Norm Li csc The Body Remembers

$4 October 2019 www.csc.ca

CANADIAN SOCIETY OF CINEMATOGRAPHERS

G R O U N D I N G H

SUPERHEROES

T I T A N S

http://hdsource.ca

A publication of the Canadian Society of Cinematographers

Fostering cinematography in Canada since 1957. The Canadian Society of Cinematographers was founded by a group of Toronto, Montreal and Ottawa cameramen. Since then over 800 cinematographers and persons in associated occupations have joined the organization.

The CSC provides tangible recognition of the common bonds that link film and digital 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.

The CSC is a not-for-profit organization run by volunteer board members of the society. Thank you to our sponsors for their continued support.

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From the Editor-In-ChiefFrom the PresidentIn the NewsCSC Member Spotlight – Thom Best csc

Tech ColumnProduction Notes/Calendar

Minka Kelly as Dawn Granger/Dove.Courtesy of Warner Bros. Entertainment Inc.

FEATURES – VOLUME 11, NO. 6 OCTOBER 2019

COLUMNS & DEPARTMENTS

Norm Li csc on The Body Remembers

In Memoriam: Jean-Claude LabrecqueBy: Guido Kondruss

Titans: Grounding SuperheroesBy Trevor Hogg, Special to Canadian Cinematographer

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2 • Canadian Cinematographer - October 2019

Canadian CinematographerOctober 2019 Vol. 11, No. 5

EDITORIAL BOARDEDITOR-IN-CHIEF Joan Hutton csc

EDITOR EMERITUS Donald AngusEXECUTIVE OFFICER Susan Saranchuk, susans@csc.caEDITOR Fanen Chiahemen, editor@csc.caCOPY EDITOR Patty GuyaderPHOTO EDITOR Janek LoweART DIRECTION Berkeley Stat House WEBSITE www.csc.caADVERTISING SALES Guido Kondruss, gkondruss@rogers.com

CSC BOARD OF DIRECTORS Serge Desrosiers csc

Zoe Dirse csc

Phil Earnshaw csc

Carlos Esteves csc

Joan Hutton csc

Bruno Philip csc

Joe Sunday PhD George Willis csc, sasc

CSC EXECUTIVEPRESIDENT George Willis csc, sasc

PAST PRESIDENT, ADVISOR Joan Hutton csc

VICE PRESIDENTS Carlos Esteves csc

Bruno Philip csc

MEMBERSHIP CHAIRS Arthur Cooper csc

Zoe Dirse csc

EDUCATION CHAIRS Carlos Esteves csc

George Willis csc, sasc

AWARDS CHAIR Arthur Cooper csc

DIGITAL PORTALS Carolyn Wong (Content Manager)RELATIONSHIPS Gaston BernierOFFICE / MEMBERSHIP / SUBSCRIPTIONS 131–3085 Kingston Road Toronto, Canada M1M 1P1 Tel: 416-266-0591; Fax: 416-266-3996 Email: admin@csc.ca, subscription@csc.ca

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.Canadian Cinematographer is printed by Winnipeg Sun Commercial Print and is published 10 times a year. One-year subscriptions are available in Canada for $40.00 for individuals and $80.00 for institutions, including HST. In U.S. rates are $45.00 and $90.00 for institutions in U.S. funds. International subscriptions are $50.00 for individuals and $100.00 for institutions. Subscribe online at www.csc.ca.

ISSN 1918-8781 Canadian Mail Product Sales Agreement No. 40013776 Return undeliverable Canadian addresses 131–3085 Kingston Road Toronto M1M 1P1

THE CANADIAN SOCIETY OF CINEMATOGRAPHERS IS A NON-PROFIT ORGANIZATION.

FROM THE EDITOR-IN-CHIEF

Joan Hutton csc

Long hours in our industry have always been a given, but what I’ve

been hearing lately is unconscionable. In the 1950s to 1960s, film

crews normally worked an eight-hour day. By the mid ‘80s, 10-hour

calls became acceptable. Somewhere in the 2000s, 12 hours became routine.

And now, according to some crew members who’ve asked that their names

not be used for fear of career repercussions, 14 to 16 hours is the new normal,

and unscheduled overtime can drive that even higher. We’ve been having

this discussion about sane working hours for 30 years. But it seems that hard

bottom lines have simply darkened the situation. It’s an abuse that is robbing

people of their sleep and turning sets into very dangerous places.

Many people, when contracted by a production, do a 12+1. That’s 12 hours

with an unpaid hour for lunch, no predetermined breaks. So to begin with,

crews are already on set for a minimum of 13 hours. However, any one of a

myriad of problems can delay filming. When that happens – and to maintain

daily shooting quotas, which in themselves may be unrealistic – productions

simply find it easier and cheaper to throw money at the crew for overtime

than to reschedule costly make-up days. It doesn’t take much to go from a 13

to a 16-hour day when that happens. Work these hours day after day, and the

scenario for sleep deprivation is set with what’s called “microsleep.” As peo-

ple fight to stay awake, the brain involuntarily shuts down from a moment

to 10 seconds in what’s literally a blackout. This can obviously cause serious

work-related accidents, and the sleep deprived are particularly vulnerable to

“microsleep” when driving.

A crew technician confided in me that transportation is probably the most

overworked department on a production. They’re the first to start each day

and the last ones to say goodnight. This technician says that they avoid us-

ing the production shuttle, fearing for their safety because too many times

they’ve been in vans where glassy-eyed drivers are constantly shaking their

heads to stay awake.

Abusive working hours are life threatening and a terrifying commentary on

our industry. This needs to change. Or can it?

To be continued in November…

Canadian Cinematographer - October 2019 • 3

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4 • Canadian Cinematographer - October 2019

FROM THE PRESIDENTGeorge A. Willis csc, sasc

Recently, I received an email from a participant who had taken two of our CSC lighting workshops in Vancouver at the beginning of the year. These workshops were by invitation from Michelle Yardley of

International Cinematographers Guild Local 669 (Training/Professional Development) with the goal of training their members to be as proficient as possible. With the participant's permission, I have included her email as part of my column.

Hi George,My name is Mikah Sharkey, I took two of your workshops while you were here

in Vancouver. Since then, I had the opportunity to shoot a featurette and, a couple days ago, my first chance to DP on a union set.

Earlier in our series, the DP (an American DP) was getting frustrated that our union wasn’t allowing any more permits which meant that he couldn’t upgrade our A-operator (also a 600 member) and had to hire a local that he hasn’t met before for 2nd unit work. When he mentioned this, I suggested that I put in my reel and he responded very positively.

A couple of days ago, he approached me at wrap saying that he would be doing a scout in the morning and that if he didn’t return in time, I would be lighting the first scene of the day.

I was so grateful for everything that I learned in your classes. Everything from visualizing the scene to communicating the idea to the crew. I have never been able to work with a union crew behind me before this, so suddenly having skilled tech-nicians was such a nice change. I also took your advice in lighting by eye before looking at a monitor. I am so glad that I did that, because our dollies both had to be built onto dancefloor and I was ready by the time they were up for a 2nd team rehearsal. I think that really impressed our director and our 1st AD.

Having the confidence to step into the role helped put my team at ease, which fed back into the calm tone of the set. When the DP got back, he told me that it looked great! We had just gotten into the 2nd piece of coverage and he had me walk him through the plan for the rest of the scene, which was executed pretty much exactly how I had laid it out with the gaffer.

Thank you again for everything. I didn’t expect an opportunity like this to come so early and I certainly didn’t expect to feel this prepared when it did.

All the best,--Mikah

It is so rewarding to receive an email such as this because the message that it imparts to me is just as important as the information that we (Carlos Esteves csc and myself) try to impart to those who attend the workshops. We both have a passion for teaching these workshops, and it makes our task that much more rewarding when positive comments such as the above are received.

