground for music.” In the theatre, heshot with two cameras, the secondoperated by Russell Gienapp.

He said he filmed many of the out-door “beauty shots” in this documen-tary, and others, while doing research— wearing both director and cine-matographer hats — in the early phasesof production. “I take my camera withme, with some Kodak 50 daylight stock;I take just one magazine, changing bagand my favourite lenses and a tripod,just a minimal kit, and I start shootingscenes for a sense of place.”

Down in the mine, Walker shot withKodak Vision 500T, and a couple ofrolls of 320 ASA. “We were on a tightbudget,” he explained. “I had a coupleof old rolls of 320 so I had to take thosealong, too. We had some battery-oper-ated lights, which I had designed forshooting in the uranium mines, that wewanted to take down, but at the lastminute they (mine management)wouldn’t allow us to take them.” Inmany places in the shaft, there were nopractical lights, “so we lit a lot with justthe miners’ headlamps.”

With high-speed primes and high-speed film stocks, he said, “you canshoot anything. You can get an image,but the biggest problem is focusing. It’sso dark through the viewfinder youcan’t see a thing, so you usually have toget a flashlight or something to get thefocus. Depending on how close thelight was, generally we were workingwith no reading on the meter.”

Walker’s camera is a second-handAaton he bought in 1986 to replace hisEclair that was stolen. Then he boughta Cooke lens for it from Haskell Wexlerasc, and he has had a set of high-speed

• see page 12


Men of the Deeps, the story of the Cape Breton coal miners choir by that name, earned John Walkercsc the Documentary Cinematography Award at the 2004 CSC Awards.

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• from page 11primes for quite awhile. He nevershoots anything but film.

“Film is in my blood,” he said. “Istarted out with a passion for photog-raphy when I was about eight yearsold, and as a teenager my first summerjob was mixing chemicals in a dark-room in Montreal. When I look out atthe world I see it the way film sees it;film translates the world the way I seeit. Video doesn’t do it for me. I don’tsee the world the way a video camerasees the world.

“The other factor for me is thatwith my Super 16 camera and sharp,precise lenses, I’m producing high-definition imagery, so I can deliverhigh-definition programs at a muchlower cost. Post-production is cheaperand then there are the camera rentals.So my productions do not cost anymore than high definition; in fact,they probably cost less.” He added, “Ifyou want to make a blowup to a35mm print, which often I do, rightthere you save $50,000 or there-abouts.”

Walker, who has credits on over 60films, said he generates his own pro-jects because “as a cinematographeryou can get tired of sitting and wait-ing for the phone to ring.” He must bedoing something right. His awardsinclude the 1997 Gemini (DonaldBrittain) Award; the 1992 Gemini asbest documentary director; the 1990Genie Award for best feature docu-mentary; the 1987 CSC DocumentaryAward; the 1986 Gemini for best pho-tography, documentary program orseries; the 1985 Yorkton Golden SheafAward for cinematography; and the1983 CSC Documentary Award. Nowthe 2004 CSC Documentary Awardjoins his collection of honours.

Walker is the quintessential docu-mentary filmmaker, but there is aunique footnote to his career. He wasco-director and DOP on the Canadiantheatrical feature A Winter Tan, whichscreened in 1987-88 to raves and con-troversy and was nominated forGenies as best picture and for direc-tion. That was a long time ago, and itwas Walker’s only feature.

However, no door is closed. “Oneday I may do some drama,” he said. “Iprobably will.” ●


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Thank you CSC for everythingyou do to inspire the pursuit of innovation and recognize

excellence in motion imaging,” saidKim Snyder, country manager andvice-president of Kodak CanadaEntertainment Imaging, as she pre-sented the 2004 Kodak New CenturyAward to Paul Sarossy csc bsc. “Kodakis very honoured to be part of thisannual celebration.” Ivan Sarossy cscaccepted on his son’s behalf.

“The Kodak New Century Awardwas inaugurated 18 years ago,” Ms.Snyder continued.

“It is designed to recognize a cine-matographer who has made extraordi-nary contributions to advancing theart of filmmaking. This is our way ofsaying thank you to an artist who hasearned the admiration of his peers inthe CSC.

“This year’s Kodak New CenturyAward recipient is Paul Sarossy. I don’t

have to tell anyone inthis audience that Paulis an extremely talent-ed artist who is compil-ing an extraordinarybody of work.

“Paul came to cine-matography naturally.His father, Ivan, was adirector of photographywhose camera workranged from newsreelsto commercials in theearly days of Canadiantelevision. Paul original-ly went to film schoolwith the intention ofbecoming a director, butvery quickly had theopportunity to work asa cinematographer.

“He was the CSC

Student Award recipientthree times — winningfirst place in 1984 forFrustration, third placein 1986 for Inkwell, andsecond place in 1987for Passion & Gasoline.

His first feature wasRevenge of the RadioactiveReporter. Since then,

Paul hasn’t looked back, compilingmore than 40 dramatic credits — andcounting.

“His growing body of work rangesfrom television work such as Marciano,The Man Who Saved Christmas, ASoldier’s Girl, Martha Inc.: The Story ofMartha Stewart and The Incredible Mrs.Ritchie, to features such as Love andHuman Remains, Exotica, The SweetHereafter, Felicia’s Journey, Duets,Affliction, Ararat, Perfect Pie, Head in theClouds and The Snow Walker.

