March 2009 Volume 28, No. 7

Paul TolTon csc Plays ball

lighTs! camera!…more lighTs? The csc lighting Workshop

The MakingWatchmakerof

By Christopher Ball csc

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CONTENTs M a r C h 2 0 0 9v O l u M E 2 8 , N O . 7

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02 From the President

04 Play ball!: The Work of Paul Tolton csc opens the mlb network For Paul Tolton csc, the 2009 baseball season has already begun. He was the director of photography for Big

Studios, the Toronto-based company that produced and designed all the visual packaging for the new Major League Baseball network.

By Don Angus

07 lights! camera!…more lights?: The csc lighting Workshop from an actor’s Point of View “George Willis [csc, sasc] is a terrific instructor. He has the unique quality of being able to simplify complex

lighting concepts. His lighting philosophies are truly inspiring,” Zöe Dirse csc. By Sydney Kondruss

10 a Visual roller coaster ride for the senses: The making of Watchmaker Inspired by the genius of Norman McLaren, Christopher Ball csc used the master’s “cameraless” techniques

to produce a three-minute-47-second “visual roller coaster ride for the senses.” By Christopher Ball csc

14 industry news

17 camera classified

18 csc members

20 Production notes/calendar of events

The Canadian Society of Cinematographers (CSC) 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.

The purpose of the CSC is to promote the art and craft of cinematography and to provide tangible recognition of the common bonds that link film and video professionals, from the aspiring student and camera assistant to the news veteran and senior director of photography.

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

CORPORATE SPONSORSAll Axis Remote Camera SystemsApplied ElectronicsAmplis Photo Inc.Arri Canada Ltd.Canon Canada Inc.CinequipWhite Inc.Clairmont CameraCooke Optics Ltd.Creative Post Inc.D.J. Woods Productions Inc.Deluxe TorontoFUJIFILM Canada Inc.Image Pacific Broadcast Rentals /Image Central Broadcast RentalsKingsway Motion Picture Ltd. Kino FloKodak Canada Inc.Lee FiltersMole-RichardsonOsram Sylvania Ltd./LtéePS Production ServicesPanasonic CanadaPanavision CanadaPrecision CameraRosco CanadaSim VideoSony of Canada Ltd.Technicolor3D Camera CompanyVideoscope Ltd.William F. White International Inc.ZGC Inc.ZTV

cover image: Christopher Ball csc hand-colouring Watchmaker. Image courtesy of the filmmaker.

Paul Tolton csc Plays Ball

Watchmaker

Atom Egoyan and David Cronenberg

2 • CSC News - March 2009

From The PreSIDeNT

CSC NEWSMarch 2009Volume 28, No. 7

CSC EXECUTIVEPresident: Joan Hutton cscVice-President: George Willis csc sascTreasurer: Joseph Sunday phdSecretary: Antonin Lhotsky cscMembership: Philip Earnshaw cscPublicity: Nikos Evdemon cscDirector Ex-officio: Dylan Macleod cscDirector Ex-officio: D. Gregor Hagey cscEducation: Ernie Kestler

EDITOR-IN-CHIEFJoan Hutton csc

CO-EDITOR-IN-CHIEFGeorge Willis csc, sasc

EDITOR EMERITUSDonald Angus

EXECUTIVE DIRECTORSusan Saranchukadmin@csc.ca

EDITORWyndham Wise mfaeditor@csc.ca

ART DIRECTIONBerkeley Stat House

COPY EDITORDonald Angus

PROOFREADERSKaren LonglandPaul Townend

WEBSITE CONSULTANTNikos Evdemon csc www.csc.ca

ADVERTISING SALESDonald Angusdonangus@sympatico.ca

CSC OFFICE131–3007 Kingston RoadToronto, OntarioCanada M1M 1P1

MEMBERSHIP INQUIRESTel: 416-266-0591Fax: 416-266-3996Email: admin@csc.ca

CSC News is a publication of the Canadian Society of Cinematographers. CSC News is printed by Winnipeg Sun Commercial Print and is published 10 times a year. Subscriptions are available for $35.00 for individuals and $70.00 for institutions.

Canadian Mail Product Sales Agreement No. 478423

In the CSC News October 2007’s “President’s Report” we ran the archival photo below as part of our celebration of the 50th anniversary of the Canadian Society of Cinematographers. At the time we knew it was an important gathering of some of the founding members of the CSC, but no one was really sure they could name all 11

gentlemen, properly attired with their jackets and neckties. Recently we have heard from Vi Crone, whose husband Bob owned Film House, where this photo was taken, and her memory of the names is included below the photo. You will see that there is one name missing, and if anyone knows who this gentlemen is, please be in touch.

Standing to the far left, in profile, is Don McBride, chief staff mixer at Film House, and behind him is Brian Holms from Versafilm. In the back row, the person on the left is unknown, then Gordon Petty from Film Effects, Bob McLeod, Glen Ferrier from Panavision and to the far

right, Christopher Chapman csc. Down front are, from the left, Maurice Jackson Samuels csc, Roy Tash csc, George Morita csc and Len Green, the head of sound engineering for Film House. The photo was taken at Film House, 22 Front Street West, Toronto, circa 1965.

P R E M I E R / G R A N D S P A R T E N A I R E S

The Genie Award statuette was created by Sorel Etrog. / Le trophée Génie a été conçu par Sorel Etrog.

April 4 / Le 4 avril 2009Ottawa, Ontario

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For more information visit www.genieawards.ca

Le 29e Gala des prix GénieLa billetterie des prix GénieLigne directe : 416 366-7616Sans frais : 1 800 644-5194

Pour plus d’information, consultez le site www.genieawards.ca

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4 • CSC News - March 2009

The opening of the 2009 baseball season is just around the corner, when the professional boys of summer play out an annual sports spectacle measured in nine-inning

installments.

For Toronto-based cinematographer Paul Tolton csc, the season has already begun; he watched his work literally flash before his eyes when the Major League Baseball Network premiered on January 1, 2009 to an initial subscription of 50 million homes across North America. Tolton was the director of photography for Toronto’s Big Studios, a broadcast design, animation, graphics and visual effects company that produced and designed all the packaging, including show openers/closings, network IDs, transitions, promos and commercials for the new specialty cable television channel. The MLB network airs live games plus original programming, highlights, classic games and coverage of baseball-related events.

“There have been over 80 visual pieces delivered to the network to date,” Tolton says. “The range of duration of each piece varies vastly, some three seconds in individual transitions, 10-second intros, 20-second promos to 30-second spots.”

He says about 15 per cent of the scenes on the MLB network are classic captures from baseball’s film treasury of historic moments and achievements. Archival footage of Babe Ruth’s “called shot,” Bobby Thomson’s “shot heard round the world,” Jackie Robinson’s daring steal of home plate, Roger Maris’s 61st home run in 1961, Bob Gibson’s 17 strikeouts in the first game of the 1968 World Series – they are all there, blended almost seamlessly with modern “extended” footage.