At the end of each workshop, we ask the participants to fill out a questionnaire for a number of reasons. The most important is to establish whether we have been able to impart our knowledge in a way that everyone is able to understand as well as benefit from. It is important to understand that each workshop is made up of participants who possess varying degrees of proficiency. With that in mind, we always tailor our instruction so that each person is able to function within the scope of their own comfort level but more importantly, learn from the varying degrees of proficiency while working with others.

This is a necessary component to our teaching methods because our industry is not “one size fits all.” Learning the theory is relatively easy, but the discipline associated with the theory is not necessarily an automatic progression. This is where the hands-on portion of the workshops speaks to the value of the educational process that the CSC promotes. The emphasis that we place on visualization and communication is at the core of our workshop mandate and this is acknowledged in the email that I received. Thank you, Mikah!

VANCOUVER CALGARY WINNIPEG SUDBURY TORONTO HALIFAX

6 • Canadian Cinematographer - October 2019

In The News

Roger Deakins a sc, b sc

Receives Variety Artisan Award at TIFF Tribute Gala

Academy Award-winning cinematographer Roger Deakins ASC, BSC was honoured with the Variety Artisan Award at this year’s TIFF Tribute Gala awards event. The award recognizes a distinguished filmmaker who has excelled at their craft and made an outstanding contribution to cinema. The Gala is an annual fundraiser to support TIFF’s year-round programmes and core mission. Deakins won an Academy Award for Blade Runner 2049 and was nominated for an additional 13 Oscars for his work on films including The Shawshank Redemption; O Brother, Where Art Thou?; No Country for Old Men; Skyfall; and Sicario. His career, spanning more than 40 years, also includes four ASC Award wins for Outstanding Cinematography and four BAFTA Awards, making him one of the most sought-after cinematographers in the industry.

Dany Meloul Named Radio-Canada’s General Manager of Television

In August, former Bell Media executive Dany Meloul was named general manager of television at Radio-Canada. Meloul takes over the role from Dominique Chaloult on October 10. Meloul previously served as Bell Media’s vice president of programming for French-language TV, a role she stepped into in October 2015. Part of Meloul’s mandate in her new position will be to develop Radio-Canada’s specialty channels ICI TELE, ICI ARTV and ICI EXPLORA, according to media reports.

Newfoundland and Labrador Film Development Corporation, CBC Announce Digital Production Fund

The Newfoundland and Labrador Film Development Corporation (NLFDC) and

CBC in late August announced a new funding partnership that will support the creation of short-form digital content developed by Newfoundland and Labrador creators. The two organizations will each contribute up to $50,000, for $100,000 in total funding, towards digital content projects, which will be showcased to national audiences on the public broadcaster’s digital platforms, including the free CBC Gem streaming service. Applications for NLFDC/CBC Digital Production Program will be available at cbc.ca/nlfdcfund.

Hasbro to Acquire Entertainment One

In late August, toy company Hasbro and Entertainment One announced that they have entered into a definitive agreement under which Hasbro will acquire eOne in an all-cash transaction valued at approximately US$4.0 billion (CAD$5.32 billion). The acquisition will add popular global preschool brands to Hasbro’s portfolio, including Peppa Pig and PJ Mask, as well as Canadian series such as Burden of Truth and Nurses. In addition, eOne executives will join the Hasbro team, and the merged company will now include eOne’s network, which includes offices in Toronto, Los Angeles and London.

Disney Plus to Launch in Canada in November

The Walt Disney Company’s new streaming platform Disney Plus will launch in Canada on November 10, according to media reports. The ad-free subscription service will cost Canadians $8.99 per month, or $89.99 per year. The platform is expected to launch with 10 exclusive episodic series, features and documentaries, with at least 45 original projects expected to premiere globally within the service’s first year.

Canadian Cinematographer - October 2019 • 7

From Our Sponsors Sim Unveils Mobile Battery Stations

In a move to increase sustainability in film and television, Sim in August an-nounced the launch of the Urban Power Source – the largest mobile, zero-emissions battery power packs currently available built specifically for the entertainment industry. Engineered, designed and built in British Columbia, the power stations feature built-in uninterruptible power supply properties and allow for up to 124kg of CO2 emissions savings per charge. In a package of identical size and weight to a standard generator, the near-silent units deliver 125kWh of power storage with an output capacity of 72kW, with a 3 phase 120/208V power supply at 200 amps per phase. The Urban Power Source is designed to operate with LED lighting technology, and the uninterruptible power supply capability allows for flow-through properties, with a “daisy chain” connectivity option for additional run-time.

Cooke Optics Debuts Two New Lenses at IBC

At IBC2019, held from September 13 to 17 in Amsterdam, Cooke Optics de-buted two new lenses: the new S7/i Full Frame Plus T2.0 16 mm prime lens is currently the widest focal length lens in the S7/i range of lenses, designed for shooting Full Frame — including up to at least the full sensor area of the RED Weapon 8K (46.31mm image circle), as well as the Sony VENICE full frame digital motion picture camera system and the ARRI ALEXA LF large format camera system. The new Anamorphic/i 135mm Full Frame Plus T2.3 joins the Anamorphic/i prime lens range bringing the Cooke Look to large format pro-ductions with anamorphic characteristics, including flare and oval bokeh.

ARRI Unveils New External Radio Modules for Stabilized Remote Head SRH-3

ARRI in August announced a new line of External Radio Modules (ERM) for remote operation of the brand’s SRH-3 stabilized remote head. Available in two frequencies, the ERM-900 and ERM-2400 are usable in all production situations including drones, helicopters, or with cable cam systems. When paired with the ERMs, the SRH-3

system will change from the built-in fixed channel radio module to the channel hopping based ERM’s radio communica-tion. The new ERM-900 and ERM-2400 connect via the FS CAN Bus cable to the SRH-3 remote control panel and the stabilized remote head. After an initial configura-tion, the modules power up and automatically set into transmitter and receiver mode. Both the ERM-2400 and the ERM-900 are available for immediate order.

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8 • Canadian Cinematographer - October 2019

CSC congratulates the following members whose films were selected for the 2019 Toronto International Film Festival.

Special PresentationsCatherine Lutes csc, Clifton Hill (dir. Albert Shin)

Paul Sarossy csc, bsc, asc, Guest of Honour (dir. Atom Egoyan)Nicolas Bolduc csc, La belle époque (dir. Nicolas Bedos)

Gala PresentationsGregory Middleton csc, asc, American Woman (dir. Semi Chellas)

DiscoveryMaya Bankovic csc, Easy Land (dir. Sanja Zivkovic)

Jeffery Wheaton, Murmur (dir. Heather Young)Daniel Grant csc, The Rest of Us (dir Aisling Chin-Yee)

Contemporary World CinemaBobby Shore csc, Castle in the Ground (dir. Joey Klein)

Daniel Grant csc, Tammy’s Always Dying (dir. Amy Jo Johnson)Norm Li csc, The Body Remembers When the World Broke Open (co-dirs.

