A PUBliCATION OF THE CANADIAN SOCIETY OF CINEMATOGRAPHERS

M.dl2001 v-.20,NL7

• Precision Camera Inc. WWW . PCI · ClNlDl COM

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~ w~ volume 20, No.7

~~~ Mo((n2001

~6ntents

2 - President's Rep ort Annual General Meeting

4 - Alter The Storm Underwater Treasure Hunt

10 - On Camera Marc Charlebois esc

13 - On the Road Ron Stan nett esc in Prague

18 - Awards Genies and ASC

20 - The Video File Looking Good in 24P

24 - On Film Rene Ohashi esc

26 - Fil m Clips

28 - CSC Calendar Action Production Notes

COVER PHOT01 Richard Foreman

Visit: www.csc.co

PRESIDEnT's us considerable time and money in publishing the 2002 book; the database can be directly down loaded to hard copy. REPORT

CSC Annual General Meeting

There was a turnout of about 25 members, including the executive, at the Ann ual

General Meeting on Feb. S. The relatively small attendance was not unexpected, although we wish that more members could be available for hands-on support of the Society.

We are gratefu l for the ongoing work of the executive, all of whom have agreed to serve for another year. No nominations were received for execu tive positions, and the 2001 board stands as President Joan Hutton esc; Vice-President Richard Stringer esc; Secretary Ern ie Kestler, who recently took over for David Greene esc; Treasurer joe Sunday; Membership Chair Phil Earnshaw esc; Education Chair Harry Lake esc; and Publicity Chair Bill Metcalfe. Board advisers are Bob Brooks esc, Sammy jackson· Samuels esc; and jim Mercer esc. The auditors for this year are Bob Bocklng esc and Gerd Kurz.

The volunteer executive members, a long with Administrator Susan Saranchuk and Editor Don Angus, kept the CSC wheels turning in 2000. There was a bit of a financial pinch, mainly due to a cost overrun in production of the 2000 esc Oi rectory book, CSC Website expenses, bad advertising debts, and non-payment of several membership fees. However, we are still !inancially sound . A complete 2000 financial report is available from the esc office on request.

The new on-line esC Directory Is being updated regula rly and will save

Phil Earnshaw reported that 26 cinematographers signed on as new Full Members in 2000, 24 of them as a result of letters of invitation sent o ut from coast to coast. The 26 a re Yves Belanger esc, Ma rc Charlebois esc, Louis de

Ernsted esc, David De Volpi esc, Mark Dobrescu esc, Guy Dufaux esc, Daniel Fournier esc, David Frazee esc, Pierre Gill esc, james Jeffrey esc, Daniel Jobin esc, Pierre Jodoin esc, jan Kiesser esc, Pierre Letarte esc, Larry I-yn n esc, Richard Maguire esc, Stephen McNutt esc, Robert New esc, Rod Parkhurst esc, Brian Pearson esc, Brad Rushing esc, Robert Saad esc, Michael Sweeney esc, john Tarver esc, Daniel Vincelette esc, Richard Wincenty esc.

In total, there were 460 members in a il categories- 68 new- as of Dec. 31, 2000, with 170 Full Members, 25 Full Life members, 7 Associate Life Members, 4 honorary members, 112 Associates and 142 Affiliates. Phil said 56 Affiliates, 12 Associates and 7 Full Members resigned or let their mem· berships lapse during the past year.

Harry Lake reported that esc camera assistants courses were held as usual in "loronto and Vancouver in 2000, but he added that courses run by guild locals, camera rental houses and colleges were making it difficult for the esc to compete. He said the num-

ber of applicantS for the tS places in each course had shrunk, compared with the 40 to 60 applicants of earlier years. He noted that the 2001 Vancouver course had to be cancelled.

Harry said that maybe the esc needs mo re lighting and camera work· shops like those conducted in Toronto regu larly under the esc banner by former vice-president Lance Carlson. Also, wh ile competition is growing on that front, too, we need to acquaint our members with video in general and HDTV in particular. He said he could see the rental houses getting into that, with or without us.

Awards Chair Susan Saranch uk reported that the 2000 esc Awards Gala at the Westin Prince Hotel in Toronto was attended by about 340 members, sponsors and guests, with about I SO entries in the various awards categories. Total revenue was $62,347, while costs came to $64,445.

My president's report to the meet· ing noted: - the generosity o f PS Production Services in providing office and meet· ing space at thei r Toronto location; - the success of a esc on-set, fil m-and-lighting show at Toronto Harbourfront; - the retirement of Fred Goodall from Kodak Toronto; - and the deaths of joan Clinton, the widow of the late Stan Clinton esc, and of Barbara Simon Mercer, the wife of jim Mercer esc.

Finally, our thanks to Gerd Kurz at !>recision Camera Inc. for again providing the venue for the AGM. e

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A·lter The Storm Shooting for Sunken Treasure

'I THINK THE GREATEST PLEASURE I GET IN DOING MY JOB IS WHEN I CAN SHOOT A FILM LIKE AfTER THE STORM IN THE REAL UNDERSEA WORLD WITH REAL WilDLIFE - TO BE ABLE TO WORK IN A REAL WATER LOCATION AND ADAPT IT TO A STORY IN THE CAMERA.' -Pauline Heaton esc

There are worse jobs than an as~ignment in beautiful ll<'ll1e, with its sun, sand and coral sea, and under­water cinematographer l'aullne lleaton esc or

Vancou,·er was happy to dive right in. A story by l:.mest llemlngway, lots of tropical fuh for colour, and handsome star ll<'nfamin Bratt ... not just another day at the office.

The shoot was the USA Network Original Movie ilfl" tilt Storm, filmed in association with Trimar~ Pictures and eM•cutive produced by The Foxboro Company. Directed by

Guy Ferland, with a screenplay by

By Don Angus Hemingway disciple A. E. Hotchner, the picture premieres at 9 p.m. ET, March 20, but It has already cap·

tured the best picture and best screenplay awards at the New York Inter-national Independent Film and Video restlval and was best picture at the Angelcltl Film Ft!!>tival In Los Angeles. Director of photography was Gregory Middleton esc, also from Vancouver, who, as a newly licensed diver himself, collaborated on the underwater wor~ as well as doing the surface shooting. For her under­water crew, Heaton brought focus puller Chris llansen, a CSC affiliate, Pat McGillon as a grip and safety dover. and Craig Ibbotson, an experienced deep-watrr diver.

• Afltr 1/tt Stomt was an Interesting pro feet," Ilea ton told esc NI'WS, "because it is a period piece under water, and there twvcn't been many of those lately. It w,os my llrst truly period pit>ce under water, where we wou ld have to work out period clothing. period lights, period looks around 1930-something."

Filmed in 3Smm entirely on location In IICII1e, A{lrr tire Storm Is the story of a toner (Bratt) - "a llogart kind of character" - and his wealthy business acquaintance (Armand Assante), who together set out to recover the trea­sur<>s of a luxury yacht sunk off the coast of th<' Bahamas In a ''iolent storm. Greed, the dangers of diving to the wreck -and women- spice up the action.

"He (Bratt) is in love with a local girl (Mill Avital)," explained Heaton. ·on the side, he has an affair with the wife (Montrealer Simone-Eiise Girard) of Assante's charac. tcr. There arc lots or djving shots, starting with the opening scene of Bratt diving down to get lobster out of a trap, from which he also pulls out beer."

Cut to more diving scenes, Mter the >lorm has passed and llratt discovers the yacht at the bottom of the ocean.

first, however, location scouting, even under water, has its challenges.

Heaton said a set of the sunken yacht was built in ll<'lizc and submerged in the oc<>an, "but In the first area that was chosen - and these arc some of the drawbacks of being in the real environment -the tide mo,•ed so swiftly In and out of a cut in the reef that If there was ever any stormy weather it would rip the set apart. So when I got there we looked for another location that was tucked more into the reef, but subsequently the winds really did pick up and it was decided to move the set to another, more protected area. It wasn't as pretty, unfortunately; more of a grassy bot· tom than a coral reef.,.

The elaborate set was an up;lde·down view of the boat, with the top part partially burled in the sand. Interior shots were done later In a nearby pool.

"What was fantastic about the exterior shots was, as the days and nights rolled on, the wildlife started to move into our set. Just before we shot one evening, a beautiful stream of fish swam along the bottom; It seemed to happen every time we were about to roll. At one point, I jokingly said to Greg Middleton, who was down there right beside the camera, 'Oh Gr<>g. should we cue the fish?'"