“We used historical footage of actual baseball heroes and events,” Tolton says, “but we also created other shots, other angles to extend the real historical moment and historical footage.

By Don Angus

The Work of Paul Tolton csc Opens the MLB Network

PLAy BALL!

CSC News - March 2009 • 5

On Ruth’s called shot, there are stills and a home movie that we were able to obtain. From these, we drew lighting diagrams for a green-screen shoot (the green screens were done in Toronto) that tell us where the shadow of the stadium was. Home plate was in the shadow but by the time Ruth rounded first base he was in full sun. We wanted to make sure that everything we shot would intercut with the real archive.”

Ruth’s much-debated called shot home run for the New York Yankees came in Game 3 of the 1932 World Series at Wrigley Field in Chicago. During the at bat, with two strikes against him, Ruth made a pointing gesture, which existing film confirms. The story goes that Ruth pointed to the centre field bleachers during his at bat, supposedly declaring that he would hit a home run to that part of the park. On the next pitch, Ruth hit a home run to centre field.

Tolton says he and his crew went into the project “with a full arsenal of equipment,” a Sony F900 HD package to shoot regular speed, a RED ONE 2K 35-mm digital camera for 120fps slow motion and a Phantom high-speed HD camera. The Phantom was used for “super ultra slo-mo” at 1,000fps. He adds that “we also had a FlyCam – there are only a few of them around – which is a six-foot helicopter with an HD cam on board.”

Over the last five years, Tolton has worked with Big Studios partner and creative director Jocelyne Meinert on a number of projects similar to the opening and program packaging for the

MLB Network. The studio’s clients include HBO, “Hockey Night in Canada,” the Super Bowl, ESPN boxing and golf and the show opening for the CBC reality series “Dragons’ Den.” Big Studios has won three Emmy Awards for graphics work.

Shooting for Major League Baseball, the last of the four major professional sports (MLB, NHL, NFL and NBA) to launch its own television channel, began in early September 2008 at venerable Wrigley Field in Chicago during a game between the Chicago Cubs and Houston Astros. The crew had full access to the ballpark, second oldest in the majors (built in 1914) behind Boston’s Fenway Park (1912). The first job was to photograph the architecture, the ivy-covered outfield walls and other characteristics that would form the backdrop of green-screen work.

Tolton explains that a key challenge “was to shoot iconic footage without a specific recognition factor. It had to be footage that was sort of generic but also dynamic. That was very difficult. The production had the rights to use team logos, but personal identity created the problem of limited longevity.” The solution was to use unknown Triple A players and actors “to frame so as to avoid seeing faces, except with historical moments where prostheic makeup and computer enhancement were used to replicate faces as close as possible.

“We used authentic team jerseys when we were doing the his-torical recreations, which were quite a challenge for the wardrobe mistress,” Tolton chuckles. “She was pinstriping entire uniforms

Opposite page: Paul Tolton csc. Above: Filming in Pittsburg Pirates’ PNC Park. “We shot in Pittsburgh for two entire days without any people in the stadium, later filling the stadium electronically in post with crowd simulation software called CrowdSim,” Tolton. Photos by Jacky Wan courtesy of Big Studios

6 • CSC News - March 2009

with a Sharpie because the pinstripes of modern uniforms are closer together than historic versions. For the images of star players from the past, we went through all the options of trying to find look-alikes. Babe Ruth, for example, was a stout man with a round face and little pin legs. We had to use one person for his upper body when he was at bat for his ‘called shot’ home run (shot from a semi-circular dolly track) and a different person with spindly legs when he was running around the bases.”

The DOP says his camera team replicated a number of realistic moments from typical ball games, like a player diving back to third base on an attempted pickoff throw from the catcher. “We tried to have an out-of-focus background, like the crowd and the ivy covering the outfield wall at Wrigley Field. We shot in Pittsburgh (at the Pirates’ PNC Park) for two entire days without any people in the stadium, later filling the stadium electronically in post with the same crowd simulation software, called CrowdSim, that was used in Lord of the Rings.”

Tolton says he enjoyed playing with all his high-price gear; the FlyCam helicopter, with a crew of three, “was very effec-tive for intimate aerial shots within the stadium, although the ‘prosumer’ HD Camera on board was limiting versus the 35-mm film version of the chopper I had used on a previous project.” He used the RED ONE camera for slow-motion images; it shoots 120fps with 35-mm optics at 2K resolution. “One of the things we did on the recreations of historical moments was to insert a little bit of slo-mo drama. The RED was a fabulous tool for that.” And he called the Phantom spectacular. “We were shooting at 1,000fps; that turns four seconds real time into two-and-a-half minutes screen time. It lets you see the game in a way the eye cannot.”

Tolton says he pitched ultra slo-mo to Big Studios and the MLB “to do something different and unique. Baseball has been shot and shot and shot, so when we were approaching the project, we wondered what can we do differently, how can we engage the viewer and make something that they haven’t seen: the elegance of sliding into base, a pitcher’s ball hitting the glove, the dynamics of the leather as it folds in a strange and beautiful way, the ball meeting the bat – just trying to get a new, interesting perspective on the dynamics of the game.”

The busy cinematographer squeezed a three-week shoot in South Africa in between the first MLB shoots in the U.S. and the shoots in Toronto, and his next stop is a docudrama in Israel. He says he is “looking forward to future projects where creativity and technology can produce such exciting visuals, regardless of genre.” Among his career credits and awards, Tolton has picked up a Gemini Award nomination and four CSC Award nominations, for music video, feature, performing arts and commercial. (Paul Tolton’s reels can be seen at www.paultolton.com.)

Above: Babe Ruth’s “called shot.” Left: PNC Park. “One of the things we did on the recreations of historical moments was to insert a little bit of slo-mo drama. The RED was a fabulous tool for that,” Tolton csc.

CSC News - March 2009 • 7

lights! camera!…

more lights? The csc lighting Workshop from an actor’s Point of ViewBy Sydney Kondruss

It was January. Cold and dark – pretty much the most depressing time of the year – and as a struggling new actor I was trying to think of ways to stay connected in the

film business. So, on Saturday, January 17, I decided to take the CSC Lighting Workshop. “Why?” you may ask. “What’s so special about taking this workshop?” Well, I was about to find out, because I can honestly say I know diddly squat about cameras, lights or being a DOP. I can pretend I do, but even I don’t think my acting skills are that advanced. The workshop took place at William F. White International, 1030 Islington Avenue in Toronto, a building I’ve always felt comfortable in, maybe because the CSC clubhouse resides there. At 9 a.m. there was a full house of 18 participants of different ages, ethnicities and working backgrounds. Everyone sat down and awkwardly waited for their first instructions.

