A PUBLICATION OF THE CANADIAN SOCIETY OF CINEMATOGRAPHERS

~-... , ... Wet Atr- ..._47U2J

December 1997 Volume 17, No. 4

~ lite~ alltl How to Get One=-~--t AUO IN 1'HIItii8UII

'iJC:J!l ~ IJfl .1J0a ~ 111l~ liB~ cP@IMJ[i'g ~[lb '111M llmGil~ Ill~

.. ~ volume 11, No. • ,;:...... ~ Dteellhtr 1991

C~ntents

President's Report Executive Changes

Arctic j oumal Commercials on Ice

Th e Genies How lo Gel One

Dear God! The Endless Rood

Th e CSC at 40 The Big Fight

Film Clips Christmas Trickery

3

4

12

15

16

18

Action /CSC Calendar 20

Cover Photo: Peter Rosenfeld

Executive Changes ... The exec­utive board of the esc is pleased to welcome Albert J. Dunk esc

asc (better known as Bert) as our new Vice-President, and I larry Lake esc as Education Chair. It is a privilege to add the collective experience of two such master OOPs to our council.

Our ga in, howeverJ is not without loss. We are sorry to lose the multi­faceted services of outgoing Vice­President Lance Carlson, who has stepped down because of his new teaching res,>Onsibilities at Ryerson Polytechnical University in Toronto. We wish Lance well, and express our gratih.od~ for his tireless work in so many areas-organizing a regu la r agenda or inten•sting meetings, events and workshops, setting up our web­site, coordinating publication of the CSC Director)', upgrading and expanding our camera assistants courses, selling up the esc booth at numerous trade shows~ and much more.

We also extend thanks to John lindS<iY for his fine efforts in running the camera assistants courses and his other contributions to the delibera­tions of the executive.

I have said before that without the time that the members of our real working executive put into the Society, we would not be able to do many of the thir1gs ""e are accom­plishing today. That has certainly been true of Lance and John, and we are grateful.

On that note, I say thanks to a ll our executive and other volun teers, and I wish a very Merry Christmas and a Happy New Year to all our members and sponsors! e

.-----------------------~ ® I , , I -PANAV/5/0N

I \ I I

C A N A D A

THE CANADIAN SOCIETY OF CINEMATOGRAPHERS

will present the 1998 CSC Awards ceremonies to be held Saturday,

March 28, in the elegant Dominion Ballroom of the Toronto Sheraton

Centre Hotel.

Awards Chair Susan Saranchuk has received enthusiastic inquiries

from members anxious to submit their entries. Prepara­tions have already begun to maintain the high standards set during the 1997 40th Anniversary Awards celebra­tion.

CSC Awards recognize excellence by Society members in moving images in many categories, including commercials, television, features, music videos and more. Categories in news and student cinematography are open to some non­members.

Completed entry forms must be submitted to the esc office before january 31, 1998, to be included in the competition. Entry forms, rules and regulations, gala

ticket orders and further details may be obtained at any time via the CSC office at 571 Jarvis Street, Toronto,

Ontario M4Y 2]1. Telephone (416) 966-6710; Fax (4 16) 266-3996.

CSC NEWS Oc.:embe< 1997 3

AicflcFELD'S JOURNAL

"The only sound was that of my own breathing and my heart beating."

•

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eSC associate Peter Rosenfeld, Toronto­based operator and

Steadicarn specialist, spent over two w~ks on a com­mercial shoot in the High Arctic last spring. FoUowing are excerpts from e-mail-a kind of computer log-he senl to friends and col­leagues describing his work, adventures and impressions.

Day One Let me describe the scene

where I am writing this. It's a llny hotel in Pond Inlet, Baffin Island . It's the second most northern community in this hemisphere, after RC501ute, 300 kilometres to the northwest. Beyond that it's the North Pole- another 800 kilometres away.