Heaton said "the technology of transmitting sound by underwater wireless OTS system allowed us the freedom of moving all around the set, far away from the main barge where the director was Sitting but keeping in constant communication with him. •

But back to the story. "Everybody Is dead on the y.ocht," Heaton conti nued.

NOur hero swlms down and tries to break the window, but

it's so deep that he's having lots of trouble. He can't physically break the window and he ends up with nose­bleeds after trying so many times. lie goes back to town to find his girlfriend and they borrow an old diving suit, but who knows the last time It was used.

•He wants to retrieve the S 10 million in gold bars believed to be on the yacht, but as he submerges the helmet of the old suit starts filling up with water and he begins to struggle His girlfriend dives down to help. The tricky part

'BELIZE IS A SPECTACULAR PLACE TO DIVE; THE SECOND BIGGEST BARRIER REEF IN THE WORLD'

UNDI.RWATI.R CREW shoots a 1<eot wit~ ltojoolio Brott.

here wns to find a suit of that vlnwge, the helmet of which the girlfriend could help get off underwater while still being able to help him get oock up to the surface. With the assistance of Andy Lentz of the ~listorical Diving Society USA, I selected the Miller Dunn diving helmet ror this scene.

" lie dh·es down a couple or more times without the suit, but It'~ no use. Finally, when they return to shore, the married guy (Assante), who Is sometimes his partner, fig­ure> o ut what llrau's character has been u;> a nd makes a proposition that they go back to the sunken ship. He'll pro­vide n boat and full standard diving suit because he equips salvage divers every year. I won't tell you the ending, but there's a lot of diving going on- and a Hollywood shark. •

llenjamln Bratt is a recreational diver and an enthusias­tic partiCipant in this film, Heaton said, but he had to be trained on full sundard dl\·e gear and on the Miller Dunn, and that's where Canadian expert Craig Ibbotson and john Durham, an American specialist In antique diving gear, ca me ln. Sometimes the underwater crew got to improvise a bit, "cs;>eclall y one day when we were allowed to go o ff with Benjamin and co-executive producer Peter Marshall ­he loves the ocean, he went windsurfing or swimming In the ocean every morning. We went orr as a second unit with a lobster t rap and beer to do the opening scene, which we shot very fast right in a coral reef."

Heaton attended the film's screening at the Angeldti Film Festival in Los Angeles on Feb. 8 and was pleased with the look. Afterwards, she said she heard several comments from the audience about the beauty o f underwater scenes shot In the real environment.

"llell1.e Is a spectacular place to dive; it has the second biggest barrier reef in the world. I think the greatest pleasure I get in doing my job Is when I can shoot a film like A{ttr !Itt Storm In the real undersea world with real wildlife - to be able to work In a real water location and adapt It to a story in the camera.

"Dircctor Guy Ferland and Greg told me they didn't want It to be Nntio11nl Grogmpllic, but they did want a beau­tiful look. Th e director ~aid he wanted to build up this character, but did­n't want him to look like he's Aquaman. So my task was to try to orches­trate some natural look to It, slipping in the odd beautiful scene while at the same time keeping the storyli ne.•

Shooting in the wild, was there any danger from real sharks, sting­rays, barracuda or any­thing?

"I think if you are going to work In the water all the time, you don't want to live in fear

• stiJ poge 6

Botojoolo Brott and Mill Avital in a m•e fro11 Afffr tit. Storot.

! 11

I J

UNDIRWATIR ClNIMATOGRAPHIR Pauline Heeton '" films a uhaal of tropkal fish.

of what Is down there. You want to ~ pre1>ared In case something happens; it's best to~ as knowledgeable as you can about the location and the animals that will ~ there. If you're Olmlng at night and some shark comes In to Inves­tigate the lights, you want to be in a situation where you arc able to get out of the water. Get the cast out fll'lt and then other technicians, and then the people who are the most experienced are the last out. You don't go down there looking over your shoulder every five minutes. We try to align the safety divers to do that for you."

No ;harks showed up on the underwater set of. • A lot of the places we shot were inside the reef, so the larger ani mals stayed out. It was actually more dangerous in the pool, with the scare of deadly snakes en tering the water from land at any time."

Tile underwater cinematographer said: •we shot all the boat exteriol'l in the ocean, then we went to a pool that actually used to be part of a bordello many yea!'l ago on the outskirts of Belize City. The bordello was long gone, but there was an unusually large, unused swimming pool that had a JO.foot depth and was long enough to put the lntert· or of the ship In there. So the interiol'l were shot In the pool under controlled conditions, which allowed us to match the ocean and have Benjamin right in the commercial

' IT WAS ACTUAllY MORE DANGEROUS IN THE POOL, WITH THE SCARE OF DEADLY SNAKES'

6 • CSC Ntv> ' March ZOO I

diving suit. I even brought In Canadian tank specialist Brent Meadows to purify and maintain the water In the pool."

To match the period look, Heaton said her Vancouver company, Watervislons, came up with a reproduction of a 1930s diving light that DOP Middleton wanted Bratt to have to find his way around the Interior of the boat. It had to look as authentic as possible while lighting Bratt and the area around him, but It had to work as efficiently as a mod­ern light. The result was a plastic underwater battery pack contained inside a gas jerrican, which gave it an authentic look complete with a large handle. Watervlsions then designed a light head and base with an unfinished surface to give it a rustic look.

• we then made a brass ring and put a brass cage over the glass dome, and the finished product was a modern lamp that appeared to be the same design you would find in a I 930s underwatN light. •

Asked about light and colour under water, Heaton said that "because I try to Incorporate wildlife into a production if I can, a lot of times I'm out In the real world and my key light is the sun, so my preferred film stock is always daylight. But there are lots of occasions when I'm brought into a set environment where there's a particular look, a particular style that the DOP 15 trying to create above the water. Then I try to match what he is doing. That is doable now under water. It could ~ that he wants a frost, he wants a filter, he wants a certain something. With a very clear pool

ANGHEL DECCA ....................... -wnchblade" (TNT)

RENE OHASHI, esc ................... urhe Crossing" (A&E)

WILLIAM WAGES, ASC .... urhe Moving of Sophie Myles" (CBS)

Nominees for the American Society of Cinematographers 15th Annual Achievement Award in the category of Telepic, Miniseries or Pilot.

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where we are able to kill all the house Ughts and we can control the lighting both above water and under water on our own, anything is possible.

"I definitely prefer a daylight stock. Under water you have light coming from the sun and you have light com­Ing through plant life, a mixture sort of like HMI and (luorescent at the same time. When the Kodak Vision 250 daylight stock came out I was very excited, because now you could mix your colours and really mix your light and the result was a better representa­tion of what was created by the light."

She said that "just as high-defini­tion is creeping into the area or 16mm fi lm, high definition is also creeping in to the underw·ater arena.n But, she cautioned, "one of the problems we have to look into when we move into high definition is, are we going to bring a backup camera? In the old days, video assist was never used. Now they consider the camera not working i f the video tap's not working. So you might hold up the whole production on some gadget that they feel is necessary. You wi ll then need support to maintain this gear on location.

"The result is you have more toys and you have more complications -and then you add water, sand and salt. You might as well multiply that by 100."

!-Ieaton said it was a bold decision for the producers or After tl.e Storm to shoot the underwater sequences in Belize - in the Ambergris Caye area of the Centra l American country. "In the planning stages, they had thought about Canada or Australia, but finally they decided they were going to shoot the surface footage in Belize. On a conference ca ll with co­executive producer Nelle Nugent and co-producer Ken Teaton of Foxboro and co-producer Mike Elliot of Trimark, I sa id, ' If you're shooting the su rface footage in Belize, why don' t we do all the underwater right there? It's the second biggest barrier reef in the world.'

"There was silence on the phone, and the next thing you knew, all they could think about was doing it right there."

ON CAMERA '

'That was the first time I had

shot dance. It was a unique

challenge.' A Conversation With Gemini Winner

Marc Charlebois esc

C lnematographer Marc Charlebois esc won the 2000 Gemini Awdrd for Best

Photography In a Comedy, Variety, l'crformlng Arts Program or Series for his work on llrt Clrilt/ o( Music. A for­mer gaffer and electrician, the DOP shot la~t year's acclaimed crv movie 8/e.ued Strarrger: A(lc'r 1'/iglrt 111 In Nova Scotia and more recently the English-language theatrical feature Ca(~ Ole In hometown Mon treal. We

talked with Charlebois by phone In january after we ran an erroncou~ photo over his name in the December, 2000, issue of the CSC News. He dismissed the mistake with grace and good humour, and our subse· quent conversation was Interesting and informative. More than that, a long with the typical zeal or a

10 • esc N . ... , Marm 1001

cinematographer for his craft, Charlebois talked about the intense relationship between subject matter and the camera.

