cinematographer · 4 • canadian cinematographer - october 2009 v eteran german-born...

The Bridge, DOP Thom Best csc

CINEMATOGRAPHERCanadian SoCiety of CinematographerS $4 october 09 www.csc.ca

CANAdIAN

Interview with Manfred Guthe csc H The Bishop Who Ate His Boots

Copper, DOP David Perrault csc

CanaDian COP ShOwS are TOPS

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OCT 09

A publication of the Canadian Society of Cinematographers

CINEMATOGRAPHERCANAdIAN

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 in Canada. 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.

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FeaTUreS – volume 1, no. 5 oCtober 2009

a Career interview with Manfred Guthe csc, dgc, dga By Wyndham Wise

The Bishop Who Ate His Boots: The Signature Last work of richard a. Stringer csc By Don Angus

Law, Lust and Lighting: David Perrault csc Follows rookie Officers Fresh from the Police academy on Copper By Don Angus

The Bridge: a Photo essay by Joan hutton csc

COLUMnS & DeParTMenTS

2 From the President

17 Deluxe Screening Series: Bill Pope asc in Toronto

18 industry news

21 Camera Classifieds

22 CSC Members

24 Production notes / Calendar

Cover: Missy Peregrym as andy Mcnally in Copper. photo by Steve Wilkie.

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2 • Canadian Cinematographer - October 2009

From The PreSIDeNT

Canadian CinematographerOctober 2009 Vol. 1, No. 5

EDITOR-IN-CHIEF

Joan Hutton csc

CO-EDITOR-IN-CHIEF

George Willis csc, sasc

EDITOR EMERITUS

Donald Angus

EXECUTIVE DIRECTOR

Susan Saranchuk

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EDITOR

Wyndham Wise mfa

[email protected]

ART DIRECTION

Berkeley Stat House

COPY EDITOR

Paul Townend

PROOFREADER

Karen Longland

WEBSITE CONSULTANT

Nikos Evdemon csc

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Canadian Cinematographer makes every effort to ensure the accuracy of the information it publishes; however, it cannot be held responsible for any consequences arising from errors or omissions. The contents of this publication may not be reproduced in whole or in part without the express written consent of the publisher. The opinions expressed within the magazine are those of the authors and not necessarily of the publisher. Upon publication, Canadian Cinematographer acquires Canadian Serial Rights; copyright reverts to the writer after publication.

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It’s early fall, and ‘tis the season for television awards. Full CSC members James Jef-frey csc and Milan Podsedly csc have been nominated for Gemini Awards for best photography in a comedy, variety or performing arts program or series category,

Jeffrey for Rent-a-Goalie and Podsedly for The Young Romantic. CSC nominees for best photography in a documentary program or series are Steve Cosens csc for “The Rawside of Die Mannequin” and Michael Grippo csc for Running Guns: A Journey into the Small Arms Trade.

CSC nominees for best photography in a dramatic program or series are David Greene csc for XIII, James Jeffrey csc for Murdoch Mysteries, Ousama Rawi csc, bsc for The Tudors and Gavin Smith csc for The Border. The lone CSC nominee for best photography in an information program or series is Henry Less csc for Twas the Night before Dinner. The Gemini Awards will be broadcast in November, this year from Calgary, Alberta. Yves Bélanger csc won the Prix Gémeux for the dramatic series Les Soeurs Elliot; those awards were handed out in Montreal in mid-September. And the Emmy Awards were presented in September as well, and Rawi won for his excellent work on the Canada/Irish co-pro, The Tudors ; Rawi also won a CSC Award for The Tudors earlier this year. For an update on all the Gemini/Gémeaux winners and nominees, visit our website, www.csc.ca.

In this issue, our editor Wyndham Wise spoke at length to veteran cinematographer Manfred Guthe csc about his lengthy career in Canadian film and television. It spans from the early 1970s, through the tax-shelter years on films such as Who Has Seen the Wind, Three Card Monte and Melanie, series such as Road to Avonlea, North of Sixty and Twice in a Lifetime, and right through to the present day, shooting HD for Disney on Twitches and Twitches Too. Manfred, known as Fred to his friends, trained me as a camera assistant when there were no such courses available. In those days, it was learn as you earn and trial by fire. Thanks to him, I got a good grounding in the camera department.

In addition, two years after his passing, the last film by Richard Stringer csc, The Bishop Who Ate His Boots – a documentary about his famous pioneering grandfather – made its debut at a special screening in Toronto for friends and family. Richard was such a kind and gentle man, a technical wizard, and I was lucky enough to have known him for over 30 years. He was a long-time member of the executive board and a great supporter of the CSC. We all miss him sadly. And finally, in this issue, we take a look a two exciting, brand-new Canadian-produced police dramas currently being shot in Toronto – Copper with DOP David Perrault csc and The Bridge with DOP Thom Best csc.

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Veteran German-born cinematographer Manfred Guthe csc won the CSC Kodak Lifetime Achievement Award in 1991 and the CSC Award for best cinematography in a

dramatic series for Road to Avonlea in 1990. He has two cinema-tography Gemini Award nominations, one for Road to Avonlea and another for the television movie The Possession of Michael D. He was also the DOP on Butterbox Babies, which won the Gemini Award for best television movie or miniseries in 1996.

His credits include the feature Too Outrageous! (CSC Award nomination, best cinematography in a feature film, 1987), the series North of Sixty (CSC Award nomination, best cinematography in a dramatic series, 1993), and the pro-life film, Two Is a Crowd (awarded best cinematography, New York Film Festival, 1977). Guthe’s impressive home page can be found at web.mac.com/manfredg/site_2/contacts.html; for his photography site, visit www.manfredguthe.com. Canadian Cinematographer spoke to him at his home in Toronto in August.

a Career interview with

ManFreD GUThe csc, dgc, dga

By Wyndham Wise

Canadian Cinematographer - October 2009 • 5

ww When and where were you born?

MG In Germany, in 1946, in a small town just outside of Frankfurt. I left when I was 11, in 1957, consequently I don’t remember much about my life in Germany. My parents immigrated to Canada, and we ended up in Toronto. My father landed a job with Bausch & Lomb, and we moved to Midland, Ontario, where they had a plant.

ww What got you interested in film and photography?

MG When I was in high school, a friend of mine was in the theatre department. He asked me to give him a hand one day. He was a technical guy and into lighting. So I got into lighting because of him, and during high school and immediately afterwards I was doing lighting for various plays. In Ontario there is a summer circuit for non-professional acting groups, and we used to go around to the various theatres doing the lighting. I had fun and found it interesting. However, when it came time to finding a real job, there weren’t that many professional theatre groups at time, even in Toronto. My father suggested I apply to the CBC, so I went for an interview in Toronto, at the old head-quarters on Jarvis Street. The person I met there said I would need to take a course in electronics. On his advice, I went to college to study electronic engineering for three years, and then reapplied to the CBC. I took their standard test and went into lighting for television. I wanted to work only in film, but the department making films at the CBC was very small and very difficult to get into. I did the lighting for This Hour Has Seven Days, The Friendly Giant, Take Thirty and many other shows.