“His ability to find unique andinnovative ways to tell a story has gar-nered numerous international awardnominations for him throughout hiscareer, as well as earning CSC Awardsfor Marciano, White Room and Exotica.Paul has also won four Genie Awardsfor Exotica, The Sweet Hereafter, Felicia’sJourney and Perfect Pie.

“He is recognized by producers,directors and actors around the worldas a valued collaborator on films andstories that are important to them.Paul has inspired countless young cin-ematographers to follow their dreamsby the example of his work. He hasmade unique and incomparable con-tributions toward advancing thisimportant global art form.

“Paul Sarossy truly represents theessence of what the Kodak New Century

Award is all about, a relentless commit-ment to advancing the art and scienceof filmmaking. Congratulations, Paul.You have earned this distinction, but weare sure that the best is yet to come.”

(Ms. Snyder noted that Paul wasshooting The River King on location inHalifax and was unable to attend theAwards Gala in person. She introduceda videotaped message from him.) ●


Paul Sarossy csc bscTHE KODAK NEW CENTURY AWARD

For outstanding contribution to the art of cinematography

“

IVAN SAROSSY CSC accepts the 2004 Kodak New Century Award,on behalf of winner Paul Sarossy csc bsc, from Kim Snyder of KodakCanada Entertainment Imaging.

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‘Unique and incomparable contributions’

This year’s recipient of the FujiAward for outstanding service to the Canadian Society of

Cinematographers is Phil Earnshawcsc,” Graeme Parcher, director of salesfor motion picture products at FujiPhoto Film Canada, announced to the2004 CSC Awards Gala.

“Phil’s career in cinematographyspans more than 25 years,” Parcher con-tinued. “He began his career shootingnews clips on film at Global TV imme-diately following his graduation fromthe film program at York University. Hissecond break came some three yearslater in the form of a drama called IdaMakes a Movie. As it turned out, Ida wasthe pilot for the Degrassi series whichran for 99 episodes and was shot piece-meal over the course of the next decade.

“Between Degrassi episodes, Phil shotnumerous documentaries and corporatefilms. Dubbed ‘Mr. Canadian TV Series’

by the CSC’s own Don Angus, Phil hasracked up more than 160 hours ofepisodic television.

“TV series Degrassi, Liberty Street,Traders and The Associates have all beencreated with Phil’s visual style. Alongwith these impressive credits have comesome impressive awards. With a CSCAward, a Bessie Award, a Gemini nomi-nation and no less than four CSC Awardnominations, Phil has a proven trackrecord as one of this country’s most tal-ented cinematographers.

“In recent years, Phil has developedhis skill as a director, although we knowhis heart remains with cinematography.As if this weren’t enough, Phil has dedi-cated himself for 10 years to the CSC,serving both as Treasurer and, mostrecently, as Membership Chair, provinghis dedication to the art of cinematogra-phy goes well beyond capturingimages.” ●


Philip Earnshaw cscTHE FUJI AWARD

In recognition of extraordinary contributions to the CSC

“

PHIL EARNSHAW CSC (left) receives the 2004 Fuji Award from Graeme Parcher of Fuji Photo Film Canada.

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The 2004 Bill Hilson Award waspresented to Michael Spencer byPaul Gratton, vice-president of

Bravo and chair of the Academy ofCanadian Cinema and Television. Mr.Spencer was instrumental in creatingthe Canadian Film DevelopmentCorp., which he headed as executivedirector from its establishment in 1968through its first decade. The CFDC hasbeen succeeded by Telefilm Canada.

Mr. Spencer’s first film industry jobwas in 1940, shooting documentariesfor Crawley Films in Ottawa. DuringWorld War II, he was one of the fouroriginal members of the CanadianArmy’s film and photo unit, filmingtroops in the U.K., Italy and Germany.After the war, he joined the NationalFilm Board, where his vision of a fed-eral agency to fund independentmotion pictures was formed in the late1950s. As the NFB’s liaison betweengovernment departments and produc-ers, he became involved in a disputebetween Quebec filmmakers, whowanted to produce features throughthe NFB, and the Board’s executive,which wanted to continue makingdocumentaries.

Mr. Spencer had the idea of anagency other than the NFB whichcould be a catalyst for developing anentertainment-based film industry. Hewas convinced Canada could create acommercially viable feature filmindustry — making and distributingfilms, getting the money back andputting it into more films.

Transferred to Montreal fromOttawa in 1960 as the NFB’s director of planning, Mr. Spencer set to work to make his vision a reality. He spentthe next six years researching his plan of action and finally drew up the basic legislation which would become the Canadian FilmDevelopment Corporation Act. He

then set about trying to convince fed-eral government officials of the validi-ty of his scheme. He had the supportof the entire filmmaking community.

The federal cabinet was uneasy atfirst, but eventually gave the fledglingCFDC a startup budget of $10 million,double what Spencer had originallyproposed.

“I remember Jim Grandy (a Financeofficial) – with the swift stroke of a pen– changing $5 million to $10 million

for the final report to cabinet,”Spencer writes in the book HollywoodNorth that he recently co-authoredwith writer and communications con-sultant Suzan Ayscough.