Q: Marc, tell us about Tlrt Clrild o( Music. What kind of show is it?

A: It was one of a series of special, one-hour productions about the major classica l composers - Instructive but not didactic. You wouldn't call them documentaries, they're like docu-dance. My Gemini Award was

for the show on Mozart and I also shot the one on Mendelssohn. I think they're now up to the seventh. You can see them on CBC, Bravo and A& E.

Produced by Michel Ouellelle and his Montreal production company Cine Qua 'on, each hour tells the life story of a famous compos­er through the music of string quartets, dance and vignettes. It's about 3S to 40 minutes or dance and 20 minutes or vignelles, using portraits and drawings from the era to illus­

trate the composer's life starting from childhood. The whole program on Mozart was based on his lifestyle and a bit about how he died. It's very sensu­al, very nice.

Usually one of the dancers portrays the composer himself. You can see him write leiters and th ings like that, but mo•t of the shooting is the dance,

the choreography. They are six-day shoots, fairly low-budget productions In Super 16, although some of the vignette' are •hot on video. They keep the 16:9 letterbox when they are <•ir<'<l.

The productions By Don Angus

arc pretty hard, because being low­budget we had to stick to I 0-hour days; they can't really go over. They Jlut most of the money on the sets. The crew was minimal. I did my own operating. If you prep a bit, then you have eight hours to •hoot tx'Cause they need an hour to wrap. There's a lot or pressure.

Q: What did you shoot with and where?

A: We shot Mozart on an Aaton with 800-foot rolls, using mostly Kodak Vision 200 stock, In three loca­tions. We shot the last bit Inside what used to be a public pool. They wanted it to look like a 1\Jrklsh bath, so they built a noor Inside the pool and dod some Turkish drawings on the side. I had to keep it simple. There were some windows which I decided to block, because there was no way that I could have four- or five-Inch lines blasting through the windows. I had to hang one light, and I was lucky the ceiling was fairly high. I hung a Par light up there to make a really big source, just to blast from the top, which wasn't covering the whole place.

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• !'he dancers would rome

In and out of that hot spot, and that lookl'd preny good. Sometimes it would be two or three stops over In the hot spot. That's the one I'm pretty proud o f. That was the first time I had shot dance. It was an unique challenge. It took a great deal of concentration to follow the dancers. Before shooting started, director Raymond St-Jean would work with the dancers and choreogra · phcrs for two or three wt>eks in a dance studio. I would go to rehearsals as much as I could and shoot them with my vldeocam, then I would go back home and look at their moves. It DIRECTOR Ridlard Roy d.Jaibts o it- to odors loio Mor.l Olld Aladrtw Torlott oo tho Mootrool set of tiM wasn't a question of learn- Cooacliao feotoro cat; ON. ing the cho reography by heart, it was just getting Into II. It helped me a lot.

When actual filming began, the camera was on a doily with a Ould head. It's important to be on a doily and have a dolly grip who will follow the action if there are any lateral moves and you have to knock off wide and very tight -and sometimes three sizes, ml'dium, tight and wide. That was difficu lt for focus puller Carla Clarke, who did a great job. Most of the really tight shots were ;all clean for the l'dlting; they really had a good choice.

There is also the fact that the dancers can't do it 20 times. They go Into at and you can't do II in bits and pieces. Normally the longest choreog· raphy will be eight minutes. Some­times we separated it Into three, but that'~ the most. Some take~ were eight minutes long. I can't remember ever doing a take that long before, al· though we didn' t do that a lot. TI1e shorter ones were five-minute takes.

Q: What else have you been doing? A: I did a movie of the week with

director John Flynn, a thriller caiil'd l'rutectiou that was shot In Montreal. That wrapped in mid-November. I also did a feature that's going to come out

March 25 cal led C<~(e Ole. It was screened at the Vancouver Film Festival In Set>tember. It's a romantic roml'dy directed by Richard Roy and set in the NDG (Notte Dame de Grace) section of Montreal.

It was shot in May, 2000, on 35mm Fujifilm with Arrt equipment over a 24-day schl'du le. What was great about Caf~ Ole h that it was done for S1.3 mill io n and people who have seen it say they couldn't believe we shot It for o nly $ I million. Richard Roy and I had over a month to p rep; we weren't paid for most of it, but you dream of preppang that long. He had this big shot list and we d rove and walkl'd around NDG where we were going to shoot. The location of the car~ Itself had been chosen, so we would sit and talk there about every scene.

Being low-budget, we were able to not go overtime at all, because every day we knew exactly what we wantl'd. lf an actor said he would rather do this or that, it was easier to turn it around because we ~new exactly what to change in our plans. One day we did I I hours, but the rest of the time we would do eight. The crew was so pleasl'd. At first we were afraid of not

finding a crew that wo uld work for almost sc;ale, but after the shoot every· body was so happy to have done it.

I shot Cafe Ole in Fujirolor; It's very good. Some things I had seen shot in Fuji I didn't like and some things I did. So I said that there's one way to find

CAPTAIN of all lot mvoys, Marc <laor!Rols esc ood grip Pierro Ch"""tior go oloh to get o shot during the 1998 shoot of the IH11 Trtosvrt Island.

out and that Is to try it. I'm really happy with what I did on Cafi Ole, especially with the 500 stock I used exclusively for night exteriors. I'm really happy with all the exteriors I shot.

Q: One or the most powerful films I've seen on television in the last year or so was Blt~Std Slran.~tr: A(ter Fliglzr III. Wa; It an enjoyable experience for you?

A: I love Nova Scotia. The producers of Bl<•s>etl Srrans••r were Wayne Grigsby and David Macl.('()d, whom I worked for when I shot the first season of the series Black llarbour. That was the first time for me In Nova Scotia, and I spent six months there. Titen I worked with Wayne and Dave again on Task Foret: Cavi<IT, a movie-of-the-week for Global -the network's flm movie production - which all'l.'<l last August. (It was directed by Richard Ciupka esc.)

After that I went to do Blessed Stranger with director David Wellington. We shot it with a 35mm Movil'Cam on Kodak stock. That was a really hard one becau~e of the W­day schedu le. All the night exterior shots on the ~ea were really done at night on the sea - with a three-foot swell. "We had two-and-a-half hours to do that. The ~hedule was just ... well, everyone was saying we'll never dolt.

The subJect (the days immediately after the crash of Swissair Flight Ill off the coast of Nova Scotia) was so intense you could feel it on the set. My operator was Forbes MacDonald, who was my focus puller on Black Harbour, but sometimes we would add a second camera and I'd operate it. I remember doing some ~hot> where we were film­ing und crying at the same time.

You kno\v that scene where aU the parents of the victims are in this big room at the hotel in downtown Halifax? Some people who worked at the hotel remembered that day, they were there. I hey were coming on to the set, they couldn't believe lt. It was Just like It happened. I remember that day when I was shooting the actors reacting to the speech of the coroner. It was so hard to listen to, S<'<'lng those actors react to that. It was just so over­whelming. That was a really intense experience for me.

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Taking The Immortal to Prague

I n 16th-century japan, Raphael C~11n's wife was killed by demom and his daughter kidnapped. He

swore an oath to kill every demon on e~rth and he and his squire, Goodwin (played by Steve Braun), were given immortality, with the help of Yashiro (Hobert Ito), to complete his oath. Now In the 21st century, Cain and Goodwin tca rn up with a para-psy· chologist (1\prll Telek) to defeat the demons once and for all.

I his Is the story line of Tire Immortal, a Canada-U.K. series starring lorenzo Lamas as Raphael (Rafe) Cain. In April of last year, I receh·ed a phone call from line producer Tracey Boyd as~lng me If I would be interested in taking on The fmmortlll, an action, Sl:>«lal-effects, Matrix-type, one-hour show with 22 episodes, to be shot In six days per episode. I accepted the challenge.

14 • esc N'"', Mmch 1001

'One wonders, when going somewhere you have not worked before, what the crews will be like. I should not have not worried.

aiCHMATtS: flfll1tlrlt 1st aubtMI c&re<tor Carl MaSH, DOPRot~St-11

<Sr, actor lorHto lamas, and dirtctor Scott So,..,.ngi. oo the set of TN llffrfOrtol "' tho Cttdo Rtpulolk.