After doing that for three years, I was being shuffled between the television and the film department, but I wasn’t learning anything new. With the television shows, everything was pre-set. All I did was check to see everything was in place, and it became very repetitive. I ended up leaving the CBC and started to work on documentaries for the private companies located in Toronto such as Chetwyn Films and Don Haldane’s company.

ww Your first feature listed as a camera operator was on something called 125 Rooms of Comfort (1974) directed by Patrick Loubert, who was one of the founding members of Nelvana. How did that come about?

MG Henri Fiks was the DP on that film. I had been work-ing with Henri as his assistant because he was doing a lot of documentaries at that point, and we became friends. And Henri knew Patrick. Don Haig was the producer and Jackie Burroughs was in it. I would work with her much later on Road to Avonlea. I was also working with Richard Leiterman [csc] at that time, doing documentaries for people like Bell Telephone and travelling around the world. Then when Who Has Seen the Wind came along, Richard asked me to be his assistant. That was the first time I met Allan [King, the director]. We shot the film out in Saskatchewan [in the town of Arcola] and we had had quite a large budget, which was unusual for a Canadian film at that time. We all lived in a campground, in cabins, for the length of the shoot. It was fun, and I really got to like Allan. The producers

hired many local people for the crew, so we had a lot of young kids coming in as assistants and trainees. I set up a kind of film school on the weekends. Since we were all living in the same place and not going anywhere, on Saturdays and Sundays I would run camera assistant classes.

ww When it was released, Who Has Seen the Wind proved very popular and did really well at the box office.

MG It’s a great film, and Richard did a great job on it. I still have a copy of it around somewhere.

ww You worked on a couple of low-budget features after Who Has Seen the Wind, as an assistant on Three Card Monte with Richard Gabourie, and as an operator on Melanie with Burton Cummings.

MG Henri Fiks was the DP on Three Card Monte, so that’s how that one came about. It was very low budget and Les Rose directed. I don’t think much happened with that film. I quite enjoyed doing Melanie. Richard Ciupka from Montreal was the DP and Rex Bromfield directed. Earlier I had been the operator on An American Christmas Carol for Richard [1979]. So when Melanie came up in the summer of 1981, he asked for me again. I got to know Burton Cummings while working on that film. He took me to a number of his concerts, and I visited him at his house while I was down in L.A. He was really nice guy, but a wild man. I loved his piano playing, a real artist.

ww When did you become a DOP and what was your first film?

MG That’s a good question. The whole point of going into tele-vision and then film as far as I was concerned was to have control over the lighting. Working in theatre, I was the lighting designer. When I got into television, I was just another member of the crew. Then when I got into film, and I became an operator, I was much happier but it did dawn on me that I would have to become a DP to gain control over the lighting. That was always my goal, to become the cinematographer. In those days it took a while. There just wasn’t that many jobs around and there were no film schools. You just had to work your way up.

ww The IMDB lists your first feature as DOP as Deadline, and then there was The Pit, both released in 1981 and both very low budget.

MG Deadline was a Henry Less [csc] production, a horror film directed by Mario Azzopardi. He was from Malta, and I think it was his first feature in Canada. The Pit was a Bennett Fode production, which was shot in Beaver Dam, Wisconsin.

ww And you also shot Too Outrageous! (1987), which was a sequel of sorts to the original Outrageous! with Craig Russell, which was a modest low-budget hit made back in 1977 and a seminal Canadian gay movie.

MG I honestly don’t remember how I got that job, but I liked working on the film. It was an interesting shoot. Kodak had just come out with its daylight 250 ASA stock, and I was the first


to use it. All the opening sequence for that movie was shot on Halloween in New York, which was traditionally a big night for gay celebration. I was the first to use the stock and shot the whole movie with it because I quite liked the colour rendition I was getting. It was an amazing stock. Previously tests had been made, but no one had ever shot a whole movie with it. Kodak was thrilled, and they had a lot of their guys hanging around the production because this was all very new for them.

ww In 1988 you shot The Midday Sun for Lulu Keating, who is a filmmaker from Nova Scotia. I believe it was the first Canadian feature to be shot in Africa. What can you tell me about that one?

MG We shot it in Zimbabwe. I remember I was interviewed for that film. Chris Zimmer was the producer, who is also from Halifax. PS Production Services provided us with all the equip-ment. [PS founder] Doug Dales and I go way back. They loaded all the camera gear onto a plane, and all the lighting and grip gear was trucked up from South Africa. The operator and the assistants came from Canada with me, and lighting and grip people were also Canadian. Of course, we didn’t have enough money to do it properly, all the usual stuff for a low-budget Canadian film. But it was fun, and one of the nicest shoots I have ever been on. The weather was good, and the crew, which was

inexperienced, was really nice to work with. I loved Zimbabwe. At the time it was still reasonably run. Mugabe had just taken over once it had gained its independence. It was not like it is today. It was an absolutely fantastic place, and I loved being there.

ww The crime drama Buying Time, with Dean Stockwell, came next, which was released in 1989, the same year as The Midday Sun.

MG Buying Time was directed by Mitch Gabourie. [Mitchell is the son of Richard Gabourie, who was the screenwriter and star of Three Card Monte.] We had a super tight schedule, and it was shot mostly in Toronto and up north of the city on a farm. Then I became involved with Sullivan Films and shot the first three seasons of Road to Avonlea and the miniseries By Way of the Stars, which was directed by Allan King.

ww Tell me a bit about By Way of the Stars (1992), because it had a substantial budget and some German money in it.

MG By Way of the Stars was a German co-production, and I believe the version they showed on German television was eight hours and the version shown over here was cut down substantially. In the North American version a lot of the story

Mitchell Gabourie’s Buying Time starring Dean Stockwell, 1989.


threads were lost. Allan had directed a number of episodes of Avonlea, and By Way of the Stars came at the end of the third season of that show. Kevin [Sullivan] put the deal together with the Germans, and he used some of the actors from Avonlea in the miniseries [Zachary Bennett and Gema Zamprogna]. We shot a lot of it in Czechoslovakia, and if I remember correctly we spent three-and-a-half months there. And then we came back and shot another three-and-a-half months here. It’s the story of two kids in the 1800s who come from Europe to Canada because they have relatives here, and have all sorts of adventures until they arrive safely. It was a family drama that takes you from the castles and old world of Europe, across the Atlantic to Canada, and then from the eastern cities of Canada through Indian territory, etc. It was a very difficult shoot. Translators were needed for everything. It wasn’t easy in Czechoslovakia in those days, not like it is today with all the American films going there to shoot.

When I was initially hired on for Road to Avonlea – which was a Sullivan-Disney co-production – it was the only job as a DP that I had to shoot a couple of sequences for an audition. The footage was taken down to L.A. to show the Disney people, and that’s how I got the job. It was all shot in Toronto at the studios down on Eastern Avenue, and the town was built north of the city in Uxbridge. It was a hugely popular series. It won a ton of awards and sold all over the world. Everyone loved it. I got along great with Kevin. He was always pushing to get the best possible show out of everyone and I loved that.

ww Butterbox Babies was based on a rather unpleasant true story about a couple who run a shady maternity home in the 1930s and 1940s in Nova Scotia, and The Possession of Michael D., for which you received a second Gemini nomination, was broadcast the same year, 1995.