Telefilm Canada, the offspring ofthe CFDC and an arm of the federaldepartment of Canadian heritage, lastyear put about $300 million of taxpay-er money into Canadian film and TVproduction, an industry now worthabout $3 billion. ●


Michael SpencerTHE BILL HILSON AWARD

For outstanding service in the development of the motion picture industry

MICHAEL SPENCER (right) receives the 2004 Bill Hilson Award from Paul Gratton, vice-president ofBravo and chair of the Academy of Canadian Cinema and Television.

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183 Carlaw Avenue • Toronto, Ontario • M4M 2S1

16/35mm colour negative processingSet up • Academy leader • Cleaning

Ready for transferQuotes for Video Post in conjunction with

Deluxe TorontoEYES Post Group

“Get it to TheLab”“Get it to TheLab”

CONTACT:Ed [email protected] [email protected]: (416) 461-8090Fax: (416) 461-0768Toll free: 1-888-822-2505

in memoriam

The CSC sadly acknowl-edges the death inMontreal on April 5 of

Full Life Member JamesGrattan csc, after a lengthybattle with heart disease. Hewas 67.

Mr. Grattan, born inMontreal on July 19, 1936,was a decorated Korean Warveteran. He was a film andtelevision cameraman since1957, retiring about 15 yearsago because of poor health.His daughter, Kelly Grattan,said he was proud to be a CSCmember and was an avid read-er of the CSC News up to andincluding his final days inhospital.

He passed away at the Ste-Anne-de-Bellevue VeteransHospital. Funeral mass was at St. Patrick’s Basilica on April 13, with interment atNotre Dame des NeigesCemetery. Survivors includedaughter Kelly, sister Beverley,brothers Kenneth and Brian,and grandchildren Alexa andAnnika. A son, Jason, prede-ceased him.

The CSC News is workingwith Kelly Grattan and RonWegoda csc, a Montreal friendand colleague, on a tribute toMr. Grattan, which we hopewill appear in the June issue.

The CSC extends condo-lences to Mr. Grattan’s family. ●

JamesGrattan csc 1936-2004

Kodak Canada EntertainmentImaging entertained CSC guestsat the sixth (almost) annual

Kodak New Century Award dinner inToronto April 2 to celebrate the art ofcinematography. Kim Snyder, countrymanager and vice-president of KodakCanada EI, noted in her welcomingremarks that the dinner was in fact thefifth in the past six years; last year’s din-ner was cancelled because of the workcommitments of guests of honour.

Ms. Snyder presented the 2003Kodak New Century Award winner,Ron Orieux csc, with a framed photoportrait of himself, a copy of whichwill hang in the gallery of past winners

at Kodak Canada’s Toronto headoffice. The 2002 recipient, Guy Dufauxcsc, could not attend.

“I want to thank all of the officersand members of the Canadian Societyof Cinematographers for their dedica-tion to advancing this important formof artistic expression,” Ms. Snyder toldthe gathering. “I also want to thank eachof you for allowing Kodak to be a part ofthis celebration.”

Kodak Canada has sponsored theNew Century Award since 1986. “Ourgoal then and now is to simply showour admiration for the work done bygreat artists,” said Ms. Snyder. “We areyour biggest fans!

“We are here this eveningto pay tribute to the authorsof memorable and stirringimages who have earned theadmiration and respect oftheir peers during the past 18years. The truth is that cine-matographers don’t typicallyreceive the credit you deserve.

Your best work is generallytransparent to the critics, andtherefore to audiences. Butyou are the authors of theimages that have stirred oursouls. I believe that cine-matographers are the story-tellers of our times.”

Ms. Snyder said theevening was especially dedi-cated to the recognition ofGuy Dufaux and Ron Orieux.“They are two remarkably tal-ented artists who have fol-lowed different paths to thesame pinnacle of success.”

She noted that Dufaux,born in Lille, France, studiedfine arts in Montreal and beganhis career as a trainee electri-cian. He has subsequently com-piled more than 50 documen-tary and narrative film credits,

including Les Fleurs sauvages, Le Declinde l’empire Americain, Un Zoo la nuit,Jesus of Montreal, Leolo, Le Polygraphe,Stardom and Les Invasions barbares (TheBarbarian Invasions).

“Ron Orieux,” she said, “studiedcivil engineering at the University ofBritish Columbia. He was an engineerfor a mining company and began hiscareer by shooting industrial films.

Ron ventured into news, films anddocumentaries, and subsequentlycompiled more than 50 narrative filmcredits. His body of work includes theminiseries and television movies Nightof the Hunter, Tourist Trap, TuskegeeAirmen, Children of the Dust and TheFirst Circle, as well as the featuresHounds of Notre Dame, War Bride andBooty Call.

“Congratulations to all the NewCentury Award winners; and, again,congratulations to the CSC for every-thing that all of you do to inspire thequest for excellence.”

Society president Joan Hutton csc

responded with thanks. “The CSC isgrateful for Kodak’s sponsorship ofthe New Century Award, and for all ofKodak’s support in virtually everyactivity and event the CSC produces.

“The Entertainment Imagingteam may change a bit from time totime, but there are always familiarand friendly faces, and the close pro-fessional and personal rapportremains constant. We welcome vice-president Kim Snyder to our circle,and we extend our thanks for herinterest and involvement in ourSociety.