I was in Calgary at the time and had just finished work­ing as alternating DOP (with Brian Wh ittred) on /lon~y, I Sflrnuk !Ire Kids. There were a couple of offers out there, but this was to be my own show and that was appealing.

I went to Vancouver to meet with Tracey, executive producers Michael Grals and 1im Gamble, producer/head writer Rick Drew and director David Stralton. Good vibes all round. Then David and I sat down and started working on the first two-parter. I will always remember David saying to me after a couple or weeks into prep, 'Are you scared yet?' How we.re we going to do this In six days an episode? But we

The Czech crew was great.'

did, largely due to the great cast and crew.

By Ron Stannett esc

lorenzo, Steve and April had a domino effect on everybody. Because they were so prepared each day, so was everybody else. The cast and crew got on famously and we "hung out" on our own time - jessica Kill, assistant to Michael Grals, organized white-water rMtlng trips, watching the Symphony of Fire and pnrachutlng o n weekends. I opted to stay away from the last one.

Most or the crew I had not worked with before, except first assistant Dean Frlss. Mike Wrlnch was a great asset not only as maln unit operator, but his per­sonality kept things in pciSpective and he brought with him his •over-keeper.• This Is a wonderful piece of equipment that fits the dolly legs, a set of •ralls" that the hc:od then sits on. It can be rigged up hori­zontally allow­Ing the operator to slide the cam­era left or right.

' I'm sure he would jump out of a plane ••• if you asked him'

It is particularly handy in situations where you are in an over-the-shoulder shot of two actors and either the actor or the dolly is not quite on their marks, creating a "block." With over­keeper, the operator can quickly adjust left or right to correct the problem -quicker than it takes to get the me~ sage through to the dolly grip and for the reaction of same. It can also be rigged so as the operator can push the camera forward in a small on-camera move into the actor's face.

When you are shooting the sched· ule we were, this piece of equipment was invaluable and reduced the "have­to-do-it-again" number of takes. With Wrinch, the over-keeper, dolly grip Ryan Purcell and Friss on focus, it was an awesome main <:amerct crew. B-eam­era was in the capable hands of Bob Ennis, a DOP in his own right. He worked closely with me and always kept an eye on the lighting if it was not working for the 8-camera, which can be a problem sometimes. Bob was assisted by julian Keyser, while Patrick Cronin and Wynne Kcing were the A and B 2nds respectively.

Shane Cardwell, stunt coordinator and 2nd-unit director, was teamed up with DOl' Keith Young, 1st assistant Don Micrnccki and 2nd assiStant Mark Evans. Keith kept with the look of the show and would always consult with me If he was going into something that main un it had not even estab­lished as yet. Some great stunt shots come out of the second unit, but as usual there was never enough time.

Gaffer john-David (JD) Hutchison and key grip Sttmrt Lennox were won· derful, no-attitude, willing men. I am always asked in interviews for jobs, "How fast are you?" Well, I don't put the lamps up! )0, Stuart and their respective crews allowed me more time than l thought possible.

It was a pleasant surprise when the English producer, Jamie Brown, came up to me on set; l had worked with him years ago in Montreal. As a co­production with England, some of Tl1r Immortal had to be shot in Europe, and the show moved to the Czech Republic Nov. I after 17 episodes in Vancouver.

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CAMERA CREW aECH·IN: TN c-o atw • IN '-ttl <Mot io tile Czedt Reprrlolk ~ (left to right) 3rd ouist•t ho P~o•o (batt .. left), ... operator V1ollroir Kalo (beside c-o), 1"<011 fa<os poller Dolibor Michokil, ..,;. ooit fa<os pollee 0... mss, I"<OII/ 2ocl ooit DP/ sleoc5c011 Jor..W Kot .. (behind c-o) ood 3rd ossist•l z.,..,.. Hlo!Niovo.

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A small Canadian crew went over. Dean Frlss went Arst to London, where the camera ~'Quipment wa~ being rented. We used Arrl SRIIIs for the whole show, and because post-production on the

five episodes we were shooting in the Czech Republic was being done in London It was decided to shoot at 25 frames per second. When Dean opened the cases in London to check out the gear, he found It to be brand new.

The rest of us went to Prague - 1st

assistant directors Carl Mason and Rob llandall, makeup Emanucla Daus, script supervoor lucy Macleod, and costu me adviser l'aula Plachy, who was on-set supervisor during the filming of the Canadian epi5odes. The rest of the crew were Czech, and they were great. One wonders, of course, when going some­where you have not worked before, what the crews will be like. I should not have not worried. I have worked many places in the world with great success. This was to prove no different.

Most of the crew lived a good dis· tancc out of Prague, where we were prepping. so I was only able to meet with the electric, grip and special effects departments. I met the camera crew on the first day of shooting. and all that 1 had been told about them was true. Our main unit operator, Vladimir Kola, and B·operator/ steadicam jaromlr Kalina arc both OOPs in the Czech Republic. Vladimir spoke English, whi le Jaromlr, whom 1 affectionately ca lled the "wild man," had buil t his own steadlcam from air· craft parts. it is the love of his life, and I'm sure he would jump out of n plane with It strapped on If you asked him. He was joined by his focus puller, Dalibor Michalcik, whom I hardly ever saw take his tape out. Jaromlr and Oalibor would take over the duties of second unit when required.

We had on hand on any one day at least three and sometimes four opera­tors and assistant cameramen if we needed them. As I understand It, everybody lives so far away from the locations where we were shooting that it was easier to have them there than try to get them when they were need· ed. It certainly came in handy for the fight scenes, and as the daylight was gone by 3:30 p.m. we did keep them busy. Some of the camera crew were still at school and on a few occasions a worried Toma Ordack, C-<:amera oper· ator, would come to me and ask If he could leave set If he was not needed to check in with his professor. This boy had a very natural talent as an OI>Cra­tor, and he and his focus puller, Jlrl Kubik Jr., loved the 200mm. It became their lens.

We had a total of 14 j)Cople between the two camera units. The truck got quite crowded a t times.

·nuee or the camera crew were women, Zuzanna Hlobilova, Eva Pitova and Dagmar Vit, all 3rd assistant camera.

My friend, gaffer Vaclav Filacek, was affectionately called "Filda." He spoke little English, but he had a big heart in his big bear-like body. Words cannot describe the relationship that developed between l'ilda and me. After the first week we only had to look at each other, make a few hand signs, and things would happen. We would laugh at times when I rattled of! a whole lot of instructions and this big grin would come across his face, until I realized that he didn't understand English. I look forward to the day when Filda and I get together again.

The electric crew, lamp operators, do their own nagging, hence the elec­tric crew is bigger than the grip crew. One thing I didn't quite understand, and still don't, is that while I could get any HM I I wanted, I could never get scrims for them. I was always told they were too expensive, although I tried to rationalize that they had to be cheaper time-wise than putting up grip stands with nets. Anyway, knowing this, I was careful to work with what they could put up, especially when we had the lamps up on condors or cranes.

So if I needed to take the intensity of the light down a stop or two, I would use the dimmer on the HMI bal­last, instead of rigging nets. Of course, when you dim down the HMis they tend to get a little warmer. I was using. for the most part, an 81 EF (half 85) fi l­ter on the camera, with either the 250T or SOOT Fujifilm 16mm stock, so the small change in colour temper­ature did not matter. As I was only using th is technique on my lights coming through the windows (which were mainly on condors, scaffolding, etc.), it actually helped. Any of the interior lights were taken down in nor­mal fashion, as they were easily acces­sible, usually with diffusion gels.

Our grip crew, led by key/dolly grip Petr Kasik, mainly looked after the camera crew, including lugging the ca mera equipment, something the camera assistants appreciated.

If you're ever going to Prague, one of the most beautiful cities I've been to, call me. I can recommend a wonderful crew. e

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GENIE anct ASC AWARDS

MAELSTROM BIG GENIE WINNER

DOP Andre Turpin Earns Cinematography Honour

RENE OHASHI CSC WINS ASC AWARD

Rob Mclachlan esc Also Nominated for 1V Achievement

The Quebec feature Maelstrom won in five categories when the Academy of Canadian Cinema

& Televisio n presented the Genie Awards at its 21st annual gala Jan. 29, broadcast live on CBC-TV fro m the Metro Toronto Convention Centre.

