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President's Report - 2 -

Happy Millennium . .. Again

From the Editor's Desk - 4 -

Surfin' the Net

Profiles Henry Chan esc - 8 -

- 11 -David Frazee esc

What's New? - 14-

The Big Freeze

Film Clips - 18 -

Genie Nominations

Action Production Notes CSC Calendar

- 20 -

ro/ume 10, No. S l•••••r 1001

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2 • CSC N<ws ' January 1001

PRESIDEnT's REPORT JOAN HUTTON esc

A New Millennium ... Again "Fast away the o ld year passes.''

goes the favourite o ld Christmas carol Deck !Ire Halls. What I'm getting at is that the year 2000, the dreaded Y2K, has passed in a flash of blurred memo­ries and the official beginning of the new millennium is finally upon us. There will be little fanfare this time around because, after all, it's only official due to some andent Roman sta rting to count at One instead of Zero. It's still kind of exciting, though, launching a new year, decade, century and millennium all at the same time. And we get to celebrate two years in a row!

The Y2K has been a good one for the Canadian film and television Industry and the esc. The Society's finances are still a bit tight, mainly because o f unexpected costs for the 2000 CSC Directory, both the book and on-line, but we are keeping our heads above water and continuing to achieve our goals. My sincere thanks to our hard-working executive- Vice­President Richard Stringer esc, Secretary David Greene esc, Treasurer Joseph Sunday phd, Membership Cha ir Ph il Earnshaw esc, Education Chair Harry Lake esc, Publicity Chair Bill Metcalfe, and advisers Bob Brooks esc, Sammy jackson·Samuels esc and jim Mercer esc - for their extra efforts this past year, to esc Administrator and Awards Chai r Susan Saranchuk for her fine work, especiaJly on the CSC Awards Gala that just keeps get­ting better, and to CSC editor Don Angus for continuing to publish our excellent CSC News magazine and look after our improving esc Website. A special note of thanks to

joe for his contributions in helping to get our on-line directory up and running. There's more to come, too.

Of course, we express our gralltude for the ongoing support of our corpo· rate sponsors, whose membership dues, magazine and directory advertis· ing, and contributions to the Awards Gala are inexpressibly important to our active role and growth ill the industry. And, last but not least, thanks to all our members for making our - their - Society one of the best in the world.

On that note, I remind you that the esc Annual General Meeting will be held at Precision Camera in Toronto on Monday, Feb. 5. Check the maga­zine and on-line Calendar for details. Last year we had a record or least a near-record turnout, so I look forward to seeing lots of you there again this year.

Sadly, I must report the death of Joan Clinton, the wife of the late Stan Clinton esc, in Vancouver on Oct. I 5 after a long battle with cancer. Stan was the first contract cameraman at the CBC, and the Stan Clinton Award is presented annually in h is honour for cinematographic distinction in a television news essay. Tile Clintons' da ughter, Ann, wrote Ken Post esc of her mother's passing, saying her mother •appreciated so much" the tribute that the esc created on Stan's behalf. A memorial service for joan Clinton was held in Vancouver on Oct. 20. She is also survived by her son, Graham.

That's all for now, except to wish everyone a Happy and Prosperous New Year! •

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L ike most personal computer users, I have a love-hate rela­tionship with the Internet. I

love It when its thousands of pages of seemingly endless resources arc open to me, informing me, Intriguing my curiosity, and beckoning me to try just one more S('arch when it Is long past my bedtime. When the Internet and I are in tune, my smile is so bro.1d I have more dimples than a Florida ba llot.

I hate the Internet, though, when It closes its doors s;>ltefu lly for no good reason - when it Isn't even my bed­lime yet and I am on the verge of mak­Ing another discovery almost as important as America or Insulin. At other limes it is slower than Toronto rush hour, and I begin to despiS(' that little hour-glass thlngcc that keeps telling me that I'm almost there. It's almost as bad as: "Please hold. Your call is im portant to us.•

The truth Is the Good Internet far outweighs the Bad. I have not yet suc­cumbed to "Download Rigor Mortis" nor have I had to buy my entire neigh­bourhood because I am not good at

\

sharrs· As editor o f this magazine and the esc Website, I' m not sure how ) managed before I got my Internet wings. For example, if a dne-matographer talks about a HotH!'ad, I can quickly find out from a glossary of film terms that he's not referring to a bad-tempered director ... although he could be. (Or she.)

My favouri te website is the Internet Movie Oataba\C (/mrlb.com), a reposito­ry of more than 150,000 movie and TV show titles that provides cross-refer­enced information on the director, producers, writers, cast, cinematogra­phy crews, editors, sound editors, you name It - plus sidebars on awards, locations, quoles, reviews, trivia, etc. For instance, when Henry Chan esc told me that OOP Tak Fujimoto had also attended London Film School, I was ablr to pull up in seconds all the films that the renowned cinematogra­pher had shot in his career.

There are other good sites. The ASC's ciuematogmpltf!r.tom contains a wealth of Information, about the Society, articles from America11 CillematogmJIItrr, and on-line forums with leading ASC OOPs. There is also CillematogmJIItyWorld.com, about "the art, tech no logy and business of cine­matography," and the excellent citte· matogrnplty.com, about •professional motion picture people and resources: from which I culled the following to illustrate the kind of articles that are lying in wait. This one looks at the Internet as a future motion picture medium.