MG Butterbox Babies was another Sullivan production, which Don McBreatry directed. Don had directed the first episode of Avonlea, which is how we met. It was a very tough script, a very dark subject matter. Kevin had the property for quite a while, and it took a long time to develop. I think he wanted to do some-thing different from the Anne/Avonlea properties, and wanted people to see that he could do something other than period, family-oriented dramas. Susan Clark was very good in it [she was nominated for a Gemini Award], and I think it worked out quite well considering the subject matter. The Possession of Michael D. was about a family with only one child who becomes possessed, a made-for-television movie.

ww Later you became involved with Poltergeist: The Legacy (1996–99), which was a series filmed in Vancouver starring Helen Shaver and Martin Cummins.

MG Stuart Gillard, whom I met on Avonlea, was hired to direct the pilot, and he asked that I shoot it. Which I did, but I didn’t want to do the series. Actually, it wasn’t really a pilot because the producers already had the money they needed to do the series for four years, so basically it was a two-hour opening episode. It was a high-budget series based on the original Poltergeist movies. Once the script was written, Stuart and I went out to Vancouver

to scout locations. But by the time I got back to Toronto, there was a new script that they sent me via fax, which was totally different, and the writers still didn’t have a firm idea of what this ‘poltergeist’ should be. In the end, the producers left it up to Stuart and I to come up with something, and we did. That part was a lot of fun and it turned out quite well.

ww You also worked on another couple of series, Legacy (1998–99) and Twice in a Lifetime (1999–2001).

MG Legacy was a series shot in Virginia, and Stuart and I shot the pilot. It was a post-Civil War period piece set on a horse farm in Kentucky, and the pilot got great feedback, so I was hired to shoot the first season and I got to direct the last episode. At that point I didn’t want to do another series because I was kind of getting burnt out doing series, but the producers were very nice to me and I agreed to do it. It ended up running only one season, and then it was cancelled, but not because it wasn’t popular. The network [United Paramount, a U.S. cable network] was going in another direction. The show attracted a female audience, and the network decided it wanted the 18- to 30-year-old-guys demographic. When I got back to Toronto I was offered Twice in a Lifetime. Again I was hesitant to do it, but they offered

DOP Manfred Guthe csc, on the left, with director Stuart Gillard on Disney’s Twitches Too, 2007.


me a chance to direct, so I said, ‘okay, fine.’ It was interesting because each episode was different, with different guest stars. I liked the directing part of it and enjoyed that very much.

ww You mentioned working with Stuart Gillard, who has had an interesting career. He began as an actor, and won the Canadian Film Award for best actor for Why Rock the Boat? (1974). Then he went south and switched careers to writing for television and ended up as a director. You made several films with him between 2004 and 2007, including Crimes of Fashion (2004), A Friend of the Family (2004), The Initiation of Sarah (2006), Twitches (2005) and Twitches Too (2007).

MG Crimes of Fashion was shot on 35 mm, and the others on HD. Stuart was making Crimes of Fashion here in Toronto, but the producers were having trouble with the look of the film. They were unhappy, so Stuart called me up and told me to get back to Toronto. I was out of town at the time, and the next day I was on set. It was the first time I had replaced another DP on a shoot. I don’t like doing that sort of thing, but because it was Stuart, I did it. I think they had shot about four days worth of material and I finished it. Then after that, I shot A Friend of the Family out in Calgary on HD and then we did the two Twitches movies for Disney. It was the first time Disney shot with HD. Previously they had shot tests but were not happy with the results but they loved Twitches. It was their highest-rated show in years, and they were extremely happy with it. We made a sequel a short time later also in HD. In between the two Twitches, we shot The Initiation of Sarah, again on HD, which, if I remember correctly,

was a Disney-MGM production. We shot that one in Shreveport, Louisiana. Stuart is very creative and knows his stuff inside out and backwards, and he’s fun to work with. It is always a pleasure when you work with a good director.

ww When you first got into the business, did you have any mentors, anyone you could look up to or wanted to emulate?

MG When I got into the business there wasn’t a lot happening in Canada. Everything was low-budget, tax-shelter films. Allan [King] was one of the only directors I admired at the time. Who Has Seen the Wind was great, but other films he was making, films like Warrendale, were so interesting. From the point of view of movies, there was Nestor Almendros. He was the guy I really liked the most. He and Gordon Willis, they were the two cinematographers I admired most. The only movie I ever saw that I really remember from my youth was The Blob with Steve McQueen. I saw it in a theatre as part of a triple bill, and it’s stuck with me ever since. But it wasn’t like I saw it and said, ‘this is what I want to do with my life.’ Days of Heaven [1978] was the movie that really impressed me most. Almendros’s style of lighting was so far removed from the standard Hollywood style of the time, which I personally don’t like, in television or the movies. It’s gorgeous to look at. It’s his whole technique of how to deal with natural lighting and composition that I love.

ww What is the best piece of professional advice you ever received?

Road to Avonlea: “It was the only job as DP that I had to shoot a couple of sequences for an audition.” Manfred Guthe csc


MG I was working with a DP from L.A. when I was first starting out. We were doing a television movie, shooting a scene and having a lot of trouble with the lighting. He told me if you have to shoot just two people – and you are getting a lot of shadows – even if it’s not perfect and you want to make it look natural, forget about all the fancy lighting. Just put a light right in line over the lens of the camera, turn it on, and shoot. That piece of advice has stuck with me. It works. It gives you a nice natural look, without shadows, and it looks great.

A Selected Filmography for Manfred Guthe csc

125 Rooms of Comfort 1974 (camera assist.); Who Has Seen the Wind 1977 (1st camera assist.); The New Avengers 1977 (series, OP); Two Is a Crowd 1977; Three Card Monte 1978 (1st camera assist.); Melanie 1982 (OP); Curtains 1983 (OP, DOP additional scenes); Children of a Lesser God 1986 (DOP, 2nd unit); Deadline 1981; The Pit 1981; Oddballs 1984; Too Out-rageous! 1987; The Midday Sun 1989; Buying Time 1989; Road to Avonlea 1990–92 (series); By Way of the Stars 1992 (TV); Matrix 1993 (series); North of Sixty 1993 (series); To Save the Children 1994 (TV); Butterbox Babies 1995 (TV); Long Island Fever 1995 (series, pilot); The Possession of Michael D. 1995 (TV); The Awakening 1995 (TV); Poltergeist: The Legacy 1996 (series, 1st episode); Dinner along the Amazon 1996 (short); The Stupids 1996; Johnny 2.0 1998; Legacy 1998–99 (series); The Secret Path 1999 (TV); Twice in a Lifetime 1999–2001 (series, also direct); MythQuest 2001 (series); Crimes of Fashion 2004 (TV); A Friend of the Family 2004 (TV); Twitches 2005 (TV); The Initiation of Sarah 2006 (TV); Twitches Too 2007 (TV); Girl’s Best Friend 2008 (TV); Jack and Jill vs. the World 2008 (TV); The Watch 2008 (TV).