Elle-Máijá Tailfeathers & Kathleen Hepburn)James Klopko csc, The Last Porno Show (dir. Kire Paputts)

TIFF DocsDuraid Munajim, This Is Not A Movie (dir. Yung Chang)

Short CutsGuy Godfree csc, It’s Nothing (dir. Anna Maguire)

Joshua MacDonald, Measure (dir. Karen Chapman)Karim Hussain csc, Please Speak Continuously and Describe Your

Experiences as They Come to You (dir. Brandon Cronenberg)

CSC at 2019

Canadian Cinematographer - October 2019 • 9

In Memoriam

Jean-Claude Labrecque csc 1938 – 2019

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By Guido Kondruss

Cinematographer, director, screen-writer, editor and producer, Jean-Claude Labrecque csc was one of

Canada and Quebec’s preeminent film-makers. With his acute sense of historical destiny and visual dexterity, Labrecque was often lauded as the documentarian of contemporary Quebec with its pivotal mo-ments of intense socio-political and cultural change embodied by the province’s “Quiet Revolution.” One of his most gleaming ex-amples was in 1967, when Labrecque was given unprecedented access to film French President Charles de Gaulle’s state visit to Canada to create an intimate portrait of the statesman. It was on a warm Montreal evening that Labrecque had a ringside seat filming the renowned general as he uttered in his speech the infamous phrase “Vive le Québec libre!” – the slogan of the Quebec independence movement – causing a dip-lomatic incident with the rest of Canada. De Gaulle cut his visit short, returning to France, and Labrecque captured on film a seminal moment in Canadian history for his extraordinary documentary La visite du

général de Gaulle au Québec. Born in Quebec City, Labrecque

was orphaned and alone by age 17, living in a small flat, collecting pop bottles to supplement his meagre means while working at a local pho-tography shop. He also took a job at the Quebec Film Office where he developed a deep interest in cin-ema. It was also here where he met Paul Vézina a painter and cinema-tographer who did work for the Na-tional Film Board. Vézina became Labrecque’s mentor, teaching him movie camera basics and discussing film theory with his young protégé. The two would walk the streets of Quebec City at different times of the day observing how the sun’s rays struck buildings. It was during these walks that Labrecque learned how shadows and light could blend in the most stunning ways to produce beautiful and captivating images. Labrecque now knew his calling

and set his sights on the NFB in Montreal. It required several tries, but by 1959

Labrecque landed a camera assistant posi-tion with the NFB. An adept study and a fe-rocious technophile, Labrecque’s brilliance as an innovative cinematographer quickly became apparent and he was soon shoot-ing films for a group of young upstart di-rectors who would shape Quebec cinema – Claude Jutra’s À tout prendre (1963), Gilles Groulx’s Le chat dans le sac (1964), Gilles Carle’s La vie heureuse de Léopold Z (1965) and Don Owen’s The Ernie Game (1967).

Labrecque made his directorial debut in 1965 with the stunning short film 60 Cycles about a long-distance bicycle race along the St. Lawrence River in Quebec. Consid-ered one of the most visually daring films ever produced at the NFB, 60 Cycles is de-scribed as “a virtual compendium of camera techniques.” The film became particularly well known for its opening of compressed imagery, shot with a newly developed 1,000 mm lens by NASA. The film won 22 international awards, was nominated for a British Film and Television Arts Award,

and Labrecque won best cinematography at the Canadian Film Awards, establishing him as one of Canada’s most inventive film-making talents.

As a documentarian, Labrecque’s genius lay in his inherent ability to capture the inner struggles, joys, passion and anguish of his subjects. This was aptly apparent in Labrecque’s penetrating study of pentath-lon athlete Bruce Jenner (now Caitlyn Jenner) and the athlete’s super-human ef-fort to win the gold medal as shown in the film Jeux de la XXIème olympiade (1977). Labrecque was also lauded for his intimate portraiture of a politician’s downfall in his award-winning film À hauteur d’homme (2003), which immortalized the ill-fated election campaign that ended the career of former Quebec Premier Bernard Landry.

During Labrecque’s long and prolific career, which spanned nearly 60 years, he directed more than 50 films and was DP on another 70, stepping easily between documentary and scripted narratives. As a drama director, his films were historically in perspective, highlighted with flares of documentary technique. Labrecque’s theatrical releases included critically acclaimed titles such as Les vautours (1975) about the end of the Maurice Duplessis years as premier of Quebec; Les années de rêves (1984), a bittersweet observation of hopes and betrayal of the film’s characters during Quebec’s Quiet Revolution; and Le frère André (1987), which portrayed the fascinating life and times of Brother André Bessette whose passion of faith ignited Catholics around world and the building of the St. Joseph’s Basilica in Montreal. Bessette was canonized in 2010.

Labrecque garnered many accolades for his vast body of work and his contributions to Quebec and Canadian cultures. He is the recipient of the Wendy Michener Award for outstanding artistic achievement; two Jutra awards, including the Prix Hommage; the prix Albert-Tessier for an outstanding career in Quebec cinema; the National Order of Quebec; and the Order of Canada.

Labrecque passed away in Montreal at age 81.

10 • Canadian Cinematographer - October 2019

What films or other works of art have made the biggest impression on you?

The film that had the greatest impact was the original Star Wars: Episode IV - A New Hope. It was a revelation to my young self and opened my eyes to the power of cinema. It was my earliest inspiration. Silent Running, Alien and Blade Runner were also informative, but in 1985, the movie Witness demonstrated how pow-erful images inform a narrative, and the breathtaking work of John Seale acs, asc was a true inspiration. Seven and The City of Lost Children are also touchstones for me.

How did you get started in the business?

Both my parents were photographers and I grew up above their portrait stu-dio, so I spent countless hours in the studio and darkroom with my dad learn-ing about photography. Later, I bought an Arri 16BL from a news cameraman in Winnipeg, and my first paid gig was documenting the Queen’s opening of the Royal Aviation Museum of West-ern Canada. I quickly learned that a film school education would be necessary if I wanted a career. I attended Calgary’s SAIT School where I met John Fawcett and Grant Harvey, among others, whom I began to work with on shorts and mu-sic videos. When John attended the CFC

(Canadian Film Centre) in Toronto, he asked me to shoot his short film Half Nelson and then his first feature, The Boys Club, which led to my permanent move to Toronto. I started shooting music videos and commercials, and that led to more dramatic work in fea-tures and television.

Who have been your mentors or teachers?

My father was probably most influ-ential in how I approach what I do. I didn’t have a cinematography mentor because it wasn’t something that was readily available at the time, though I would have appreciated the opportu-nity to gain that instruction and wis-dom. I think it’s incredibly valuable to

someone starting out to help navigate this career early on. I would say that American Cinematographer magazine really was my mentor. I discovered it when I was 10 years old and started read-ing and collecting them. It was through that magazine that I discovered Haskell Wexler asc and understood that this was actually a job you could do. The magazine was a large part of my cinematic educa-tion and helped to focus the direction of my career.

What cinematographers inspire you?

Haskell Wexler asc, Vilmos Zsigmond asc, hsc, Darius Khondji asc, afc, John Seale acs, asc, Conrad Hall asc, Jordan Cronenweth asc, Roger Deakins asc, bsc, Dick Pope bsc.

Name some of your professional highlights.

A Genie nomination for Ginger Snaps, being only the second theatrical film I’d done, was highly rewarding. Queer as Folk taught me about the rigours and possi-bilities of television. Working with Ken Girotti on Pure, having one director for the entire season with a vision that was executed as planned. It was my homage to Witness.

What is one of your most

memorable moments on set?I have three. The first, early in my career,

shooting all morning on a documentary with my trusty Arri 16BL and reloading at lunchtime only to discover the film had not been loaded through the gate! The second, shooting a film with Rutger Hauer and having him, unprompted, re-cite Roy Batty’s dying monologue to me between takes. Chills! And three, work-ing on a film with Sigourney Weaver and finding myself sitting alone with her on the floor in the stall of a men’s washroom, framing a shot and asking myself, “How the hell did I get here?” Surreal.

What do you like best about what you do?

I like that I still love what I do. It’s nev-er been a job. Always different, always changing, always growing. And always meeting new creative people. Still so much to learn. With almost 30 years in the business, I still look forward to every day on set.

What do you like least about what you do?

The long hours are exhausting, and the work can be all-consuming, which often makes it difficult to maintain a social/family life, being unable to make plans and keep them. I’d love a four-day work week with three days off – one to sleep, one to do laundry and one to actually rest, reset and reconnect. Maybe one day soon.