Then appeared George Willis csc, sasc, the course leader, who is poised, with a strong presence – an essential quality in a teacher. He told us we were going “back to basics.” I felt immediate relief. Placed beside George was a pile of strange gadgets. Essentially lighting tricks, I was soon to learn, which I could have used when making my own dramatic short film that, as it turns out, could easily be rebranded as an instructional video titled How Not to Light a Set.

I couldn’t believe it. I was being taught how to light a set with tin plates as reflectors, open cardboard boxes using the flaps for barn doors, windshield wiper fluid containers and flexible cutting boards as diffusers, and CDs as reflectors – it looked great. To be honest, I don’t care how experienced, or not, someone is, these tricks are valuable to anyone. They can be used on the poor-man set or the forgetful-guy set that quickly needs a solution.

Above: Author and participant, Sydney Koudruss. Below: Patrick Doyle, cinematographer and Steadicam owner/operator from Halifax, NS. Photos courtesy of Ernie Kestler

8 • CSC News - March 2009

The second day, the weather got even worse. More snow, more cold, but that didn’t matter because it was “hands-on day.” Knowing each other a bit more, everyone was feeling more social. We formed five groups and each group had a different situation to light. Our group location was a tiny space with a large circuit board; there was barely enough room for two people to stand in. George coined our group “the closet queens.”

Remembering what he had said the day before, in his sophisticated South African accent, our group planned the assault on the closet and circuit board by going back to basics. I armed myself with a windshield sun reflector, and we turned that tiny room with the breaker box into an intense nuclear meltdown scene complete with a flashing red light and a warning sound FX from a fellow student. Beep! Beep! Beep! It turned out pretty darn good, but mainly because my partner happened to be the very talented CSC affiliate member Ian McLaren.

To emphasize my point about Ian, here is his description of our nuclear-meltdown exercise: “We used two Arri Fresnels, one 150 watt and one 300 watt. We doubled up a full CTO to create the emergency flashing light with the 300. The 300 was paired with the 150 because the light lost from the doubled CTO was so great. We wanted red but, at the time, all we had was colour correction. We put that lamp on a flicker generator to create the emergency light effect. We put a one-quarter CTB on the 150 to act as a ‘battle stations’ – à la Hunt for Red October – area light that acted as a kicker for the actor. This light was also patched into the flicker generator but was configured not to flash. This is done so that when the actor tripped the breaker, we could kill both lights simultaneously. At this time in the scene, the actor was left with only a flashlight for illumination. The gag of the meltdown being averted, we used a two-foot, four-bank KinoFlo to act as the ‘all systems normal’ state of lighting. We flickered the ballast before reaching our exposure level.”

See what I mean? Lucky me to have been partnered with Ian. Everyone hurried to finish their projects, receiving guidance from CSC education chair Ernie Kestler, gaffer Bob McAdam (a wicked cool guy) and CSC executive director Susan Saranchuk, who was helping everyone with anything, which she is pretty much an expert at doing. Finally the time had come. We were about to bare all, revealing our “babies” and show the world our lighting technique. We received nothing but constructive criticism and support from George in his assessment of our meltdown.

More from Ian: “George was impressed with our use of space as the closet was very, very small, but in the context of the frame we made it feel very big. He said it was very stylized. One of the things he was teaching us was motivated lighting, not lighting something for lighting’s sake. He was very impressed with the three states of lighting we employed: the first being the state of emergency, the seond being the single flashlight used by the actor and the final state of all things normal. He thought it was fairly innovative and a good use of a tight space.”

George Willis is a terrific instructor. He has the unique quality of being able to simplify complex lighting concepts. His lighting philosophies are truly inspiring.” – Zöe Dirse csc

CSC News - March 2009 • 9

The critique is a truly valuable part of the course because as an actor you need feedback to become stronger, and more skilled at your craft. I could see in the faces of my fellow participants that they felt the same way. I think as an actor it’s important to under-stand all the jobs on a film so that you can learn to better appreciate them, and I feel I accomplished a part of that at the CSC lighting workshop. I learned things that would have taken me years to figure out on my own. But, most importantly, I learned how challenging it’s to be a DOP and how creative it can be. It’s not just about wires, lights and cameras; it’s also about a vision, a message and a story being told through the eyes of a passionate team member – the director of photography.

The following are a selection of quotes, taken at random, from some of the course participants: “There were lots of good take-home ideas,” Sandy Thomson

“George Willis is an engag-ing and informative instructor, his experience is obvious and demonstrated by his useful tips and tricks for lighting within a budget,” Katie Matheson “All the questions about cinematography you can’t ask on set,” Sean McBride

“The workshop reminded par-ticipants of the fundamentals, and we applied them in a critical environment in creative ways,” Dan Crowder “Plain, boring, by-the-book lighting techniques? Not in this lighting workshop. We learned how to light a set using easy-to-do creative techniques,” Steve Szolcsanyi

The CSC Lighting Workshop was made possible thanks to the generous contribution of Cinequip, DSA Design Sets Assembly Limited, Image Central Broadcast Rentals, Lee Filters Canada, Rosco Canada, William F. White and Bob McAdam. The participants were Jimmy Bennett, Myles Borin, Dan Crowder, Zöe Dirse csc, Patrick Doyle (from Nova Scotia), CSC affiliate member Tony Edgar, Luke Gallo, Sydney Kondruss, Jeyachchandran Manikasingam, Katie Matheson (from Vancouver), Sean McBride, CSC affiliate member Ian McLaren, Cherlene Merlo, Cabot McNenly, Sean Sealy, Steve Szolcsanyi, CSC associate member George “Sandy” Thomson (from Burlington, ON) and Prejeeve Thurairajah.

Course instructor George Willis csc, sasc, standing, directs Katie Matheson

Steve Szolcsanyi, production manager for Parkland Media, Toronto, is framed.

10 • CSC News - March 2009

Many years ago in grade school I remember seeing my first Norman McLaren scratch animation, called Hen Hop (1942). Norman McLaren worked at

the National Film Board of Canada from 1941 to 1987 and established the animation department. He was a pioneer in the art of handmade cinema, also known as cameraless or scratch animation, where the filmmaker draws, scratches or paints directly on the film.

Over the years, McLaren’s technique percolated in my mind and eventually morphed into a concept for a project that utilizes the techniques of handmade cinema, but also uses live action, rotoscoping and visual layering to create a collage set to music. The opportunity to embark on the project recently presented itself when, at a concert with co-producers Megan Wennberg and Aram Kouyoumdjian, I mentioned the idea. They both thought the project would be fun and interesting, and we decided to see if we could get something going. We first looked for music that would be suitable for the proposal, which meant it had to be rich and complex with lots of instruments and multiple melodic layers to complement the texture of the image. Megan thought of The Tom Fun Orchestra – an indie rock ensemble from Sydney, Nova Scotia, which features an unconven-tional mix of electric and acoustic instruments – who we approached, and they were immediately onboard with the idea. We started to put a package together for funding and after

a couple of dead ends, Bravo!Fact came through with 50 per cent of our budget, enough to proceed with deferrals while we raised more funding.