Top right, Craig Russell as Mae West in Richard Benner’s Too Outrageous!; centre Manfred Guthe csc circa 1978 high in the Andes of Peru on a shoot for Bell Telephone; and at the bottom, poster for Allan King’s By Way of the Stars, DOP Manfred Guthe csc.


For the hundred or so people who attended the screening of Richard Stringer’s final documentary on August 30 in Toronto, the event was not just the premiere of a film-

maker’s dream. It was also a posthumous tribute by family and friends to a remarkable man paying cinematic homage to his remarkable grandfather.

The Bishop Who Ate His Boots is a one-hour documentary about the work of Bishop Isaac O. Stringer as an Anglican missionary in the frozen wastes of the Canadian Northwest early in the 20th century. And about Richard’s very extraordinary grand-mother, Sadie, who was the bishop’s moral, spiritual and emotional rock in an inhospitable climate. Isaac Stringer served as bishop of the Yukon from 1905 to 1930.

It’s a good story, well told, which will probably show up on TVOntario, the History Channel or Discovery one day soon. It’s packed with archival still photographs and motion picture footage – much of which was shot in 16 mm by the bishop himself – of his long, treacherous journey to the Arctic and his often futile efforts to convert the Inuit to Christianity.

Richard chose to narrate the film and that, along with colour shots of himself at work, provides the viewer with the personal element of his quest to illustrate the life and legacy of his grandfather and grandmother. The film is clearly a labour of love, and was Richard’s unfinished symphony when he died suddenly but not unexpectedly of cancer in July of 2007.

Carol Stringer and their son, Matthew, only 16 when his

father passed, would not let Richard’s carefully crafted and nearly completed project die. They finished it with some professional editing help and the support of friends, and when it was unveiled on a big widescreen television on August 30, it felt like Richard was in the house. There was the full beard, the ruddy complexion, the functional spectacles and the ready smile.

The familiar voice told the story with confidence and insight that came from countless hours of research. Richard lugged equip-

ment to the Arctic, filmed interviews (including one with Pierre Berton) and shot rugged scenery while coping with his cancer and treatment.

From the diary and films of the grandfather he never met, Richard compiled an account of a now- vanished Inuit way of life. The title of the film came from an incident that occurred when Bishop Stringer and a colleague were lost in the wilderness and boiled a pair of sealskin boots to make a thin, protein-based survival soup. The story spread far and wide and made the bishop famous. Even Ripley’s Believe It or Not picked up the tale.

Members of the Canadian film com-munity who attended the screening included Lori Longstaff, Richard’s

favourite camera assistant and operator on numerous projects. Among the displayed photos of Richard at diverse locations, Lori posted a poignant thank you to her mentor.

“He would invent new gadgets to solve any photographic situation,” Lori wrote. “He always took the time to show me his new technical toys for the upcoming shoot. He was my favourite cameraman. Every shoot day was a good day!”

The Bishop Who Ate His Boots The Signature Last Work of Richard A. Stringer csc

Client: ___________________________________________________________ Docket: _________________

Media: __________________________________________________________ Placement: _____________

Trim Size: _________________________ Safety: ______________________ Bleed: __________________

Colour: __________________________ Publ. Date: ___________________ Prod. Date: ______________

Tel: 416-423-9825 Fax: 416-423-7629 E-mail: [email protected]

Kodak Canada Inc. KOD-EI-1563-07

CSC News

5.562" W x 5.625" H N/A No

B&W 2007 Aug. 17, 2007

Whose spirit lives on in his films.

Richard Stringer, csc1944 - 2007

By Don Angus

“The Bishop Who Ate His Boots is a film I am making about my grandfather, Isaac Stringer, who was an adventurous missionary

in the Arctic at the turn of the century. He later became Bishop of the Yukon and moved to Dawson City with my grandmother

Sadie. In 1909, on one of his many walking tours over his vast diocese, he and a missionary worker, Charles Johnson, got lost

in an early winter storm. They could not use their canoe as planned, so they had to walk 60 miles over a mountain range to get

back to civilization. They ran out of food and had to stew their spare moccasins to stay alive. Since then, Isaac Stringer became

know as ‘The Bishop Who Ate His Boots’! My grandparents were very unique people living in controversial and adventurous

times. The film shows my quest to learn as much as possible about them. There was much material with which to work. Isaac

Stringer shot movies, took many still photos, and wrote detailed diaries.” Richard A. Stringer, reprinted from CSC News, March

2006. For more information on The Bishop Who Ate His Boots, go to www.stringercam.com/bishop_boots.html.


Opposite page, Richard A. Stringer csc. On this page, at the right is Stringer with noted Canadian author Pierre Berton. Below is an entry from Ripley’s Believe It or Not that appeared in the Winnipeg Free Press. The man with the camera is Bishop Isaac Stringer. The Bishop Who At His Boots will air on Canadian television later this year.


Five rookie cops bond together, fight together, drink together. Now they’re on the job together – kids with guns, learning that no amount of training prepares you for real

life in the big city.

In a nutshell, that’s Copper, a new Global/ABC television series that started principal shooting in mid-July in Toronto with DOP David Perrault csc behind the lens and David Wellington in the director’s chair. The one-hour, 13-episode series debuts next year for simultaneous HD viewing on both the Canadian and United States networks.

It is, says Perrault, a passionate story about the on- and off-duty professional and personal relationships of a quintet of raw policemen and women. It is shot entirely in Toronto but it could be any city in North America. What makes Copper (the working title) somewhat unusual for a Canadian- commissioned episodic series is the big, though undisclosed, budget that can afford 35-mm film stock and the best camera and lighting equipment.

The three-perf, 35-mm film format was determined by Wellington, Perrault says, because the director felt that HD just didn’t provide the sophisticated look that 35 mm would bring to the production. Perrault, who met Wellington during the last season of the award-winning series The Eleventh Hour, says “the director is very strong technically as well as visually, so he’s a very inspiring director to work for, and we connect on a creative level, which is satisfying.” The pair went on to do commercials and the 2008 miniseries Would Be Kings, a Gemini Award nominee for best dramatic series.

From the very beginning of Copper, says Perrault, Wellington “was keen that the show have the appeal and cachet of a top-drawer project, and we felt that one of the important ways of defining the show was to shoot with a premium acquisition format. The best hi-def really originates in 35 mm; 35 transferred to hi-def is the best definition out there. There are some great [digital HD] cameras, but nothing really compares to the deep colour gamut of film and, with the nature of this project being so dependent on the personalities and personal relationships of these police rook-ies, we thought it’s all about the faces.”

Although Perrault says he likes both Kodak and Fujifilm stock, “I’m shooting with the new Fujifilm Eterna Vivid 500T. We’re one of the first productions in the world to be using it. In this particular case, the demands of the show require a punchy, colourful look. We are a very location-heavy show; we’re shooting a lot more on the road than we are at the sound stage.