•••

from the

Editor's Desk

Movie Directors Monitor Changing Art Of Filmmaking

(Dec. 7. 2000)

Digital video may be making inroads as the medium of choke among many

young filmmakers, but it is not likely that It will be able to wholly replace film, say a trio of accomplished filmmakers.

Wayne Wang, Stan lee and Penelope Spheefis ~e part of a panel discussion on the opening day of Digital Coast 2000, a conference in los Angeles that highlights the convergence of the Inter­net and the traditional media, i.e. prin~ radio, broadcast television and film.

The filmmakers extolled the virtues of making movies using digital formats, but were hesitant to sound the death knoll for film.

A small consumer digital camera can do what four or five people did before, • said Wang, who directed Smok~. "Those cameras are great because they are so simple. They give the potential to work more organically, to add improvisation and a documentary aspect you don't get with film.

Spheeris, director of Wayne's World believed that the studio system would stay the same for a while because it is self-perpetuating. "The studios ar~ mon­sters set up to feed themselves. They have a prop department, a costume department and a background depart­ment; they aren' t set up to do things simply. They have to use all their pieces to justify their existence," she said.

Lee, producer and creator of X-Men and Spider-Man, suggested that two dis­tinct structures may arise in the industry. Studios like Artisan, which made The Blair Witch Project will do some projects cheaply on digital, while some old-time studio heads, who may experiment a lit tle with digital, will continue to make big movies on film .

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"Many kids will make good films on digital, but you are talking about an industry that thrives on outdoing the person that came before you. One kid will try to outdo the kid before by adding better costumes and bel!er scenery. Digital films will start primitive, then end up like they are now, • he offered.

Wang said that the availability of inexpen.sive digital video techniques may lead to well-done independent films. "Some brilliant young kid will make something as good as Bloir Witch; he opined.

The biggest impact of the Web on film, according to Spheeris, is the differ­ent distribution dynamic. "The Internet will make all the difference in the world. When you put a film on the Internet, mil· lions of people all ewer the world can see it. That has never happened before, • she said.

Kids will get together on the Internet and make films," said Wang. "It is already happening in Iapan." Lee said that the Web is not quite ready to change the film world, but that day is coming. "On the Internet, If something is not interactive, it is not entertainment. People don't want to watch a long film on a computer. Computer users want to be part of what is happening. This could change with bener screens. Now, people who want to see a film go see it on a screen. Monitors are already almost the size of televisions, so it is going that way. Eventually, the Internet will be every­thing, including all entertainment, • he predicted.

The discussion concluded with a mes­sage from Wang to aspiring filmmakers.

"With digital video, there is no excuse for a film student, if he or she has a script and an idea, not to do a mcw1e. It costs S 10,000 to get it in an editing room," he said.

Lee added, "Everybody with a cam­era can be a film producer. •

•••

OK, so anyone wHh a computer can now be a writer. Happy New Year to you, IOO! •

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ILES Henry Chan esc

Home Is More Than Just Where You Hang Your Light Meter "Search no more. This is the place"

H enry Chan esc wrapped his third season on the science fiction series First Wave last month, but if you tune in to watch it on the Space Channel in

Canada or the SciFi Channel in the U.S., the modest direc· tor of photography is a bit concerned about what you may think of his work.

8 • CSC Ne~·• ' J.,_, 2001

"I think I could do a lot better If I had a chance to prep," Chan told CSC

By Don Angus

News over lunch In Vancouver's Gastown on an overcast day off in October. It's not an uncommon complaint among series OOPs.

"I send a gaffer or maybe a best boy to go and scout for me. I don't have a chance to see the set. I have no idea what the location looks like. We all llke to do our best, but tele­vision is something where you learn to compromise, com­promise, compromise.

"But I'm happy that I'm working," he added thankfully. It wasn't always that way after he came to li ve in Vancouver in the late 1980s.

Chan, born in Canton but raised and schooled In England from the age of 12, officially obtained permission to imm igrate to Canada in 1983. However, he continued to go back to Asia for features "one after another," so he did not really make Canada home until 1987. He wasn't really happy in Asia or England, or in the United States where he worked for a time, but when he came to Vancouver to visit relatives "1 felt at home In beautiful British Columbia. To me it was like, 'Search no more. This is the place.'

"I felt I could do better here. I like the people, I like the environment. I wanted to try to become a member of the community. It was very difficult at firs t, but it was worth it."

After completing his seconda ry education in England, Chan started university at Oxford, but "I never made it because I was not interested. I wanted to do film. Finally I got myself into London Film School on a scholarship" graduating in 1971. Cinematographers Tak Fuj imoto (The Sile11ce of the Lambs, Philadelphia, T11e Sixth Sense) and Chris Menges (Local Hero, Tl1e Killing Fields) came from the same school.

• An opportunity took me back to Asia on Alan Whicker's 1972 series Wllicker Orient for the BBC. I was left behind in Hong Kong to do a li the pickup shots and second units. Obviously it was a great opportunity for me, and a great challenge, too. I was only in my mid-20s. I went back to the U.K. afte.r that, back to clapper, focus puller, the whole thing, to work my way up."