I'm here to operate and pro­vide Steadicam on a series of commercials for a Montreal production house. TI1e client is a llrlllsh bank, and the d irector, OOP, focus pu ller and creative arc all English. It's a nine-day shoot and we've all just arrived Saturday; haven't shot any· thing yet. It's all been location scou ting both by snowmobile and 1\vin Otter.

Pond Inlet, home to about 800, is, in a word, biza"e. A tiny, frozen community in a vast expanse of icc and gladers. It's nearly midnight a~ I write thh. It is also bright outside­the sun won't set here In May. 11 just gets into dusk and then goes back into morning. At midday, the sun never rises more than 30 degrees above the horizon. The temperature today was about minus 14C. But the wind, strong this after­noon, made it feel more like minus 30C. It Is also perhaps the most stunning and over­whelming landscape I have ever seen.

Day Six Second day off today. We

nrc having zero luck with the weather. White ovNcast skies and a white landscape provide no contrast at all. We can' t shoot in this, so we wail. When this place is in the sun, it is absolutely breathtaking. llut when bad weather moves in, it Is white on white. So white that you can't sec where the land meets the sky. Planes can't land on the ice. Snowmobiles crash Into objects that the drivers never saw. You could be

•

QNTlt£ K£: Pt11t Roseofeld ,.W.slois Steodi<o• ocross slippery Antk fooling.

esc NfWS Decert>&e< 1997 s

wall.lng and th~n f~ll 18 inches Into a snow hole. You can't- it. A day with no contrast, none at all. TI1e fore<a~t os for sun later this week. In the mean­time, they have added one <Lty to the shoot. I wouldn't be surprised If they add more.

no~ ~tuff we lun·1· shot b pretty

amazing. We spent two days in an Ice cave this weel:. The location was acces­sible only by a ~kl-equipped 1\vin Oller and It soon lx>came a loghtlcal nightmare getting th~ crew and cast In and out. fh•e trips each way, landing on a mak~hift landing stnp on the frozen pack ice. The cave was ama71ng:

(o6on} COOL ADDRESS: 1Mil flllllily look$ foro oew itloo h- os ,_1 of o 1ommerciol $hoot for a Iritis~ book. CAMERA CARAVAN: lcwge >ltdgu plllltd by ,..wMOIMlts en o..4 to Mil 1amera ...t othr !If"'·

6 l.. NtWS O.Ceml>« 1997

huge, almost cathedral, ceilings, cov­ered in frozen ice crystals, the noor and walls n slick sheet of Icc. It was like wmething out of a Walt Obney movie. Although the outside tempera· turc w;u mild (about minus SC), In the back of the cave it was a dry, bone­chilling minus ZSC.

Wouldn't you l.now It, the tough· est Steadicam shots of the show turned out to be in the a•-e, on the Icc Ooor. Here I was, In this giant freezer, with 65 pounds of gear strapped to my body, walking on Ice cleats. Hmmm. You just never l.now what the day will bnng

Physically I am getting wiped out I have picked up a cold not surprh­lng since there Is so much going around-;Jnd I am sharing a room \\ith I\\O other Crl'\\ members. \fore of a problem is gelllnK enough "~ter when we are working. "I he first couple of days the craft service people brought out juice and water, and a fC\, hours later ever) thing was frozen soUd. 1 hen they started to melt glacocr Ice on Coleman stow;. Not enouKh though and everyone was gelling deh)·drated. We are now using coole" to l.l'<'P things \\arm

Nigllt 011 a Glacier Day 13

Although the weath· er b lmprO\ing. \\t' arc still several days behind schedul~. To make thinK~ worse, they had ambl· tlous plam based on get· ling the entire unot to some preuy exotic loca­tions. Considering all the bad weather, and the fact that It takes fh c nights on the T\\tn Ouer to get crew, cnst and equipment to a location, the wor)t had to happen eventually \nd it did

We fiew out to a glac· icr on Thursday. When we got there the Wl'ather was f:ontastlc. The ~kle~ were a romlt blue. No wind. We "ere in a val­ley where 1 wo glacie" meet the frozen la~e bed. Huge lte formation} are

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a esc NEWS December 1997

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forced up about 30 or 40 feet into the air as the glaciers move, slowly, into the valley. We had a couple of scenes to do there and all was going well. The plane was organized for pickups on the lake bed starting about 4 o'clock.