Maelstrom, selected Best Motion Pictu re, also won Achievement in Direction and Best Screenplay for Denis ViJieneuve, Best Performance by an Actress in a Leading Role for Marie­Josee Croze, and Achievement in Cinematography for Andre Turpin.

Th ree CSC members were among the five nominations for the cinematography Genie: Guy Dufaux esc for his work as DOl' o n Start/om, Jona tha n Freeman for Possible Worlds, and Pierre Gill esc for Tile Art of War. Also nominated was j ea n

Lepine for To Walk Wil/1 U011s. The Academy said a total of 18

feature fi lms, along with 13 theatrical shorts and documentaries, were nomi­nated for consideration in a total of 18 categories.

The five other Best Motion Picture nominees were Love Come Down, New Waterford Girl, Possible Worlds, Stardom a nd To Walk Wit/1 Uo11s. While not nom inated themselves, Dylan Macleod esc was DOP on Love Come Down, and Derek Rogers esc shot Nt'w Waterford Girl.

This year's Golden Reel Award was presented to Tile Art of War (DOP l'ierre Gill esc), a political thriller that grossed S4.S million in Canada during the qualifying period of Oct. 21, 1999, through Oct. 20, 2000. The Golden Reel Award is presented each year to the Canadian fil m that earned the h ighest domestic revenue at the box office during the qualifying period.

OHASHI WINS FOR rHE CIIOSSIIIG Mclachlan No•lnatloa fourth Ia a Row

Rene Ohashi esc of Toronto was a winner and Rob Mcl achla n esc of Vancouver was a lso among the 16 nominees in three television categories at the I Sth annual American Society of Cinematogra­phers Outstanding Achievement

Awards in Los Angeles on Feb. 18. Nominees in the category of Movie

of the Week/Miniseries/Pilot for Cable o r l'ay TV were Anghel Decca for Witchblade (I"NT), Robert Mclachlan esc for Nigh Noou (TBS), Donald M. Morgan asc for For Love or Country: Tile Arturo Sam/oval Story (HBO), Rene Ohashi esc - the winner - for T/w Crossi11g (A&E), and Vittorio Storaro asc ale for Du11e (Sci-Fi Channel/USA Network).

It was the fourth consecutive ASC nom ina ti on for Mclachla n; the previous three were for his work on the series Mille11nium. Ohashi was a firs t-time nominee. Tile Crossi11g, the story of George Washington's bold attack across the Delaware River In 1776, was shot in Alberta and Hami lton, Stoufville and Morrisburg, Ont., specifica lly at Upper Canada Village.

Nominees in the category of Movie o f the Week/M iniserles/l'ilot for Network or Basic Broadcast TV were Ernest Holzmann- wi nner - for Cora U11aslmmed {PBS), Sergei Kozlov fo r Jason a11d t11e Argo11auts (NBC), Brian J. Reynolds for Papa's A11gets (CBS), Eric Van Haren Norman for Ki11g of tile World {ABC) and William Wages asc for The Moving of Sophia My/e.~ (CBS).

Episodic TV series nominees were Thom as A. Del Ruth asc - winner -for •Noei"/TIIe West Wi11g {NBC),

Billy Dickson for "The Musica l, Almost"/AIIy Mcl[enl (Fox), Frank E. Johnson asc for "God Bless the Chi l d"/Toucl~ed by n11 Angel (CBS), Shelly Johnson asc for "11 12" /The Others (NllC), Bil l Roe for "Patience"/Tire X-Files (Fox), and Dennis L. Smith asc for "The Deal" /Tire J>rnctice (ABC).

Nominated for the ASC feature film award were Roger Deakins asc bsc (0 Brotlrer, Wlrere Art 11rou?), Caleb Oeschanel asc - wi nncr- (The Patriot), John Mathieson bsc (Gladiator), Peter !'au hksc (Crouching Tiger, Hidden Dragon), and John Seale asc acs (The Perfect Storm).

Vittorio Storaro asc ale, who earned Oscars for his innovative cinematogra· phy on A{'OCalypse Now, Reds and Tire Lasr Emperor, was this year's recipient of the ASC's lifetime Achievement Award, given annually to a cinematog­rapher whose body of work has made an important and enduring impression on the art of filmmaking.

Storaro received a fourth Academy Award nomination for Dick Tmcy, and he also shot such films as Tire Conformist, 1900, Last Tmrgo ill Paris, Luna, Tucker: Tile Man nnd His Dream, Lt!dylwwke, and Bulwortlr.

Billy Williams bsc received the International Ach ievement Award, pre­sented periodically by the ASC to a cinematographer outside of the United States who has made a significant and enduring impression on the interna. tiona I ait of filmmaking. ~le has corn­piled nearly 40 narrative credits as a cinematographer during a career that has spanned four decades. Williams earned his first Academy Award nomi­nation in 1971 for WometJ in Love. He was nominated again for On Golden l'ond in 1982, and won an Oscar the following year for Gam/hi.

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CSC NtwS •Marrh lOOI • 19

(THE VIDEO FILE J Panavision and Stringer Presentations Bring Out Big Crowd;

Panasonic A nnounces New 24P Camera for April NAB Show

Include the definitive thumbs-up from George Lucas o n the success of shooting Star Wars: Episode II in 24P HD on Sony's J>anavision-modi­fied Ci neAita cameras.

THE STRINGER TfST CREW: {from left, stonding) Rid!ord Stringer u~ Steve Tsushimo, Josper Vroltking ond Lori Longstoll; {bottom) Jadyn Young, Mid!elle Veno. Missing from plloto, Aoron Szimonski.

Last October, director Lucas and producer Rick McCallum placed an ad in the Hollywood Reporter magazine to 1>ublicly thank the teams at Sony and Panavision who cre­ated the digital 24-frame progressive high-defini­tion system used in the production of Episode II. The message read:

There was standing room only when Richard Stringer esc and Panavision Canada presented a

special HD-versus-film screen ing for a large turnout of esc members and guests at the new Sheridan Centre for An imation and Emerging Technologies in Oakville, Ont., on Jan. 22. What the packed house of over 200 saw fro m Scott MacDonald of Panavision Toronto - iJ1 a screening facility desig,ned to seat 150 students­

Scott MocDonold of Ponovision (onodo.

was a 3Smm print transferred from tape originated on Panavision's Sony 24P I-IDTV system, as well as the sa me shots from 3Smm negative.

Unfortunately, MacDonald's pre­sentation material was not available for publicaton, a lthough it was, of cou rse, primarily visual. We can report that it did

20 • CSC NeuorM..-ch 1001

"We shot Sllrr Wars: Episode II in 61 days in five countries in the rain and desert heat averaging 36 setups per day without a Single camera problem. We have found the picture qua lity of the 24P Digita l liD system to be indistinguishable from film. Thank you Sony and l'anavision for helping us meet our goal of making an entirely d igital motion picture. •

MacDonald, national manager of digital systems, and Stuart Hurst, who recently moved from Sony of Canada to digital systems ma rketing at Panavision Canada, fielded a battery of questions from cinematographers after the presentation. In the lobby outside the theatre, new !'ana/Sony cameras were available for Inspection.

Stringer, vice-president of the esc who has produced previous film-ver­sus-video tests, said MacDonald had offered the CSC the Opportunity to shoot some of its own tests on HD video and have it transferred to film. lie said h is Sheridan presentation included on ly Panavision liD and unedited 35mm fi lm, but he actually shot with eight formats/cameras. He told CSC News he would be working

with Command l'ost/Toybox to get all formats to film soon.

In addition to Panavision, Stringer acknowledged the cooperation of Rob Sim of Sim Video, Gordon Stephen of Panasonic Canada, and Ted Michener at Precision Camera. Fuji Photo Film Canada provided the tape stock and Kodak Canada supplied the 5274 lilm stock. Processing and printing was at deluxe toronto. The film crew was Lori Longstaff, who acted as camera assis­tant as well as on-camera model, assistants Steve Tsush irna and Aaron Szimanski, and IATSE trainees Michelle Vena and jaclyn Young. Without Japser Vrakking of David j. Woods "it would have taken forever to get though all the video cameras." lie used DSC Lab's Camalign charts to help match cameras. lie thanked Sheridan instructor Richard Leiterman for offering the college's screen ing faci li ties.

Panasonic !lrtros 24P Camera Panasonic Broadcast has announ­

ced that its new AJ-IIDC24A HD "Cinema Camera" will be officially unveiled at NAB April 23-26 in Las Vegas. The AJ-Ii DC24A is a multi­frame rate, progressive-scan, digital high deJinltion camera designed for commercials, music videos, documen­taries, TV episodics and theatrical release film production.