From about 1975, Chan worked off and on in Hong Kong, was based in the U.S. for a while, then back to the U.K. In Hong Kong, he shot "tons of commercials with big

budgets and I learned a lot. The good thing was that I was being paid to experiment and to make mistakes.•

' II was total madness. Only the director knows•

It was a producer friend who persuaded hlrn that there was more to cinematography than commercials, and his big break came when he was asked to be director or photogra­phy and operator for award-winning Thiwanese director King Hu on a martial-arts feature shootins in South Korea. It was a double-barrelled learning experience.

•t soon realized what they were doing to me. They were basically shooting two feature films back to back - same actor with different co1tumes. A-film, he or she goes cam­era left to right. 8-film, he or she goes camera right to left. II was total madness. And the director does Scene S, Take I and then Scene 106, Thke I. Only he knows!

*I've never experienced anything like that. The execu­tive producer came to the set every two weeks with cases of U.S. dollars. One night I got a knock on my door and the exec came in. 'Hemy,' he said, 'I beg you, I beg you. Stop him shooting. We have to finish the film. Don't shoot any more.'

•t ended up staying In South Korea for a year and a half, doing these two films: one of which, I tgmd of llte Mountain, won a best cinematogra­phy award for Chan, •presented by James Mason," at the 1980 Golden t lorse Awards in Taiwan.

He said he didn't understand why he was chosen for the award, because he didn't feel it was his best work. •t sometimes found it very difficult to do my best on feature fiim1 In Asia, not because of the tech ntcai or the nnancial support, but because they were shooting two films at a time.•

popular In Asia, everybody thought that all Asian cine­matographers know how to shoot martial arts. I shot quite a bit of martial arts, but I actually prefer thrillers and dra­mas. I can't stand the sight of blood. Uke I said to Jackie Chan- we know each o ther- 'Jackie, thank you very much for offering me your show, but I believe In film magic.' When I did second unit on Jackie's Rumble /11 lite 8ro11x in Vancouver, before Ni11/a 'ntrtles, it was very unpleasant. •

' I like to work fast, I like to light fast'

While shooting the Nl11ja 'ntrtles series, Chan laughing­ly recalled that he got calls to come to Rome and Hong Kong to work on a jean-Claude Van Dam me feature, but "I told them I'm doing a little kids' show here. I'm thankful to be able to call Canada home and able to do what I want to do."

First Wave Is shot on Super t6mm in 16:9 (1.78), Chan said. •t tend to fool around with the shut1er a lot. I shoot with a different shutter all the time; I like to sharpen the Images a little bit. I'm losing q uite a bit of light, but that's OK because I get better Images. In doing that I save the pro­duction company a lot of money. I don't have a very expe­rienced lighting crew - you might be surprised to see me climbing a ladder doing my own thing - so I set a shutter

Chan was a founder of the Hong Kong Society of Cinematographers, partly, although he dislikes politics, to help his fellow OOPs Improve their working conditions. Today, he has dropped his HKSC affiliation and Is proud of his full membership tn the esc.

Henry Ch• cs< (<tllrt) on tht set of first Wnt

He taught at the Vancouver Film School for six months after arriving In Canada for good 13 years ago. His first Canadian "gig" was as OOP on the 1996 made-for-TV movie /Xatlt Game, • tow-budget opus executive produced by the legendary king of Hollywood "B" movies, Roger Corman. • A lot of fun, but after that It was go out and shoot B cam, and start all over again."

Alter Deatlt Game and a series of B-eam assignments came 001' work on the 22 episodes of the Vancouver-shot series Ni11ja Turtlt$: Titt Next Muratio11. Chan speculated that he got the job "because of the kind of quick-paced, martial­artsy type of thing on my reel."

Ironically, he added, "because mart Ia t-arts fll ms are so

where I can get away with a lithe flicker problems. We don't have flicker-free ballast on our HMis.

"Most of the directors ask If we can do 40 frames, and I say sure, we can do 48 If you want because of the shutter I'm shooting. So we do a lot of over and under cranking stuff.

"I'm a fast worker," he continued. "I like to block the shot and shoot. I prefer It that way. I'm very versatile. I like to work fast, I like to light fast. Part of the reason that I pre­fer to operate myself Is that I see the blocking, build the shot and start lighting. Then one rehearsal and shoot. My commercial background and working In Asia for a long time gave me the opportunity to think fast. •

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• frcro fXJ!1f 9 Chan said his style on First Wave "is

to light from the ground. Why spend money on a Condor when the scene Is just one-eighth of a page? I don't carry a tot of equipment, I don't carry a tot of filters. It's very basic. I'm very budg­et conscious, because of my back­ground, I !,'UCSS. I hate to see stuff that we order but don't use.

"I'm very fussy when it comes to movement. We have a Jimmy Jib arm, with a power pod-like gear control head, full time. I attach a 10-30mm zoom on the camera, and on the cam­era moves we do a lot of pushing, things like that. Unfortunately we can't really do closeups because the distortion is so huge - it's an old Taylor-Hobson lens - but if you stay away 3'" feet you're OK. This lens is perfect on Steadicam.

"I don't call myself a fancy cine­matographer. I'm very down to earth . I can't afford to say, 'Let's try to do this; if it doesn't work let's relight.' I don't have the luxUiy to do that. •

Each season on F;rst Wave, 111 want­ed to give a little different look. The second season, I went for slightly lighter shadow than the first. The third season is more feature film-like. I do a lot of cross lighting, a lot of big­ger light sources, because the script has gotten bigger."