“Fuji has a product called the 160T Vivid,” Perrault continues, “which I’ve always been a big fan of. It’s a very contrasty, virtually grainless, very colour-saturated stock. They used to have a 64 tungsten, which I really liked, but it was discontinued so when they came out with the 160T I immediately found a lot of use for it.”

Another big reason for choosing Fujifilm, the DOP says, “is its 500 daylight (Reala). I like it for mixed light, commercial interiors, or day interiors in locations where you can’t apply the lighting resources that one might like to. Access to a 500-speed daylight stock was a definite advantage for me.”

The two-camera production is using a Panaflex Platinum as A-camera and a GII for B. “I’m really comfortable with the Panavision lenses. I find the Primos, particularly the zooms, have a softness to them, mostly related to contrast as opposed to resolution and there’s a look there that I’m lighting to. The way the image appears through these lenses and on to film … that’s very difficult to achieve in hi-def.

“The reality is that when you’re lighting for film you can let things go, you can let people walk through chunks of sunlight and exploit those little natural irregularities in the way light plays on to a shot. In hi-def you can’t; you have to address those things and take control. Sometimes it’s a simple matter, but sometimes it’s time consuming and sometimes it’s a real struggle with hi-def. It’s very liberating to be able to shoot in cars, and go through sun, dapple, shade and just let the natural lighting prevail, rather than being a control freak and having to say, ‘No, we can’t use that take; the background got too bright.’ With film that stuff all works just fine.

“We did a scene the other day where a predominantly white police car was parked in the sun while our actors were backlit and in the shade. In hi-def I would have had to say, ‘No, we can’t do this. We’re either going to have to wait or we’re going to have to move the scene somewhere else.’ In film, it looked interesting. It looked beautiful.”

Are you using minimal lighting? Perrault was asked. “I don’t think anybody driving by our unit on the street would think our lighting is minimal. In fact, I know there are some people who think I light big, but it is a mainstream, full-budget production so there are production values that I am expected to provide and I do. That’s what we do. This show will stand shoulder to shoulder with anything on the air.

“Sometimes with day exteriors, there’s a lot of grip work, a lot of taking light away and redirecting light, which involves a

Law, LUST anD LiGhTinG: david Perrault csc Follows Rookie Officers Fresh from the Police Academy on Copper By don Angus


lot of manpower and big square white surfaces. I like to use a lot of indirect light, so there’s a lot of bounced light. I use a lot of large reflectors, and in tight spaces I use a lot of bleached muslin, sometimes stapled to the walls of the set. A lot of times, my lighting will be as simple as removing light. In a day exterior it might involve laying down hundreds of square feet of white on the ground to prevent the green of the grass from bouncing back onto the actors.

“I try not to get too dogmatic about any one particular approach. I have excellent collaborators in gaffer Craig Wright and key grip Mitch Holmes, and whenever we get into a set-up I love bouncing ideas off people. I want my camera operators, Mark Willis and Michael Carella, to give me a lot of input; I want this to be collaborative – mostly because it’s the most fun and it also keeps me fresh and from falling into a groove.”

Born in Montreal, Perrault started working in the film industry as a soundman in 1979, but he was always interested in photo-graphy. He started taking out a small camera loaded with short ends on the weekends, “doing little documentaries.” A job as a film soundman brought him to Toronto, and he just sort of evolved into cinematography. His first big break was DOP on the 1992 television movie Beethoven Lives Upstairs.

Other television credits include the series La Femme Nikita, Degrassi: The Next Generation, Murdoch Mysteries (for which he was nominated for a Gemini Award in 2008), Flashpoint and the 2006 miniseries The State Within (Golden Globe nominee for best dramatic series). Copper was developed by Thump Inc. and produced in partnership with E1 Entertainment. Commissioned by Canwest Global, it was picked up by ABC Television Network during development.

Above: On the right, in the orange cap, is Ciaran Copelin, Focus Puller, A-Camera, and IATSE 667 president on the set of Copper. Below: From the left, David Perrault csc, DOP, Mitch Holmes, Key Grip, and Craig Wright, Gaffer. Photos courtesy of David Perrault csc


The Bridge The BridgeCapitalizing on the success of their joint venture Flashpoint,

CTV and CBS Paramount Network Television are the broadcasters committed to The Bridge, a new Toronto-

shot police drama informed by the insights of former tough-as-nails Toronto police union chief Craig Bromell. Guest directors include Helen Shaver and Stuart Margolin, and five-time Gemini Award- winner Alan Di Fiore heads the writing team. The Bridge is currently slated to premiere on CBS in the middle of the 2009-10 season.

Photos by Joan Hutton csc


Clockwise from the top: Thom Best csc, DOP; David Sheridan, 1st Assistant, A-Camera; J.P. Locherer csc, OP, B-Camera; Brian Cesar, 2nd Assistant, B-Camera; Dean Stinchcombe, 1st Assistant, A-Camera

The

Bridge


The

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Luc Montpellier csc, left, and Bill Pope asc. Photo by Lori Longstaff.

DeLUxe Screening Series: Bill Pope asc in TorontoBy Lance Carlson

Bill Pope asc, having just wrapped the film Scott Pilgrim vs. the World in Toronto, accepted an invite to appear at a screening of The Matrix and a little Q&A moderated by Luc Montpellier csc, at Deluxe Toronto on Sunday August 30.

If first impressions mean anything, Bill Pope is a pretty down to earth, laid back and very knowledgeable old school kind of guy. Which may be a tall order in most individuals, but as one of Hollywood’s current hottest DOPs he pretty much succeeds with flying colours. With five Matrix films over the years (three theatrical and two direct to DVD) and two Spider-Man movies (2 & 3 with 4 coming in 2011), plus a substantial string of others under his belt, Pope’s cred has climbed dramatically since being coaxed (yes coaxed) to shoot The Matrix in 1999. At the time he had only shot under-$5M movies such as Evil Dead 3: Army of Darkness (1992) and didn’t feel he wanted to put his neck on the line on a $100M super-spectacular. But directors Larry and Andy Wachowski were very persuasive, and based on their experience shooting the sexy neo-noir crime thriller Bound (1996) with Pope as DOP, they insisted that they were confident he was ready to move on up. He landed the job on Bound because the original DOP couldn’t deal with a lowly $3M budget and that seems to characterize Pope’s modus operandi.

He is famously quoted in an earlier interview as requesting a credit as “photographic administrator” on The Matrix, as he had never done a film on which he did not operate, and he also had B-camera and C-camera crews to supervise. He revealed that it was a somewhat tongue-in-cheek remark. Actually, he pulled it off in spectacular style, and confirmed that it was in fact not only the largest lighting job that he had ever attempted but also the largest lighting job ever accomplished in Australia to that time.

Despite the cyber environment, most of The Matrix effects was shot in-camera and were so convincing that they didn’t need further enhancement. Bill Pope prefers not to be typecast and likes to bring a new approach to each new project. He has done a lot of commercials and music videos, which he feels has kept him grounded to a more flexible and efficient approach to things, and he applies this effectively to his larger projects with obvious excellent results.