As we were shooting the last shot, a ll of a sudden a thick fog rolled in. You could sit and watch it move across the valley towards us. Panic. All peo­ple and items not requi red for the shot are rushed to the lake bed to get at least one flight off to Pond Inlet before we wou ld be cut off. I was not due to leave until the third flight. Regardless, we never even managed to get a sec­ond one. The plane came back and ci r­cled the valley once before heading back to Pond. No way he was going to land in that fog. We were all going to experience a night on a glacier.

No one said much as the plane dis­appeared into the clouds. Gulp. Now norma lly this could be a tun experi­ence. Many people camp out on the frozen tundra at this time of the year. But here is the kicker: for reasons I still can't understand we had six sleeping bags for 26 people, including women and children, stranded on the ice. Not even enough food for one full dinner. There were tents for about 10 or so. What to do?

Why build igloos, of course! The entire crew gets to work cutting snow bricks and building igloos. There was even a competition between the Canadian and British crew over who could make the better igloo. So I ended up last night in an igloo with three electrics and a grip. I slept in a ll my clothes: parka, boots, the whole shebang. Was I cold? Yup.

Before I went to sleep, around l a.m., I went for a walk, alone, on the glacier. The sun had dropped behind the mountains, but still lit the tops in a golden light. It was still foggy and the warm, soft light made everything seem magical. It was dead quiet. Silence like I have never heard in my life. The on ly sound was that of my own breathing and my heart beating. Then, as it has been doing for I 0 thou­sand years, every minute or so the glacier would move. You would hear and feel the crack of the ice moving beneath your feet. I'll never forget it.

The plane finally came in about

8:30 a.m. and we got all our people out safe and sound. As 1 loaded my gear into the plane, one of our Inuit guides told me that if this was winter, and we were out there in minus 40 or minus SOC with such bad preparation, some or us would not have survived.

Day 14 Almost done here. We completed

the remaining shots this morning and expect to be back in Montreal in a few days. 1 think we have captured some extraordinary images. The equipment, from l'anavision, all performed flaw­lessly. or course, there were constant battery failures even with the heated cases, and the l'rimo lenses were so stiff that you could hardly turn them. The mixed British and Canadian crew was great and did some pretty amaz­ing work in some awful conditions.

But most of all I'll remember the people of Pond Inlet. just about every­one who owned a snowmobile was working for the production these past two weeks. In addition to the drivers were cooks, dogsledders, heavy equip­ment operators, and helpers who were some of the kindest people I have ever met. The Brits walked away with a great film and we came home with some wonderful memories.

Footnotes: "Run to Make You Richer"

The campaign for the Cheltenham and Glouester bank is currently being broadcast in the U.K. The director was David Garfath and the DOP was Peter Hannon, both from London, while the Canadian production company was La Fabrique d'lmages, with Claude Landry of Montreal produc­ing.

Equipment included two l'anaflex and one J>anArri camera, shooting Fujifilm Super-F 125 and 500 stock, and a complete range of l'rimo lenses.

In one commercial, an Inuit boy dogsleds to the ice-cave home of his friend, the legendary yeti (played by a six-foot-seven British actor), to warn him that mercenaries are coming with a cage. In another plot, an Inuit family is looking for just the right igloo to buy. Each commercial concludes with the tagline, "Cheltenham and Gloucester: Run to make you richer." e

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CSC NEWS December 19979

\ Theo Vande Sande ASC shot AlB com~son test

footage with six of ana•ttorphic lens. Here

is what he found:

"0 r the thirty-six features I've worked on as DP,

three have been anamorphic," says Theo Van de Sande. "The latest anamorphic film is Bushwhacked, a Fox release."