The concept was to utilize live-action footage as the base image, overexposing it to create white space on the screen where the animation could be drawn in afterwards. The filmed images would also be hand-coloured, traced, scratched or blocked out to create layers of imagery.

The live-action shoot was completed in early February 2008 with the nine members of The Tom Fun Orchestra performing against a 40-foot-by-40-foot white backdrop. It was shot on an Arri 35III camera, and I overexposed the film (Kodak Vision 500T 5218) by four-to-eight stops to make sure that anything that was bright went pure white and to “thin” out skins tones and colours so that we could add that back later by hand-colouring.

By Christopher Ball csc

The MakingWatchmakerof

Christopher Ball csc lines up a shot with 1st A/C Becky Parsons and 2nd AC D’Arcy Fraser.

CSC News - March 2009 • 11

This footage was processed, transferred to MiniDV, and Kim McTaggart did the picture edit to the music track. From the off-line edit, we did a negative cut and produced a 35-mm answer print, which was our “raw” footage. Simultaneously, the soundtrack was transferred to 35-mm magnetic stock. We also shot “movement guides,” which were shots of things like water flowing, waves crashing on shore, people running and jumping, fields of dots or lines on turntables and trees rushing by out of car windows. This footage was processed and printed on 35-mm film.

While all this was going on, I started to set-up the animation studio in my basement. I had found an old sketch of a machine that Norman McLaren designed for his films, which enabled me to draw on a frame and then project that image onto the next frame so I could see the progression of my animation. I commissioned Clark Biesele to recreate the machine from this rough sketch, which turned out to be quite an undertaking. After some fine machining and a month of playing around with lenses, prisms and apertures, the apparatus was built. We didn’t really know what to call it, so we referred to it as the Biesele Prism Rotoscope.

I also built a light table with a 35-mm wide groove for use as a rotoscope, allowing us to lay down a movement guide (strip of film) and then place our overexposed raw footage on top. The motion guides (the rotation of the turntable; a body jumping through the air or the movement of water) could either be traced directly or just used as a “real-life” motion reference.

The interesting thing about drawing directly on to film is that the simplest of lines take on a wild vitality because it’s impossible to draw perfect identical images from frame to frame. As a result,

hard lines vibrate and colours pulse erratically. Pairing this insane motion with a slow-or-normal-motion rotoscope creates a visual tension that throws the viewer off. You know it’s real; but it’s totally abstract at the same time. I also took some old Steenbeck spare parts and built a paint stand, which allowed us to paint on the film and then go through a series of rollers to dry before the take-up reel. Finally, I put together an old-fashioned edit bench with rewinds, synchronizers and a 35-mm Steenbeck six-plate editing table. Anyone remember those?

As soon as the sound arrived on 35-mm magnetic stock, I started creating a “visual guide track,” which involved running the mag stock through the Steenbeck or across the synchronizer sound head at various speeds. In sync with the mag stock was a piece of 35-mm white leader on which I would mark out the melodies, beats, instruments, base notes and trumpet blasts with various colour markers. When finished, we could literally see the music laid out on the white leader. When the final print of the raw footage came back from the lab, we put that in the synchro-nizer with the mag stock and the white leader and marked out and edge-numbered every foot. Now we had a frame-for-frame visual reference of what the music was doing so we could animate specifically to the soundtrack in sync. If a drumbeat happened at 245 feet plus eight frames, we could animate a specific image on that frame of picture. Now we were able to start the animation.

The goal of the project was to create a visual roller coaster ride for the senses. In three minutes and 47 seconds, the viewer is assaulted with layers of colour, movement and sound – faster than they can possibly take it all in. The images are alternately synchronized or intentionally thrown out of sync with the music, and each layer of image is following something

Watchmaker: A roller coaster ride for the senses. Right: Christopher Ball csc works from a movement guide on the rotoscope.

12 • CSC News - March 2009

different on the music track. With that in mind, the animators did not have many restrictions, other than to always reference the music in some way.

Due to delays that forced us to complete the animation phase within one month, it became somewhat of a community project. Eleven animators (the producers, as well as neighbours, friends and artists) put in 322 hours of work colouring, scratching, blacking-out, dyeing, rotoscoping and hand-drawing the film. The print was cut into several sections, allowing animators and colourists to rotate from bench to bench as each section demanded. Some setions of the film were put in 35-mm stills film developing tanks overnight with Easter egg dye, which richly tinted the film. Some sections went through several passes of animation, rotoscoping and colouring to create the layers of imagery. There were no limits on ideas and lots of techniques were tried. I did a number of tests before the animation process began, so we weren’t going blindly but had a good idea of what we were achieving. The primary drawing tools were technical pens, paintbrushes, Kodak emulsion dyes (originally designed for print and negative touch ups before Photoshop made them obsolete), India ink, Sharpies, markers, stained glass paint and razor blades for scratching.

Periodically, we would put the print on the Steenbeck with the 35-mm mag track to see how the film was progressing. Cheers and whoops accompanied most of these viewings as we saw the animation come to life. Sometimes we got what we were

expecting; occasionally we were disappointed, but mostly we were pleasantly surprised. After hours of splotching paint on 35-mm wide frames while grooving to scores of CDs, watching our labour literally come alive on the screen was incredibly rewarding. It could be disconcerting, however, watching the rotoscope you’d spent hours painstakingly plotting out, flash by in mere seconds. These viewings were rare because we were handling an increasingly valuable original, which tried to keep from being scratched and marked by excessive handling.

Once complete, the film was taken to Creative Post in Toronto for transfer to HDCAM SR in preparation for a digital intermediate finish. (I had originally wanted to stay analogue all the way to the end, but due to the fact that few projects are doing an optical finish, interneg stock has skyrocketed in price, making it cheaper to do a DI). The transfer was actually the first opportunity to see the final product. The brief screenings we’d had in the animation studio were discontinuous excerpts, viewed on a dark Steenbeck screen with a mono soundtrack, and we could never really watch the entire film properly. I was quite nervous because for months I had been espousing this concept and how great it would be, without anything I could really show, and this was the actual moment of truth.

Thankfully, it looked pretty darned amazing. Almost all of the ideas that we tried in the animation were hugely successful and the dense layering was extremely hypnotic (even though at times I was worried it might be too much). The online suite at

The making of Watchmaker: Christopher Ball csc checks a section on the Steenbeck. All images courtesy of the filmmaker.

CSC News - March 2009 • 13

Creative Post has a 12-foot screen and a $30,000 projector, so the first big-screen experience was pretty mind blowing. This is not a film for anyone who’s taken LSD, least it bring on a serious flashback. One or two of the staff at Creative Post dropped in to have a look at the film, and before long there was a big crowd and lots of comments such as “that’s amazing,” “wow,” ”cool,” “unbelievable” and the repeated question: “You painted every frame?” The first public screening was extremely triumphant, to say the least. I had a big sigh of relief at the end of that day.