What do you think has been the greatest invention (related to your craft)?

The greatest invention has been the camera (in all its forms) itself. Without it, our experience and knowledge of the world around us would be incredibly limited. But without a doubt, in the last 20 years, the digital revolution has been most significant, with LED lighting being an absolute game changer.

How can others follow your work?

thombest.com

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12 • Canadian Cinematographer - October 2019

When DC Entertainment and Warner Bros. Digital Net-works launched the DC Universe streaming service in September 2018, among the first slate of programming

was Titans, created by Akiva Goldsman, Geoff Johns and Greg Berlanti. Titans revolves around Dick Grayson/Robin (Brenton Thwaites) trying to escape the shadow of his mentor Batman by leading his own group of young superheroes that includes Kory Anders/Starfire (Anna Diop), Rachel Roth/Raven (Teagon Croft) and Garfield Logan/Beast Boy (Ryan Potter). Returning for the second season are executive producer and showrunner Greg Walker (Without a Trace), as well as cinematographers Boris Mo-jsovski csc (12 Monkeys) and Brendan Steacy csc (Alias Grace).

With the immense popularity of Teen Titans, the high expectations of comic book fans did not go unnoticed by the production team. “That’s an amazing thing because we have an instant interested audience, but at the same time it’s difficult because they don’t want their heroes and the worlds [from the comics] to be changed in any way,” Mojsovski notes. “When you’re doing a live-action version, the characters don’t look the same because they’re real people, and it’s much more grounded and based in reality, which helps us greatly, as we’re trying to make a drama with superheroes. We never knew how successful we were going to be with that, and luckily it really worked.”

A conscious decision was made to avoid the comic book colour palette and framing to better ground the imagery in reality. “We moved towards a grittier, cooler and desaturated spectrum, and restricted colours, mostly primary and some secondary, focus-ing on the tertiary spectrum, within the dramatic film world,” Mojsovski says. “We’re in the studio mode as much as possible and shooting frames that don’t necessarily call attention to

themselves, meaning no extreme wide-angle lenses, and keep-ing the camera nodal. There were certain things that we pushed like having a lot of head room in the frame when the characters are searching for something or there’s something that they don’t know but the audience does.”

The self-titled pilot, directed by Brad Anderson (Beirut), es-tablished the visual language for the series. “The first thing that Greg Walker, Brad Anderson and I talked about was how to ensure we were making a drama not just a comic book super-

hero show,” Mojsovski remarks. “After that, Brad and I presented Greg, Akiva and Geoff with look books and references. Seven [1995] was our main reference. Dick Grayson is a de-tective in Detroit, and all of that world has a rugged, greenish, desaturated hue that was appropriate for the environment of his char-acter. Raven has a cooler colour palette that is cyan, which accentuated her dark appearance because she is wondering what is wrong with her. When Grayson and Raven meet, the look of the show becomes a mix of those two with the world having a slight cyan hue that is quite desaturated.”

Assigning a colour palette to each major character was seen as the visual means to show

their emotional journey. “For Starfire,” Mojsovski explains, “we decided not to desaturate too much and play with orange and purple, which were the colours of her costume.”

Various lighting schemes were developed for the show. “The light for Dick Grayson was soft but minimal, while for Raven it was more modelled,” he says. “The question was, ‘After all of them meet, what would the world look like?’ We decided that a cyan wash with certain warm elements would be the look of the Titans show.”

Traditional LUTs were produced but not fed to the monitors,

G R O U N D I N G H

SUPERHEROES BY TREVOR HOGG, SPECIAL TO CANADIAN CINEMATOGRAPHER

Canadian Cinematographer - October 2019 • 13

WE MOVED TOWARDS A

GRITTIER, COOLER AND

DESATURATED SPECTRUM,

AND RESTRICTED COLOURS,

MOSTLY PRIMARY AND SOME

SECONDARY, FOCUSING ON THE

TERTIARY SPECTRUM, WITHIN

THE DRAMATIC FILM WORLD.

BORIS MOJSOVSKI CSC

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Anna Diop as Kory Anders/Starfire.Previous page: Rachel Roth/Raven played by Teagon Croft.

16 • Canadian Cinematographer - October 2019

Canadian Cinematographer - October 2019 • 17

16 • Canadian Cinematographer - October 2019

On July 18, Toronto-based special effects coordinator Warren Appleby was killed during prep work

while performing a test for the production of Titans. The 25-year movie industry veteran had formed a creative partnership with filmmaker Guillermo del Toro, having worked on the television series The Strain and the Oscar-winning The Shape of Water. Titans co-DP Boris Mojsovski csc says, “Warren was a

colleague and a friend. I will forever remember his wittiness, expertise and his spirit-lifting smile. He was a unique talent and human; he made us all better and he made us feel like we are in good hands. He solved problems big and small, on set or in pre-production, and he did everything with ease. His passing left a permanent wound in our film community, and the Titans crew was devastated by this tragedy.”News of the fatal accident has gone worldwide with

special effects coordinators in Canada, the US and the UK mourning the loss of Appleby. “As with any job, there is always that little element of something unforeseen happening, and unfortunately that’s what happened,” special effects coordinator Tony Kenny (The Boys) remarks. “I remember when Warren started, so I’ve known him for a long time.” Some say mathematics is a key component when

it comes to staying safe on the job. “We design in a margin of safety and also look at what would happen if there’s catastrophe failure of the device,” special effects coordinator Laird McMurray (Molly’s Game) notes. “We think of every aspect of these things the best we can.” Danger is always present in a profession that routinely

flips cars and creates explosions. “The stuff that we do, something somewhere down the line is going to bite you,” special effects coordinator Terry Glass (13 Hours) says. “You’ve got to hope that it’s a small bite rather than a big one. We’ve all had our scary moments and warnings and take them onboard.”John Frazier, who was special effects director on Spider-

Man 2, believes, “We live in that world where things fly. You keep people as much as possible out of harm’s way. It’s one thing to be under the gun on camera, losing the light, and five minutes before the sun goes down they say rig the car to blow up. We’ve all been in those situations where we’re rushed, and that’s where you say, ‘Slow down.’ In this case with Warren, it was a test, and that’s why you test things. We’ve sent so much stuff to Toronto and were told that you couldn’t get a better person than Warren. It’s too bad. It’s being in the wrong place at the wrong time. That’s life.” A GoFundMe page has been set up to support Appleby’s

wife, Jennifer, and two sons, Logan and Wyatt. –Trevor Hogg

Mojsovski adds, saying, “I don’t shoot to a LUT. We apply the look in our on-set colour facility. Our DIT Kent McCormick colours the footage the entire day. He is a colourist, so he and I created a look in prep for each one of these characters and made a map to track as to when they merge into one. Essentially, we cre-ated seven looks.”

Preproduction lasted seven weeks with 30 days of principal photography devoted towards the pilot and second episode, which were shot together. “On aver-age, we had 10 days [for an episode]. We did the sec-ond unit as we needed it,” Mojsovski says. “We did go over our time for the series by a month because of the reshoots, which is normal.”

Mojsovski shot six episodes, while Steacy looked af-ter five, and David Greene csc, asc (American Gods) shared credit with Mojsovski on one episode. “I did the first two, Brendan did number three, and then we alternated. One DP preps while the other one shoots,” Mojsovski explains. “David Greene is my mentor, and when I had to reshoot a huge circus sequence, I sug-gested him because he could match what I did and do it even better. David seamlessly fit in as he already knew the director Alex Kalymnios. We split duties on Episode Eight because he stepped in in the middle to finish it.”

The experience was different for Steacy. “I had never done a series where I alternated with someone else. It gives you time to prep, but it was also fun to collabo-rate with Boris and discuss ideas,” he says. “We had whole episodes outside of the Titans universe, like in-troducing new characters to the DC Universe and an-other one made entirely of flashbacks. I did an episode that was entirely inside the head of Dick Grayson. The whole thing was basically a dream sequence. What-ever rules we had for the show, we would deliberately break to make it feel a little bit off to give you cues of it being outside of reality.”