“We hope and trust that the tradi-tion of this dinner continues alongwith the ongoing CSC and Kodak liai-son. We are counting on it. Finally,congratulations to all the winners ofthe Kodak New Century Award. Yourcontributions to the art of cinematog-raphy are inspirational.” ●


encoreKodak New Century Award Dinner

“Admiration for the work done by great artists”

‘You … inspire the quest for excellence’

RON ORIEUX CSC, the 2003 Kodak New Century Awardwinner, accepts a framed portrait of himself from KimSnyder of Kodak Canada Entertainment Imaging.

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CSC FULL AND LIFE MEMBERS

CSC FULL MEMBERS

Nicholas Allen-Woolfe cscJim Aquila cscEduardo Arregui cscMichael Balfry cscChristopher Ball cscJohn Banovich cscJohn Bartley csc ascStan Barua cscYves Bélanger cscPeter Benison cscDean Bennett cscBarry Bergthorson cscJohn Berrie cscThom Best cscMichel Bisson cscCyrus Block cscRobert Bocking cscLudek Bogner cscMichael Boland cscRaymond Brounstein cscThomas Burstyn cscBarry Casson cscEric Cayla cscHenry Chan cscMarc Charlebois cscRodney Charters cscBruce Chun cscDamir Chytil cscRichard Ciupka cscArthur Cooper cscWalter Corbett cscBernard Couture cscRichard Crudo csc ascDean Cundey csc ascFrancois Dagenais cscSteve Danyluk cscLouis de Ernsted cscDavid De Volpi cscKim Derko cscJacques Desharnais cscSerge Desrosiers cscJean-Yves Dion cscMark Dobrescu cscWes Doyle cscGuy Dufaux cscAlbert Dunk csc ascPhilip Earnshaw cscIan Elkin cscMichael Ellis cscCarlos Esteves cscNikos Evdemon cscHenri Fiks cscDavid Frazee cscMarc Gadoury cscJames Gardner cscDavid Geddes cscIvan Gekoff cscLaszlo George cscLen Gilday csc

Pierre Gill cscJohn Goldi cscRuss Goozee cscSteve Gordon cscDavid Greene cscJohn Griffin cscMichael Grippo cscManfred Guthe cscThomas Harting cscPeter Hartmann cscPauline Heaton cscBrian Hebb cscDavid Herrington cscKenneth Hewlett cscEdward Higginson cscRobbi Hinds cscRobert Holmes cscJohn Holosko cscGeorge Hosek cscColin Hoult cscDonald Hunter cscJoan Hutton cscTom Ingle cscMark Irwin csc ascMaris Jansons cscJames Jeffrey cscSilvio Jesenkovic cscDaniel Jobin cscPierre Jodoin cscMartin Julian cscNorayr Kasper cscGlen Keenan cscIan Kerr cscDouglas Kiefer cscJan Kiesser csc ascAlar Kivilo csc ascDouglas Koch cscCharles Konowal cscRudi Kovanic cscJim Kozmik cscKen Krawczyk cscLes Krizsan cscAlwyn Kumst cscJean-Claude Labrecque cscSerge Ladouceur cscGeorge Lajtai csc

Harry Lake cscMarc Laliberte Else cscBarry Lank cscHenry Lebo cscRichard Leiterman cscMiklos Lente cscJohn Lesavage cscHenry Less cscPierre Letarte cscPhilip Linzey cscWalt Lloyd cscJ.P. Locherer cscPeter Luxford cscLarry Lynn cscDuncan MacFarlane cscDylan Macleod cscBernie MacNeil cscGlen MacPherson cscHarry Makin cscDonald McCuaig cscRobert McLachlan csc ascRyan McMaster cscMichael McMurray cscStephen McNutt cscGraeme Mears cscSimon Mestel cscGregory Middleton cscGordon Miller cscRobin Miller cscPaul Mitchnick cscLuc Montpellier cscGeorge Morita cscDavid Moxness cscCraig Mullins cscDouglas Munro cscDan Nowak cscRene Ohashi csc ascRon Orieux cscHarald Ortenburger cscGerald Packer cscRod Parkhurst cscBarry Parrell cscBrian Pearson cscDavid Pelletier cscDavid Perrault cscBarry Peterson csc

Bruno Philip cscMatthew Phillips cscAndré Pienaar cscEdward Pietrzkiewicz cscRonald Plante cscRandal Platt cscMilan Podsedly cscHang Poon cscSteven Poster asc cscAndreas Poulsson cscPascal Provost cscDon Purser cscJoel Ransom cscOusama Rawi csc bscWilliam Reeve cscStephen Reizes cscDerek Rogers cscBrad Rushing cscBranimir Ruzic cscRobert Saad cscVictor Sarin cscPaul Sarossy csc bscGavin Smith cscChristopher Soos cscJohn Spooner cscRonald Stannett cscBarry Stone cscMichael Storey cscRichard Stringer cscMichael Sweeney cscAdam Swica cscAttila Szalay cscChristopher Tammaro cscGabor Tarko cscJohn Tarver cscBrian Thomson cscPaul Tolton cscBert Tougas cscChris Triffo cscSean Valentini cscPaul van der Linden cscDerek Vanlint cscRoger Vernon cscSteve Vernon cscDaniel Villeneuve cscDaniel Vincelette csc