When asked about the challenge of working for two directors, he clarified that the Wachowski brothers are unique and seem to think as one, with no confusion, conflict or argument – sort of joined at the hip or, perhaps, by the brain stems. He feels this is unlikely in most other partnered directorships.

I think the cinematography is by far the best aspect of The Matrix, and even though he pointed out several miscues, such as his reflection in a doorknob in one scene, there is really nothing Bill Pope has to apologize for in the film.


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wayne Clarkson to Step Down from Telefilm Canada

Telefilm Canada executive director Wayne Clarkson has announced he will be stepping down at the conclusion of his five-year term in January 2010. Clarkson has enjoyed a fairly smooth ride during his tenure. He fulfilled several objectives he made in the early days, such as streamlining of the funding system and the decentralization of the decision-making regarding smaller projects. There has been no indication what Clarkson will do next. Previously he was head of the Canadian Film Centre, the Ontario Film Development Corporation and the Festival of Festivals (now TIFF).

Cinematography Legends Laszlo Kovács and Vilmos Zsigmond are the Subjects of a PBS Documentary This Fall

No Subtitles Necessary: Laszlo and Vilmos follows the lives of renowned cinematographers Laszlo Kovács and Vilmos Zsigmond from escaping the 1956 Soviet invasion of Hungary to present day. An Official Selection of the 2009 Cannes Film Festival, James Chressanthis’s documentary will air on the PBS series Independent Lens on Tuesday, Novem-ber 17, 2009 (check local listings). Chressanthis is cur-rently a director and cinematographer on the American series Ghost Whisperer, and No Subtitles Necessary is his feature debut.

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As film students in Hungary, Laszlo Kovács and Vilmos Zsigmondtook to the war-torn streets of Budapest to shoot foot-age of the Russian invasion, and sub- sequently volunteered to smuggle it out of the country. Barely escaping with their lives, the two friends fled to America and settled in Hollywood, eventually saving enough money to buy their own 16-mm camera. After working on a string of low-bud-get horror and biker movies, both men soon rose to prominence in the late 1960s and 1970s, shooting the films that defined what came to be known as the American New Wave: Easy Rider, Five Easy Pieces, McCabe and Mrs. Miller, Deliverance, Paper Moon, Close Encounters of the Third Kind and more. Working with directors including Robert Altman, Bob Rafelson, Peter Bogdanovich, Steven Speilberg and Martin Scorsese, they helped create a new American film aesthetic, and pioneered innovative ways to tell stories. Told through interviews with Kovács (who died in 2007) and Zsigmond, as well as directors including Rafelson, Bogdanovich, John Boorman, Graeme Clifford, Richard Donner, William Richert, Mark Rydell, composer John Williams and actors such as Jon Voight, Peter Fonda, Sandra Bull-ock, Karen Black, Dennis Hopper and Sharon Stone, No Subtitles Necessary is an intimate portrait of two giants of modern image making and their deep bond of brotherhood that transcended every imag-inable boundary.

CSC Member Films at MwFF, TiFF, aFF & ViFF 2009

CSC member films screened at the 2009 Montreal World Film Festival, August 27 to September 7, were John N. Smith’s Love & Savagery, DOP Pierre Letarte csc (see CSC News, Jan. 09), and Srinivas Krishna’s documentary Ganesh, Boy Wonder, DOP Milan Podsedly csc.

At the Toronto International Film Festival, September 10 to 20: Atom Egoyan’s Chloe, DOP Paul Sarossy csc, bsc (see Canadian Cinematographer,

Sept. 09); George A. Romero’s Survival of the Dead, DOP Adam Swica csc; Sherry White’s Crackie, DOP Stephen Reizes csc; Rob Stefaniuk’s Suck, DOP D. Gregor Hagey csc (see Canadian Cinematographer, Sept. 09); A Shine of Rainbows, director / DOP Vic Sarin csc; Peter Stebbing’s Defendor, DOP David Greene csc; Rubba Nada’s Cairo Time, DOP Luc Montpellier csc; and Jacob Tierney’s The Trotsky, DOP Guy Dufaux csc.

At the Atlantic Film Festival, September 17 to 26: The Trotsky, Suck, A Shine of Rainbows, Chloe, Denis Villeneuve’s Polytechnique, DOP Pierre Gill csc (see Canadian Cinematographer, Sum-mer 09), and Simon Ennis’s You Might As Well Live, DOP/OP Jonathan Bensimon, csc associate member. And finally, at the Vancouver International Film Festival, October 1 to 15: Chloe, A Shine of Rain-bows, Crackie and Peter McCormack’s Facing Ali, DOP Ian Kerr csc.

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Canwest-hot Docs Documentary Fund

Eleven projects were chosen to receive $255,000 in grants and no-interest loansfrom the Canwest-Hot Docs Documentaryfunds in its third round of disbursements in was announced this past summer. Four films received completion grants: Daniel Cross’s Atanasoff (Eyesteelfilm),

Eppo Eerkes’s Blood, Sweat and Beers (Partners in Motion), Brett Story’s Injury (Bunbury Ontic Films) and Lix Marshall’s Water on the Table (Water on the Table Inc).

Seven development grants were awarded to Alethea Arnaquq-Baril’s Angry Inuk (Unik-kaat Studios), Marike Emery’s Big Red & Eddie (Little Dog Productions), Julian Pinder’s Just Blow It Up (Six Island Pro-ductions), Clement Virgo’s Metamorphosis

(Conquering Lion Pictures), Karen Porter’s Ton Up! (Tony Devenyi Inc), Sebastian Lange’s Transformation (Loaded Pictures) and Simon Trépanier’s Uprooted (Lowik Media 2008 Inc).

CBC on iTunes

The CBC is trying a new promotional strategy for Being Erica, the charming dramady about a 30-something time traveller. In addition to heavy traditional network promotion, the producers are also using social media tools on the net to extend and promote the show.

The CBC has begun offering its original Canadian television programming in high definition on iTunes. Being Erica and The Tudors, which generated numerous 2009 Gemini Award nomina-tions, are the first shows to be available in HD from a Canadian network. Both shows are already available in standard definition on iTunes, along with CBC series such as Rick Mercer Report, The Border and The Nature of Things. The immensely popular iTunes has offered high definition shows in Canada since May, but the earlier offerings were mainly U.S. fare such as 24, Lost and Heroes.

CFC Grows again

Norman Jewison’s Canadian Film Centre (CFC) is launching a new school for actors. The school’s first season began in September, and during this year’s TIFF, the CFC announced it had named Canadian local hero, Keifer Sutherland, as the school’s first chair. Also during TIFF, the CFC befitted from all that Infrastructure Stimulus Fund money being passed around to the tune of $9 million to upgrade its existing buildings located on the old E.P. Taylor estate just north of down- town Toronto, as well as the construc-tion of three new ones that will expand and provide additional space for its programs in film, television, new media and now an acting lab.


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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; [email protected].