Location shooting was divided between Toronto and Hamilton. “Our goal was to make this as real as possible, so we set out to make a roadshow,” Mojsovski states. “We did that for the pilot and the first few episodes, but that proved to be difficult on production and our crew. Because the Titans were coming together as a group from different geographical locations, we went to various places. Our production designer John Dondertman (Kim’s Convenience) had to quickly figure out how to build a set almost on the fly. We would talk about what was doable as a set within a short period of time. He was able to make sets so quickly and efficiently that we could jump in, have a base and be able to work more efficiently.”

Sets were built at Cinespace Film Studios. “It’s usually easier and faster to work in a studio,” Mojsovski says. “About 50/50 in the end was location versus studio.

Warren Appleby A Community Reflects

Canadian Cinematographer - October 2019 • 17

SUPERHEROES LIKE TO FIGHT IN

DIRTY ABANDONED FACTORIES AND

OLD GUTTED BUILDINGS. TORONTO

HAS MOSTLY TURNED THOSE INTO

CONDOS. THERE ARE PLENTY OF

CONDO FIGHTS IN THE SHOW TOO.

BRENDAN STEACY CSC

‘‘

Above: Brenton Thwaites as Dick Grayson/Robin.Middle: From left: Elasti-Girl (April Bowlby), Gar Logan (Ryan Potter) and Dr. Niles Caulder (Bruno Bichir).Bottom: The team of young superheroes led by Batman in Titans.

18 • Canadian Cinematographer - October 2019

Hamilton was perfect for us because of the rugged world that we were presenting.”

Finding locations in Toronto was tough. “Super-heroes like to fight in dirty abandoned factories and old gutted buildings,” Steacy notes. “Toronto has mostly turned those into condos. There are plenty of condo fights in the show too!”

William F. White supplied the camera and light-ing equipment, with Trevor Huys, director, Techni-cal Services and Operations, helping facilitate and find the chosen lenses. “At first we wanted to shoot anamorphic, but it is harder to shoot at a television series pace,” Mojsovski reveals. “We wanted lenses with a filmic and dramatic look and to have a lower contrast, as well as flares. Basically, we wanted to make a 1970s movie in a modern environment. We decided to go with Leica Summicrons, which are smaller lenses. Trevor suggested a set of Leica Clas-sic-Crons that had elements of the lens deglazed so they would flare a lot more. This was the only set in the world. He brought those over from Germany and they were really unique. We also had the Can-on K-35, a rare lens that has flares and a look that nobody understands how they were able to create. All of the circus shots were done on the K35s, and they’re magnificent.”

The lenses ranged from 15 mm to 135 mm. “Be-cause of the drama that we wanted to preserve and our obsession with straight lines, we tried not to go wider than 21 mm. The most used lens on our cam-eras was the 29 mm and after that the 40 mm. Those were the three lenses that dominated the shooting of the show,” Mojsovski says.

“We had five ARRI ALEXA Minis and used the Ronin 2 either as a handheld device or video head,” he explains. “It gave us a great flexibility. I love that gimbal and had two of them going at all times. We would mostly shoot with two cameras. Sometimes in bigger sequences three or four. Then we had the Sony a7S II, which is a little camera that could be hidden and get weird angles; it played like a crash or surveillance camera. You could put the Sony a7S II into a shot because it looks like a normal photo camera. We put a Ronin on a 30-foot Technocrane, which became a go-to thing. It’s a perfect combo.”

For environment lighting, 18Ks, MoleBeams, LiteTiles and LiteMates from LiteGear and ARRI

SkyPanels were utilized. “I have these lights called

IT WAS IMPORTANT THAT ONE EPISODE DIDN'T

FEEL DIFFERENT FROM ANOTHER. THAT IS

A CHALLENGE IN THE VISUAL REALM BUT

ALSO IN THE STORY AND CHARACTERS. IT WAS

SOMETHING THAT WE PAID ATTENTION TO

ALL OF THE TIME. HAVING THE SHOWRUNNER

AND PRODUCERS BELIEVING IN THE PEOPLE

THAT THEY'VE PUT IN CHARGE WAS THE

BEST THING FOR THE SHOW. WE EXCELLED

BEYOND WHAT WAS EXPECTED OF US.

BORIS MOJSOVSKI CSC

‘‘

Melody Johnson, Jeni Ross and Logan Thompson in scene from Titans. Dick Grayson (Brenton Thwaites) in a fight scene.

1 Y E A R F R E E S U B S C R I P T I O N

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20 • Canadian Cinematographer - October 2019

‘Boris Lights,’” Mojsovski says. “Five or six years ago, I started using LED technology. I use big and soft sources close to the actors, and I tried to figure out how a light could already have those diffusion prop-erties. I built these boxes, 4x4 or 5x5 depending on the version.

We would put in a lot of high-end LEDs inside the box that is 5 inches deep which is then heavily dif-fused. They’re always on the floor and do super soft side lighting.”

The colour palette was further perfected in the DI, and they sometimes changed the colour of some ob-jects, Mojsovski notes. “When doing the grading on set, you usually just affect primaries and give an idea where the image should be. The colourist can go in much more depth to create the look. In Episode One and Two, Shane Harris (Westworld) at Encore absolutely upgraded our look,” he says.

Key crew members assisting were A camera opera-tor Joe Turner, B camera operator David T. Sheri-dan, focus puller Kar Wai Ng, gaffers Robert McRae and Doug Reid, key grip Christian Drennan. “It’s a team I’ve been working with for a while, and that shows,” Mojsovski says.

Fraser Brown csc shot most of the second unit. “He’s fantastic and was on set watching what we were shooting in the same locations with some simi-lar setups,” Steacy remarks.

Mojsovski says the biggest challenge for the first season of Titans was making the series feel like one movie. “It was important that one episode didn’t feel different from another,” he notes. “That is a chal-lenge in the visual realm but also in the story and characters. It was something that we paid attention to all of the time. Having the showrunner and pro-ducers believing in the people that they’ve put in charge was the best thing for the show. We excelled beyond what was expected of us.”

I DID AN EPISODE THAT WAS ENTIRELY INSIDE

THE HEAD OF DICK GRAYSON. THE WHOLE

THING WAS BASICALLY A DREAM SEQUENCE.

WHATEVER RULES WE HAD FOR THE SHOW,

WE WOULD DELIBERATELY BREAK TO MAKE

IT FEEL A LITTLE BIT OFF TO GIVE YOU

CUES OF IT BEING OUTSIDE OF REALITY.

BRENDAN STEACY CSC

‘‘

Clockwise from top left: Brenton Thwaites as Robin. Brenton Thwaites as Robin in a fight scene. Matt Bomer as Negative Man and Robotman, portrayed by Jake Michaels and voiced by Brendan Fraser.