Chan said he directed a couple of feature films in Asia, but mostly he has stayed away from directing because he didn't like the politics. "But now I'm older and more mature, and there are directing projects that interest me, like human survival."

Technical Data: Shooting Super16 on First Wave, Chan used the full range of Fujifilm colour negative stock, including the new, lower-con­trast F-400 that Nora Spencer of Fuji Photo Fi lm Canada had flown in from Los Angeles. It was on ly a small scene, but "I think I was the first to use F-400 in Vancouver," Chan said. The OOP shot with two Arri SRs 1J1 1. 78 format and an Arri 435 for plates and visual effects. His full-time gear also included a Steadicam rig and Jimmy Jib arm. Lenses included Primes from 6mm to 180mm and three zooms, 300mm or higher on a day-to-day basis. •

FILES David Frazee esc

Filming the Realism of Vancouver's Nasty Side "We're doing real stories and they are honest stories"

D avid Frazee esc was born and raised in Vancouver, but his three seasons as director of photography on the award-winning CBC series Da Vinci's lnqllt$1

have shown him - and us - the seamy side of his home­town.

·one of the Interesting challenges which is part of my agenda, and certainly (creator/executive producer) Chris Haddock's, Is to show a side of Vancouver that wouldn' t be seen that often. We are down in the nastiest parts of Vancouver- and there are five or six square blocks that are as nasty as anywhere I've been before.

"There are a lot or junkies, and the female addicts are turning tricks, • Frazee told esc Nnvs on the sets of Da VInci's lnq11tSI In Burnaby. "They're shooting up right on the streets. We're In their neighbourhood, which is awk­ward because you're moving into their space.

"You also see a lot of hard luck cases. It's what we're por­traying In the show quite a lot, what the coroner (Dominic

Da Vlnd, played by Nicholas Campbell) deals with on a regular basis. So the realism

By Don Angus

of the show Is an a"empt to be honest about what is going on. Most of the stories are right out of Vancouver, and (recently retired) Chief Coroner Larry Campbell has been a big part of the show. •

The DOP said the Idea "right from the beginning" of Da Vinci's lnqt~l, winner of the 1999 and 2000 Gemin i Awards for Best Dramatic Series, •was to keep It naturalistic - the acting. the cinematography, the whole package. We're doing real stories and they are honest stories. The charac­ters are portrayed that way and It's lit that way and shot with a slightly haphawrd feel to it.

"I'm using a Porta-Jib. The Idea was not to let the cam­era d ie, not get In to static shots. We move the camera almost all the time. You ca n ru n on the dolly, so you can drop In and make overs work all the time. We try not to pin

see fJOlle 12

CSC Ntws 1/ono"'ry 1001 • I 1

portion of the dough. So being fast is something that is quite Important to the pro­ducers. Kinos are really great for being quick to drop in and having a nice soft look. I don't use too much hard light at an.·

He said he lights with •a lot or fill from below and a lot of table bounce. I like the look of lt. I think it's a natural thing, like sunlight coming in. Another thing is that I try to keep the colours fairly mono­chromatic. We try to do that with .ets as well as with light­ing, to keep the chroma down a bll, and I also pull a little bit out In Ute timing.• ON DA VIHO'S SET: DOl' Domol Frateo CS< reluu io tt.o dttoctlve's r-- of tt.o roalisiK rtoooliog sots

of 0. V'IOd's ,.._, io ...... y. Uke most series OOPs, Frazee complains about the lack of lime to prep. "Maybe a con­

versation at lunch ... solving a couple of problems or fixing a few little things, but It's not designing or building anything, which is a really satisfying aspect of doing longer-format MOWs or features. • Among his longer-format credits are the acclaimed 'TV movies Mllsanr!l and T11e Sllelrkm Kennelly Story.

/lcmJICIIIII actors to hard marks. Let them have a llrtle bit of freedom, and make corrections with the camera and the dolly.

•we encourage actors to move around quite a bit, which Is challenging from a lighting persp<.~tlve, but certainly something that I think keeps the show alive quite well. We try to make the moves sort of natural and continuous. It's an Idea that Chris and Anne (Wheeler) and I came up wllh In the beginning. •

The look of the series, captured In Super I 6mm, •was certainly a combination of a lot of people - David Fisher, the original designer, Chris Haddock and Anne Wheeler, who was the director of the flrst three episodes. It was def. lnltely a discussion among all those participants that set up the look of the show. •

This season, which wrapped in November, •we managed to talk the CBC into broadcasting 1.77 and I'm really excit­ed because I've been beating that drum for quite awhile. 1 love watching it in that format. It's just a nicer frame, it's a more cinematic fra me, you get more room from side to side. That's been a huge change, and I think the CBC was really brave to take a risk like that."

'A lo t of fill from below and a lot of table bounce'

Frazee said he shoots with a pair of Arrl SRJs, Zeiss primes and a Canon zoom, and he sometimes uses a Steadicam. He lights with •a lot of the standard tungsten stuff, but a lot of KJno Flos, too. I use a lot of diffusion and a lot of balance. The Kloos are directional soft lights that arc fast to use- and to be fast Is something that's Important on a television schedule, especially a Canadian show that has a limited budget.

"We like to spend as much money as possible on loca­tions. We have huge casts as well that soak up a good

J2 • CSC N<w" ]..,., ZOO!