EquipmEnt for SalE

Sony BVW-400a Betacam Sp Camcord-er Camera used by professional cinematog-rapher (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/sup-port, $1,000; Kinoptik 9–8-mm 35-mm format lens c/w sunshade $1,400. Contact [email protected] or [email protected]

new Video Camera rain Covers. Custom rain covers for sale. New design that fits and protects most Sony PMW EX3, Canon XHHDV, Panasonic VX200 cameras with the viewfinder extending toward the rear of the camera. Price: $200.00. Noiseless rain cover for the external camera microphone. Price: $30.00. Onboard Monitor rain cover, camera assistants can see the focus during the shot. No more hassles in the rain! $60.00.

Custom Red One camera covers available upon request. Also can sew various types of heavy-duty material. Repairs and zipper replacement on equipment and ditty bags. Lori Longstaff: 416-452-9247; [email protected].

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; [email protected].

DVW700WS Digital Betacam with view-finder and two widescreen zoom lenses. Canon J1 5x8 B4WRS SX12 and Fujinon 5.5-47. Very low hours on new heads. $16,000, 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 bat-teries (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 [email protected].

Elmo transVideo trV16 16-mm film-to-video converter color CCD. Converts mag or optical film frame, color, iris, focus adjust-

ments. Excellent working order. Best offer accepted. Contact: Bea: [email protected].

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.

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 [email protected].


CSC FULL MEMBERSJim Aquila cscEduardo Arregui cscJohn Badcock cscMichael Balfry cscChristopher Ball cscJohn Banovich cscJohn Stanley Bartley csc, ascStan Barua cscYves BÈlanger cscPeter Benison csc Jeremy Benning cscJohn Berrie cscThom Best cscMichel Bisson cscMichael Boland cscNicolas Bolduc 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 csc Michael Ellis cscCarlos A. Esteves cscNikos Evdemon csc David Frazee cscMarc Gadoury cscAntonio Galloro csc James Gardner csc, sascDavid A Geddes cscIvan Gekoff cscLaszlo George csc, hscPierre Gill csc

Russ Goozee cscSteve Gordon cscBarry R. Gravelle cscDavid Greene csc John 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 csc Jean-Claude Labrecque cscSerge Ladouceur cscGeorge Lajtai cscMarc Lalibertè Else cscBarry Lank cscPhilippe Lavalette cscHenry Lebo cscJohn Lesavage cscHenry Less cscPierre Letarte cscAntonin Lhotsky cscPhilip Linzey cscJ.P. Locherer cscPeter C. Luxford cscLarry Lynn csc Dylan Macleod csc Bernie MacNeil cscGlen MacPherson csc, ascShawn Maher csc David A. Makin cscAdam Marsden cscDonald M. McCuaig csc, asc

Robert 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 cscPeter Rowe cscBrad Rushing cscBranimir Ruzic cscJèrùme Sabourin cscVictor Sarin cscPaul Sarossy csc, bsc Michael Patrick Savoie cscIan SeabrookGavin Smith cscChristopher Soos cscMichael Spicer cscJohn Spooner cscRonald Edward Stannett cscPieter Stathis cscBrendan Steacy cscBarry Ewart Stone csc

Michael Storey cscMichael Sweeney cscAdam Swica cscAttila Szalay csc, hscJason Tan cscJohn P. Tarver cscPaul Tolton cscBert Tougas cscChris Triffo cscSean Valentini cscBrett Van DykeRoger 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, sasc Glen 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 BennettJonathan BennyAndrÈ BÈriaultRoy BiaforeChristian BielzFrancois M. BissonChristophe BonniereScott BrownRichard BurmanLance CarlsonJon CastellMark CaswellMaurice ChabotCèsar CharloneStephen ChungDavid CollardRenè Jean CollinsJarrett B. CraigRod CrombieJames CroweMicha DahanMichael Jari DavidsonNicholas de PencierRicardo DiazJohn DrakeRandy DreagerJohn E. DurstJay FergusonAndrew ForbesRichard FoxJoshua FraimanTom GatenbyBrian Gedge

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Rion GonzalesVladimir GosaricDaniel GrantJeffrey HanleyJohn HodgsonCliff HokansonJames D. HollowaySuave HupaGeorge HupkaDavid JohnsJorma KantolaErnie KestlerShannon KohliCharles LavackJim LaverdiereRobin Lawless socByung-Ho LeePhilip LetourneauJohn V. Lindsay Dave LuxtonRobert MacdonaldMario Anthony MadauJeff MaherRoy MarquesKelly MasonAndris D. MatissPaul McCoolPatrick McLaughlinTony MeerakkerGerry MendozaTony MerzettiBill MetcalfeBentley MillerPaul MocklerSarah MoffatHelmfried MullerBrian Charles Murphy Keith MurphyChristopher M. ObenEric OhTed ParkesDeborah ParksPavel ìPashaî PatrikiRick PerottoAllan PiilScott PlanteRyan A. RandallDave RendallCathy RobertsonPeter RosenfeldDon RousselChristopher SargentAndrew W. ScholotiukIan ScottNeil ScottNeil SealeWayne SheldonSimon ShohetSarorn Ron SimBarry E. SpringgayPaul SteinbergMarc StoneMichael StrangeJoseph G. Sunday phdAndrè Paul TherrienGeorge (Sandy) ThomsonKirk TougasFrank VilacaJohn WalshLloyd WaltonGlenn C. WarnerDouglas H. WatsonRoger WilliamsRichard Wilmot

Peter Wayne WiltshireKelly John WolfertDave WoodsidePeter Wunstorf ascSteven Zajaczkiwsky

CSC AFFILIATE MEMBERSChristopher AlexanderDwayne AlexanderDonald G. AngusDerek ArchibaldGarth ArchibaldRobin BainIain Alexander BairdP. J. Barnes P.Eng.Peter BattistoneRussell BellJacques F. BernierMark A. BigginCaroline BrandesAdam BravermanGordon A. BurkellJoseph CalabreseTim A. CampbellArnold CaylakyanBernard ChartouniJohnny Yan ChenBrent J. CraigMaggie CraigBrad CreasserAna CunhaColin DavisDominika DittwaldMicah L. EdelsteinTony EdgarAndreas EvdemonZachary FinkelsteinRandy FrenchRichard GiraAizick GrimmanJames D. HardieBruce William HarperJohn Richard Hergel BA CDKristy HodgsonPerry HoffmannBrad HruboskaMarcel D. JanisseMichael JasenChristine JeoffroyRick KearneyMatthew Casey KennedyGuido KondrussBoris KurtzmanRyan LalondeTony LippaJohn LipszMatthew J. LloydChristopher G. LoganLori P. LongstaffRobert H. LynnMegan MacDonaldJill MacLauchlan ParksYoann MalnatiJulie McDowellJustin McIntoshIan McLarenAndrew MedickyAlejandro MuÒozKar Wai NgBrent OíHaganPeter OsborneTed OvertonAndrew OxleyGino Papineau

Graeme ParcherKalpesh PatelGreg PetrigoDouglas B. PrussElise QueneauLem RistsooSusan SaranchukChirayouth Jim SaysanaJames ScottBrad SmithKyryll SobolevMichael SoosGillian Stokvis-HauerSteven TsushimaPaula TymchukAnton van RooyenTrevor J. WiensIrene Sweeney Willis