Truly ecosystem ideal for every shooting situation

gimbal shotVFX scenestreaming seriesenvironmentdepartmentdocumentaryshotsitcomproduction phasebuildmonitoring setupcommercialproductionmusic videogreat ideamoviedepartmentdocumentarymonitoring setupshothand held scenewireless fizcrane projectsteadicam setupcamera assistantgenrecinematographermarketworkflowoperator

directorshotpost pipelineproduction phasebuildhand held scenedepartmentstreaming seriesaerial shotbudgetwireless fiz

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22 • Canadian Cinematographer - October 2019

A chance encounter between two Indigenous women is the basis of the feature film The Body

Remembers When the World Broke Open, in which Áila (Elle-Máijá Tailfeathers) finds Rosie (Violet Nelson) standing barefoot on a street corner having just escaped a violent assault by her partner. As Áila attempts to help Rosie, who is also pregnant, the film highlights the difficulties of navigating the aftermath of a traumatic event while touching on

issues of violence against women, racism and inequality. The feature – co-written and co-directed by Tailfeathers and Kathleen Hepburn (Never Steady, Never Still) – is inspired by a personal experi-ence Tailfeathers had and unfolds almost entirely in real time in such practical locations as an apartment, a taxicab, a women’s shelter and a doctor’s office. Keslow Camera in Vancouver supplied the Arri 416 camera packages; Vantage Camera in Paris provided Hawk V-Lite

1.3x Anamorphic lenses; while William F. White and Primary Imaging provided the lighting and grip packages. Norm Li csc talks about shooting the film, which had its world premiere at Ber-linale 2019 and screened at this year’s Toronto International Film Festival.

Canadian Cinematographer: How did the directors initially describe the film and their in-tended visual aesthetic to you?

The Body Remembers When the World Broke Open

Long Take: Norm Li csc

Canadian Cinematographer - October 2019 • 23

Norm Li csc: They initially described the project to me as a long single shot allowing the actors to have a full emotional arc and that they wanted to maintain tension throughout the film. By allowing scenes to breathe, their hope was to embrace and capture any unexpected moments. We all agreed that the film should be less about the technical feat of a single take and more about being a part of the continuous

experience with these two women. We did not want to exploit the concept of another single-take feature film, so we discussed the idea of having a few shorter scenes introducing each char-acter before their eventual encounter.

It was very important for the main scenes of this film to be executed in real time and to appear as a single take for a number of different reasons. First and foremost, the directors felt that by having the actors perform from start to

finish continuously over 90 minutes, it would create a heightened state of immediacy and urgency. It also made the audience experience every mo-ment with the characters. Being shot in real time also allowed us to capture many beautiful moments of silence, which were also very powerful.

CC: How much prep time did you have and what was your process in pre-production?

NL: We officially had four weeks of prep, but the actual shoot for the entire feature took only seven days. It was a unique way to work, as I had never done anything like this before. We weren’t able to just plan one location at a time. We really had to think about the broad strokes first and then zero in on the fine logistical details since all of the locations were linked to camera and actor block-ing. Additionally, the timing, lighting, camera transitions, driving route and crew logistics all had to be carefully coordinated. We had access to all of the locations for about one week prior to principal photography commencing. This allowed the art and lighting depart-ments to start dressing and pre-lighting.

CC: Can you talk about how you came to the decision to shoot the film 16 mm 1.3x anamorphic?

NL: Originally, when Elle-Máijá and Kathleen came to me with the idea to shoot the entire film in a single take, they also said we would probably have to shoot this digitally. However, while reading the script, my mind gravitated towards raw and gritty imagery. I wanted to shoot film, but the main challenge was that a film mag only lasted 11 minutes. We shot fairly extensive tests with both of our actresses one afternoon compar-ing the ALEXA MINI to an Arri 416 Super16 mm film camera with Arri Ultra16 spherical lenses and Hawk V-Lite16 1.3x anamorphic lenses. When we compared the footage, we collectively felt 16 mm paired so beautifully with the actors’ faces, whereas with digital

everything felt quite bland. The clear winner was 16 mm paired with the Hawk Vlite16 1.3x anamorphic lenses. Anamorphic lenses had added character and allowed the film to have a tighter grain structure than spherical. The anamorphic lenses felt claustrophobic yet allowed us to feel the characters’ environment. Technically, film handled the highlights better when trying to balance exposures between interiors to exteriors and allowed us to blend between transition points seamlessly.

CC: How was the effect of the story unfolding in real time and in one take accomplished?

NL: When I received the green light to shoot 16 mm on this project, I immedi-ately began my research on other films with long takes. There were a hand-ful of them, but they were either shot digitally in a single take or had longer scenes that were broken up into seg-ments and stitched together later. There were no films shot on film that I could find that had a continuous 90-minute take that I could reference technically. Because we wanted a natural flow for actors by shooting them in real time for the duration of the film, we did not have the option of shooting and wrap-ping one segment at a time. We liter-ally had one chance per day to shoot.

The solution I came up with was an idea I nicknamed “Real-Time Tran-sitioning.” This involved handing the camera off at designated transition points while another pre-rolling cam-era was simultaneously handed to me with a fresh mag of film and with all my pre-defined camera, filtration, and lens settings. Each transition would literally be executed in real time with virtually no time delay. We had 13 pre-loaded magazines and 12 designated transition points that we had to meticulously plan and rehearse. We had to transition the camera as seamlessly and efficiently as possible. My 1st AC, Jeremy Cox, was an essential part of the film. Not only did he keep everything in focus, but he also helped to ensure everything camera-related went according to plan.

Protagonists Áila (Elle-Máijá Tailfeathers) and Rosie (Violet Nelson).

24 • Canadian Cinematographer - October 2019

CC: What was your approach to the lighting, both interior and exterior?

NL: My approach for lighting was to make sure any augmented lighting felt invisible, as if there was no lighting at all. It was meant to feel very under-stated. When we were outside, we just went with natural light but made sure to underexpose by one stop. For Áila’s apartment interior during the day, I

mainly shot with natural light but also had to augment and match to the exterior light. We had to have four dif-ferent light intensity and colour tem-perature settings to match a particular day’s weather conditions – rain, heavy overcast, light overcast or sunny breaks. We needed to have our camera T-stop and ND filter set before and after each of the 12 transitions. My fantastic gaffer Jordan Findlay was very diligent with this. He had to have the lighting set ac-

cording to the current weather condi-tions that we determined in prep. During each shoot day, the lighting had to be set right before I arrived with the actors to any given location. Once it was set, he rushed to the next location to double check the lighting. We started shooting at 5:30 p.m. and wrapped around 7:00 p.m. each day to catch the perfect light.

For the SRO location, we used Qua-sar tubes for some background accent lighting within pools of darkness. We also installed a number of suspended fluorescent fixtures for the upstairs hallway. The red light emitting from the drug exchange was a Kino Celeb. The pools of darkness, sickly fluorescent lights and red hallway lights gave this location a very tense atmosphere. We employed a number of practicals on dimmers at the safe house location. A LiteTile’s LED softbox was rigged overhead in the living room for dim ambience and was set to 3200K. The practicals were dimmed to around 2600K for an inviting warm glow. For the final taxi ride during dusk, we had a lead vehicle with two 1x1 Astras through Litegrid, which provided a soft ambient fill, and also used a 4’ Quasar Crossfade gelled red to simulate brake lights.

Norm Li csc shoots Tailfeathers exiting a cab. Below: Actor Violet Nelson with co-director Kathleen Hepburn.

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Canadian Cinematographer - April 2019 • 29Canadian Cinematographer - October 2019 • 25 TORONTO | MISSISSAUGA | OTTAWACALGARY | EDMONTON VISTEK.CA

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CC: What was the approach to camera operation, composition and framing?

NL: Camera operating had to feel inti-mate, natural, unrehearsed and reaction-ary. I had to approach each take as if I didn’t know what would happen next. I often kept my left eye open to catch any unexpected character nuances. A per-sonal technique of mine while operating is to imagine what a character is going through and to instinctually reflect that feeling through operating. It was important to tell the story from the per-spective of the characters. For example, we wanted a lot of the film to be mainly from Rosie’s perspective, so quite a few scenes would remain on her while other characters were heard off screen. The camera would be framed in a way that suggested a particular state of mind so that audiences would hopefully feel the moment as Rosie would. At times we would transfer the perspective from one character to another and remain on them for the duration of a scene.

CC: Can you talk about the logistics, challenges and benefits of working with two directors?