Lens shortage "For about five years, there has been a shortage or anamorphic lenses. And new ones have been coming out- Arriscopes and Clairmonts, lhe Angenieux and Cooke zooms anamorphed by Clairmont So I decided to shoot some tests. It's useful to know what the various alternatives are, how they perform.~

Headlights "I remember a night exterior in which a series or approaching headlights on high beam shone directly into the anamorphic lens. It was a wrong-way chase scene, the camera car weaving between oncoming traffic. As each set of headlights came at us, the narc created linear streaks right across the frame. The Director loved it- a more aggressive effect than the concentric flare rings you'd gel with sphericals."

"For that shot, streaks bad worked. For most, they probably \\'Ouldn't To compare the six available types of anamorphic lens, I set up a point-source star tesl Projecting the test footage, it was clear that the Arriscopes produced no streaking at any stop. Wide open, the Cooke 40-400mm showed a small amount. So did Clairmont's own anamorphic lenses, but Jess than the lens types I had shot the high-beam head· ligbts wilh. Two stops down, there was virtually no difference in streaking among any of them."

Star Test "Soon after that test, I made some long shots at dusk of a huge oil

refinery, lit by hundreds of ex­tremely bright ligbts, much hot­ter than lhe ambient dczylighL The refinery was too big to balance, but streaks from all those point sources would have looked very strange. In fact, I used Aniscopes and there were no streaks.~

AfB Test '"Stopping down cures streaking but not distortion or breathing. or course. To test for those, I shot AlB footage, again with the five types of anamorphic fixed lens and with the Cooke 5 to 1 anamorphed by Clairmont. I also projection-tested five or the six and put them on the bench at 1\\-o rental houses.~

Zoom edge "One surprise for me was that the Cooke showed no edge distot·· tion at its wide end, despite be· ing a zoom. At 40mm, the Cooke drew a straight line better than several or the 40mm fixed lenses, but not as good as the Arriscope 40mrn."

Circles/Ovals "The other surprise was that the Cooke didn't distort the cen· ter of the image when I racked

Theo Van de Sande's credits as Director of Photography include Once Around, Crossing Delancy, Miracle Mile, w...Yne's ·world and The Assault, which won both a Golden Globe and a 1986 Academy Award for Best Foreign Film.

focus, despite being a modified spherical zoom! The only other lenses that didn't change image shapes in the center of the screen were the Arriscopes. With all the other fixed lenses I tested, a center-screen circle became an oval as it went out of focus. Some lenses made horizontal ovals, others made vertical ovals."

Distortion "Like the streaking, this center distortion was more pronounced in some of the fixed lenses. In two types, it was very noticeable. In two others (including the Clairmonts), it was less so. With the Cooke and the Arriscopes, I couldn't see it in the test footage. When I put the Arriscopes on the projecto~; I still couldn't see il"

Breathing "The Arriscopes didn't distort, but they did breathe. Every lens does that to some degree, includ­ing every spherical- it's just more noticeable with some anamor­phics. My test footage of focus changes on still subjects showed the Arriscopes changing image size more than any of the others."

Size or shape? "But the Arriscopes were still

Tradeoff? "I suppose I'm used to seeing subtle size changes on screen­tracking and unobtrusive zoom­ing. And in reaJ life, things change size with distance. But they don't change shape in real life, or in center frame through sphericals. Arriscope circles got bigger, but they were still circles. If more breathing was their design tradeoff for no distortion, I think they made the right choice."

Orientable "On Buslnvhacked, our first unit had two Moviecam Compacts and an ARRI 3. Our second unit used two ARRI 3s all the time, sometimes as many as five. Clair­mont ARRI 3s have bright, orient­able anamorphic finders. That's one of the three reasons I went with Clairmont once again: their expertise with Aniflex: and Movie­cam and now with anamorphic."

Availability "My second reason was the lens choice and lens availability (not the same thing) at Clair­monl There's a big selection there, including some zooms and long anarnorphics you can't find any­where else. And they had enough of them to equip all our cameras. And if they said 've could have a certain lens, I knew we{! get it."

