A PUBLICATION OF THE CANADIAN SOCIETY OF CINEMATOGRAPHERS

(S( Offl(( (onodion Society or (inecnotogrophers AJm;n;,lrotor. SU... Sor00<hol< Sl l Jorvis Soreet Toronto, O.tcrio I«Y 211 1~ 41~966-67 10 fox 416-26~3996 f6r. o...w Arlgvs fiitot.;,.(M(: loon Huttoo <K (l( NEWS is o pu~kalion of tl!e <.....!ian Sorioly of Ci"""'togropileo>. (S( MEWS is print.a in lo<O<IIO .n6 is pubt.&ecf ten times 0 yeor. ~liom Oft owioble rw SIS.OO pet yeor io (onodo ood S9S.OO pet ""' oullide the country. c..odicrl MlicOiioM Moil r.odoo Soles Agree""'' No. 418423.

.41111111 iW ~ yofume 16, No. 2 ~ ~....... October 1996

~pntents Vice-President's Report

Show Time

What's New? Moster Series & Digital Moster

The Steadicam 20 Years in Motion

Film Versus Video Agreeing to be Different

Film Clips The Festival File

Action/ CSC Calendar

3

4

6

10

14

16

Cover photo: Craig Blankenhorn

MAKING THE STARS SHINE EVEN BRIGHTER

When top perfonners are 1n the spotlight, so are OSAAM SYLVANIA lamps. From telev1sion productions, to the

m9t1on picture industry to ltve theatre, OSRAM SYLVANIA has been making art come to life, and consistently

delivering high quality crisp, strong efficient light w1th excellent colour.

Not only have our lamps been lighting the stars brighter and longer than anyone else. but for years, we have

been the preferred source of high·performance lighting products for the total entertainment industry. Virtually all

the world's performing artists, directors, and cinematographers depend on our lamps to deliver the energy and

excitement of their shows on stage or in front of the camera.

OSRAM SYLVANIA offers a wide range of specialty products like our Oscar winning XBo- Xenon lamps for the

motion picture industry, HMI- Ior concert and film production, HTI• for highly demand1ng optics and a diverse

range of quality halogen products for virtually every entertainment application.

Pick up the phone and let us provide the solutions to all your lighting needs at 1-800-LIGHT BULB.

TECHNOLOGY BROUGHT TO LIGHT

OS RAM

SYLVANIA

~- ' VICE-PRESIDEnTs FIEPORT l Carlson

ShowBi~ Expo Canada ... The premiere of Variety l'r<>sents ShowBiz Expo Canada in Toronto

last month was much smaller than counterpart shows in Los Angeles and New York, hut from most accounts it was successful. Attendance was steady and the exhibitors all seemed pleased, although some potential exhibitors took a wait-and-see attitude, In pan because o f the time of year and the question of conflict with the Toronto International Film Festival. In any case, it was a wo rthwhile event for the CSC; It appears we will gain a couple of new sponsors and several new mem­ber> as well. The panel discussion on Film Vmm Vieiro in tire Digital A,ge (~'\' story) was a highlight for a capacity crowd. The fact that Steven Poster asc esc was shooting in Toronto and made himself available was a perk. I lis ta~e on the eye/brain perception limits, the organic look of film versus the tcchni· ca I appenrance of video was rcfrc;hing

'L'' ENGenue"

15 X 8.3 BROADCAST 2/ 3'

(IN ~ 1416)975·2565 ; 1416)975-0895

and stimulating. lie also gave an update on the High Definition Grand Alliance and the struggle the ASC is having with them, and we hope to have him elaborate on this in the esc News before he leaves the a rea.

The Festiva l ... I saw five fi lms during the '96 Tll'l' last month and, although I'm not a mm critic, here are a few impressions: The Swiss/French feature For "'"" Mozart by jean-Luc Godard was unfortunately comprised of his usual boring and disjointed sequences interspersed with shocking pseudo war scene>. Mr. Godard, I real· ly think you need a scriptwriter, designer and cinematographer. (fhe film was shot by Christophe Pollock.) . . . A Canadian (Rhombus) production of Long Days Jounrey IIIIo Night, an adaptation of the Stratford Festival's perfonnance of the Eugene O'NeiU play, was brilliantly acted, staged and photographed (David Franco), and as a fi lmed play canno t be faulted. At three

• WEST COAST • PRODUCTION GEAR SALES & RENTALS • Betoc{lm 400 Packages • Arri SR Packages • lighting • Tungsten, HMI, Soft • Support - Cortoni Tripods • Audio - Nogro, Vega, Comtek • Power - Anton Bauer • Filters, Aca, Tope, Batteries • Fuji PRO Video Tope

~ Sony 637A ~ Traveller Jib Arm ~ Chimera Bonks ~ Steodioom SK's -~ ,._.:;.~ wrne Lapham ~Sales & Rentals Inc. .~"'"-' '"Pi•·• 'tllTI. llurnaln. llriti'h ( ul11111h1,1, ( ,III:HI.o. \ ~( . . 115 l'h:oh0-lo21Jloi-.12l-' I\: ohll~ oliJN-2112.1

ho urs, however, It is unfortunately a bit claustrophobic .... Buclcllw llless Amerlm Is a small, somewhat rough film from Taiwan, but its slice of vil­lage life imposed upon by an Aml'rlcan army base was handled with an admirable sense of humour .... I went to sec another Canadian film, Lulu, mainly to see my daughter's cred· it for assl;tant costu me design. It may be de~tlned to be underrated and per· haps could usc some story editing. but it is well acted and is brilliantly pho­tographed by l'aul Sarossy esc ... . 1 he high point for me was Swedish din-e­tor Bille August's /miSllkm. I am a pushowr for historical dramas, but this IIHl'C·hOur !ilm had everything: brill iant acting, directing, sto ry and cinematography Oorgen l'l'rsson). It wa~ never boring and no one walked out .

ext month ... I will have an update on the esc Website. It is still undl'r construction, but the full mcm· bcr directory (without graphics) is there. If you have requests, suggestions or concNns, please E-mail me at cs~·lo.org e

FU.JICOLOR PROFESSIONAL

MOTION PICTURE FILM

FUJICOLOR NEGATIVE FILM

SUPER F SERIES

F-640 EJ. 64 Oay1oght8.11anee F-125 u 125

F-250 u 250 F-2500 E.l. 250 Oaylighttl.'ltanee F·500 E.l 500

Available in both 35mm and 16mm.

For luther infoomation. please oonlact

FUJI PHOTO FILM CANADA INC. MONTREAl TORONTO VANCOUVER

Oen.se Langos Tayto< Ogston No<• Sf*'Ctr (514)33t ·3854 (905)890-661t (604)271·2512

YOUR BEST CHOICE.