NL: It can certainly be challenging working with co-directors but also

very inspiring. The benefit of working with co-directors is that every idea is laboured over twice the amount, which means the final decision has been a lot more considered. The downside is that this can take up more time than usual. This film provided a unique challenge because one of the directors was also one of the main actors and she wasn’t able to watch at the monitors. Fortunately, in prep we were all able to discuss the best approach to blocking and camerawork together. At the end of each day, we would review the dailies to address any changes for the next day. Having shot Never Steady, Never Still with Kathleen was very beneficial, as she and I are very much aligned tonally and visually. I usually know what she is looking at on an emotional level and can translate that to lighting, camera movement and framing. I think our working relationship has evolved through pushing and challenging one another’s ideas from an honest place to ultimately discover the core meaning in each scene. The collaboration between all three of us on The Body Remembers was really inspiring, as they are both incredibly talented and intelligent film-makers. Because of them, I have devel-oped a higher level of sensitivity to cin-ematography. I especially honour their unique and invaluable perspectives.

Nelson and Tailfeathers in a still.

Once again we have proof that size does matter, it’s just not the way you thought.

In this case, it’s the image circle of a lens, and with camera sensors getting larger by the year, to keep up with the demand for large image capture, they too have to get bigger. In fact, large image capture has disrupted the entire digital chain from the front of the camera to the exhibition

screen. Not only does the talent want that extra makeup for their close-up because 4K – and now 8K – will enlarge every flaw on their face, lenses have had to adapt, as has storage and throughput, editing pro-cessing power and digital projectors and display screen.

Tapping into this, Fujinon has skirted around prime lenses and unveiled two new zoom lenses – Premista 28-100 mm, T2.9 and the 80-250 mm, T2.9-3.5. Zooms aren’t a popular choice of prod-uct for many manufacturers, and indeed, for many years, some shooters thumbed their noses at what they saw as sub-opti-mal glass, which was often cumbersome, slow and lacked the crisp optics and reso-lution of a purpose-built prime.

Things have changed. Fujinon has put a lot of thought into the design of these lenses, the shorter length being available as of this past summer and the longer length available by the end of this year.

Rental houses have expressed interest, and Fujinon is also hoping to sell some directly, Stosh Durbacz, the Canadian rep, says. The Premista 28-100, T2.9 is listed at US$38,800 while the 80-250, T2.9-3.5 lists at US $39,800.

First, that image circle. It’s 46.3 mm, which Durbacz says will accommodate a wide range of camera bodies, from the RED Monstro to the Panavision DXL2. “The challenge is that these cameras are all a little different, so we picked 46.3 mm at the optimum to be compatible with the majority of large format bodies,” he says.

The Premista series – a branding combi-nation of their Premier and Vista Vision Image size – are also identical in mount-ing configuration. “That’s so on set if you want to swap one out for the other, you don’t have to change up anything else, all the gears and stuff remain the same,” Dur-bacz says. With the two lenses covering a wide range of primes, it also speeds things up on set, especially when the camera is mounted in a difficult-to-reach spot.

“The design is lightweight because that’s important now as well, but we wanted to make sure the optical quality was there too,” Durbacz says, noting the lenses weigh in at 3.8kg/8.3 lbs. They’re also al-most half the weight of their Premier sta-ble mates and about 25 per cent shorter.

“The look is high contrast with good flare control,” he says. “It’s high perfor-mance across resolution, sharpness, con-trast and dynamic range giving a good, clean look. That’s our look.”

The 13-blade iris also allows for a nice bokeh, he says, and the T 2.9 means that shallow depth of field is there all the way through the focal lengths, though with the longer 80-250 mm it does drop to T 3.5. “We wanted to make sure it was a T 2 something, and we got it to 2.9,” he says, which is impressive for a zoom.

The lenses haven’t been road tested on any live productions in Canada as of yet because they haven’t been avail-able, according to Durbaz, but the demo

clip, Rhinestone Blue, directed by Ai-sha Schliessler, with her father Tobias Schliessler as DP, is a good indication of the 28-100 look and contrast.

Born and raised in Germany in a film-making family, Tobias Schliessler came to Canada and studied film in British Columbia at Simon Fraser University. He’s got the creds: Beauty and the Beast (2017), Mr. Holmes (2105), Patriots Day (2016) and many more major features, often working with directors Bill Condon or Peter Berg.

“I like using Fujinon lenses because of their contrast in terms of highlights and shadows,” Schliessler explains in a clip about the making of Rhinestone Blue. “I like how sharp it is on the screen from top to bottom from left to right.”

Aisha Schliessler says the entire short was shot on one lens, which she calls “very impressive.” From behind the cam-era, her father says the cinematic “look” is what surprises him most. The demo clip spans the gamut of lighting challenges, from harsh full-on desert sunlight, in-duced lens flare, to the blue moon and neon at night and the unforgiving light-ing of a meeting hall.

“Aisha wrote the script with all that in mind,” Schliessler says. “It was my first time working with her, so I wanted to make it special. The zoom is a good op-tion if you want to go with your emotion during a shot and get in tight because if feels right. If you have a prime, you have to stop and then the actor could lose that moment. It’s always been hard to design a zoom lens which has the same quality of a prime lens. But I felt very safe with this lens.”

First AC Paul Santoni called it a “work-horse. It does all things well. I wouldn’t hesitate to go out with that as a total lens package.”

Ian Harvey is a journalist who has been writing about digital disruption for 20 years. He welcomes feedback and eagerly solicits subject matter ideas at ian@pitbullmedia.ca.

When It Comes to Image Circles These Days, It’s Go Bigger or Go Home

Tech Column

26 • Canadian Cinematographer - October 2019

On the set of Rhinestone Blue. Cre

dit:

Mic

hael

Kub

eisy

,

http://www.cinetx.com

Production Notes & Calendar

@canadiancinematographer @csc_CDN

Canadian Cinematographer welcomes feedback, comments and questions about the magazine and its contents. Please send your letters to editor@csc.ca. Letters may be edited for clarity and space.

OCTOBER4-5, Cinegear Expo Atlanta, cinegearexpo.com/atlanta-expo10, HD Source Open House, hdsource.ca16-17, NAB Show New York, nabshowny.com16-23, New Orleans Film Festival, neworleansfilmsociety.org17-19, Broadcast India Show, Mumbai, India, broadcastindiashow.com/home19-20, CSC Two-Day Camera Assistant Workshop, Toronto, csc.ca18-20, Oslo Digital Cinema Conference, Oslo, Norway, odcc.no26, DGC Awards, Toronto, dgc.caOctober 26-27, CSC Two-Day Lighting Workshop, Toronto, csc.ca

NOVEMBER2-9, ADF International Film Festival Of Cinematography, Buenos Aires and Vicente López, Argentina, adfcine.org6-13, American Film Market Fest, Santa Monica, americanfilmmarket.com9-16, Camerimage International Film Festival, Torun, Poland, camerimage.pl/en13-14, ProFusion, Toronto, profusionexpo.com13-15, Inter Bee 2019, Japan, inter-bee.com14, NAB Show’s CineEmerge, Los Angeles, cineemerge.nabshow.com14-21, AFI FEST 2019, Hollywood, afi.com/afifest

ClassifiedsEQUIPMENT FOR SALE Panasonic DVCPRO Digital Video Recorder D230HSONY BETACAM SP Recorder UVW-1800JVC S-Video Cassette Recorder BR-S800UPanasonic H1350 Colour MonitorJVC 9" Colour MonitorJVC Hi Resolution Colour MonitorA VERY GOOD DEAL FOR SOMEONEContact Robert Bocking csc for further information. 416 636-9587 or rvbocking@rogers.com

ALEXA ITEMS FOR SALEArri Alura T2.9. 18-80mm (PL Mount, Feet) CAD$20,000 OBOArri Eyepiece Leveler (EL-3) Brand New CAD$400 OBOArri Viewfinder Cable Medium KC151S Brand New CAD$350 OBOPlease email Ian Toews csc at: ian@291filmcompany.ca

Canon CN-E Prime Lenses24mm T1.5, 35mm T1.5, 50mm T1.5In excellent condition. EF mount, covers S35 and full frame. Asking $3400 each.Contact info@johnker.com.