Choices "Their anamorphic Angenieux 10 to 1 was excellent, even wide open. From T4 on down, the Clair­mont anarnorphics gave us Stead­icam shots as sharp as our Arri­scope footage. Not quite as dis­tortion-free, but they coot us about half as much to rent and they weighed four or five times less."

Discuss "My third reason for going with Clairmont, then and nov( says Mr. Van de Sande, "Is that I can discuss things \vitb Denny and Terry as filmmakers."

my first choice. I was more both­ered by test objects in center screen changing shape than by their changing size. I've found that whenever focus shifts sub­stantially it's because the action moves or someone in the fore­ground turns around, that kind of thing. The movement masks the focus change and the size change-or it can be made to mask them."

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''SYMBOLIZING THE MAGIC OF FILMMAKING'' ·,

What Is It and How Con You Get One? BY DON ANGUs

Genie is a uniquely Canadian kind of magic. The award that pays homage to the best in

homegrown moviemaking is a coveted prize in a Canadian film industry still struggling to make distinctive, indige­nous mot ion pictures in a world of American domination.

The Genie Awards, presen ted in Toronto this year on Sunday, Dec. 14 with the traditional televised gala, are the progeny of the Academy of Canadian Cinema and Television, and executive director Maria Topaiovich describes them as "a kiJ1d of currency."

Because the Genies now have been around a while and "they are our national awards, • she told the esc News, "people use them ali the time. The Genie really does distinguish them and their work-it's recognized and it's important."

Miklos Len te esc of Toronto, a past Genie winner and a cinematogra· phy juror again th is year, agrees. "Recognition is always important to every professional," he said; "it gives us something to aim for. It's always nice when your peers recognize your work, and it's also helpful when you apply for the next job."

Lente was one of five camera profes­sionals, plus two alternates, who served on the 1997 jury chaired by Bob Brooks e-sc. h\ a year when for the first time all jurors were esc members, the cine­matography panel included Brooks, Lcntc, Roger Moride esc of Montreal, Don McCuaig esc of Los Angeles, Edward Pietrzklewicz esc ofToronto and alternates Joan Hutton esc and Ed Higginson <-s<:, both of Toronto.

12 esc NfWS Decembe< 1997

The Nominations Are ...

The results of their deliberations were the fol­lowing nominations for Achievement in Cinema­tography:

Eric Cayla, Karmirw; Serge Ladouceur esc, La Nuit du deluge (Niglrt of Tire

SPECIAL HONOUR: In 1965, the entire Canadian film industry was honoured w"h a Spedal Award !ram the United Nations in com­memoration of International Cooperation Yeor. Or. J. Roby Kidd (1.), president of the ICY's Canoclian division and founding director of the CanacflGn Film Awards, presents tho medal to veteran d .. matogra­phH Ray lash, who accepted it on hehaH of the film industry.

Flood); esc associate Greg Middleton, Kissed; Paul Sa rossy esc, Tl•e Sweet Hereafter; Andre Turpin, Cosmos.

(Ladouceur's work on La Nuit du deluge won the 1997 esc Award for best theatrical feature.)

The cinematography jurors, like the members of the other juries, also got to vote for Best Motion Pkture, and the nominations were: Cosmos, K a rtni,a, Kissed, T ile Ha ng ing Garden and T11e Sweet Hereafte r.

There was only one cinematogra­phy jury this year instead of the two that in previous judging split the films in half and used a points system to select nominees. This time a round, the vo lunteer ju rors-all Academy members-had 15 feature films (there arc no craft awards for docun1cntarics) to view.

Bob Brooks, who has represented cinematographers on the Academy's board o f direttors for many years and on the board of the old Canadian Film Awards before that, said judging is "a subjective thing" even within the Academy's recommended guideli nes.

Allowing for crossovers in some areas, the guide d ivides best cine­matO!,'Taphy into three components:

lighting, visual ir1terpretation and composition.