Michael Wale cscJohn Walker cscTony Wannamaker cscPeter Warren cscAndrew Watt cscJim Westenbrink cscTony Westman cscKit Whitmore cscBrian Whittred cscGeorge Willis cscRichard Wincenty cscPeter Woeste cscBill Wong cscBruce Worrall cscCraig Wrobleski cscYuri Yakubiw csc

FULL LIFE MEMBERSHerbert Alpert csc ascRobert Brooks cscDavid Carr cscChristopher Chapman cscRobert Crone cscKenneth Davey cscKelly Duncan csc dgcDan Gibson cscKenneth Gregg cscBrian Holmes cscMaurice Jackson-Samuels cscMyron Kupchuck cscNaohiko Kurita cscDouglas Lehman cscDonald McMillan cscJim Mercer cscRoger Moride cscDean Peterson cscRoger Racine cscRobert Rouveroy cscIvan Sarossy cscJosef Sekeresh cscWalter Wasik cscRon Wegoda cscLouis Wolfers csc

TorontoTel: (416) 444-

VancouverTel: (604) 291-

7262

As one of the two commercialDOPs for Toronto 1’s CreativeServices department, I recently

had the opportunity to lens the firstcommercial to be shot in Canada withSony’s new blue-violet laser opticaldisc camcorder called the XDCAM,specifically the PDW-530 model.Toronto 1 is the first Canadian broad-caster to switch from tape-based acqui-sition to the XDCAM.

Prepping for the commercial shoot— for Richard Killen and Associates

with Nick Appleton directing — I tested the camera in various field envi-ronments. I was confident of theXDCAM’s picture quality because thePDW-530 uses the IMX image block. Ihave shot a number of commercialswith the MSW-900 (IMX tape acquisi-tion) and have been pleased with the

camera’s resolution andcolour reproduction. Myinterest primarily cen-tred on the application of the camerain prolonged commercial productionenvironments, its reliability in cinemaverité type shoots, and its applicationin post-production.

The XDCAM performed well inboth studio and field environments. Itwas a cool, windy day when I shot theinitial tests. Fortunately, the laser runsat something in the range of 4000

degrees and I could warm my fingersat the disc insert location. However,having noted the heat generation, Iwas concerned about prolonged use.On set, I had the camera running con-stantly over a period of eight hours.The disc insert location was warm tothe touch, but there was no indication

of overheating; the re-writable disc was warmto the touch as well.

The PFD23 Professional disc has arecording limit of 45 minutes at theusual IMX recording speed of 50mbps. In a manner of “run and gun,”I took the camera through its paces. Iwanted to know, if by chance, the lasercould accidentally be tripped. The out-come was excellent; there were noapparent problems writing to disc.

The ability of the camera to generatethumbnails on request for sequenceclips proved beneficial in the commer-cial environment. When we needed toscreen footage, to ensure that we gotthe take, we easily enabled the thumb-nail function and the clip bin was pre-sented in the side panel monitor. Itwas simply a matter of selecting theclip and enabling the item for play-back. I was delighted to know thatwhen we resumed shooting I didn’thave to worry that the tape was cuedand that I might have introduced tapedropout. The newly recorded data isplaced immediately on the blank por-tions of the disc. The thumbnail func-tion will be particularly handy whenlooking for slate markers.

The post-production aspect of thiscamera system will mark other signifi-cant improvements in how we cur-rently ingest data. No more tape!Therefore, we place the re-writabledisc in the “VDR” to lift the proxyimage for construction of an EDL list.Currently at Toronto 1, we are formu-lating protocols for ingesting data. Theplan is to outfit all desktop computerswith the Proxy software. Therefore, anoperator can easily transfer proxyinformation — think of it as a ghostimage — to your work station. Fromtheir work stations, operators canscreen takes at leisure and withoutscreening bay lineups in preparationfor on-line editing.


video file‘Commercializing’ the

Sony XDCAM at Toronto 1By Tony Wannamaker csc

TORONTO 1 DOP Tony Wannamaker csc: “The XDCAM performed well in both studio and field environments.”

Earlier, I argued that the imagequality of the IMX is close to that ofour HD 1080i camera. Currently, inCreative Services, we are consideringthe purchase of the Pull Down boardsto allow us to shoot in 24P with theXD camera. The argument here is that24P in the XD format, coupled withwhat we do to enrich the material tocinematic grade quality, would bodewell for our commercial productions.Moreover, I tend to use the P+S Pro 35Adapter on the IMX cameras; thisallows access to 35mm primes.

Technically, the PDW-530 has 3high sensitivity, low smear 2/3 inchPower Hole Accumulated Diode(Power HAD). The camera’s CCDs haveapproximately one million picture ele-ments. The unit is switchable between16:9 and 4:3 aspect ratios. You canselect interlaced scan mode or progres-sive scan mode. Also, with the option-al Pull Down Board (CBK-FC01), youcan shoot 24fps progressive scan, sub-jected to pull-down. The IMX blockuses a 12-bit A/D converter to providehigh image quality, and compressionis governed by MPEG-2 with a 4-2-2sampling. Lastly, the XDCAM is trulythe marriage of AV and IT technolo-gies. Operators can easily change thespeed of recording to suit the needs ofDV streaming. Changing the camera’srecording speed from IMX/50mbps toDVCam/25mbps allows an operator torecord DV video stream, or playback,by the rear access i.LINK.