The BetaSp version of Watchmaker aired on Bravo!Fact in November. With additional funding from the National Film Board of Canada and the Atlantic Filmmaker’s Coop, we completed the DI and screened the prints at several Film Circuit theatres around Atlantic Canada. Watchmaker premiered at the 2008 Atlantic Film Festival and won Best Music Video at the Silver Wave Film Festival in New Brunswick. Hopefully for everyone who sees it, Watchmaker will be the visual roller- coaster ride that it was designed to be, especially on a big screen. The film can be viewed on YouTube or maybe at a Film Circuit theatre near you.

The principal credits for Watchmaker are Christopher Ball csc, director / producer / cinematographer / animation; Megan Wennberg, producer / animation; Aram Kouyoumdjian, producer / animation; Kim McTaggart, editor; and The Tom Fun Orchestra, music.

Top: Shooting The Tom Fun Orchestra. Above: Making the visual soundtrack guide from the 35-mm magnetic track. “The concept [of Watchmaker] was to utilize live-action footage as the base image, overexposing it to create white space on the screen where the animation could be drawn in after-wards. The filmed images would also be hand-coloured, traced, scratched or blocked out to create layers of imagery,” Christopher Ball csc.

DEluXE’s sTaN FOrD rETIrEs aFTEr 43 YEars

A good friend of the CSC, Stan Ford, Deluxe Toronto’s vice president for video & data dailies, retired at the end of January, just months shy of 43 years of service to the film industry. “I joined Film House, one of the few professional film laboratories and sound operations in Canada (as Deluxe Toronto was known then) in the summer of 1966,” he told CSC News.

A chance meeting at a barbecue he attended with his brother led him to his future career. A guest, Adam Pedan, a commercial editor working out of Film House, told him that they were hiring young fellows to work in its sound department and arranged an interview for him. “If I hadn’t gone to that barbecue,” he said, “I wouldn’t be in the film business today.”

Film House was located at 22 Front Street West and owned by Bob and Vi Crone (an honourary member of the CSC), who found-ed the company in 1963. The processing lab was on the first floor and a small sound department on the second floor. In 1966 Film House was only processing black-and-white film and did not get into colour until 1968. “I can recall the first feature film that we worked on called Winter Kept Us Warm, directed by David Sector,” he remembers. “I also remember the opening of Ontario Place and the first Imax film that we mixed, North of Superior, produced by Graeme Ferguson and Bill Shaw, and my first visit to a movie set in 1977, Welcome to Blood City, being shot at Kleinburg Studios.”

In 1978 Film House purchased Quinn Laboratories and Mirrophonic Sound. Ford was general manager of both Film House and Mirrophonic sound de- partments. In 1982 Mirrophonic was shut down and merged with Film House. Film House again changed hands in 1986 when Cineplex and partner MCA Universal purchased Film House from Doug Macdonald. Ford was promoted to vice president sales. Doug soon retired and Cyril Drabinsky became president. In 1988 Film House post-production moved to its new home at 424 Adelaide Street East. “It was exciting to have the oppor-tunity to move into a brand new facility with state of the art equipment. We were better equipped to provide services for the feature film market both domestic and US.” Cineplex then sold Film House to the Rank Organiztion and changed their name to Deluxe.

Commitment to the filmmakers is a hallmark of Ford’s time with Film House/Deluxe. He worked on many of the films for Norman Jewison, David Cronenberg, Atom Egoyan, as well as over 27 movies for Don Carmody and hundreds of other feature and television projects. He is proud of the opportunity to have worked with the world’s best cinematographers, directors and producers.

As one of the sales executives for Deluxe, he said, “I represented Deluxe at all of the various events throughout the year. We have always supported the Academy of Canadian Cinema, CSC, DGC, CFTPA and the Canadian Film Centre.” Ford was also a director of the Canadian Film Centre and has been associated with many of the new up and coming filmmakers. In 2005 the CSC honoured Stan Ford with the Bill Hilson Award for his contribution to the film industry and in 2000 Ford was selected as Person of Year, an award presented by Panavision, W. White Lighting and PS Production Services.

When asked what are you going to do now that you have retired he replied “I’m sure that I will have a busy and fulfilling retirement with time for travel and golf.”

14 • CSC News - March 2009

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Pierre Gill csc has won two Genies, for The Rocket in 2007 and Lost and Delirious in 2002. He was also nominated for The Art of War (2001), Souvenirs intimes (2000) and Liste Noire (1996). Gregory Middleton csc has yet to win a Genie Award, and has previously received five nominations for best cinematography, including Falling Angels (2004), Between Strangers (2003), The Five Senses (2000), The Falling (1999) and Kissed (1997).

The 2009 Genie Awards will take place Saturday, April 4 at the Canada Aviation Museum in Ottawa, and will be broad-cast on Global Television. This is a slight departure in venue for the Academy of Canadian Cinema and Television, which usually stages its awards ceremony in either Toronto or Montreal. The first three awards show, 1949 to 1951, were held in Ottawa.

CrONENBErG aND EGOYaN GO hOllYWOOD

Two of Canada’s most recognizable name directors, David Cronenberg and Atom Egoyan, are simultaneously making a move into mainstream Hollywood productions. Both, in their own way, have built their careers and reputations with art-house, edgy, sometimes transgressive films, so it might come as a surprise to some that now they should be drawn to such commercial projects.

In the case of Cronenberg, it has been a slow but steady career arch. The former “baron of blood,” as he was known in the early days when he was making the likes of Shivers, Rabid and The Brood, matured with such art-house classics as The Fly, Dead Ringers, Naked Lunch and Crash, and more recently with the box-office-friendly hits A History of Violence and Eastern Promises, both Oscar nominees. Now he has chosen to go full-throttle Hollywood with his most

16 • CSC News - March 2009

mainstream project yet, The Matarese Circle, an adaptation of Bourne Identity author Robert Ludlum’s 1973 novel with megastar Denzel Washington set to play the lead. The Cold War-era film will centre on an American (Washington) who must collabo-rate with a Russian to take on a group that attempts to infiltrate international politics to ominous ends. Whatever the result, you can be sure Cronenberg will be making it on his own terms.

Egoyan has chosen to direct Chloe, an erotic thriller starring Oscar nominees Julianne Moore and Liam Neeson. Shoot-ing began in Toronto in February, and it is the first film directed by Egoyan that is not based on his own script. It was penned by Erin Cressida Wilson (Secretary) and is described as “a smart, sexy thriller in the vein of Fatal Attraction.” The film is being produced through the Montecito Picture

Company, co-founded by expat and Hollywood heavyweight Ivan Reitman (Ghostbusters) and former Universal chair-man Tom Pollock, who developed the film. Ivan’s son, Jason Reitman (Juno), is an executive producer. Although Chloe was originally set in San Francisco, Egoyan persuaded Reitman to relocate to Toronto, where he could work with his own team, including DOP Paul Sarossy csc and composer Mychael Danna.