"Prep is everyth ing. That's where you design the whole thing and make it work. I really li ke to have a bare mini­mum of three weeks prep for a four-we-ek movie. It sounds like a lot, but I think I save productions quite a bit of time. Being able to go over the prolect with the director and know what we're doing from stan to finish is so much more gratifying. and the product ends up being quite a bit better. •

llme for post-production on series Is not much better, he added. "I don't even get to go to the timings, which is very vexing. I get to look at a VHS tape and make com­ments. Hopefully, you trust the timers. You have long con­versations with them the flrst couple of shows, and they're pretty competent people for the most part and will keep it consistent after that.•

Frazee said he directed an episode of Da Vinci's Inquest

this past season and one the year before and he's looking forward to more directorial challenges when he returns as DOP for a fourth season. Will that possibly be behind the lens of a high-definition video camera?

•Entirely a.s a result of budgetary constraints, I can cer­tainly imagine us going to 24P. I Imagine a good portion of the television shows will. It's certainly a deaner image, although I don't think It's as responsive as the contrast ratio of fllm. But there is going to be a lot of pressure from pro­duction to be shooting on tape, to be sure. •

After the third season of Do VInci's l11quest, Frazee went to work as DOP and operator on the independent feature Show and Tell for director Anne Wheeler (Bye Bye Blues)

which wraps in North Vancouver this month. Starring Wendy Crewson, "It's an Interesting romantic comedy which I haven't done before.• •

William F. White Welcomes Winter With

The Big Freeze By Don Angus

T he Big Freue sounds like a good name for a Canadian movie, but at William F. White Ltd. It's

a new technology that has got time standing still.

"Freeze time or slow it down, • says White's brochure on 111e Big Freeze, a product from Dallas-based Big Fish Films which was developed In 1997 by dlrector(camcrarnan Robert L<ltorre. White Is the exclusive Canadian part· ncr, and Mike Sinclair, manager of the WI'W Toronto remote heads and cranes department, Is producer of The Big Freeze.

"Study motion from 360 degrees. Stream each frame together and create a unique and dramatic effect. Our computer controlled 35mm

14 • esc N'"" '""""" 1001

Nikon cameras can capture anything- e-.•en a bullet -with a freeze (all cameras firing at once) or up to I 0,000 frames per second (virtual dolly)."

The Big Freeze had top 1i¥J HEADS ABOVE WATER: Sloowitot oH tlot otw HydroHeool billing at White's "tcchni· from Hydroflex are (fr .. ltft) lob ly111 of tlot Wiliam F. WloOtt cal and creative forum• in Toronto r._te heods aod u-. dtpar1mtol, Hydroflu owoer Toronto Nov. IS, which Pete Romano, Georgt Wills m sasc, and Chris Hol01ts, WFW

notional comuo IIHioogtr. also featured HydroFiex underwater camera hous· Bonom FROZEN: Bob lyno (felt) ood Mike Sinclair of l~t Wi~am lng and lights, the helium· F. White Toronto r-1• hoods ond cranos dtportmenl stand filled teelium Balloon light in front of o small port of tho c-r• array that makes up

fixtures, the Muscollght The Big Freeze. !()().foot light tower, White's "Chase of remote heads and cranes, warmed Bike" motorcycle camera platform, and up The Big Freeze for a large turnout of Sony Z41' ~10 cameras. esc members, other camera persons

Bob Lynn, White's national manager and Industry guests. The technology

t A J

uses multiple Nlkon F-60 cameras, mounted on a truss in different configurations, and an eight-perf VistaVislon format that utilizes the enUre mm negative. Lenses are off·th~ shelf 28mm F2.80 and 8Smm Fl.80. White has up to 21 S cameras In inven­tory and over 660 available upon request.

The Big rree1e Is usually shot at !/SOOth or a second, with cameras synch'ed within four-millionth of a second, L.yn11 sa id . "To produce a freeze, they have to fire at almost cxacUy the same time, but The Big Freeze Is not on ly a freeze system, it can also be a virtual dolly. The cameras can either be shot all at the same time with a remote trigger device - hard­wired or radio-controlled -or the com­puter can be programmed to fire them sequentially. We can actually fire them at 24 frames per second, creating a vir­tual dolly.

•we usc either stills film or motion picture stock. If you'd rather match the stock with what you're shooting, we can have that stock sent down to Los Angeles and rolled Into cassettes or we can have them supply the film from there. We bring The Blg Freeze to your ~' ond we set It up for you. Wt have grips as well as camera and com­puter people. It's a team. It's a full sys­tem. We follow It all the way from con­ception •nd the location scout all the way through production and then post. We've spent almost a year put­ting this together, and In the last six months we've done three fobs."

Lynn COI1 tinued: "We'll line up the cameras, targeted to a central point. We do that by eye. Once they're all lined up and we're ready to shoot the action, we'll shoot a target ball first as a reference for stablli~ation. Even though we do our best to line them all up by eye, there Is stabilization that takes place In post. The film is then loaded and then we fire the shots. We have rolls of 36 exposures and we use about 30 takes, and rou can reload as you need to. The Idea Is to collect the action from your best take.