Lighting criteria include mood cre­ation and complement to perfor­ma nce, consistency of style and "look," continuity of the lighting source, and the use of natural light. Visual interpretation looks at the over­a ll contribution of the ci nematogra­phy to the story and Its inspi rational and emotional effect, support for the mood of the scenes and the film, and the use of colour, filters, diffusion, etc. in creating the images. Composition includes camera movement, framing with respect to the act ion in the scene, d istribution of light and shade, estab­lishment of viewer perspective, and selection of angles and lenses. A com­mon criterion is the technical ach ieve­ment and/or innovation with in the con text of each component.

"First of all you look at the film in terms of whether it's a comedy, black humour, a murder 1nystcry, a dratna or whatever," said Brooks. "There's a mood which is set with cinematogra­phy that should go with the natme of the picture. That's basically what you start with.

"I don't think I sit there consciously

looking at the framing; framing and composition arc things that really should come naturally to a OOP at the poi nt where he or she is doing fea­tures. But the composition or a scene-what's In the foregro und, what's in the background--<:an enhance the mood and can be extremely important.•

In judging the lighting of a film, llrooks said he ha s viewed so many fl lms over the years that it's difficult to dl.'>cribe spectncally what he looks for. Ughling styles have changed, he said, because with today's improved film ;tocks it's possible to use source light­Ing "coming through the living room window, for exa mple, with a lot or the action taking place within that light­ing.• Even doscups can be shot in the same situation without having to relight.

"In the o ld days, each scene was delicately lit. Years ago you h ad to light in a different way because of the nature of the fllm stock."

"A Subjective Tiling" Brooks said it is true that good cin­

ematography in a bad picture may not be judged fairly, "but as a craftsperson you're judging cinematography and you ;hould divorce yourself from the fact that you don't like the content o f the picture. It'~ sometimes difficult and it's a very subjective thing.• He said that within the jury, •and that's why you have a jury of several people," that subjectiv­Ity wi ll even it>clf out.

Miklos Lente, who reckons he has been on I 0 to IS Genie juries, said, •t do It as a service to the industry and the esc, and it gives me a chance to see a good c ross-section of the whole indu;try on a yearly basis.

work on how successful it was in telling the story. •

He said he was plea;ed with the calibre of cinematograph y in this year's Genies, although "unfortunate­ly, there are few indigenous Canadian feature Olms in the last few years and many of tho<e are experimental.

"lnteres1ingly, Quebec films are better adapted to the purpose o f film­making- that Is, making a fi hn for the audience. It Is impo rtant that in mak­ing a film one considers both the art and the market. Quebec has its own market right there; the reu of Canada is saturat ed with Engl ish-speaking films fro m Hollywood or elsewhere and it's more difficult for English ­Canadian films to fight for audience acceptance. •

The Academy's Maria Topalovich said acceptance is what the Genies fo r motion pictures and the Geminis and Gemeaux for achievemen t in English and French-language television, respectively, arc all about.

"Our three national awards are widen ing o ur aud iences, build ing public awareness of the individual and collective talent of our indu;try.

"What our awards have provided for the industry is a significant mea-

ourement and acknowledgement of professional and creath•e skill. The fact there's an organization that through peer voting is able to recog­ni ze outstanding wo rk from yea r to year, inspires the Industry and the individuals who work in it to get even better at their crafts-and we have a stronger and more exciting indusuy.•

The inspiration sta rted in May, 194 7. A national conference of the Canadian Association for Adult Education decided it was time to cre-ate awards for distinguished Canadian films and radio programs, to recogn ir.c their importance in facilitating the .~ association's objel1ives. It was hoped ~

,!> the new awards would rank with the 1: Governor-General's awards for litera­ture, although there were to be no ! money prizes or >eholarships.