MEDALLION-PFA f'ILM & VIDEO

Meda!fionof'fA Aim & 11\deo IS a lui seMCe 35mm, 16mm and Super 16mm Laboratory olfenng 24 hour serv~ce lor ntgat1ve process>ng. answer prin!S, wei oate pnn!ing, IOterpost!IYeS and

internejlatlves tor ser•es. made tor lV movies, doc­umentaries and teature tilms.

W1lh our "all under one root" tacllily we can also handle all your post production needs trom tilm to

tape transters, olt-llne & on-Une editorial. audio post and tlnal mixes With completion on Digital

Be!l!Qm, D2. 1" or Belacam SP.

fof tunher ontorma11011 coo!XI one o1 our sates represent.tllves at (416) 59:Hl556

0 111 Pe!er StrttiOOl Floor

TORONTO, ONTARIO. CANADA MSW 2H1 Tel: (4t6) 593-o556 Fax. (416)593-7201

SONY.

Precision Camera Inc. Imaging Technology

for the Future Sony: Broadcast Cameras

Digital Betacam DVCam

Sachtler Tripods Sonic Solutions Digital Audio Video Tape: Sony, Maxell. fuji Manufacturing-Special Services PCI Power Products

181 Ctr1awAvcnoo TOfonto Ontario

M4M2S1 Phone (416) 461-3·411

FOJC (416) 461·4869

3216 Sot.a Avenue Burnaby BnbSh Colunbio

V5G 4K4 Phone (604) 291-oo20

Fex (60ot) 291·2414

new'?

Th e new Elite Steadicam and Stcad lcam l'roVid were exhib­Ited by Cinema Products Corp.

of Los Angeles at NAB '96 last April and at ShowBiz Expo Canada In Toronto last month.

Tite Elite incorporates many of the features of the Ma~ter Series film and video models Introduced In 1995, with a ligh tweight configu ration and at a lower price. Design innovations

include: a brighter, higher-eonrrast monitor, which can accommodate Cinema Products' new fibre-optic video tap; a new gi mbal system for more precise camera control; a redesigned stabilizer arm to support cameras up to 45 pounds uniformly from the lowest to the highest boom position; a narrower, lightweight sled

with quick-release lock rings on the post to permit rapid adjustment with­out tools; a five amp-hour nickel-ead­mlum battery pack and a 12/2+-,·olt switcher option with twice the capaci­ty of prev1ous units and greater than 90 per cent operating efficiency.

The ProVid Is equipped to handle dockablc video cameras weighing 15 to 26 i>Oumh. It mai nta ins a base sled weigh! of under I 0 pounds, and all of

l he COmJ:>Onents are modular, allowing for fast and easy field replacement. The dual-action, I so­Elastic arm does not require tools and can be hand adjust­ed, even on the fly.

llASF Digital Master 936 for Tascam, Sony DTI\S and digital S-track mach incs was ~pe­cially developed for 16-bit digital recordings. The cas­settes, available in lengths of 60 and 113 minutes, arc ideal for both home studio recording and professional post-p roduction work. DM 936 metal particle tape is manu factured to easily handle the extreme conditions of takes, retakes, pauses and repeat­ed track jumping

without dtfflculty. Digital Master 938 for S-track d•gilal audio recording In the ADAT format provides optimum digital recording performance as well a~ usage benefits. The new tape is available in both 40- and 60-ml nute recording lengths, with design and safety features fo maximum reliability. Both are from llASF Canada Inc. e

Clairmont era just opened

a place in Toronto.

Toronto • Voice: (416) 467-1700 • Fax: 467-8006 Vancouver • Voice: (604) 984-4563 • Fax: 984-4693 Hollywood • Voice: (818) 761-4440 • Fax: 761-0861

// It has token its place in the business as pretty much the way you do certain things and on optional way of doing other things. /1 - Garrett Brown

The Steadicam, Garrett Brown's "evolutionary• camera stabilii.J· lion \)'Stem. was born of the

Inventor's ncci'Ssity and the film and vldc'O Industry's need for something it reall)• didn't know It was missing.

A relative youngster on a busine-ss famous lor technological advance· mcnl1 the •ronlraption'' continues to grow In practical popularity and artis­tic sophistication.

"It h,o; gone from being a novelty to being another accepted tool, • h~e a dolly or a cr.me, said c<periencec.l operator Rod Crombie of Toronto, •and quite often it becomes inter­changeable. •

It was just 20 year~ ago that the Steadicam )tarred in lh fil'5t featu re,

HIRI'S HOW: Steaci<OOI inventor Garrett l rown shows loow it's done at a riKeat wor\sllop,

6 CSC NEWS Oc"""" I 996

Botrtltl for Glory, the 1976 biography of balladeer Woody Guthrie that won an Academy Award lor cinematographer l laskell Wexler asc. The s.tme year wa~ the Oscar-winning Rocky, In which the Steadlcam tracked and circled punch­happy Sylvester Stallone as he tri­umphantly scaled the steps of the l'hlladelphla i\rt Museum.

The Stcad icam, looking like a space-age sculpture strapped to a huma n body, won its own Oscar in 1978 (a Class I Sclcnlificffcchnlcal Academy Award). It has also won an I'm my and has become sta ndard film­making apparatus in virtually every major motion picture and innumer­able other film and video productions around the globe.

It all s tarted in 1974 when l'hlladelphia cinematograiJher Garrett Brown brought to Cinema Products Corp. tn Los Angeles, already renowned ror its camera innovation, a prototype of the camcw stabili1lng device he invented, along with a film demonstrating lt.> capabilities. Ed Di Glullo of Cinema Prod ucts was impressed, signing a contract with Brown for exclusive licence to di'Sign, develop, manufacture and sell what 01 Giulio re-chrl~tcned the Steadlcam.

Goodbye Dolly Brown, still shooting and Invent­

Ing top-secret stuff at a young 54, to ld CSC Ntws that the original "Brown Stabilizer" was Indeed born of necessity.

"'I he necess11y was to move a earn· era without having to U5C my 800-pound camera dolly, which I got extremely weary of lugging around and lifting into trucks. The sight of my litt le llolex on top of this thing, which was built for it llNCR, was bizarre; this huge object in order to move this nine-pound camera arou nd seemed so

BY DON ANGUS

unsensible. It \<'emed to me there had to be a way to lwlate the cameraman from the camera.

"That was in 1972. I had done a helicopter rig with a camera on a long pole, and I observed the effects that the length or the pole had on those two a\cs that were affected by that and what the remaining axis looked like that wasn't affected by it. TI•e dif­ference was pretty startling.