The AJ- ~IDC24A shoots at 24 frames progressively (241') - as well as 60, 12, and numerous other frame speed choices. This multi-frame swltchability allows digital cinematog­raphers to .,overcrank'' or "under­crank" to alter the recorded speed of the action.

The Cinema Camera's 24P images can be directly converted to fi lm while at the sa me time avoiding unnecessary frame rate conversions which may affect image quality or in troduce

THE HAPPY HEW YEAR TEST: lo ooe of Rkloard String«'slt sl stl•lpl, onodel/ ossisloatl«i 14agstoH wits wit~ IM Wodhoard for ot1Htiooa.

artifacts. Additionally, since the cam· era can shoot In 2SP. II 1s suitable for PAL production and broadcasting environments.

The new camera records 46 min· utes of 24-frame, 720P HD images on to a single DVCI'RO I ID compact cas· seue. From a physical viewpoint, the AJ·HDC24A provides flexibil ity In either studio or field environments. With a full runnln& weight of 15 pounds and a compact shoulder· mount size, It makes for easy handHng with a StcadiCam or a jib arm of any length. Sturdy construction allows for use In mobile configurations such as helicopter mount rigs and specialized car mounts.

The camera offers 12 assignable scene file set-ups. Four Oles can be stored Inside the camcorder, while eight Oles can be stored on a remov· able Secure Digital (SD) or multi-media memory card. It offers a maximum 36dl3 guln and a user can allocate three levels (high/mid/low) from among 10 gain selector settings extending from . 6dll to +.lOdB. Even at +36d8, high· quality Images are achievable in low lighting conditions all the way to 0.7 lux.

The AJ·~IDC24A also offers menu browsing and setup via viewfinder or external monitor charae1er readouts. To deliver the •mrn look," the AJ· HDC24A's advanced colour correC1ion scheme utllltes a 12-pole colour matrix that allows specific colours to be set, especially when critical colour matching Is vital.

FOR SAL£; Canon 14 x 5.7mm manual ed. contact Walter my_dm~ension@hot· zoom lens f01 the Canon Xl·1 camera· spe- maJI.com cia! poce, llmtted ttme-US$1.299 (product FOR SALE: Aaton LTR Super16(unmacu· details www zgc.comlhtmVcanon_manu- late I. 3 mags./batts. Canon 11 5·135 al_zoom.htmll, and the Putora 7A9 room. Sachler tnpod and pOitable wheels. Sharpness lndtcator Test Chart: special bars. matte boxes and lots of other extras; price. hmtted ttme··US$49 95 (product US$15.000 or best offer Contact: details: www.zgc.com/htmlf7a9_tesLchart.htmll. Contact ZGC Inc. 973·335-4460 or chrisi!Pzgc.com FOR SALE: Arri Super16 SRI! with built in Ctnematography ElectionlCS speed control; 111deo asstst lb&w built tnk super wide­angle eyeptete, heated eyecup: long eye­ptece, nght-lland gnp, 3 magazines: Zeiss

T20 12·120 zoom, Ze•ss T1 .3 9.5mm. 12mm, 16mm. 25mm lenses: 5x6 mane box; 4 mattes, clip-on matte box; eyebrow; follow focus II; lightweight follow focus; 2 whips; speed crank; 2 block batteries; 4 on-board batteries: Sachtler 7+7 fluid head. Sachtler standard legs; baby legs: ht·hat 10 cases. 30 assorted filters; docu· mentary matte box, many extras. $49.000. Kevtn Hall (6041 250-8041 kevinha@inter· gate ca FOR SALE: Aaton magnetic OX S16mm 400' magaztne. Optar 8mm Sl6 hi-speed. Arri B mount. Am hghtwetght follow focus unit E·matl· IU~compuserve.com FOR SALE: American Cinematographer back issues. late 1970s to early 1980s. Approx. 45 issues available. Please con­tact {4161 762·5448 or wbc:how@path· com com FOR SALE: 2·35mm Pnme lenses: Aaton mount. 85mm Contax IZeissl T1 .4 and 135mm Contax (Zetssl T2. S600 each -mtnt condtt1011(6041291·1550 FOR SALE: Canon XLI. stoll under warran­ty. metal case. extra 3·hour new battel'f, filters and all the toys; $6.000. If imerest-

raph_sabef@hotmail.com or anikfilms@home.com FOR SALE: 16mm package. barely used. 1 SRIII body woth ttme code board. Arri glow. Super 16 ground glass wtth TV markings.

anatooucal hand gnp wtth on/off. bridge plate w/dovetaol slldong plate. camera

power cables. rods 15mm. shutter allen key. heated eyepoece. eyepoece heater cables. regular eyeptece. spare eyecups. eyepiece extenston and leveler. 3 SRIII mags. ume code ready. 1 on-board battery adapter. 2 24V on-board batteries; 1 24V dual on-board battery charger: 2 super triple 12V/24V battery blocks; 1 24V bat· tel'f charger. 1 Arri Super 60 quadruple splitter box 12/24V. I Arn lens light; 2 Arri

video Oj)ticS. BOno beam Splitter. Sony b&w video assost. 1 video transmotter; 1 lead·hned custom barney: 1 Cooke S.1

close focus room (Cooke S 16 conversoonl snfl87335; Chrosztal follow focus with right and left knobs. brackets spare gears: 1 MB-4x4 mattebox-trays and extra shade. 3x3" trays full set-manes; Arri SAUl tool kit; original Arri manuals +John Fauer Arri book; camera case. 3 mag case.

aks case. lens case (royal blue I; entire sys· tern recently overhauled by Arri Canada: complete package C$95,000. also For Sale: Am Sx6" mattebox with all mattes.

rongs. standard rods. case. $3.500; Cartoni C40 Fluid head. $3.200. Canon 200mm. T3 telephoto with Pl. mount. $1,200. Contact Rob Mcl.achlan esc at 604·980-9025 or

604·454·7110

esc N"'" ~tmd!ZOOI • 21

C A N A D A Toronto

Tel: (416) 444-7000

22 • esc N •• ,, MarcA 2001

Vancouver Tel: (604) 291 ·7262

mtirJel Sweeney (l( AOOm Swi<o !l! Al1io Szalay (l( Clv~topher loomlro (l( liobor Iorio (l( Jolvl Tarver (l(

Brion lhom50n !l! PlttA Talton !l! 8en Tougas (l( Clv~ iiffu (l( Soon Voleruri !l! Pltl.l YOn der tilden (l( Roger Vernoo (l( S!M Vernon (l( lloniel Vleneuw !l! lloniel Yll<ele!t< !l! Joirl Wo~er (l( Tony Wonoomol:er (l( Tony Weslll'IOn (l(

Kit Wlitrrore <SC

Plttri<k Will~ms (l( George Wiis (l( Ridlold Wincl!llty (l( Peter Woeste (l( Bill Wong(5(

Bnxe Worral <sc Craig WroblesiU "' Yuri Yokuljw IS<

FULL LIFE MEMBERS Herbert Alpert (l( 05(

EugEM 8oyW IS<

llovid Ccrr (l( O.rislopher Cho!M'On (l( Robert Crone llt Keooem Oo.ey (5( Edmond llefoy (5( Don Gibson (5(

James Grotlon llt Kl!ooem Gregg (5( Brion Hohes llt Maurice .lods0Somuels (l( Myron Kupd-00: <S<

Oon<Ad IW/Jiln (l( Regilcil M~ (l( Oeon Pet""'" !l! Kl!ooeill POSI (5( Roger ltoOOe (l( Robert RotMioy (l( lvon$orossy(l( Jasti Sorkeresh (l( WoUer Wdc (l( Ron Wegodo llt louis Wolf~ (l(

·,

We'd like to congratulate all this year's Academy Award

Cinematography nominees:

Oh Brother; Where Art Thou?: Roger Deakins

The Patriot: Caleb Deschanel

Malena: Lajos Koltai

Gladiator: John Mathieson

Crouching Tiger, Hidden Dragon: Peter Pau

And we thank Roger Deakins for shooting with our 84 primes

This year, Cooke S4lenses were used on two of the Best Picture,

three of the Writing and four of the Actor/Actress nominations

The two Best Picture nominations are:

Erin Brockovich: Ed Lachman D.P.

Chocolat: Roger Pratt D.P.