•we're able to freeze time and play it back, fro1en but at many different perspectives. There are different effects

see pcge 17

FOR SALE: 2·35mm P11me lenses; Aaton mounl aspheriC and ~ for the 77mm Red Eye Wlde-85nwn CcntaX !ZeiSS! Tl 4 and 135mm Contax angle adapter Ccntact Rene J Col'tns at (4031 (ZeiSS! T2 SWO eoch mont cond~m (6041 81>9844 01 ema•l reneCI>dMamera~ 291-1550 FOR SALE: ftro SRII Sl&nm c:ame<a package; FOR SALE: Canon XLI . stdl l.lldet warranty. camera setv1C8d by Arn and ts tn excellent con­metal case. erua 3-hou< new battery. f1ltess and dition. $36.000. Exua uem 1x 12·120mm SIS all the toys, $6.000 If mterested, contact Walter: T2.4 Ze1ss Var~osonar zoom lens Pl. moonl my_d1mens1onChotma1l com $9.500 Also. Arri IIC camera package. one FOR SALE: Aaton LTR SuperlS (immaculate). owner in excellent condition. $25.000. And lx 3 mags./batts .• Canon 11 .5-135 zoom. Sachler Arri SRIII SIS magazine. good cond1tion & serv­tripod and portable wheels. bars. mane iced. $5.000. Calll9051271 -4171. rex. (9051271 -boxes and lots of other extras; USS15.000 or 4101 or email sebOmaceelipsecom best offer Contatt raph_sabe<ChotmaiLcom or FOR SAL£: Aaton XTR SuP8f 16mm camera with MJkf1lmsChome com three 4QO.foot magazmes. Supet" 16mm ~ FOR SALE: l&nm package. barely used 1 SRIII lens. Canon 300 2 8. lens Excellent condttion; it body Wtth t•me code board. Arn glow. Soper IS has always '->a one-owner camera. grOII>d glass .,.,,th TV marbngs. a<1atorno:ai hand bought from Ktngsway A low pnce can be nego­gnp With on/off. bridge plate w/do.etail slid"IIIQ tiated Ovtstopher flyma11. Kyoto. Japan. email· plate. camera powe1 cables. rods 15mm. shunes filmartCmbox l<yoU>-1net or IP allen key. heated eyep•ece. eyep1ece heater FOR SAL£: 16mm. 500fps Locam h•gh-speed cables. regular eyep1oce. spare eyecups. ~ camera w1th 12 • 120 Angenieux lens. 16mm piece extenSion end leveler. 3 SRIII mags. time Arnflex "M" camera complete with 2 · 4ll0 ft.

code ready; 1 on·board battery adapter. 2 24V mags. several lenses. flh&fs. meters. a complete on-board batteries: I 24V dual on-board battery outfit; Neumann RSM 19U stereo microphone charger. 2 super uipte 1'N/24V battery blocks; 1 with R~ote windween and high-wind coV9rs. 24V battetY charger. I Arri Super 60 quadruple Call Robefl Bock1ng esc (4t6) 631·9845 spl<Uer box 12/24V. 1 Arn lens hght 2 Arri video FOR SAlE· Arnflex ISBL film camera. Zeiss 1(). OIJtiCS. 80120 beam sphtter. Sony b&w video 100 T3 lens. 2·400" mag&lln8S. Barney; battetY. a!SlS~ I Y1deo Uansm1tte<; I leacl-lllled cuslllm charger. C P vanable speed CfY$tal motor. barney; 1 Coolce Sol close foars lllOIII(~ SIS d1ange bag. 3 f1ltefS. shoulder support. case. Arri C011VetS1011) sn#78733S. Owosnal follow focus seM:ed. $3.900 Call M ke after 8 p m. at With nght and left knobs. bracket$ spare gears; 1 95Hil04 M&-4x4 manebolc- ttays and exua shade. 3x3" FOR SAL£: Arnflex SR II l&nm camera. exce~ uays full set-matte~ Arn SRIIItool kit original lent condition. w1th c111ematograph1c electronics Arn manuals + Jonn Fauer Arn book: camera onboard. d1g1tal speed control. oniloard batter· case. 3 mag case. aks case. lens case (royal ies. 3 x 400 ft magaz1nes. studio follow focus bluel enlHe system recently CMJrhauled by Arri unit, rods. Zeiss 10·100mm zoom Lens. liffen hi· Canada. complete package C$95.000: also For ter holder. and cases All recently serviced in Sale Arri 5xS" mattebox With all manes. rings. Juno, 2000. and 1n excellent condition. $38,500 standard rods. case. $3.500: Carw"' C40 FlUid or nearest offer Call Jonathon at (6041731-6620. head. $3.200. Canon 200nm. T3 IJ!Iephoto with fax 16041731-6684. ema1l angeltvCintesgate ca Pl. rnount, $1.200 Ccntact RobMctachlan esc at FOR SALE. Super 16tnm XTR Aa100 camera. 3 x 604-98().9025 01 604 454-7110 400" mags. extens1on eyepteee. Petroff 4x4 FOR SALE: Red Eye Wide-angle adaptm-facto- mane box. ~ 10 S.52mm w/Optex Super IS ry seconds. looses '" good order. some With conve<Ston k1t. Angen•eux 12·120mm. Ze•ss small unperlectiORS "'AR coattng 01 on lens nng. 9.5nvn I 3. AngenHlUX 5 9mm. cases. filterS. etc. othefwtse 111 AI cond•t•on. 82mm and 77mm Phone(41SI~ sizes ava1lable $360 for the 82mm Red Eye

CSC N<M 1)""""'1200! • I 5

that you can get with this system that cannot be produced by any motion picture camera. You can use It as a motion control vehlde. We can put one end of the truss 30 or 40 feet In the air, and bring the other end right down to the ground. We can modify the ;peed of a virtual dolly move, fir­ing one camera after another, by changing the distance between the cameras.