" I made a bunch of rigs with cam­eras on poles, counterweighted vari­ous way~. and culminating in some that even acted like a miniature crane. I was kind of seduced bit by bit In to continuing with this because with each new rig I was able to make anoth­er esc.•lation of shots th<tt nobody else could do.•

He said it all came together because of •a combination of Dl's and directo" who were fairly vision­ary :tnt! who saw the prospect of shots that they were unable to get, and now were able to get. And they had enough faith in themselves and the machinery to go after it. The beautiful thing about this particular invention is thai you can show somebody a reel-my sample reel had 28 shots that were Impossible­andl i f thert is some n~~urance thai It's actually a 'rnn ll bit of gear, practi­cal to use. that it'> not the slt.e ol the Hindenburg, that you can >moke near it, and that you don't have to llood the set with nitrogen gas, then they went lor it.

"It involve$ a marriage of human skill and the functioning of this gad­get; it is a fairly exotic way of doing a particular thing becauw it's a good contraption . It has ta~en Its place in the business as pretty much the way you do certain things and an optional way of doing other th ings.

high on his wbh list. "I'd like to buy it just

for the arm, • he enthu~ed. "When you set up the ten~lon to put the camera at a comfort­able working height, either pushing It down or pulling It up to vary the height of the cam­era, the new arm sys­tem-lso-Ela~tlc-stays where you leave it. So TAKES FINESSE: Pettr Rosenfeld shows it tokes •finesse• to guide you're not lighting It, o Sttodkom cnvod the set of t~t AMioo<e MOW Fomlly ol Cops. which Is reall y terrific.

A Strong Evolution You pull a pin and the monitor flips •If not a revolution, I would say It over, you throw a switch and some-

cenalnly is a strong evolution in the thing else works. You don't have to buslni.'SS. It has allowed a great num- completely rip things apan.• ber of shots that weren't previously Cinema l'roducts Corp. has this possible, a nd a lso in It~ way eli minat- ye:.r Introduced the new Elite cine-l'<i some restrictions that we took for nwtography model of Its M:cstcr Series grantl'CI. There was a whole language Steadlcam and the l'roVId to handle of film that grew up around what you dockable video cameras. did to evade these restrictions: for Steadlcam, said Crombie, Is a tool example, you can't move forward over that •you decide to use based on one rough ground looking straight ahead of ;cveral factors, ~t being one of or straight behind un le\S you're will- them. They're pricey Items to bring in lng to hide the ra il>, run the shot for rcntnl; some people haven' t quite backwards, sweep away the leaves, or figured that one out and you kind of to have rail laid way off to the side give them a shake and tell them what and arm over somewhere which is not It costs-a new full-up one, you're showing the rails. All kinds of pretty lool.lng at over S80,000 U.S. by the elaborate manoeuvres In order to do time you put on a good focus system romethlng that is now tal.cn quite for and everything.• granted.

"You should be :tblc to step over a door sill, you shou ld be able to go up steps, you should be able to progress in the balletic son of way that a good Steadlcam operator can do Inside a tight location set. I still find it pretty exalting to watch somebody who's really, really good dancing with this ln~trument in light confines, and putting that lens wherever it needs to be, clearing things by fractions of an Inch and still framing like a champ.•

In Canada, the CSC Dirrnory lists 19 Steadicam operator<, ~t>fflalists in the tricky business of wrestling with 70 or mo re pounds of hod)• rig and camera.

Rod Crombie bought his first rig. a used Model II , In 198..1. He has a Model IliA now, with a bit of the old one in the arm, but a new Steadicam he tried on at Showlli~ F.xpo Canada in Toron to last month Is currently

Avoid tire Grief It'> expensive but nexlhle, he

explained. " I'm operating a show and someone will ask me what I think of this shot, so I say we can play it this way on a dolly and It becomes a six­point turn, or we can do it on the Stcadicam and it ' ll be In and out quickly and efficiently, get what you're looking for without the grief. Then there will be another shot that may be a six-point turn, but they want to do It on a long lens and the end of It comes to a three-minute mono­logue. You're locked off on a long lens so what's the point/'

Steadicam usc I> Increasing, Crombie confi rmed. "I know I'm being picked up for shows to be an operator because there's Steadicam as well, because the dii"C(tOr and the DOl' want that nexlblllty. Out of, let's say, a 20-day schedule, I' ll put the rig

on for 10 of those day~not for the whole day, but there'll be SC\'Cral shots on at least 10 days.

"I'm very lucky because my learn­ing curve matched the learning and accc;)lance curves of my clients-the producers, directors and OOPs. Ten year> ago on a 3Smm motion picture, what used to be a long lem on a Steadlcam was 3Smm and the average lens would be an 18, 21 or 2Smm, somewhere in that rang~, whereas now the average lens i> 35 and it's not uncommon to shoot at SOmm and on occa;lon go to 85."

Brad llruboska has gone even big­ger than that. Relating some of his Steadicam adventures, the Toronto 01>erator said:

•·1 hey ask you to do crazy things in commercials, stuff I th ink a feature director would never ask you to do, like put on a ISOmm lens and run at a keyboard and dutch a> you go, and they've got a sideways anamorphic len~ on the camera and the whole thing Is twisting around and nothing looks >traight. You'd just never do that In a feature. I think It 's a howl. It was a little top heavy, but we used a lightweight l'ananex and pulled it all back and balanced it all out and it was a great shot. •

llruboska bought his nrst rtg from llob Crone esc of Vancouver, the acknowledged patria rch or Canadian _:l.!c

Steadlcam shooters, about five years ago, having taken a tiHl'C·day seminar ·II' at Precision Camera. l-Ie now owns a .,:, three-year-old Model Ill/\ plus J

SHOOTIN' HOOPS: Up and clown the <ovrt, Rod Crombie keeps hb Steodi<om in the o<tloo.

CSC NEWS ~1996 7

tl1e shot to be exactly three seconds or exactly five seconds and you work out the exact pace of the start of the move and the end of the move, and they know exactly when they're cutting into it and when they're cutting out of it. That's the part of Steadicam that demands the most technical skill in terms of blocking because it's got to be perfect and you do II time and lime and Hme again.'"'

The Master Series Film Steacli<am from Cinema ProdU(ts Corp.

Hruboska explained that it takes about 20 minutes to switch over from top-slung high mode to under-slung low mode, or the other way round, so ~'when you real· ly start to cook is when you can stay in one mode, usually high mode, which is at normal operating height. I've found the last two years there's been a trend towards strong backlight and (therefore) more of a trend for cam­era positions to be higher to get the backlight out of the shot and to eliminate

accessories, worth over S 100,000 (Canadian).

There is no shortage of short-term work-dailies like commercials-and Steadicam has led to remote camera work such as with crane-borne "liot H~ads." But he said he wou lc1 likP longer-term projects, along the lines of the Spanish-language feature he was asked to do earl ier this year in Caracas, where he also did a McDona ld's commercial and a one­day lecture and demo on Steadicam, "kind of like I've done for the CSC camera assistants course on its last day at Panavision Canada. They're very hungry for technology in Venezuela."