35 4x5.6 Schneider filters: ND’s, color correction, diffusion, grads2 138mm Tiffen Tobacco, Sunset grad2 138mm Schneider Tru Pola, 85 Pola2 138mm Schneider CU diopter #1, Cu Diopter • includes case and pouches for every filter.• Excellent condition• 4x5.6 and 138mm. clears includedToday’s value in U.S. dollars $13,705 U.S.Selling price $9,500 CDNPLEASE CONTACT: Bert Tougas H: 514-634-2374 C: 514-913-2376

I have 15 - 3x3 Tiffen filters for sale - fogs, Promists Grads, 812's etc. all with cases$185.00 - contact Barry Casson csc - 250-721-2113 or e-mailbcasson@speakfilm.com TIFFEN ULTRA STEADICAM , HD Ultrabrite color monitor ,HDMI Decimator 2,Iso-elastic arm, 4-24 volt batteries, 1-Pag battery charger 24v,1-Lentequip battery charger 12/24v,Klassen vest and carrying bag, 1 Preston F1+Z transmitter1 Preston MDR-1 receiver,1 Preston control, 2 motors, 2 batteries, charger, numerous Hill motor mount brackets rossette brackets and rods, 1 long dovetail plate,1 short dovetail plate, 1 docking bracket,1 fgs wheel chair/dolly adaptor,rain cover, too many cables, hard cases and accessories to list.This rig was well maintained looks new,all it needs is a few upgrades.$ 35000.00 can 416 817 3938 or acadian@rogers.com Rick Kearney Preston FIZ 2 kit - $5,0002 x Arri MB-20 studio matte box - $8,000Arri LMB-15 Clip-on matte box - $1,200Power-Pod Classic - $5,000Please contact Michael Balfry csc @: michaelbalfry@gmail.com for a complete list of items. Looking for a set of old, no longer used, standard legs with Mitchell base. Or any type of disused heavy camera support.This is to be used to mount a Mitchell BNCR camera in order to place it on display. Anyone with access to such a tripod or with information about one, please contact me:rawi@earthlink.net 416-691-6865

CAMERA CLASSIFIED IS A FREE SERVICE PROVIDED FOR CSC MEMBERS. For all others, there is a one-time $25 (plus GST) insertion fee. Your ad will appear here and on the CSC’s website, www.csc.ca. If you have items you would like to buy, sell or rent, please email your information to editor@csc.ca.

28 • Canadian Cinematographer - October 2019

100, THE VII (series) DP Gerald Packer csc to March 19, 2020 Langley

50 STATES OF FRIGHT (series) DP Michael Wale csc DP Tony Mirza to November 21 Burnaby

A BABYSITTER’S GUIDE TO MONSTER HUNTING (feature) DP Gregory Middleton csc, asc to November 8 Burnaby

A TEACHER (series) Camera Operator Jarrett Craig to October 10 Calgary

ARROW VIII (series) DP Gordon Verheul csc & Neil Cervin csc (alternating episodes) to November 14 Vancouver

BOYS, THE II (series) DP Dylan Macleod csc (even episodes) Camera Utility Robert Murdoch to November 1 Toronto

BLOOD & TREASURE II (series) DP Ronald Plante csc Camera Operator Alfonso Maiorana Montreal

BURDEN OF TRUTH III (series) DP Arthur Cooper csc to October 24 Winnipeg

CHILLING ADVENTURES OF SABRINA, THE II (series) DP Stephen Maier (alternating episodes) to February 19, 2020 Langley

CORONER II (series) DP Samy Inayeh csc Camera Operator / Steadicam Keith Murphy soc B Camera 1st Assistant Kyryll Sobolev

to November 6 Toronto

CHRISTMAS WISH, THE (MOW) DP Dana Burnaby to October 4 Burnaby

DC’S LEGENDS OF TOMORROW V (series) DP David Geddes csc, asc (alternating episodes) to January 29, 2020 Burnaby

DODGE & MILES (web series) DP Matthew Lloyd csc to November 21 Toronto

EXPANSE, THE V (series) DP Jeremy Benning csc & Ray Dumas csc (alternating episodes) to February 19, 2020 Toronto

FIREFLY LANE (series) DP Vincent De Paula csc to January 21, 2020 Burnaby

FLASH, THE VI (series) DP Brenton Spencer csc (odd) & Alwyn J. Kumst csc (even) to April 17, 2020 Vancouver

GINNY & GEORGIA (series) DP Gavin Smith csc B Camera Operator/Steadicam Brent Robinson soc to December 10 Toronto

GOOD WITCH VI (series) DP Ken Krawczyk csc to December 13 Toronto

GRAND ARMY (series) Camera Operator/Steadicam Colin Akoon to October 4 Mississauga

GRAVITY PRODUCTIONS AKA TWILIGHT ZONE (series) DP Craig Wrobleski csc March 16, 2020 Vancouver

GREEN HARVEST III (series) DP Glen Keenan csc C Camera Operator J.P. Locherer to February 6, 2020 Toronto

HARDY BOYS, THE (series) DP Fraser Brown csc B Camera Operator Robert J. Barnett to January 22 Toronto

IN THE DARK II (series) 1st Assistant Pierre Branconnier to January 31, 2020 Mississauga

JULIE AND THE PHANTOMS (series) DP Randal Platt csc to December 20 Burnaby

LAND (feature) B Cam Operator John Spooner csc to October 23 Calgary

MAGICIANS V (series) DP Corey Robson & Thomas Burstyn csc, nczs (alternating episodes) to November 8 Vancouver

MERCURY (series) DP Craig Wrobleski csc to November 15 Toronto

MURDOCH MYSTERIES XIII (series) DP Yuri Yakubiw csc 1st Assistant Kevin Michael Leblanc to November 12 Toronto

NANCY DREW, THE (series) DP John Bartley csc, asc to December 9 N. Vancouver

NIGHT RAIDERS (feature) DP Daniel Grant csc to November 8 Toronto

OMENS (series) DP Bernard Couture csc to February 29, 2020 Burnaby

PRIVATE EYES IV (series) DP Eric Cayla csc & Mike McMurray csc B Camera Operator Brad Hruboska soc to November 15 Scarborough

PROJECT BLUE BOOK II (series) DP François Dagenais csc & C. Kim Miles csc (alternating episodes) to November 13 Burnaby

RIVERDALE IV (series) DP Ronald Richard to April 17, 2020 Langley

RUN (series) DP Kristin Fieldhouse (alternating episodes) to November 15 Etobicoke

SISTER RISING III – (fka STREETS OF YESTERDAY) (series) DP Marc Laliberté (odd) & DP Tico Poulakakis csc to February 28, 2020 Toronto

SUPERGIRL V (series) DP Michael Storey csc 2nd Unit B Cam Op Justin Beattie to March 17, 2020 Langley

SUPERNATURAL XV (series) DP Serge Ladouceur csc Camera Operator Brad Creasser csc to April 3, 2020 Burnaby

TINY PRETTY THINGS (series) DP Luc Montpellier csc to December 2 Toronto

TRICKSTER, THE (miniseries) DP Steve Cosens csc to November 5 North Bay

TURKEY DROP (TV movie) DP Peter Benison csc Camera Operator Rod Crombie soc to October 4 Carp

WHEN CALLS THE HEART VI (feature) DP Michael Balfry csc to December 16 Burnaby

ZEUS (series) B Operator/Steadicam Richard Wilmot to November 4 Toronto

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