CSC FULL LIFE MEMBERSHerbert Alpert csc, ascRobert Bocking csc David Carr cscMarc Champion cscChristopher Chapman csc, cfeRobert C. Crone csc, cfc, dgKenneth R. Davey cscKelly Duncan csc, dgcJohn C. Foster cscLeonard Gilday cscJohn Goldi csc

Kenneth W. Gregg cscEdward Higginson cscBrian Holmes cscDouglas Kiefer cscRudolf Kovanic cscKen Krawczyk cscNaohiko Kurita cscHarry Lake cscDuncan MacFarlane cscHarry Makin cscDouglas A. McKay cscDonald James McMillan cscJim Mercer cscRoger Moride cscRon Orieux cscDean Peterson cscRoger Racine cscRobert Rouveroy csc Robert G. Saad cscJosef Sekeresh cscJohn Stoneman cscDerek VanLint cscWalter Wasik cscRon Wegoda csc

CSC HONOURARY MEMBERSRoberta BondarVi CroneGraeme FergusonWilson Markle

indicates demo reel online, www.csc.ca


Production NotesBarney’s Version (feature); DOP Guy Dufaux csc; to November 6, Montreal

Being Erica ii (series); DOP Luc Montpellier csc; OP Sean Jensen; to October 16, Toronto

The Border iii (series); DOP Gavin Smith csc; OP Kaelin McCowan; to October 15, Toronto

Caprica (series); DOP Stephen McNutt csc; OP Tim Spencer; to February 2010, Vancouver

Copper (series); DOP David Perrault csc; OP Mark Willis; to December 1, Toronto

Coin Flip (television movie); DOP David Makin csc; OP Andris Matiss; to October 16, Toronto

Covert Affairs (pilot); DOP Jamie Barber; OP Michael Soos; 1st Assistant Gottreid Pflugbeil; B-Cam OP Colin Hoult csc; to October 9, Toronto

Crash and Burn (series); DOP Milan Podsedly csc; OP Rod Crombie; to December 10, Mississauga, ON

Dan for Mayor (series); DOP François Dagenais csc; to November 20, Toronto

Dino Dan ii (series); DOP/OP George Lajtai csc; to October 9, Toronto

Degrassi: The Next Generation IX (series); DOP Jim Westenbrink csc; OP David Towers; to October 21, Toronto

Double Wedding (television movie); DOP John Berrie csc; OP Paula Tymchuk; to October 6, Toronto

Filière 13 (feature); DOP Bernard Couture csc; to October 23, Montreal

Jesse Stone: Innocents Lost (television movie); OP David Gribble asc; OP Andy Chmura; B-Cam OP Christopher Ball csc; to October 9, Dartmouth, NS

Kids in the Hall: Death Comes to Town (special); DOP Paul Sarossy csc, bsc; OP J.P. Locherer csc; to October 9, Toronto

Living in Your Car (series); DOP Stephen Reizes csc; OP Tony Guerin; to November 27, Toronto

Murdoch Mysteries iii (series); DOP James Jeffrey csc; OP Mark Hroch; to November 17, Toronto

Pillars of the Earth (miniseries); DOP Attila Szalay csc; to November 21, Montreal

Psych iV (series); DOP Michael McMurray; OP Marco Ciccone; to October 29, North Vancouver

Resident Evil: Afterlife (feature); DOP Glen MacPherson csc, asc; to December 10, Toronto

Republic of Doyle (series); DOP Michael Storey csc; OP Brian Gedge; to December 4, St. John’s, NL

Smallville iX (series); DOP Glen Winter csc (odd); Barry Donlevy (even); OP Brian Whittred csc (odd); Neil Seale (even); to April 2010, Burnaby, BC

Supernatural V (series); DOP Serge Ladouceur csc; OP Brad Creasser; to March 2010, Burnaby, BC

Trauma (series); DOP Jérôme Sabourin csc; to October 16, Montreal

Vacation with Derek (feature); DOP Gerald Packer csc; to October 5, Toronto

Yamaska (series); DOP Daniel Vincelette csc; to December 10, Montreal

Calendar of Events october 7–18, Festival du nouveau cinéma, Montreal, nouveaucinema.ca

5–9, MIPCOM, Cannes, France, mipcom.com

20–24, St. John’s International Women’s Film Festival, St. John’s, NL, womensfilmfestival.com

14–18, ImagineNative Film Festival, Toronto, imaginenative.org

21–25, Planet in Focus: International Environmental Film & Video Festival, Toronto, planetinfocus.org

31–nov. 8, Banff Mountain Film Festival, Banff, AB, banffcentre.ca/mountainculture

november 5–8, Vancouver Asian Film Festival, Vancouver, vaff.org

11–15, Reel Asian International Film Festival, Toronto, reelasian.com

11–21, Reneontres internationales du documentaire du Montréal, Montreal, ridm.qc.ca

18–22, Winnipeg Aboriginal Film Festival, Winnipeg, aboriginalfilmfest.org

Location, Location

Technicolor Toronto

Your downtownlaboratory and

post facility

Grace Carnale-DavisDirector of Sales

[email protected]

www.technicolor.com

Vancouver604-689-1090

Toronto416-585-9995

Montreal514-939-5060

Client: _____________________________________________________ Docket: _______________Media: ____________________________________________________ Placement: ____________Trim Size: _____________________ Safety: ____________________ Bleed: ________________Colour: ________________________ Publ. Date: ________________ Prod. Date: ____________


Kodak Canada Inc. KOD-EI-1753-09 CSC News OBC 8.5" W x 11" H N/A Yes 4 Colour October 2009 Feb. 23, 2009

ONFILMS T E V E A S S E L I N

“In any artistic endeavor, you have to have a

foundation in order to explore. Film gives me

the confidence to work more freely. I can look

at the set with my eye and see what’s going to

be on the film. Each story requires its own visual

approach and design.… I try to shoot from the hip,

to let my work come more from my feelings.

My goal is always to create a movie that speaks

for itself. When I can watch the film and go along

with the story, then I feel that I have had a

successful collaboration with my colleagues,

and that I am making a connection with my work.”

Steve Asselin was born and raised in Québec City,

Québec, Canada. He studied cinema and literature

and began his filmmaking career as a gofer at

age 18. He shot many music videos and short films,

and eventually photographed his first feature,

Une jeune fille à la fenêtre (A Girl at the Window)

at age 26 for director Francis Leclerc. Since then,

his credits include dozens of television commercials,

the short film Elisabeth Heywood, as well as the

feature films Délivrez-moi, Borderline, and Un été sans

point ni coup sûr (A No-Hit No-Run Summer).

His work on the film Saints-Martyrs-des-Damnés

was nominated for the Best Cinematography prize at

the 2006 Jutra Awards, which honors achievements

in Québecois filmmaking.

For an extended interview with Steve Asselin, visit www.kodak.com/go/onfilm.

To order Kodak motion picture film, call (800) 621 - FILM (3456). www.kodak.ca © Kodak Canada Inc., 2009.

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