Becomes Very Precise ~le said that "most commercials

that I work on, the storyboard has 40 shots but probably only five or six will be utilized. That's where It becomes very precise, because the client wants

• CSCNEWSOciObe< 1996

flare problems. "So we have these big duckbill lens

shades made of cardboard stuck on the end of the matte box, kind of affecting the clearances of the Stcadicam. But it all works out. I've gone to much taller riser posts-the little 5/8ths bit that fits in the gim· bal-for the arm for a lot of shots. Instead of the usual little six-inch one, I have a 12-inch one which was rec­ommended by 1'im Merkel," a fellow Steadicam shooter.

ltruboska said he wouldn't endorse Steadicam as something to pick up and strap on "if you've been seden­tary," but the gear is not that daunting if you're fit.

" I haven't had any injuries, I just get sore. Actu<tlly, the Steadicam is the best exercise to strengthen the back. Now I find I would like to have more power in my neck and shoulders because these arc the weak link in the

chain. The lower back- the lumbar, the area where everybody really Starts feeling it when they first do Steadicam-that doesn't even faze me any more. The neck and shoulders arc just the secondary effects of wearing the rig and holding the rig position all day long."

Another Toronto Steadicam opera­tor, Peter Rosenfeld, told the CSC News that fitness is essential for operators of the complicated equipmen t, but that "more than a little finesse and grace is required." Man)' top operators, he said, have taken ballet Lessons, although he himself has not donned the slippers.

Rosenfeld was asked to comment on an a rticle by a father-and-son team of chiropractors in the fall/winter issue of 1 he SOC magazine Tire Operating Cameraman. The report was entitled, Tl~e Stetulicmn 80tly-Rig am/Its Forces on the Human BOlly.

"'It goes without saying," he responded, "that a fit and strong Stcadicam operator will be able to go longer without resting and conccn· trate better on the shot execution.

"All of us have felt pain at one time or another, and every day is different. You might have to hold a shot in an awkwa rd position or be forced to squeeze th rough a narrow opening with the rig in front of you. A shot that you aced last week in the 16mm format might be much more demand· ing on a 1>anaOex G2 with a J>rimo lens.

Ready for Anytl1ing "You have to be ready for any­

thing, and muscle strengthening and fitness helps you prepare for those days. The Stcadicam is essen ria lly car­ried by your legs, so stron.g thighs­quads-and no knee o r ankle prob· lcms are a must. Pain in the lower back can be cased by keeping those muscles and your abs (abdominal muscles) well developed."

Rosenfeld, whose Steadicam credits include th e cinematography-nominat­ed features Slrauslrai Trind (Academy) and Zoy1r (ASC), said he spends at least I 1/2 hours in the gym every day that he is not on set, but he reiterated there is more to Steadicam operation than brute strength.

"Proper lmtructlon during your Stcadlcam tr,alnlng i~ also essential/' he streso;('(l. "Yml have to learn to find the mo~t effl'CIIve way to carry the rig during the shot. l'ndlng a complicated move with the rig In an awkward posi­tion and holding it there for a page of dialogue can be a killer. learn to end your moves by sliding Into the ·sweet spot.' that point of perfect balance where the rig is balanced against your body weight and you can comfortably hold It there for long periods with no pain."

He described Steadlcam operation as a ~tr.mse C<>rnblnatlon of skills. "First and foremost, you have to be a competent camera operator. All the fitness In the world won't help you if you mlsframe a ~hot or chop some­one's head off. • But you do "have to be an athlete and be physically pre­pared to eAccute the most demanding shots without holding up the produc­tion.

"You al~o should deal well with preS>ure and never lo<e your concen­tration. My goa l Is always to make the Steadicam shot as smooth and trou­ble-free as possible."

Garrett llrown S.1id that "anybody

MAO WORlD: I rod Hrvbosko hos Men asked to do so,.. "uoty things" with his Sttodkom on commordol shoots.

®

I I ' I ..PANAV/5/0N

I ' ' I C A N A D A

who's any good seldom suffers" wear­ing the Steadlcam. "It's a lot less work than lugging around 1,000-foot mag cases. l'eople arc afraid of it because it involves the bac~. which is a great Icon of fear In terms of huning your­self.

"The real drama for operating is what goes on In your mind. That's where It's all going on; your attention is fragmentl'<l and divided and hurled at cenaln thing~ sequentially. You're intensely aware or the bubble level for a moment or the location of an

oncoming curb, but you've got to tear your attention away and look at the framing for a minute because you're entering a period where you're pan­ning, but, walt, you've got to boom down and control headroom that way and, oh, Is It still lc,·cl? Yes, I made that curb and what's the next thing, and Is that guy going to get out of my way? Watch the frame!

"Your mind just spins. It uses everything you've got from the con­centration point of view, which is what I love about lt." e

Once aga.n. Som Video leads the ny With the lust UWi 700 Otglta! Betacam Mllable lor rt<lt 111 canada- the latest add•IIOn to the country's largest seleciJon of Betacarn camem and aceessones. Please call our Toronto or Vancouver offices for a demo.

Sill! Y .. Pi ' f I Lid. 456 welnglon- Wt$1 r......,om.;o MSV 1f3 Tel: (416) 979-9958 Fax:(416) 979-mo

Sllll-- t.M. Nor1ll Slat-$S5Br-Avenue Nor1ll V.,_,.,., B.C. V7J3S$ Ttl. (6041983-S258 f...-(604)~

CSC NEWS Q:fObe, I 096 9

Fll IDEO AGREEING TO BE DIFFERENT "(Film) creates a lwt medium

where the audience is much more involved in the image." - Steven Poster osc m

The gloves never came all the way off, but there was a suspi· cion of iron fists inside those

velvet mitts. The forum, with a keen standing·

room-only crowd of over 100, was the esc panel discussion-film VerSIIS Video in t11e Digital Age-at the Variety Presents ShowBiz Exr>o Canada last month. The program, cosily set inside the Metro Toronto Convention Centre while Tropical Storm Fran teemed out­side, featured six contenders: Richard Stringer esc, Toronto cine­matographer Rob Sim of Sim Video llrad Dickson, CBC Lighting Director Steven Poster asc esc of California, Vice-President of the American Society o f Cinematographers Peter Slisarenko, Dealer Manager of Sony of Canada's Broadcast and Professional Group Colin Davis, Vice-President of Kodak Canada Motion Picture and Television Imaging

The moderator was CSC President joan Hutton esc, and the producer was Vice-President Lance Carlson.

Started tile Dialogue It was Stringer's published report

(CSC News, April & May/96) on his comparisons of seven cameras that inspired the dialogue, and he led off with a review of the systems employed in his one-day series of tests: an Arrinex IIC using 35mm Kodak 5293 stock; his own 16mm Aaton XTR using 7293 stock; a Sony 537 A with PVV- I A recorder and Sl' tape stock; a

1 o CSC NEWS October 1996

BY DON ANGUS

Sony 570is with IIVV-5 and Sl' tape stock (similar to 400A); a Sony ovw. 700 digital camera with digital tape stock; a Sony 3CCO HiS camcorder with Fuji E6120 tape; and the new Sony DCR-VX 1000 digital handycam with Panasonic 6mm DVM60 tape.