A long-time friend of the CSC, Doreen Leon the day before retiring from her job as receptionist at Technicolor Toronto.

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CSC News - March 2009 • 17

EquipmEnt for rEnt

Vancouver-based 35-mm moS camera package: Arri 35 III 3rd generation specs. 130fps motor, N35 4 perf movement, CE high-speed base and accessory box, PL mount, custom Jurgens optics with color tap and frameline generator; 2 x 400’ mags; FF2; 5x6 matte box; two dual 12v batteries and chargers. All gear ships in four cases. Well maintained former Clairmont package. Contact Adam Braverman: 604-418-0241; adam_braverman@hotmail.com.

EquipmEnt for SalE

Sony BVW-400a Betacam Sp Camcorder Camera used by professional cinematographer (one owner), never rented out. Comes complete with Fujinon A15x8BEVM-28 lens, Petroff matte box with 4x4 and 4x5.6 filter holders, remote zoom and focus control for lens, 6 Cadnica NP-1 batteries, Sony BC-1WD battery charger, Porta-Brace fitted cover w/ rain jacket (like new) and Sony factory hard shipping case and manuals. Lens and camera professionally maintained by factory technicians. Usage hours are: A – 1,918 hours; B – 1,489 hours; C – 4,286 hours. $10,000.00 obo. Contact: Craig Wrobleski csc (403) 995-4202

aaton Xtr Super 16 pkg: including body, video relay optics, extension eyepiece, three magazines, Cooke 10.5-mm–60-mm S-16 zoom lens, Zeiss 9.5 prime lens, 4x4 matte box, 4x4 filters (85,85N6, polarizer, ND6, clear), follow focus and cases $22,000; Nikon 50–300 -mm F4-5 E.D. lens w/support, $1,000; Zeiss 35-mm prime lens set (Arri std. mount): 16 mm, 24 mm, 32 mm, 50 mm and 85 mm, $4,500; Kinoptik 9–8-mm 35-mm format lens c/w sunshade $1,400; Arri 35-mm IIC camera w/ turret for Arri, standard Arri bayonet and Nikon mounts, level 7 variable speed motor, 3x 400ft magazines w/ loop protectors, periscope viewfinder, matte box(takes 3x3 filters) IIC hi hat. Package including transport cases $3,500; Ronford 2004 fluid head (150-mm bowl) with Sachtler tall and baby legs, $5,000. stringercam@shaw.ca or mike@imagegearinc.com

factory-sealed fuji film stock. Three x 400ft., 35-mm 500ASA, 250ASA and 160ASA. Regular price, $500 per roll. On sale for $340 per roll. Also can sew various types of heavy-duty material. Repairs and zipper replacement on equipment and ditty bags. Lori Longstaff: 416-452-9247; llong@rogers.com.

Sony DSr-130 mini DV/DVCam Camera. ENG rig in excellent condition, comes with soft-shell carrier. Includes DXC-D30 head, DSR-1 DVCAM VTR, Canon YJ 18x9 KRS internal-focus 1x/2x lens (servo/manual), DXF-701WS ENG viewfinder, condenser mic and Anton Bauer battery. DSR-1 hours: A:233; B:133; C:327. Recent factory servicing, reports and pictures available. $8,500 obo. Justin Guimond: 604-568-8023, justin.guimond@gmail.com.

two Complete Video Villages for Sale $2,000. At this price, these units will pay for themselves in less than five weeks on a normal television series. Cost to create new would be over $5,000. Plus these very sharp, robust AC/ DC monitors are no longer available! Includes four x 9inch Sony AC/DC monitors,

four 12V batteries and chargers, four A&J hard cases, remote controls and antenna signal boosters, spare power cords, connectors, etc. BNC cables in winder, two stands, dolly carts and doorway boxes with storage drawers. Contact :Robert McLachlan : office: 604-926-5253; cell: 604-761-4041; rmclachlan@mac.com.

DVW700WS Digital Betacam with viewfinder and two widescreen zoom lenses. Canon J1 5x8 B4WRS SX12 and Fujinon 5.5-47. Very low hours on new heads. $20,000, plus taxes. Contact: Michael Ellis: 416-233-6378.

Betacam Sp Camera package. BVP550 Betacam SP camera with BVV5 recorder, complete with Fuijinon 15x8 broadcast zoom lens, “Red Eye” wide-angle adapter, 6 IDX Li-Ion batteries, IDX quick charger with AC adapter, flight case, soft carry case, Sony monitor and 10 fresh Beta SP tapes ($140 value). $2,500. Call Christian: 416-459-4895.

arri iii clear rain cover with carry bag (Like new, very little use.) $100. Anton Bauer Lifesaver “Interactive Logic Series” dual charger in excellent condition, minimal use with AC power cord and two Proformer batteries (need to be re-celled) $150. Hard-shell transport case for broadcast or 16 mm, good condition $40. Petroff 3x3 filter tray, $30. Photos available. Contact: John Banovich: 604-726-5646 or John@GreenEarthFilms.net.

Elmo transVideo trV16 16-mm film-to-video converter color CCD. Converts mag or optical film frame, color, iris, focus adjustments. Excellent working order. Best offer accepted. Contact: Bea: feldab@rogers.com.

Betacam Sp D30 camera, PVV3 Recorder Back, Fujinon 16X, 9-144 zoom lens, six batteries, charger, power supply and case, Sony PVM 80Q 7 1/2inch monitor and case. $3,500. Contact: Joan Hutton: 416-693-9776.

Sony DVW700 Digital Betacam camera. Excellent condition. One Sony viewfinder, one Sony battery case, one Sony tripod adaptor, and one 8x160-mm Canon zoom lens. $19,900 plus taxes. Call 613-255-3200.

fiElD anD poSt-proDuCtion EquipmEnt

Cinematographer’s personal Betacam camera and film sound equipment. Neumann mics, Micron wirelesses, etc. Sony BVW400 camera, tripod, lights, and grip. Full list at saltwater.ca/equipment.

Sony DSr-500WSl DV Cam. Camcorder hours: A:1,435; B:776; C:1,810. English and French manuals, $4,400. Canon YJ1 8x9 BRS zoom lens, $2,200. Canon YJ 12x6.5 B4 zoom lens, $4,000. Sony UVW-100 Betacam SP camcorder, Fujinon S 16x6.7 BRM-18 zoom lens, and Porta Brace soft carrying case, $1,250. Contact: Nick de Pencier, Mercury Films: 416 516-2661; mercfilm@istar.ca.

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Camera Classified is a free service provided for CSC members. For all others, there is a one-time $25 (plus GST) insertion fee. Your ad will appear here and on the CSC’s website, www.csc.ca. If you have items you

would like to buy, sell or rent, please email your information to editor@csc.ca.