In closing, it’s exciting to be part ofthis new technological leap. The XDcameras offer practical advantages toboth our Current Affairs and CreativeServices departments and provide ourproduction staff with an efficientmeans for work flow. My partner, JohnGrierson, and I are confident with thisnew medium and pleased with the ini-tial feedback. In the future, we arelooking forward to utilizing the 24PPull Down board in the XDCAM tofacilitate our cinematic commercialproduction look.

(Tony Wannamaker csc is cur-rently a director of photographyfor Toronto 1, Creative Servicesdepartment, and the lighting direc-tor for Toronto Today and TorontoTonight.) ●


P+S Technik Digital Image Converters

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NEW TARGET FRAMING CHARTMulti-Format Design for Film or Video

Richard Stringer csc, designer ofthe Target Resolution Chart, has devel-oped a new product for recording for-mat frames for film or video. TheTarget Multi-Format Framing Chart isa unique tool for camera assistants,operators, rental houses, film schools,and transfer facilities.

The new 12” x 20” chart is lami-nated on thin metal with two mov-able magnetic panels. The panels lineup with six indicated aspect ratio for-mats (1.33, 1.37, 1.55 or 14x9, 1.66for Super 16mm, 1.78 or 16x9, and1.85), as well as 2.35 and 2.40anamorphic, but they can be adjustedto any position. There are also eightsmaller markers to define TV cut-offor secondary formats. This makesadjusting to your format choice quickand easy.

Other features include incrementaledge lines for judging frame edgeerrors; space for production logo andslating (Post-it notes or wet erase); anda star target to aid in eye focus, with asquare box graphic which can be usedas a squeeze indicator.

For more information go towww.stringercam.com/target.html orphone (416) 533-6085.

IATSE 667 HONOURS REG MORRISUnion Names Scholarship for Late DOP

The executive board of IATSE 667has announced that one of its scholar-ships for film-related studies has beennamed the Reginald Morris cscScholarship in honour of the latedirector of photography who died onJan. 8 after a lengthy battle withParkinson’s Disease (see CSC News,March/2004).

The scholarship fund is a new pro-gram established in 2003, with appli-cation limited to the dependent chil-dren of IATSE 667 members. There aretwo scholarships of $2,500 each, to beawarded for full-time, post-secondaryor graduate studies in an academicprogram leading to a diploma ordegree from a recognized college oruniversity. The Reginald Morris cscScholarship will be awarded forfilm/theatre/photography studies; theother will be awarded for studies inother disciplines.

“Reg was a long-standing memberof IATSE Local 667 who willingly gaveof his time as an executive boardmember and, most importantly, as awonderful mentor to many of ourmembers,” the union said in a tributeat the time of his death.

FESTIVAL NOMS FOR TRIFFO DOCBack to Everest from Partners in Motion

Chris Triffo csc, pres-ident of the Regina-based production com-pany Partners inMotion, writes that hisfilm Back to Everestreceived nominationsfor a Houston WorldFestMedal and a CanadaGolden Sheaf Award inthe category of bio-graphical documentary.Directed by Triffo, Backto Everest aired onGlobal on April 17. It isthe story of Canadianmountain climber DaveRodney’s second attem-pt, in 2001, to climbMount Everest.

SONY WIRELESS CAMERA SYSTEMCable-free Diversity Reception for Live Events

Sony of Canada has unveiled a newwireless camera system that providescable-free mobility for productioncrews covering live events or news.The system consists of two wirelesscamera transmitters (WLL-CA55 andWLL-CA50) that dock on to the backof compatible Sony cameras or cam-corders, and a wireless camera receiver(WLL-RX55) equipped with a dualtuner, diversity switcher and MPEG-2decoder so that the signal with thefewest errors of the two is selected.

The two transmitters both convertacquisition audio/video signals intoMPEG-2 bit-streams for transmissionover the 2.4 Ghz frequency band,allowing a wireless camera system tobe set up easily without need for alicence.

•••ALSO FROM SONY…Compact High-Definition POV Camera

Sony of Canada has introduced thenew HDC-X300 compact high-defini-tion camera, an ideal solution forbroadcast and professional customerslooking for an entry point into theworld of high-definition.

The first Sony HD camera to usethree new 1.5-megapixel, half-inch


newsclips

Richard Stringer csc and the Target Multi-FormatFraming Chart.

Peter Wunstorf was DOP on the Warner Brothers/ABC pilot Kat Plus1 in Vancouver for 12 days in mid-March. The camera crew (fromleft): Rick Allen, Don Saari, Rob Duncan, Peter Wunstorf, Simon Jori,Dave Dubdin and Richard Sinclair.

CCDs, the HDC-X300 is designed for an array of applications, includingpoint-of-view (POV) acquisition,large-screen projection, 24P cine-matography and studio automation.The new camera’s flexibility enables itto be mounted on a crane or in a heli-copter, used as a studio sub-camera or weather camera, or installed innearly any location within a venuesuch as stadiums, conference rooms orschools.

•••NEW CINEALTA HDCAM SR PORTABLE VTRand HD VTR Processor

Sony of Canada has expanded itsCineAlta lineup with the additions ofthe SRW-1 high-definition (HD) digi-tal field videotape recorder and theSRPC-1 HD digital processor. TheCineAlta SRW-1 and SRPC-1 can bebattery- or DC-powered and aredesigned as companions to Sony’shigh-definition HDC-F950 camerasystem. Connected by either a singlefibre-optic cable or dual link co-ax,the portable SRW-1/SRPC-1 combina-tion creates a fully portable, full-bandwidth 4:4:4 (RGB) real-timelocation image capturing systembased on the HDCAM SR format.