The experienced DOl' said he real­ized there were competent manufac­turers of professional video cameras other than Sony, but he used the Sony portables based on their popularity. He also noted that the 35mm Arri IIC he used was probably 20 years old and worth $7,000, while the digital DVW-700 package cost at least S I 00,000.

Introducing a video of his tests, Stringer said he shot a colour ch<trt, a newspaper page, some portrait studio lighting setups with demanding light· ing elements-bright window, table lamp, neon sign, and dark shadow detail-a candlelit face, natural win· dow light, night exterior, and va rious day exteriors.

He said he concluded from his test footage and o ther observations that the Sony DVW-700, while displaying video characteristics and a video look, has a sharp and clean video look. It looks best when kept within the digi· tal process and viewed on a good monitor, but he still thought film, especia lly 35mm which holds up well on any video system, will maintain a solid position on primetime TV.

Controversy over film and video will be around a long time, he predict· ed, and the introduction of digital video is going to mean stiffer competi· lion. But there is a lot more to the

"(Video) could run to

hundreds of thousands of dollars in savings." - RobSim

issue than "the look," he explained. It is not a matter of which is better, but it is more how each suits the particular production, story and budget.

Other speakers would echo that thesis.

Lack of Unclersianding "I find that a lot of the shortcom­

ings to do with video have to do with a lack of understanding on the part of cinematographers." said Rob Sim. "If you take the time and really work it out, you can get a result that basically is the equivalent" of film transferred to tape.

He questioned the methodology of Stringer's tests, and commented that "the whole issue of the motion effect of mm versus video"' ap,>eared to him to be •actually a deficiency of film." In his evaluation, Stringer pointed out that normal 24 fps film records a total image in !/48th of a second, but miss· es the information occurring in the next I/ 48th as the shutter is closed to allow for the film to move on to the next frame. With video cameras, which lay down image information constantly and form a total scanned image in l/30th of a second, there is less strobing on pans, and car wheels don't look like they're going back­wards.

Sim cued up a tape of te.~t scenes in Digital Betacam and 16mm film, shot by Mitch Ness on the set of the series Traders at an Atlantis studio. "We went through a fairly exhaustive setup on this camera, and it was on ly done through the cinematographer's eye,"

WARMING UP: Molnben of rho Filoo Versos V"odto pOMI ot Sloowliz upo, !r .. ltft to rlglot__..acl Di<kSOII. <JC; Cob Davis, Kaclok; Rldoconl Striogor rn; Stntl Poster oS< esc; Rob Si.., Sim V"odeo; J- H•ttoo esc; oocl Peter Slisortllto, Sooy of Cooaclo.

he noted. "II wasn't done to compare it with fi lm, but the results came out very similar.•

Budgetary considerations were hi~ closing :.alvo. Shooting an episodic sertes In Digital lletacam compared wllh 16mm, Sim reckoned, •could run to hundreds of thousands of dolla~ In savings."

Matter of Cl10ices llrad Dickson, CBC lighting direc­

tor, s.1ld the difference between film and video Is •not an either/or, It'< not one Is better than the other. It's a mat­ter of choices for image makers. No artist would turn around and say ·oil vcrsu.s watcrcolour'; it1S a mauer of what son of picture do you want to have come out.

"There I< a different structure In video," he continued. "All of U!l could have a video camera here c111d we could have the craft services pe~n come up and say, 'I don't like the way that's looking.' In film, the reality Is that you have the director of photog­raphy looking through the lens," and even a very good video assist Is there only for composition and framing. "It'< not going to replace what you're act ually going to get as the end re\ull.

"Whereas In the video end, I, a1 lighting director, can talk to the pro­ducer and say, 'What exactly do you want?'_. and the video operator and colourist are rtght there on the set.

•5o the structure of having a cam­era operator, video operator and light­Ing director is there bccau!le of the nature of the medium."

Dlck<on showed scenes from a CBC skating s;:>ecial with Brian Orser,

shot on Sony llVP 370 cameras, in which "we Introduced an clement called selective focu;lng. llaslcally we did it electronically, where essentially I can be in focus and I can select what parts I want out of focus. The other clement is that if you don't like the colour of someone's eyes, you just change it.•

Lighting, he addt'<l, plays a big pan, noting that low light for video used to be ISO to 300 foot candles, whereas "I can now get an image at 10." (Steven Poster Interjected that he has been shooting rum with 10 foot candles for the last 10 years and now can get down to one-half foot candle.)

Film has Its '1nues, Dickson went on. "Bringing mm Into the digital world is really key, and Kodak is addressing that with the different mm stocks that they have." Also, he said, "One thing that video can learn from fi lm is a lot of camera movements;" video shoots mO>tly with multiple cameras instead of using a <Ingle cam­era and letting people act within that framework.

•; don't buy the basis of film ver­sus video. I buy the basis of which image do you want, how do you want It to look, what Is your budget? And how arc you going to distribute it?"

Differeuce is Perce{Jtrwl Steven Poster, In roronto to shoot

the cable feature flU' Color o{jusriu for Showtime, described a 1990 test he did for NHK in Japan on Its high-defi­nition video sy!ltern of that time.

"No matter what I did with my kind o f lighting and filt ration and fin­Ishing at the end ... I could not make

It look like film. " I started thinking quite serlomly

as to what the differences really were," besides the obvious ones such as chemical versus electronic and grain. "In fact, what I discovered is that the difference has nothing to do with any of these elements. The difference Is perceptual.

_,Film, ac: we know, is originated at 24 frame; a second and at that speed there are some built-in flaws. We have time In between each frame when there's nothing on the screen; we have the slight perception of flicker; we have certain types of motional')' effects that all lead up to a quality about it that brtngs us Into the differ­ence between a hot medium and a cool medi um.

" In film, what we have is far more audience participation in understand­ing an Image. You are forced to pay attention to what's going on and your mind then Interpolates those flaws into completing the image, the time in between the frames when there's nothing on. And it creates a hot medi­um where the audience is much more Involved In the im age. Video, howev­er, work' at that sa me refresh rate and we find that It is a direct transfer or Image from the optic nerve to the brain."

The difference between the two, Poster stated, ·1~ that most forms of reality-based Information tend to do better with a viewing audience on video than do film images. such as new~. live broadcasts, sporting event>, music specials, current documen­t;lliC!I. What Is film better for? Anything that's fantasy based, story-

CSC NEWS Ocfobet 1996 II

::CARTONI:E

Canadian Distributor • Fluid Heads • Tripods, Dollies • Film & Video • Dutch Heads

Support Systems for the lmagemaker

12 esc NfWS <X"** '996

telling, historical in nature-it seems to break down that way.