Sllort on Content

• Q

] The Canadian Film Awards and <s

Canadian Radio Awards were founded J on the rejected rubble of names sudl ~ a~ Dominion, Maple Leaf and North $ Star, and inaugural winners were pre- <s sen ted with Canadian paintings at the f first awards ceremony In Ottawa on ~ April 27, 1949. A total of 29 films-28 5 short subjects and one full-length fea- a;

"Cinematography is part or the process or making fi lm. It's a storytell ing job, not Just pic­ture ma king, and that includes composition, lighting. camera movement and the whole of how effectively it tells the story. Each story has its own way or requiring translation Into pictures, and I judge a

GREY CUP FEVER: Bob Brool<s m (Jrd from 1.) was the cameraman for Chetwynd Fllms' Grey Cup Festival '58 that w011the Travel and Re.rtotioo prize at the 19S9 Caoaclian FUm Awards. Morgoa Coote is the shooter ao the left.

CSC NEWS ~bet 1997 U

I

GtNIE JURY '97: CSC OOPs IIOde 1p tloe Ntirt a..-togr ... y jory Ill tlis yws Geoie Awtl'cls. J .. ors ioododed (!root fr .. L) Doo McCeaig m of Los Angelos, Jooo HoHoo <SC, Miklos IASite <SC, cnf Ed Higglftsoo csr, al of TO<oato, ...! (reCI'Ir .. L.l Roger M01idt m of Moatreaf ...! clocir Boll Broolts <SI, Torooto. Not ...,Wft is Edword Pietnkiewkr esc of TO<otlto. Pl>olo Jol>• NoM>I• ''" l(odol. Cooodo

ltlre, fro m Qucb<:<:-were entered. TI1e next year, the number of film entries rose to 43, but there was still only o ne feature, from Quebec, and no film of the year was selected. In 1951, there again was no film or the year but the awards gala was brightened by that swccthean of silent movies, Canadian­born Mary Pickford.

Television made its debut with a new TV information category in 1956, with Don Haldane's National

Film lloard production, Saskatc/1e>va11 'll'avcllcr, taking the honour.

The CSC got In to the act in 196:! when It joined the CFA to present awards for the best colour an d best black-and-while cinematography. TI1e Society also helped rescue the awards in 1968, when the long-time CFA sponsors-the Canadian Association of Adult Education, the Canada Foundation and the Canadian F'tlm lnstllute-dccided to tenninate their

EUMENTARY: Clvistopher Plummer won the flrst Best Actor Gtnie In 1980 lor his perfomon<e os Sherlock Holmes in Bob (len's Murder by D«ree. That's James Mason (1.) as Dr. Watson 011d Fronk flnloy (<.). The DOP was Reginold H. Mouls m, wllo <ailed it "the best fnm I ever shot."

, .. esc NEWS December 1997

involvement. The CSC banded with the Association o f Motion Picture Producers and Laboratories in Canada and the Directors Guild of Canada to organize a new awards competition under the same name.

The revamped CFA staged a profes­sionally produced awards dinner that year and unveiled a new awards statue by acclaimed scu lptor Sorel Etrog. The name "1\trog" stuck to the award until the C:I'A evolved- not without contro­versy- luto the Academy of Canadian Cinema in 1979. The sculpture was then renamed the Genie, "symboliz­ing the magic o f filmmaking and the genlu\ seeking expression in all cre­ative Individuals."

The Genie made its debut at the Academy's premiere awards show on the stage of the Royal Alexandra Theatre In Toronto on March 20, 1980. '11oe Clm11gelilog won the Genie for best feature, while the cinematog­raphy prize, no longer presented by the esc, went to john Coquillon.

The Academy became the Academy of Canadian Cinema and Television in 1985, explained Maria Topalovlch, "out of a desire fro m the television industry for a high-profile promotional vehicle that recognizes all the various crafts and aspects of their Industry the way it does for film." And, she added, "increasingly, there weren't that many people that worked on I)• In one medium."

The first Gemini and Gemeau Awards wrre in 1986, with the hard­ware's pronte of twins signifying "the talent and craft both in front of and behind the camera."

Tod <•Y· SO years after the first national film awards were invented by adu lt educa tors, the 18-year-old Academy continues to grow. "We're over 2,500 now: Topalovich said, although building membership is an ongoing challenge.