We thank them for using our S4 lenses

Cooke OP'riCS SINCE 1893

England. ""ce: 44·116-264.()700. Fax: 44•116-264.()707 • Canada, South America, USA. \l>ice: 9'73-335-4460. Fax: 9'73.SSS·45ro www.oookeoptics.com

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-~ONFII.M

Rene Ohashi esc of Toronto

was the winner of this

year's ASC Award in the

category of Movie of the

Week/Miniseries/Pilot for

Cable or Pay TV for his

work as d irector of

photography on Tile

Crossing (A&E). He has

also won numerous esc and Gemini Awards and

was presented with the

Kodak ew Century

Award, for outstanding

contribution to the art of

cinematography, at the

CSC Awards in 1997. Here,

in an interview for Kodak's

ON FILM series of print

advertisements featuring

Canadian cinematogra­

phers, Rene discusses the

art and craft of his

photographic success.

R cne Ohashi studied filmmaking at York University in Toronto. Ills work a~ director of photog­

raphy encompasses a wide spectrum from e;orly documentaries to dramatic television series and pilots, Including Party of Five and El~rly Erfitiou, MOWs, feature films and hundreds of com­mercials. Ills dramatic film credits Include n1~ War &twrn1 Us, Relllo(J· Kid, Ki~dllg« and Nixon, Tile Arrow, Wat~r Dtm~age and TI1e Crossi~rg.

Q: When did you firs! become interested In photography?

A: In high school I started to have an Interest In sllil photography. But I really got serious after discovering motion pictures through a fi lmmaker

j

l J '0

I t

called )ad. "an der May. He did a newsmaga7lne ~how. He taught me the basic technical background, Including the editing side, which was very valuable. Knowing how the pieces fit together really rounded me a> a photographer. It was good train· ing. I a"htcd for him for about four years.

Q: Did you go to fi lm school? A: Yes. 1 attended York University

in Toronto, In their film program. That program was a new training ground for professional people. In a way, It changed the face of Canadian filmmaking talent. Traditlonall)·, coming up had been more of an apprenticeship-based system. I found mm school to be invaluable. S«.'lng so many different kind~ of fi lms from all over the world, on a dally basis, gives you a background, and other ways of see­Ing things. You remember Images that were strong In your mind, and you always go ))ac~ to them. You use that through your own interpreta· tlon, as a way of creating your own Images. I thin~ that was all-impor· tant to my ca<loer.

Q: Mtcr graduation, did you return to assisting?

A: Onl)• for a \'Cry little while. While 1 was simultaneously working on and off as a first assistant, I got to know ,, number of people. One producer/director who worked through an cducatlomd network started hiring me to ~hoot second-

Rene Ohashi esc unit visual material ror her show. She gave me a really big breilk and got me a 26-part half·hour series. I ended up shooting on a very consistent basis. It was newsy, mag· azlne show material, but it was excellent training. I Marted to hone my lighting $tyle. I wa\ able to buy a J6mm camera, and from there, I Just kept shooting. and one thing led to another.

Q : What lessons did rou learn back then that arc Still useful to you today?

A: I :olways go for realism In my photograph lc approach. Once I started In dramatic filmmaking. I always wanted the photography not to get In the way of the story. The story should always evoke the man· ncr In which the Images are present· ed, like a visual tourney that comes out of the words. I think that os the greatest Jesson - In dramatic film -that you have to relate the story to the presentation of the Images. It's a way of seeing, I thlnl.. Certainly there's a marriage of the craft and the art. The art Is Interpretation, making those aesthetic choices. It's trying to get the viewpoint of the director across.

Q: llow have Improvements in film stocks affected your work?

A: As I said, I've a I ways ~n a fan of realism In photography, that Is, heightened realism. It's taking realism and making It that much more extreme. Part of that Is exploring the limits and the thresh­old or the photographic emulsion. Modern-day emulsions can capture extremes or light and dark as well as the nuance~. I think that's where we as modern cinematographers have a tremendous advantage. It's like an extended 1>alette or an extended vocabulary. You can crea te new ways

of seeing th i ng~. It all Mcom from trying to evoke an emotional response from the viewer. It's find· ing new ways of expressing one's self.

That's where the modern ernul· sion Is crucial. I thlnl. that's a big change. We have so many stocks available to us now, from very high speed sensitive stocks to lower ron· trast. Almost every different l.ind or look you want to create through photographic history, If you will, can be creatt>d with these stocks. It's a great time, visually, for a cine­matographer.

Q: What I~ your asses~ment of the Impact of the computer on film· making?

A: In the la~t five or six years I've split my Ume between narrative 1V drama work and television commer­cial photography. In rommerctals, it's all about the \'lsual Image. I think post-production techniques have become crucial, for both 1V drama and commercials. It'< almost a collaboration - an extension of original production photography. In commercials, everything Is aug· mented quite a bit In po;t.

You're alway; going for pure Impact and almost sensationalism In commercia l photography. You have to understand all these concepts, of course, to express your Ideas more clearly. An)1hlng you can think or, you can create. Impossible shots are now possible. Your Imagination can really run completely free. I try to go to trans,. fer sessions all the time. t:ven that technology constantly changes. You go to transfer and they always have new gadgets. It's quite ama1.1ng what is possible after the fact. It's not to lessen what we do. You have to have that original vbion to act on.

esc Nt~·•' M""h 1001 • 25

SPONSOR EXECS ON THE MOVE Watier, Whittingham, Hurst Change Venues

STUART HURST of Ponovision Conoclo, formerly with Sony of Canada, stands behind o new Pano/ Sony 24P HD <omero.

Three industry professionals familiar and important to the esc have changed jobs recent­

ly. Penny Watier, a strong supporter of the Society durin,g her years at Arri Canada Ltd., has moved to William F. White Ltd. as national sales manager, and Stuart Hurst, an articulate camera expert at Sony of Canada Ltd., has taken a marketing position in digital systems at Panavision Canada.

Pat Whittingham, executive vice­president of Sony's CIS Group, left Sony of Canada in February to join Sony Electronics in San j ose, Calif. (We hope he knows the way!) A farewell celebration was held at Sony of Canada headquarters in ·lbronto on Feb. 6. Whittingham was a brilliant and eloquent spokesman for Sony of Canada, and his regular updates on the rapidly changing face of digital video and the television industry were appreciated by esc members.

26 • CSC Neu• ' March ZOO I

LANCE ET COMPTE- ENCORE Desrosie rs Shoots Series Revival in 24P HD

Serge Desrosiers esc is currently shooting a 15th-anniversary revival of the hit Quebec series Lance et compte (He Slroors, He Scores) with the o riginal directo r, jean-Claude Lord. The working title of the 2001 version is Lance et compte - La rwuve/le gerreration. Shooting wraps the end of this month.

The series first aired in 1986 with Bernard Centrier as DOP and ran for three seasons. Its style of hand-held ca mera and coarse language, sa id Desrosiers, •gave a push to all other series shot on 16mm film, from then till now. Everybody in Quebec is wait­ing for this series, 15 years after.•

He told CSC NeiVS that after talking to the producers about trying some­thing new, "we finally decided to shoot in 24P HD, becoming the fi rst

TV series in Quebec to be shot on 24P HD in letterbox. We started to shoot o n Feb. 11 and the 241' is very beauti­ful."

FLYING OVER SUIVIVOI II Wes<am Adds The Flnlshln1 Touch

While producers and the 250-member crew grind th ro ugh the wilderness of the Australian Outback to capture the intricacies and human behaviors of the Survivor 11 competi­tion, Wescam flies overhead providing the unique perspective that ties it all together. For Survivor II, the Wescam 24-inch video system flew for seven weeks over the northeast coast of Australia, just off the Great Barrier Reef and into the Outback.

Wcscam opera to r Mark Hryma said: "The producers needed some­thing to show off the scope of the landscape. We went from tropical rain forests to spa rsely vegetated areas to the desert. People don't always get to sec these kinds of environments. It adds to the show. •

Hryma and Australian pilot Chris Rose of Sun lever Helicopters flew almost dally, shooting landscapes, wrldhfe, course proftles, and cha llenge events.

Co-executive producer Craig Piligian commented that '1the Wescam was perfect for capturing the mix between sports and drama. We used it to shoot aerials covering the openings and c losings of games, course profiles for pre-game descrip­tions, and reality aerials to show basic day-to-day activities. It really added value a11d helped us show the rela­tionship between the environment, the competitors and the competi ­tion."