"In fact, soap operas were tried for a while on film, but they didn't do very well because the concept with a soap opera Is to have those people right In your home with you. You get the feeling that these are real people that you know.•

Poster said, •over the years I've found out many other interesting things about this perceptual differ· cnce. So no matter what we do to make video api>Car like film, until those questions arc solved ... they still can't lose the quality of video. In fact, we can make fi lm look like video; you could actually shoot a one-to-one image on film at 30 frames a second and transfer It at 30 frames a second, and It starts to look like video.

"Whether you would want to or not I would never know. •

Impact /11 tile Industry l'etcr Sllsarenko of Sony of Canada

said he once thought "there would absolutely be no way that video would ever be able to replace (lim in any way, shape or form, especially in TV com­mercial~ and feature film work." However, technology that has "changed dramatically" over the last 10 years has revised his thinking.

•we at Sony do not feel at this point In time that we aie about to replace fllm . We do not pretend to say that video Is better than Olm. What

we have done Is develop some very sophistica ted tools, especially now that we arc using more and more digi­tal technology. I think the product that is most relevant in the arena where Olm Is used Is Digital Betacam, and more \pcclncally a camcorder which we released about I 1/2 to two years ago called the OVW-700. Up until that time, It really was quite a distinct difference !><?tween products that shot on video and products using film.

"llut the I)VW-700 reall y changed thing' comlderably. It was the first time that a camera or camcorder took a signal generated from a ceo chip, converted It to a digital format and processed the entire signal digitally throughout .. . on Into post- produc­tion. When )'OU convert a signal to a digital format, it allows you much greater latitude O\'er the amount of manipulation you have. The image doc~ not degrade rrom one generation to the next .. . and that means it can be processed numerous times. Also, being digital, the ~lgnal can be manip­ulated at any point along the way, from the time It leaves the ceo ch ip to the lime It hits the tape, and that's where the 700 camera and its analog sister, the OVW-0600, really make quite an Impact in the industry. •

!>lisarenJ..o conceded that "Digital Betacam In acquisition Is not as good as 35mm Olm, (which) offers substan-

SIGN HER UP: John Hodgso1, manning til. CSC booth at ShowBiz hpo, grHts a VIP visitor, Toronto Moyor Barbara Hall

1 j l

do and the ability to shoot for large formats such a< mo,•ie theatres. llowever, Digital Bctacam does, from our perspective, look very clo>c to 35mm film and >lands up extremely well beside 16mm film. It's the 16mm film area where Digital Betacam Is probably the most relevant . It depends on the project.

"Digital Bctacam is another tool . It gives you somet l1lng else to turn to depending on circumstances. Do you have a budget for hundreds of thOU· sands or feet or film? If you don't, Digital Betacam Is certainly a very viable alternative a t SSO a tape for 20 minutes of recording time. You have a very cost-effective way of shooting without worrying about the amount of (film) stock you're using.

""Also, in certain circumstances where time h critical." he said, • ... Digital 1\etacam offers you tremen­dous benefits. Essentially what you see while you're shooting is what you get In the end. You don't have to >pend time shooting two or three extra shots just to be safe. And you can begin pmt-production immedl· ately.•

Creative At/vantage Colin Oavi>, the final panelist,

screened a Kodak film-to-video tape, called Film M11k1•< it f>ossible, that delivered a pitch for the marriage or film and electronic media. "Technology doesn't drive this busi­ness, it supporls this business. • Davi< >aid, adding that Kodak tries to look at motion pictures and television from a ci nematographer's standpoint: "fhls Is their body or work, this is their life­time or work .•

llere are some excerpts from the voice-over soundtrack on Film Makfs lll'ossible, a montage On the virtues of film in post-production:

"Because film delivers such a high-definition Image, far more than what's needl'<l for <tandard or HDl V, the film may be changed and manip­ulated in teleclne with nO lo>S of Image quality and no sign of elec­tronic trickery .... You can use the telecine to zoom In on a static shot; try that effect on a video and the shot would fall ;opart.

"film give~ you an obvious creative

THE WIDEST RANGE OF LIGHTING FILTERS FOR THE CONTROL OF LIGHT

For futher details contact your local authorized Rosco dealer or Rosco Laboratories Ltd.:

127t De<IISOII Street 166. Markham. Onl L3R 485 Tel (905) 475·1400 Fu(905) 475-3351 Ottus 1t1 Hew YO<tc. Holt) wood. london. llSbon Mid oro. sao Paulo and Sydney

advant<~gc. It can also give you a finan. cial one; it can save you time where time Is most expensive, on the set. With film, you don't ne\'d to waste time and money struggling to get a diflicult move exactly right on loca­tion. You shoot it sligh tly looser so you can reframc and One tune it in the telecine. Video directors and vldeogra­phers don't have this huge advantage; even with Digital Betacam they must spend time on set trying to fine tunc their Images. They're doing post-pro-

c.luctlon work during production. "Compared to Digital Betacam,

film offers a broader, more nexible can­vas so film production remains faster and more efncient. Him still lets you create the highest quality Images, then make them even more memoroblc with electronic manipulation.•

The film was received with applause from the audience and a smil­ing comment from Sony's Slisarenko. "Obviously, Kodak sees Digital llctacam as a threat." he quipped. e

WILLIAM F. WHITE LIMITED MOTION PIC11JRI . 'I t.l F. VISION f(rHf.ATRtCAL EQUII'M~.NT SUI'I'LY

Moviecam Compacts ARRI 535B's

ARRI 435ES's ARRI16SR3's

Mitchell/Fries 35R ARRI Swing & Tilts CPT Superscopes

Power Pod IV

And Counting! To Serve You Coast-To-Coast

WWW:http://www. whites.com

CSC NEWS OctJbe< I Q9o 1 3

FILM FESTIVAl FILE: CSC SHOOTERS ON SCREEN

As usual, there was a good representation of esc ci nematographers among the credits at this year's Toronto International Film Festival.

Gera ld Packer of Toronto was director of pho· tography on Anita Benson Gyles' Swann (colour/3Smrn), a Canada/U.K. CO·p<OdUC· lion from Greenpoint l'ilms/Shaftesbury Films based on Canadian author Caro l Shields' bestselling novel. The international cast of the Ga Ia Presentation feature includes Miranda Richardson, Brenda Fricker, Michael Ontkean and john Neville, former artistic direc­tor of the Stratford Festival.

In the Perspective Canada category:

Gregory Middleton of Vancouver was DOl> 'on

Lynne Stopkewich's first fea­ture film, Ki.1sed (colour/ 35mm), from Boneyard Film Company. It received a spe· clal jury citation for its "del· icate and playful approach to dark Imaginings, and ror helping us to cross over into new territory, to a place we have never been before."

Ton y Wanna ma ker o f Toronto and Belleville, Ont., was the shooter o n Peter Lynch's wildly entertai ning Proj<'CI Grizzly (colour/3Smm) from the National Film Board. The offbeat, 72· minute documentary was previewed in Film Clips last month.