“Directors and directors of pho-tography need the same high-qualityimage recording capabilities in thefield as they do on set,” says CalvinJudges, marketing manager, contentcreation division, communicationinformation solutions group, Sony ofCanada Ltd. “These newest additionsto the HDCAM SR line-up providethe portability and flexibility neces-sary to satisfy these requirements.”

CHUM BUYS CRAIG STATIONSToronto-based CHUM Limited has

signed a definitive agreement to pur-chase all shares of Craig Media for$265 million. The deal, pending CRTCapproval, establishes CHUM with con-ventional stations in Edmonton,Calgary and Winnipeg and gives thebroadcaster a second local Torontostation, Toronto 1, in addition to itslong-established Citytv. The deal alsoadds MTV Canada, MTV2 and TVLand digital specialty television chan-nels to CHUM’s burgeoning specialtyproperties. ●


FOR SALE: Sony 3-chip DSR PD-150 with alloriginal accessories, manuals and box; 2extra batteries (one of which is an NP-960 8-10 hour battery), and Century Precisionzoom-through wide angle adapter. Flawlesscondition, purchased in September 2003 andused under 3 weeks. Contact (416) 993-0041

FOR SALE: Nikon Super Zoom system forBetacam - you can fill the frame with themoon or pan within a postage stamp,$7,000; Sony SX999 miniature (pencil)camera with 3.5mm, 6mm and 12mm lens-es, $1,200; BVW25 Betacam record play-back deck with Telcom time code display,Pelican and soft cases, and 110v powersupply $4,000; Two camera master lightingkit; Two 750W Rifalites with diffusers andegg crate grills, 2 Arri stands, 2 HD standswith lighting booms with counterweights,spare lamps, extra cables and case,$2,000; Custom camera safe with elec-tronic lock, for Durango or larger SUV,$400; Nikon OS “V” underwater camerawith 35mm f2.5 lens and SB-102 flash,complete with case, manuals and spare“O” rings, all in mint condition, $1,500.Contact Jim Mercer, 416-932-3485 [email protected]

FOR SALE: Used equipment. Arri SR pack-age, w/10-100 Zeiss, w/Arri Shade & Accs,2 mags & case,15,000; Arri “S” package, VSmotor, primes, cable, battery, 2,500;Panasonic DVX 100P DV Camera, w/stan-dard accs., 3,400; Ang. 12-240, 12-120 Arri“B” mount, call for price;Ang. 5.9mm (Arri S),Ang. 10-150 (Éclair), Ang. 12-120 (CP), callfor price; Century lenses, 25-250 zoom,500mm w/ 2X, 230mm, 300mm, call forprice; Bolex packages, Rex 3’s, Rex 5’s,EBM’s, other Crystal motors, call for price;Filters and more used gear: Check our website www.llsr.com; Phone: (604) 298-3224Fax: (604) 298-2023; Looking for used film orvideo, email [email protected]

FOR SALE OR LEASE: Camera truck withcustom-designed pro-built racking - 2002GMC 3/4 ton 2500 cargo van in mint condi-tion with only 5400KM (factory warranty); fullalarm system - loaded luxury - 4.8 V8 auto-matic, air conditioning, power locks and win-

dows, captain’s chairs, Clarion stereo withtape and CD changer. Buy or Lease. Call John Hodgson for more info about the excel-lent and flexible lease rate options available 905-828-0634

FOR SALE: Sony BVW-75 Betacam-SPEditor/Recorder. Completely overhauled atPrecision Camera at a cost of over $5,000.This machine looks brand new and has 0hours. This deck, along with a Sony BVW-2015 HR Trinitron monitor (ex. cond.) and abonus BVW-75 (for parts) can be yours for$9,500. Many other items for sale. For furtherinformation, go to: www.fieldview.com/for-sale. Tel: (416) 920-7979 – Fieldview MotionPicture. Email: [email protected]

FOR RENT: Pro 35 Adaptor with PL Mountand Nikon Mount. Call Henry Less at 416-678-5377

WANTED: Used Lighting: 2x 1K Ianiro red-head open-face, each complete with safetywire mesh, 4-way barn-door, full scrim setw/holder. 1x 650W Strand or Arri fresnel,complete with 4-way barn door, full scrim setw/holder. 1x 300W Strand or Arri fresnel,complete with 4-way barn door, full scrim setw/holder. Other items of interest: Speed Ring(for 1K Ianiro), Chimera w/fabric baffle,stands, clamps, etc. I’m open to alternativeitems from this list. Please call Andrew @416-535-1475 or email: [email protected]

FOR SALE: From Leather Design Tech,leather items customized to the needs of thefilm industry; also nylon cordura, an inexpen-sive way to create and organize “on set”accessory bags, personal tool belts, cameratool pouches, labelled and slimmer cablepouches. Now making TV monitor covers foreasier monitor viewing. For camera assis-tants, now making camera cart bags to hangoff your carts, with labelling for great organi-zation, approximately 18x18x6 inches, $35-$45 each; and smaller nylon cordura pouchesto hold various cables to reduce the bulk inyour “ditty bags,” 3x4 inches, $8.00. Think ofsomething you need, we can design and cre-ate it together. Call to order: Lori 416-452-9247, 905-895-3807, [email protected] site: www.leatherdesigntech.ca