Wescam covered last year's Survivor series in Kinabaiu, Malaysia, with Wescam 24- and 12-inch video cam­eras on helicopters to capture the opening sequences, beauty shots and environment coverage for the 13 episodes.

Meanwhile, the Flamborough, Ortt., company has been awarded a three-year contract by Fox Sports Production Inc. to provide digital wireless video coverage at NASCAR events that began Feb. 18 at the Daytona 500 in Florida.

FllrER TALK AT CLAIRMONT CAMERA Ira nHen Leads {oronto Seminar on What's New

Ira Tiffen of The Tiffen Company, ~lauppauge, N.Y., pre­sented a 2 1/2-hour seminar at Clairmont Camera in Toronto Jan. 22-23 on Tiffen filters and new, forthcoming software to manipulate filtration in post-production.

In attendance were jeremy Benning, Peter Benison esc, Zoe Oirse, Phil Earnshaw esc, Brian Hebb esc, Robbi Hinds esc, Michael Jordan, Ernie Kestler, Alwyn Kumst esc, John Lindsay, Rob MacDonald, Ryan McMaster esc, Trish O'Brien of Cinequip, Rene Ohashi esc, Gerald Packer esc, Lern Ristsoo, Suresh Rollin, and George Willis esc.

The Tiffen Company's motion picture and televis ion d ivision reached an ag reement with Steadicam inventor Garrett Brown last fall to produce, market and sell the Steadicam line of manually-held camera support systems. Steven Tiffen, president and CEO, said at that time: ult was a natural dec-ision to pursue an alliance with Garrett, the orlgtnal Innovator and the inventor of Steadicam technology 25 years ago. The addition of the Steadicam line to our expansive portfolio highlights our contin­ued efforts to provide the most useful and important equip­ment to fi lmmakers and video­graphers around the world."

The previous holder of Steadicam rights was Cinema Products Corp. of Los Angeles.

LIKE FATHER: Asso<iate John Hodgson gave his daughter, Kristy, just whot she wonted this po.st <hristmas, on affiliote <S< memhership, making the personable 17-yeor-old possibly the youngest Society membe<. Kri1ty, mown he<e with her father ot the Panavision (anocla preseo­totion In January, has been helping John with his Missinauga video bosiness, (ancllemaker (ommuNcatlons, since she was knee-high to o tripod. She aHends (5( fvndion.s regularly, although John is still the atttftclance champion.

introduced in 1976, and over the years it has received numerous awards from the Academy of Motion Picture Arts and Sciences as well as the Academy of Television Arts and Sciences. Most recently at IBC 2.000 in Amsterdam, the new Steadlcam Ultra received the TV Technology

STAR (Superior Technology Award Recipient) 2000 Awa rd.

The llffen Company was round­ed in 1938 by NatTiffen and his two brothers, Sol and Leo It is known as a world leader in filters for the motion picture, television and still photography industries. e

Steven Tiffen said his com­pany's goal is to work with Brown to develop new models that will continue to advance the state-of-the-art Steadicam line. Tiffen will continue to support the Steadicam commu­nity by producing, distributing and servicing the existing line o r products a lready in use throughout the world. The existing Steadicam products include the Steadicam J R, the Mlni, and the new Ultra line, which handles the full range of film and video cameras.

The first Steadicam was

<LASS OF 2001: (ourse coordinotor Ernie Kestler (standing, right) introduces the first class of the new millennium to complete the (S( (amera As<lstants (ourse in Toronto Feb. 3-11. A full report and more photos will oppeor next month.

esc N•u.v M ... ch 2001 • 27

British Columbia, Prairies

BEYOND BEUEF(series); OOP: Ron Orieux esc; to March 9, North Vancouver.

CABIN PRESSURE(MOW); OOP: Attila Szalay esc; Op: Brad Creasser; S.Op/SC: Michael

Davies; to March 14. Nonh Vancouver.

THE CHRIS ISAAK SHOW(series); DOP: Randal Platt esc; 2nd: Gal1h Longmore;

to March 6, Vancouver.

DARK ANGEL (series); DOP: David Geddes esc; 1st: larry Portmann; April 26,

North Vancouver.

DooR 2 OooR (MOW); OOP: Jan Kiesser asc esc; Op: Neil Seale: to March 7. Vancouver.

JusT DEAL (series); 2nd: Mark Gordon: to April 23, Vancouver.

LoNE GuNMEN (series): B-1 st: Gillian Stokvis-Hauer; to March 22. Nonh Vancouver.

M YTH OUEST(series); OOP: Rick Wincenty esc; Op: Mark Dobrescu esc: B-Op: Richard

Garbutt; B-lst Kirk Chiswell; to April15. Calgary.

DurER LiMrrs (series); OOP: Richard Maguire esc; to June 29. Burnaby.

RETURN TO HALLOWEEN TOWN (MQW); DOP: Tony Westman esc; to March 7. Burnaby.

SMALLVILLE (pilot); OOP: PeterWunstorf; March 7-30. Vancouver.

THE WEDDING DRESS (MOW); DOP: Gregory Middleton esc; to March 28. Vancouver.

WINTER DANCE (feature); 2nd-unit DOP: Roger Vernon esc; to April 18. Vancouver: Feb.

11-March 17. Alberta.

Ontario, Atlantic

ARARAT(feature); DOP: Paul Sarossy esc; May 27: Toronto and Alberta.

A VENGING ANGELO (feature); OOP: Ousama Rawi esc; AprilS to May 29. Toronto.

DANGER BENEATH THE SEA taka Tin Can Alley) (MOW); Op!SC: Rod Crombie: 1st: Peter

Battistone; 8-lst:Gottfried Pllugbeil; to March 9, Toronto.

DANGEROUS CHILD (MOW); DOP: Nikos Evdemon esc; March 19 to April 11. Toromo.

DEATH TO SMoocHr(feature); B-Op: Peter Luxford esc; to April24. Toronto.

Doc (series); OOP: Barry Bergthorson esc: 2nd-unit DOP: Graeme Mears esc;

to July 23, Toronto (HDTV).

DoN'T SAr A WoRo(featuret. B-2nd: Nicole Blanchard; to March 13, Toronto.

K19: THE WIDOWMAKER (feature); Op/SC: Peter Rosenfeld; to June 29. Toronto.

LEAP YEARS (series); DOP: David Perrault; March 26 to Oct. 30, Toronto.

LEXx: THE DARK lONE(series); 1st: Gareth Robens; to Nov. 2. Halifax.

PRANCER REWRNs {MOW); DOP: Bruce Worrall esc; Op/SC: Richard Kearney;

to March 23. Toronto.

QuEER As FoLX(series): 1st: M. Glen Treilhard: 2nd: Tony Oliver: to March 20. Toronto.

SNAPJUDGMENT{MOW); DOP: Rhett Morita: Op/SC: Michael Soos: to March 7, Toronto.

SouL Fooo II (series); DOP: Mike McMurray esc; Op/SC: lain Baird: 2nd: Oemetri Ponelli;

to June 30. Toronto.

STOLEN M IRACLE (AKA THIS CHILO OF M INE) (MOW); DOP: David Frazee esc;

to March 16. Toronto.

WITCHBLADE(series); Op: Christopher Tammaro esc; to June 22. Mississauga.

28 • CSCN•wstM=hZOOI

Schedule of Meetings and Events of Interest

to CSC Members

TORONTO

Mon .• March 19, 7:30 p.m. - Kodak Entertainment Imaging has resched­uled its CSC Christmas presentation (postponed due to inclement weather in December). Kodak will share two visions- future direction, and the newest high-speed colour negative film: KODAK VISION Expression 500T. In the Kodak Theatre at Kodak Canada Head Office, 3500 Eglinton Avenue West.

Sat., March 31 - CSC Awards, Westin Prince Hotel

EQUIPMENT GATHERING OUST? The esc would like to get feedback from Toronto-area members on who might wish to participate in a used equipment sale in conjunction with the Photographic Historical Society of Canada in May or October. The PHSC has the organization. space and adver­tising and would be willing to add some tables for the CSC. Equipment would not be restricted to antiques ­any gear. including video. could be sold. But we need to tell the PHSC how many tables we could fill. If you would be interested in renting a table (approximately $55), let us know. If you have only a few items, you might want to share space with another member. Please leave your name with Susan Saranchuk at the CSC (416-266-0591) or email admin@csc.ca. This is not a commitment, just a survey of interested members.

Check www.csc.ca for updates

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