Patrick Lobzun of Amherstburg, Ont., sh ot Michael McNamara's feature Tl1e Cockroach Tlwt Ate Cincinnati (colour/16m m) fro m Queen West Prod­uctions.

Pau l Sarossy esc of

Toronto was DOP on Srinlvas Krishna's feature Lulu (colour/35mm) from Divani Films.

Ch ristophe Bonnlere of Toronto was cinematogra­pher o n Colleen Murphy's Hrs t featu re Sl•oemaker (colour/3Smm) fro m the Feature Film Project.

Cha rles Konowa l esc of Winnipeg and Les Krizsan esc of Da rtmouth, N.S .. were the shoote rs for Selwyn Jacob's Tile Road Takm (colour/16m m), a 52-min· ute documentary from Selwyn Enterprises on the black porters who worked on Canadian railways dur· ing the grand era of rail trav­el.

Long Day's foumey Into Night, director David Wellington's film version of the Eugene O'Neill play per­formed by the Stratrord Festival cast, won the Toronto-CITY Award as the best Canadian movie at the restival. Produced by Rhombus Media, the feature was shot by David Franco. Winner of the Air Canada People's Choice Award was the Australian/U.K. produc­tion Slline, with Scott Hicks as director and Georfrey Simpson as cinematographer.

Gerold Pa<hr of Toronto was DOP Oft (anodo/ U.K. <o·produ<tioa Sw .. n at Toronto lnternotionol Fam Festival.

1 • CSC NEWS October 1996

WESCAM IN ATLANTA: COVERING AU THE ANGLES

WESCAM Inc. of Flamborough, Ont., was the technology behind many of those amazing television Images from the 1996 Olympic Games in Atlanta this past summer. Partici­pating in its seventh sum­mer and winter Olym pic Games since Los Angeles in 1984, WESCAM provided 19 separate ca mera systems along with numerous video control and transmission units supplied by its U.S. subsidiary, Broadcast Sports Technology.

WESCAM equipment, tech nicians and operators captured numerous Olympic events ror broadcast world· wide, including yachting, rowing, road cycling, moun­tain biking, gymnastics, the marathons, race walking, swimming and track and field. CMnera systems were mounted on a variety of vehicles, including boats, helicopters, a blimp and the RaiiCam that followed "the world's rastest hun'l an,, Canadian gold medallist Donovan Bailey, to the finish line of the 100-metre sprint. Mounted on a track system, the stabilized RaiiCam pur-

•

su('(l running athletes at their O\VIl !!peed nnd at remarkable angles never before seen at the Olympics.

WF.SCAM systems were also used for security by law enforcement agencies in At lanta. •

IN MEMORIAM Bill Hilson

'I he esc sad ly acknowl­edge~ the death on Aug. 9 of Honorary Member Wil li am G. (Bill) Hilson, a respected citizen of the film community for over 60 year\ and the donor of the CSC's Bill Hilson Award. lie was 85.

1111\0n, a resident of Missis>auga, Ont., was born May 2 1, 1911, in London, England, where he built and ran fi lm lab­oratories before moving to the Toronto area in 1957. In Canada, he worked at ClneSound and Northern Labs before joining CBC Television in 1963. ti llson generated :ond regu lated the proce­dures for fi lm quality con-

trol at the national broadcasting network until his retirement In 1976.

In 1973, he founded the Bill Hilson Award for the esc. presented annually for outstanding service contributing to the development of the mollon picture industry. The firs t recipien t was Fritz Spiess esc, and the winner In 1995 was Glen ~errler of Panavlslon Canada.

tillson was prede­ceased on Nov. 10, 1995, by his wife, Gwen, a neg­alive culler who operat­ed her own compan y for ma ny years. Th ey were married for 6 1 years. e

CAMERA CLASSIFIEDS SALE: W11deu lolow loon

l lsl-11. Se;tz trooumitter /receiver ( 1 with various comero

cables and seporalt llbrookc>ui controller, $5,600; Se;tz

ampli~er. $1,050; Seitz J· $21 0; 2 Heden servo motors

brackets and geors, $2,950; 2 brackets and geors, $A50;

II Y<>rio•s od>er geors and cables, 2 Cinema Procl<x:" lM

llmc>l<><s w/brockeb, $700. Tolol IIP"~I": $10,500. E~~ in

and WO<lts ...II, •oi i,. cond1hon

Rod Crombie at 72().7358 or E·moil: <erom·

OCOOSSQI'i .. , molal case e...llent condition, quiet, mointoined; ,......., rentec:l O<JI, $32,000. Don Nowak esc (60A) 299-3969 FOR SALE: 16mm Arri S c:omero, 1 2·120 Angenieux zoom, 2Smm, Robertson sun shade, now cadmium boffery belt (9 ..:>It, 12 YOlt), Rx & variable speed rooror•, AC convor~ er, lvll lens and Riter package, 2-sloge ~ box, holiborlon zoro cases; Notional Cinoquip tripod will> case; two A00-11 mag> with

-· dor1c bog, vohogo - · zoom slicks, mini condition, $3,500 Q( besl aile<. Coli Mamie ol (416) 92A·5279. FOR SAL£: O'Connor 50·0 A.icl head with sliding plato and two hondles. O'Connor Modo! 35 quick rdoose tripod with cable~ and interchongeoble ~tiona! spreader. This tripod goes up ond down very fo)f, ond corr••s o 8etocom with ease. Coble spreodot olows .-y low orwJe shots 8olh in good conclition and well main loinocl. No-eo- rentec:l $1 ,600. Jol,n or Janet foster (416) 962-()()13

esc NEWS O:oobet 1990 , s

FIX THE SERIES (Series) CTV/Syndicated; Prod: Norman Denver; Dir: various; OOPs: J. Dyer, D. Underschu ltz; Shoot: to Dec. 18; Tel: ( 4 I 6) 461-9660 PSI FACTOR (Series) Atlantis/Global; Prod: John Calvert; Oir: various; DOP: Mike McMurray esc; Shoot: to December; Tel: (416) 203-8777 Fusu FoRWARD (Series) AtlantisfOisney Channel; Prod: l'eter Meyboom; Dir: various; OOP: David Perrault; Shoot: to December; Tel: (416) 237-1913 M IMIC (Feature) Mira max; Prod: B.J. Rack; Dir: Guillermo Del Toro; DOP: Dan Laustsen; Shoot: to Dec. 13; Tel: (416) 463-0381 W IND AT M Y B ACK (Series) Sullivan{CBC; Prods: Kevin Sullivan, Ray Sager; Dir: various; DOP: Bob Saad; Shoot: to Jan. 10/97; Tel: (416) 288-1286 CRITICAL Cut£ (Feature) Live Ent/Orlon; Prod: Don Carmody; Dir: Sydney Lumet; DOP: David Watkin; Shoot: Oct. 26-Dec. 15; Tel: (416) 368-3599 LA FEMME N IKrfA (Series) CJ'V /USA Network; Prod: Jaime Paul Rock; Dir: various; DOP: Danny Nowak esc; Shoot: to March/97; Tel: (905) 279-6011 TilE R £AL B LOND£ (Feature) Lakeshore Ent/Paramount; Prod: Meredith Zamsky; Dir: Tom Di Cillo; DOP: Frank Prinzi; Shoot: to Nov. 27; Tel: (416) 861-1090