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18 • CSC News - March 2009

CSC FULL MEMBERSJim Aquila cscEduardo Arregui cscJohn Badcock cscMichael Balfry cscChristopher Ball cscJohn Banovich cscJohn Stanley Bartley csc, ascStan Barua cscYves Bèlanger cscPeter Benison cscJohn Berrie cscThom Best cscMichel Bisson cscMichael Boland cscRaymond A. Brounstein cscThomas Burstyn csc, frsa, nzcsBarry Casson cscEric Cayla cscHenry Chan cscMarc Charlebois cscRodney Charters csc, ascDamir I. Chytil cscArthur E. Cooper cscWalter Corbett cscSteve Cosens cscBernard Couture cscRichard P. Crudo csc, ascDean Cundey csc, ascFranáois Dagenais cscSteve Danyluk cscDavid A. De Volpi cscKamal Derkaoui cscKim Derko cscSerge Desrosiers cscJean-Yves Dion cscZoe Dirse cscMark Dobrescu cscWes Doyle cscGuy Dufaux cscRay Dumas cscAlbert Dunk csc, ascPhilip Earnshaw cscMichael Ellis cscCarlos A. Esteves cscNikos Evdemon cscDavid Frazee cscMarc Gadoury cscAntonio Galloro cscJames Gardner csc, sascDavid A Geddes cscIvan Gekoff cscLaszlo George csc, hsc

Pierre Gill cscRuss Goozee cscSteve Gordon cscBarry R. Gravelle cscDavid Greene cscJohn B. Griffin cscMichael Grippo cscManfred Guthe cscD. Gregor Hagey cscThomas M. Harting cscPeter Hartmann cscPauline R. Heaton cscBrian Hebb cscDavid Herrington cscKarl Herrmann cscKenneth A. HewlettRobert Holmes cscJohn Holosko cscGeorge Hosek cscColin Hoult cscDonald Hunter cscJoan Hutton cscMark Irwin csc, ascJames Jeffrey cscPierre Jodoin cscMartin Julian cscNorayr Kasper cscGlen Keenan cscIan Kerr cscJan E. Kiesser csc, ascAlar Kivilo csc, ascDouglas Koch cscCharles D. Konowal cscLes Krizsan cscAlwyn J. Kumst cscJean-Claude Labrecque cscSerge Ladouceur cscGeorge Lajtai cscMarc Lalibertè Else cscBarry Lank cscHenry Lebo cscJohn Lesavage cscHenry Less cscPierre Letarte cscAntonin Lhotsky cscPhilip Linzey cscJ.P. Locherer cscPeter C. Luxford cscLarry Lynn cscDylan Macleod cscBernie MacNeil cscGlen MacPherson csc, ascShawn Maher csc

David A. Makin cscAdam Marsden cscDonald M. McCuaig csc, ascRobert B. McLachlan csc, ascRyan McMaster cscMichael McMurray cscStephen F. McNutt csc, ascSimon Mestel cscAlastair Meux cscGregory D. Middleton cscC. Kim Miles cscGordon Miller cscRobin S. Miller cscPaul Mitchnick cscLuc Montpellier cscGeorge Morita cscRhett Morita cscDavid Moxness cscDouglas Munro cscKent Nason cscMitchell T. Ness cscRobert C. New cscStefan Nitoslawski cscDanny Nowak cscRene Ohashi csc, ascHarald K. Ortenburger cscGerald Packer cscBarry Parrell cscBrian Pearson cscDavid Perrault cscBruno Philip cscMatthew R. Phillips cscAndrè Pienaar csc, sascZbigniew (Ed) Pietrzkiewicz cscRandal G. Platt cscMilan Podsedly cscHang Sang Poon cscAndreas Poulsson cscDon Purser cscOusama Rawi csc, bscWilliam Walker Reeve cscStephen Reizes cscDerek Rogers cscBrad Rushing cscBranimir Ruzic cscJèrôme Sabourin cscVictor Sarin cscPaul Sarossy csc, bscMichael Patrick Savoie cscGavin Smith cscChristopher Soos cscMichael Spicer cscJohn Spooner csc

Ronald Edward Stannett cscPieter Stathis cscBarry Ewart Stone cscMichael Storey cscMichael Sweeney cscAdam Swica cscAttila Szalay csc, hscChristopher D. Tammaro cscJason Tan cscJohn P. Tarver cscPaul Tolton cscBert Tougas cscChris Triffo cscSean Valentini cscRoger Vernon cscDaniel Villeneuve cscDaniel Vincelette cscMichael Wale cscJohn Walker cscJames Wallace cscTony Wannamaker cscPeter Warren cscAndrew Watt cscJim Westenbrink cscTony Westman cscKit Whitmore csc, socBrian Whittred cscRon Williams cscGeorge A. Willis csc, sascGlen Winter cscPeter Woeste cscBill C.P. Wong cscBruce Worrall cscCraig Wrobleski cscYuri Yakubiw cscEllie Yonova csc

CSC ASSOCIATE MEMBERSJoshua AllenDon ArmstrongJohn W. BaileyDouglas BairdKenneth Walter BalysDavid BattistellaGregory BennettJeremy BenningJonathan BensimonAndrè BèriaultRoy BiaforeChristian BielzFrancois M. BissonChristophe BonniereScott BrownRichard BurmanLance CarlsonJon CastellMark CaswellMaurice ChabotStephen ChungDavid CollardRenè Jean CollinsJarrett B. CraigRod CrombieJames CroweMicha DahanMichael Jari DavidsonNicholas de PencierGareth DillistoneRandy Dreager

CsC

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s

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CSC News - March 2009 • 19

John E. DurstJay FergusonAndrew ForbesRichard FoxTom GatenbyBrian GedgeRion GonzalesVladimir GosaricJohn HodgsonCliff HokansonJames D. HollowaySuave HupaGeorge HupkaDavid JohnsJorma KantolaErnie KestlerShannon KohliCharles LavackJim LaverdiereRobin Lawless socByung-Ho LeePhilip LetourneauJohn V. LindsayDave LuxtonRobert MacdonaldMario Anthony MadauJeff MaherRoy MarquesKelly MasonAndris D. MatissPaul McCoolPatrick McLaughlinTony MeerakkerGerry MendozaTony MerzettiBill MetcalfeBentley MillerPaul MocklerHelmfried MullerBrian Charles MurphyKeith MurphyChristopher M. ObenEric OhTed ParkesDeborah ParksPavel Pasha PatrikiRick PerottoAllan PiilScott PlanteRyan A. RandallDave RendallCathy RobertsonPeter RosenfeldDon RousselChristopher SargentAndrew W. ScholotiukIan ScottNeil ScottNeil SealeWayne SheldonSarorn Ron SimBarry E. SpringgayPaul SteinbergMarc StoneMichael StrangeJoseph G. Sunday phdAndrè Paul TherrienGeorge (Sandy) ThomsonKirk TougasJohn Minh Tran