"If you can imagine a car slamming Into a wall - who's going to follow that car with a dolly right into the wall and stop before they hit the wall? We can do It with this equipment. You can usc The lllg Freeze with live action; we can put a motion picture camera at one end or the other. You can ramp the cameras so that they don't just abrupt· ly go Into a freeze frame. They can shoot at the speed that the live action camera Is shooting, then ramp down to a freeze.•

Once the film is exposed, Lynn said, an Intricate labelling system keeps them In order, and at the lab they arc all spliced together In the VlstaVIslon format. After processing, the film Is taken to the Spirit, a VlstaVIslon transfer system. It can either be colour corrected at that point or taken Into the Inferno for a 20 and then a 30 stabllzation of the Image.

Once the stablization is finished, each individual frame of the finished product Is then colour corrected to match any differences between cam­eras and lenses or stock. Then It I~

delivered on a digital linear tape (DL1) to the film production's editing facili­ty, where colour correct.ion to li"e footage would be done.

Another feature of The Big Freeze, Lynn said, Is that there Is no image blur; because the cameras are not mov­ing, the background will not blur. Abo "you can produce an effect by chang· ing the shutter speed of the still cam­eras to create motion. You can fire these off with an exposure time between one second and 1/ZOOOth of a second, so you can actually blur the Image without blurring the back­ground. • And you can create a time lnpse with up to an 18-otinute delay bet ween cameras. •

16/35mm Colour Negative Processing

• • • • •

Set up • Academy leader Clc:ming • Ready for transfer

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\1~m·~PS 2001 GENIE NOMINATIONS Winners To Be Announced Jan. 29

T lure esc members were among the five nominations for the Genie Award honourtng

Achievement in Cinematography, to be presented at the 21st Genie Awards gala on Jan. 29. Nom inated were Guy Dufaux esc for his work as DOP on Stardom, Jonathan Fre·ema.n for Possible Worlds, and Pierre Gill esc for ·n1e Art of War. Also nominated were Jean Lepine for To Walk Wit/1 LioiiS,

LIGHTS, CAMERA. FORE! AI Undsoy (right) preseots o spe<iol set of corre<tional goij dubs to ~is partner ot The Lob io Torooto Inc. Ed Higgioson esc, on the occosioo of Ed's svrprise birthday party oo Nov. 17. The gHt was opprot>riote be<oose Ed wos •teed off" at tumiog 6S.

and Andre Turpin for Maelstrom. The Academy of Canadian Cinema

and Television said a total of 18 feature films, along with 13 theatrical shorts and docurnentaries, were nominated for consideration In a total of 18 cate­gories. The Genies will be broadcast live on CBC-TV from the Metro Toronto Convention Centre on Monday, }an. 29 at 8:00 p.m. EST.

The six Best Motion Picture nomi· nees were Love Come Dow11, MaelstrOm, New Waterford Girl, Possible Worlds, Stardom and 1'o Walk Wil/1 Lions. Maelstrom led with 10 nominations, followed by Love Come Down with nine. Here's To Life! followed with eight nominations and New Waterford Girl witb seven.

While not nominated themselves, Dylan Macleod esc was DOP on Love Come Down, David Geddes esc shot Here's To Life! and Derek Rogers esc shot New Waterford Girl.

SHORT SUBJECTS - The Sex and Death Short Fil m

Fest, under the artistic direction of

esc Affiliate Gregor Hagey, had its second annual coming and going at Toronto's Bloor Cinema on Dec. 8. The two programs featured a total of 10 Canadian shorts and one from Turkey. The shorts, said Hagey, included "amazing works of cinematography" by Associate Anto nin Lhotsky, David Greene esc, Derek Rogers esc and Cyrus Block esc.

- The two-part CBC miniseries Revenge of the Lfl/1(1, which aired on Dec. 10 and II, earned warm praise from TV columnist Alltonia Zcrbisias in the Toronto Star, due in part to the images of Pierre Letarte esc. "Revenge of tl1e Land comes wrapped in a slick and 'glossy package," she wrote, "thanks to Francois Seguin's produc· tion design, Pierre Letarte's cinema· tography, Francois Dompierre's music, John N. Smith's direction and Canada's spectacula r vistas. Once again~ exec producer Bernard Zukerman (Net Worth, Million Dollar Babies) has put together a matchless production team, one thai has man· aged to recreate the pioneer west in

WAY DOWN SOUTit: Under the watchful eye of dlre<tor Modi Piller ((S( offi~ote), DOP Harry lohe esc composes o shot for on Old Sooth orooge joice commercial that tooh the (onodion team ta the Soo Paolo area of Brotil ln October.

small-town Quebec while bringing us a fun, old-fashioned yarn that hits all

' the right notes. • - ·verdant Northwest coastal

locales are handsomely shot by d. p. jorma Kantola, n wrote reviewer Dennis Harvey in Variety about the Canadian feature Bear Will• Me. Harvey saw it at the Mill Valley Film Festival in San Francisco on Sept. 18. CSC Associate Kantola shot the film, which Harvey called "a good-looking wilderness adventure," in woodlands near Vancouver.