Atlantic EMILY OF ntE NEW M OON (Series) Cinar/Salter Street; Prod: TBA; Oir: various; DOP: Steve Danyluk esc; Shoot In I'. E. I.: to December; Tel: (902) 888·3336 British Columbia and Alberta Vw£R (Series) UPN; Prod: Bob Benjamin; Oir: various; DOP: Scott Williams; Shoot: to December; Tel: (403) 948-1943 Two (Series) Two Televison Prods; Prod: N. John Smith; Dlr: various; DOl': l'erci Young; Shoot: to Dec. 2; Tel: (604) 983-5068 Til£ X-FILES (Series) Fox; Prod: J.P. Finn; Dir: various; DOP: Jon Joffin; Shoot: to May/97; Tel: (604) 983-5391 M nLENNru.u (Series) Fox; Prods: Chris Carter, John Kousakis; Dir: various; DOP: Rob Mclachlan esc; Shoot: to Dec. 10; Tel: (604) 983-5210 T ilE O uTER LIMITS (Series) MGM/Atlantis/Showtlme; Prod: Brent­Karl Clackson; Dir: various; DOP: Rick Wincenty; Shoot: to May 6/97; Tel: (604) 299-71 19 TilE SENTINEL (Series) Paramount/UPN; Prods: Mich<tel Lacoe, Bob I largrove; Dir: various; DOl's: Tony Westman esc, John Connor; Shoot: to January/97; Tel: (604) 983-536 I I N11!NStrl' (Mini-series) Colu mbia(rristar; Prod: Preston Fischer; Dir: Yves Simoneau; DOP: David Franco; Shoot: to Dec. 4; Tel: (604) 454-9295 I'OLTERGEIST (Series) MGM/UA/Showtime; Prod: Fran Rosati; Dir: various; DOP: Brenton Spencer; Shoot: to May/97; Tel: (604) 291-9009 R u .VAWAY G IRL (MOW) NBC; Prod: Tracey Jeffrey; Dir: Chuck Bowman; DOl': Richard Leiterman esc; Shoot: to Nov. 6; Tel: (604) 420-7844

1 6 CSC NEWS I O:tobef I 996

I

CSC CALENDAR Scl1edu/e of Fall Meeti11gs mul

Events of Interest to CSC Members

TORONTO

Tuesday, Oct. 1 S, 7:30 p .m.- Applied

Electronics ond

Panasonic present the DVCPRO digital video

component camera and

production system. AI Studio One, 23 Fraser Avenue.

Tuesday, Nov. 12, 7:30 p .m .- Sony of Canada and Precision

Camera present new

Sony DVCam and an update on oiher Sony

digital technology. At Precision Camera, 181

Carlow Ave.

Tues./Wed., Nov. 19-2o-VPM Direct produclion trade show,

featuring lighting and Steodicom seminars/

demonstrotions

presented by ihe esc.

Sat./Sun., Nov. 23· 24-Bosic 16mm film

workshop covers setup

and operation of 16mm professional cameras

(primarily Arri 16SR and Acton XTR). At

CineAsst, 332 Dupont

Ave. Sat./Sun., Nov. 30 -Dec. 1-Bosic lighting workshop covers setup

and procedures for stu­

dio and fi lm set lighting. At Wallace Studios, 258

WalloceAve.

Each workshop costs $225 for esc members,

$295 for non-members. Call CSC office (4 16)

966-6710 to register, or Lance Carlson a t (416)

441-3444 for informa­

tion.

The Society would like to thank Kodak Canada Motion Picture & Television Imaging tor gener­ously donating print film and processing to photograph esc meetings, courses and events.

Our tool{ree gimbal clomp ~ spedolly desir~ to moJt.e bolondng o 45 pound comero o precise but stress{ree evtnl

Each detail works In unhon: (rom rhe custom milong of rhe aircrofl-grode aluminum ring to rhe incredible

toleronce o( the hardened steel suike plate.

And now, with rhe Moster Series, our gimbol clomp i$ fully adJUStable

with JUS! o quid< swing of rhe Steocfocom and o snap of the

comlock. It's that ssnple. And!hotfOSL

In (oa rhe Moster Series Steodicom is loaded wirh too~(ree adjustments, so there is no more calling out to assistants (or color coded Allen wrenches, no (rddling with tools ond

screws. and no time wasted - wllile the shot is waiting.

In 1993 Garrett Brown put the Steadicam on the table before a group of Steadicam operators. He asked the questions, they created the wish list."What"s missing? What could be better? Feel free to dream."" The result. after a lot of hard work and three new patenu•. was the Master Series. a whole new kind of Steadicam. With all the improvemenu and amazing new feawres, it's like no Steadicam you..., seen before.And when you consider how much chougllt went into our toOl-free gimbal clamp. just i!Ngine what the other 2.671 parts can do. To find out, you can now call toll free from Canada (800) 311-2463 for Steadicam sales and service.

ST:ADICAM. THE MASTER. SER I ES '\1 S. ,..._ 11.4l.\l\ I5,M. IW & f035I,&12. SttMic.W • t ,......, ......... *"'.,a... "*ell terp 3111 s. Ll fAntte ltwd. tm ~ CA IC011

THf nfW GOlDfn HGf or Hlm

A~ A (ln[ffiATOGRAP"[R, , ... om fihll }'011 (ill drpfad •film thM ilfhallS!OIISistfllliy.llildultrr Nidi. Roll ~rr !til. frmultrrtimf. [lll)"ttW in thr world. film llith trvr spffd ind urKompRmisinq molutioft in fillY rmuhion llyrr.lilm Y" ru 111151to hrtp brinq your vision to lilr.

And now thm is a llfW family of films. Bf9iMinq with liSt Kodak Vision ~OT in41mr 1ontmt Kodak YISion 320T film.Thfw llfW 1olor ~iw produ<ts tab rnrythinq Kodak knows about rnakinq film and pUIS it in a qoldtn !an. Thfy providr n-fl)'lhin<j you drptnd on in Kodak films, but with shupnrss and qrain you'll find inmdiblr. -Kodak Vision is thr nrw gold standard in motion pi!ttirf film. Un!ompromisinq quality. Un!ompromisinq !onsistf!KY. Un1ompromisinq drprndability. CAPTIJR[ l'OURVISION. -·- ____ ....... .._