Y. Robert TymstraFrank VilacaJohn WalshLloyd WaltonGlenn C. WarnerDouglas H. WatsonRoger WilliamsRichard WilmotPeter Wayne WiltshireDave WoodsidePeter Wunstorf ascSteven Zajaczkiwsky

CSC AFFILIATE MEMBERSChristopher AlexanderDwayne AlexanderDonald G. AngusDerek ArchibaldGarth ArchibaldRobin BainIain Alexander BairdP. J. Barnes P.Eng.Peter BattistoneJacques F. BernierMark A. BigginCaroline BrandesAdam BravermanGordon A. BurkellTim A. CampbellArnold CaylakyanBernard ChartouniMaggie CraigBrad CreasserColin DavisNicholas DeligeorgyDominika DittwaldMicah L. EdelsteinTony EdgarAndreas EvdemonRandy FrenchRichard GiraAizick GrimmanJames D. HardieBruce William HarperJohn Richard Hergel BA CDKristy HodgsonPerry HoffmannBrad HruboskaMarcel D. JanisseMichael JasenChristine JeoffroyRick KearneyMatthew Casey KennedyBoris KurtzmanNathalie LasselinTony LippaJohn LipszMatthew J. LloydChristopher G. LoganLori P. LongstaffRobert H. LynnJill MacLauchlan ParksYoann MalnatiSean MarjoramJulie McDowellJustin McIntoshIan McLarenAndrew Medicky

Alejandro MuòozKar Wai NgBrent O’HaganTed OvertonAndrew OxleyGino PapineauGraeme ParcherKalpesh PatelGreg PetrigoGottfried C. PflugbeilDouglas B. PrussLem RistsooSusan SaranchukChirayouth Jim SaysanaJames ScottBrad SmithMichael SoosGillian Stokvis-HauerSteven TsushimaPaula TymchukAnton van RooyenTrevor J. Wiens

CSC FULL LIFE MEMBERSHerbert Alpert csc, ascRobert Bocking cscDavid Carr cscMarc Champion cscChristopher Chapman csc, cfeRobert C. Crone csc, cfc, dgKenneth R. Davey cscKelly Duncan csc, dgcJohn C. Foster cscJohn Goldi cscKenneth W. Gregg cscEdward Higginson cscBrian Holmes cscDouglas Kiefer cscRudolf Kovanic cscKen Krawczyk cscNaohiko Kurita cscHarry Lake cscDouglas E. Lehman cscDuncan MacFarlane cscHarry Makin cscDouglas A. McKay cscDonald James McMillan cscJim Mercer cscRoger Moride cscRon Orieux cscDean Peterson cscRoger Racine cscRobert Rouveroy cscRobert G. Saad cscIvan Sarossy cscJosef Sekeresh cscJohn Stoneman cscDerek VanLint cscWalter Wasik cscRon Wegoda csc

CSC HONOURARY MEMBERSRoberta BondarVi CroneGraeme FergusonWilson Markle

20 • CSC News - March 2009

Calendar of Events Mar. 27–Apr. 5, Cinéfranco, Toronto, cinefranco.com

Mar. 24–28, Canadian Filmmakers Festival, Toronto, canfilmfest.ca

Apr. 4, CSC Awards Gala, 5:30 p.m. reception, 7:00 p.m. dinner and presentation at the Sheraton Centre Hotel, 123 Queen Street West, Toronto. Tickets available at www.csc.ca

Production Notes Chloe (feature): DOP/OP Paul Sarossy csc; to March 27, Toronto

Le Concert des voix (documentary): DOP Daniel Vincelette csc; to May, Montreal

“Defying Gravity” (series): DOP Stephen McNutt csc; OP Tim Spencer; to June 17, Vancouver

“Dino Dan” (series): DOP/OP George Lajtai csc; to July 19, Toronto

“flashpoint” season 2 (series): DOP Stephen Reizes csc; OP Tony Guerin; to August 1, Toronto

“Ghostly Encounters” 3 (series): DOP Arthur Cooper csc; to March 27, Toronto

“Go Girl” (series): DOP Milan Podsedly csc; Op Marvin Midwicki; Op-B Peter Battistone; to May 1, Toronto

Grown Up Movie Star (feature): DOP Jason Tan csc; to March 7, St. John’s, NL

“How to Be indie” (series): DOP Yuri Yakubiw csc; OP Frank Polyak; PedOP J.P. Locherer csc; to April 27, Toronto

“musée éden” (pilot); DOP Yves Bélanger csc; to May 31, Montreal

Nostrum (feature): DOP Michael Jari Davidon; to March 15, Toronto

“Smallville” 8 (series): DOP Glen Winter csc (odd); Barry Donlevy (even); OP Doug Craik (even); OP Brian Whittred csc (odd); to April 2, Burnaby, BC

The “Socalled” Movie (documentary); DOP Marc Gadoury csc; to July, Montreal

“Supernatural” 4 (series): DOP Serge Ladouceur csc; OP Brad Creasser; to March 27, Burnaby, BC

Sur traces de Marguerite Yourcenar (documentary): DOP Stefan Nitoslawski csc; to June, Montreal

Unstable (tV movie): DOP John Berrie csc; OP Andy Chmura; to March 7, Toronto

http://www.simvideo.com

Client: ______________________________________________________ Docket: ________________

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Trim Size: ______________________ Safety: ____________________ Bleed: _________________

Colour: ________________________ Publ. Date: _________________ Prod. Date: _____________

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Kodak Canada Inc. KOD-EI-1800-09

CSC News OBC

8.5" W x 11" H N/A Yes

4 Colour March 2009 Feb 10, 2009

C M Y K

The KodakTotem AwardDesigned to emulate the

artistic combination of the artand science of cinematography,

the Kodak Totem Awardis presented annually to each ofthe Genie nominees in the

'Achievement in Cinematography'category.

This award symbolizes the ongoingdedication and commitment

to excellence that the nomineesbring to their craft.

Kodak is a proud sponsorof the Genie Awards.

Congratulations to the 29th annual Genie Award nominees forAchievement in Cinematography.

Gregory Middleton csc

Fugitive Pieces

Nicolas Bolduc

Le Banquet

Bobby Bukowski

The Stone Angel

Pierre Gill csc

The American TrapLe piège américain

Sara Mishara

Everything is FineTout est Parfait

Gregory Middleton csc

Fugitive Pieces

Nicolas Bolduc

Le Banquet

Bobby Bukowski

The Stone Angel

Pierre Gill csc

The American TrapLe piège américain

Sara Mishara

Everything is FineTout est Parfait

The KodakTotem AwardDesigned to emulate the

artistic combination of the artand science of cinematography,

the Kodak Totem Awardis presented annually to each ofthe Genie nominees in the

'Achievement in Cinematography'category.

This award symbolizes the ongoingdedication and commitment

to excellence that the nomineesbring to their craft.

Kodak is a proud sponsorof the Genie Awards.

Congratulations to the 29th annual Genie Award nominees forAchievement in Cinematography.