CAMERA CLASSIFIEDS

Camera Classifieds is a FREE service to CSC members. If you have items you’d like to buy or sell, please fax your list to (416) 699-8521email [email protected]


British Columbia, PrairiesBATTLESTAR GALACTICA (series); DOP: Stephen McNutt csc; 2nd-unit DOP: Henry Lebo csc; to Sept. 1, North Vancouver (HDTV).CABLE BEACH (feature); DOP/Op: Roger Vernon csc; to May17, Victoria.THE COLT (MOW); B-Op: Michael Wale csc; to May 7, NorthVancouver.DEAD LIKE ME (series); DOP: Tony Westman csc; to July 27,Burnaby (HDTV).THE DEAD ZONE (series); DOP: Michael Balfry csc; to May 11,Vancouver (HDTV).DEVOUR (feature); DOP: Brian Pearson csc; Op/SC: JunichiHosoi; May 3-June 7, Burnaby.EARTHSEA (mini-series); DOP: Steve Danyluk csc; 1st: LarryPortmann; May 17-Aug. 4, North Vancouver.EDISON (feature); DOP: Francis Kenny asc; Op: Neil Seale; toMay 1, Vancouver.FAMILY VALUES (MOW); DOP: David Greene csc; May 3-28,Calgary.LITTLE HOUSE ON THE PRAIRIE (mini-series); Op/SC: CareyToner; to June 11, Calgary.THE MAGIC OF ORDINARY DAYS (MOW); DOP: Eric Van HarenNoman asc; Op: Keith Murphy; May 5-June 4, Calgary.REEFER MADNESS (MOW); DOP: Jan Kiesser csc asc; B-Op:Brian Whittred csc; to June 8, Vancouver (HDTV).ROBSON ARMS (series); Op: David Bercovici-Artieda; to May 5,Vancouver.STARGATE ATLANTIS (series); 1st: Grizz Salzl; to Oct. 21,Burnaby (HDTV).

Ontario, AtlanticASSAULT ON PRECINCT 13 (feature); 2nd: Marcel Janisse; B-Op/SC: Andris Matiss; to June 18, Toronto.CAKE (feature); DOP: Gregory Middleton csc; May 25-July 2, Toronto.

DEGRASSI (series); DOP: Gavin Smith csc; to Dec. 3, Toronto.DOC (series); DOP: Barry Bergthorson csc; B-Op:CudahAndarawewa; to June 25, Toronto (HDTV).EVEL KNIEVEL (MOW); DOP: Ron Stannett csc; 1st: JimSaysana; B-Op: Christopher Tammaro csc; B-1st: PeterBattistone; to May 29, Toronto (HDTV).HUSTLE: THE PETE ROSE STORY (MOW); DOP: James Gardnercsc; Op/SC: Rod Crombie; May 17-June 11, Toronto.ICE PRINCESS (feature); B-Op: Perry Hoffman; B-1st: JeremyTabarrok; May 3-July 12; Toronto.INSTANT STAR (series); DOP: Stephen Reizes csc; June 16-Dec. 3.LIFE AND HARD TIMES OF GUY TERRIFICO (feature); DOP/Op:Adam Swica csc; to May 13, Toronto.THE MAN (feature); Op: Mark Willis; to June 15, Toronto.1-800-MISSING (series); DOP: David Herrington csc; Op/SC:Michael Fylyshtan; 1st: Philippe Champion; to Sept. 2,Toronto (HDTV).RADIO FREE ROSCOE (series); DOP: George Hosek csc; to Sept.2, Toronto (HDTV).REGENESIS (series); DOPs: Nikos Evdemon csc, MichaelStorey csc; Op: Brian Gedge; to July 28, Toronto.RIVER KING (feature); DOP: Paul Sarossy csc bsc; to May 5,Halifax.SUBURBAN MADNESS (MOW); DOP: Paul Sarossy csc bsc; May17-June 11, Toronto.SUE THOMAS F.B.EYE (series); DOP: Yuri Yakubiw csc; Op: J.P.Locherer csc; B-Op: Russ Goozee csc; to May 21, Toronto(HDTV).TRUDEAU (mini-series); DOP: Marc Charlebois csc; Op:Christopher Ball csc; May 15-July 14, Halifax.

(Editor’s note: Quebec production listings are no longer available from STCVQ.)

Schedule of Meetings and Events of Interest to CSC Members

ACTION PRODUCTION NOTES & CSC CALENDAR

TORONTOWed., June 2 — Sony of Canada presents its 2nd annual Sony Acquisition Event, with open displays and camera service clinicfrom 4 p.m, reception at 6 p.m., an NAB 04 review and What’s New in Sony Acquisition Presentation at 7 p.m. Local dealers, rentalhouses and lens manufacturers will be on hand. Bring your Sony professional video camera along for a free inspection. Please RSVPto [email protected]. At Studio 99, Gretzky’s Restaurant, 99 Blue Jays Way.

Check www.csc.ca

csc May 2004 · 2019-12-09 · CSC Awards Celebration has come and gone for another year. It’s...

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