- Associate Kim Mi les of Victoria, B.C., e-rnailed that he and 001' Peter Benison esc worked together on the feature All Along the Watchtower, which shot in Victoria from Nov. 23 through Dec. 19. Miles was "helping out as the gaffer.•

- A Man 's Life, produced by Shannon Farr, d irected by !'aut Quarrington and shot by Arfiliatejohn Tran, was one of three short dramatic ntrns selected for the Ontario Film Development Corp.s Calling Card pro­gram of assistance. Production took place in the fall.

WESCAM IN SPACE Stunning Images from Shuttle Endeavour

Wescam cameras and wireless transmission systems were in orbit aboard the space shuttle Endeavour last month as the shuttle's five-mem­ber crew assembled and activated the first of four towers o f the solar array to power the international space sta­tion Alpha. Canadian astronaut Marc Garneau used t11e Canadarrn to deploy the S600-mi ll ion tower and direct three space walks, known as Extra Vehicular Activities (EVAs), to assem­ble it.

The visual information system sup· plied by Wescam for this mission included a camera with three lenses, and two transmission antennae on each of two astronaut helmets, plus seven remote reception antennae located around the cargo bay. Video images of the astronauts at work cap­tured by the helmet cameras were transmitted to the antennae, relayed to the cockpit in the upper deck, and then to mission control centre in Houston. •

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British Columbia, Prairies BREAKING NEws (series); B-2nd: Arnie Gibbins; to March 9. Burnaby. BEYONO BELIEF (series); OOP: Ron Orieux esc: to Marcil 8. North Vancouver. THE CHRIS ISAAK SHow(series); OOP: Randal Platt esc: 2nd: Garth Longmore: to Feb. 23. Vancouver. DARK ANGEL (series); DOP: Brian Pearson esc; Op: Brad Creasser; B-Op/SC: Junichi Hosoi; 2nd-unit 2nd: Cory Moore: to June 1. North Vancouver. THE LONE GUNMAN (series); B-1st: Gill ian Stokvis-Hauer: to March 21. North Vancouver. Los LucHAOORES (series); 2nd: Richard Win; to Feb. 9. Burnaby. MrrH DuEST(series); OOP: Rick Wincenty esc: Op: Mark Dobrescu esc: B-Op: Richard Garbutt: B-1 st: Kirk Chiswell; to March 13. Regina. NIGHT VISIONS (series); DOP: Andreas Poulsson esc; Op: Michael Balfry; 2nd: Harold Bernard; B-Op: Jill Maclauchlan; to Jan. 23. Burnaby. OuTER LIMITS(series); DOP: Richard Maguire esc: to ,une 29. Burnaby. SHow & TELL (feature); DOP-Op: David Frazee esc; to Jan. 15, North Vancouver. TEN TO ONE (feature); DOP: Richard P. Crudo asc; Op: David Crone; to Feb. 2. Vancouver.

Ontario, Atlantic THE DAY REAGAN WAS SHOT(MOW); DOP: Mike McMurray esc: Jan. 8 to Feb. 6. Toronto. Doc (series); DOP: Barry Bergthorson esc; Op: Graeme Mears esc; to July 23. Toronto (HOTV). DoN'T SAY A W oRo (feature); B-2nd: Nicole Blanchard; to March 13. Toronto. EARTH: FINAL CONFLICT (series); DOP: Thomas Durnan; Op: Andrew Potter: B-Op: Cudah Andarawewa; to Jan. 19. Toronto (HDTV). THE JuoGE (mini-series); DOP: Edward Pei asc: Jan. 15 to March 16. Toronto. N ERO W oLFE: THE SERIES (series); DOP: Derek Rogers esc; Op/SC: Andris Matiss; to Feb. 1. Toronto. QuEER A s FoLK(series); 1st: M. Glen Treilhard; 2nd: Tony Oliver: to March 20. Toronto. TWICE IN A LIFETIME (series); DOP: Maris Jansons esc: Op: J.P. Locherer esc: 2nd: Ari Magder; Tr: Jason Vettese; to Jan. 22. Toronto. Two A GAINST TiME (MOW); Op/SC: Keith Murphy; to Jan. 22. Toronto.

20 • esc N""'" o.cnnhtr 2000

Schedule of Meetings and Events of Interest

to CSC Members

TORONTO Sat., Feb. 3-Sun., Feb. 11 - CSC Camera Assistants Course Mon., Feb. 5, 6 p.m. - CSC Annual General Meeting. At Precision Camera Inc., 181 Carlaw Ave. Food and refreshments will be served. Sat., March 31- CSC Awards, Westin Prince Hotel

+

Check www.csc.ca for updates

NOTICE Production company is currently seeking

demo reels from Canadian OOPs for a

film to be shot in Montreal (spring

2001 }. We are looking for a OOP who

has experience in creating a look and

feel similar to Harris Savides' The Game, Bob Richardson's Bringing Out the Dead, Robert Elswit's Magnolia and Stephen H.

Burum's Car/ito~ Way. Please send pack­

ages to Reaction Films, 4 Terrasse

Armand, Pointe Claire, Quebec H9S SE7.

No calls please. Parties will be contacted

for further discussion.