•we don't help people get jobs; we're not a union, we're not a guild, and there arc still people out there who ask why should they join. My argument Is, how can you not because of what this organization does for the indu)try? It's the only apolitical, non­lobbying, national o rganization that's there to promote, celebrate and Inspire nn Industry." e

In a collection of revealing and amusing tales he calls Life Is Just Another Location, retired Toronto cameraman John Foster has recorded his unique experiences at the National Film Board in the 1940s. The stories are, in Foster's words, "a litany of foibles and fumbles framed by a callow youth as letters to hls very personal God. " He wrote about Ernie in our january/96 issue, Tl1e Feel-urn Board in june/96, Lab Life in C)(? November/96, and The Coach House in May/97. Here is another of those sociable letters to God, the first of three about . . . No Exit

THE ENDLESS ROAD 1 Part !- Hotel Life

May 10, 1945 D ear God!

It's not money I'm complaining about, we settled that a long ways back, but It's the social stuff that's

getting to me! Constantly riding trains back and forth across the coun· try on film crews, I'm always a total stranger wherever I go. I can make friends with loca l people involved in the fi lming In o ne town o r another, but 1 hen In a few days I'm moved to another location and it fast fades into the misty past, and now there's no longer a home to go back to because I'm always on the road.

I'm not complaining! Just observ­ing! I don't want you to start passin' gas in anger again, but God! last rear I was on the r0.1d travelling, like in hotels and on train~. for 325 out of 365 days ... and that's a bit much, Old Thunder! ll really is!

This Jiving in hotels is OK, but it's unreal. I'm ea rning $150 a month at this job and living In the Royal York Hotel. Mind you, It's great, wonderful, luxurious, but il's unreal! We're in rail­way hotels <0 we can stay in conta("t with the lab and camera department back in Ottawa. I ship exposed film every night by railway express, and get a couple of telegrams a day about OM bitchy thing or another. I've come to know the staff in CJ'R hotels aU acro~s the country, not by name, but we recognize each other, and they're fa mily now that these hotels have rcJJiaced my home. llut it's not the same. It's awful lo nely here on the road, living with fou r walls, wall-to-

wall carpeting, your basic CPR hotel furn iture and the same two pictures no matter what city you're in .

The crewmen I work with a re the o nly people I know, and after a long day, we're prett y much on each o ther's nerves, so after work I sit around th~ room, listen to the radio, and look out the window th inking about all the things I don't know about yet.

Wke I said, money's not a prob­lem. I get an e>.pense advance, some­times as much as S200 to operate on, with a little record book to record my expenses in: 10 cenu here, IS cents there, and a quarter for thjs or that ... and it's am31lng how q uickly it adds up . We get a S3.20 da ily meal allowance and must break it down o n our expen~e reports: 70 cents for breakfast, a dollar rive for lunch and a

dolla r forty-five for dinner. Lots of days in Toronto we lunch on fran ks and beans with toast at Fran's for 35 cents plus tip, and can pocket as much a~ 40 ("\!IllS on the day. Last mo nth, the 11·easury bo ard accoun­tants poin ted out that S3.20 was our maximum allowance, and we should· n 't be charging the max every day, so now we range our claims between S2.95 and $3.20 and they are very, very happy-even complimented us on our honesty!

I tell you, God, things can be unreal down here! A lot of your prob­lems on earth stem from the fact that it's not what you tlo here, it's what you apJ>ear to do that really counts with peOJ>Ie who have power. e

NEXT M ONTH: l'art 11- Loosc Ends

esc Nr w s Decem!» 1997 u

THE C

16 CSC NEWS December 1997

TURNABOUT: Roo Wegoda m (r.) trades his tamera far a punthiog bag, while boxing thampion Atdlie Moaretrits ovttht Eyt110. Wogoda was ringside ,..,eraman for the dassi< 19S8 bout io Montreal betw~o Moore 011d Caoodlon Yvon Ourelle. l'bo<o COIAIO'Y <J Ron 1/\\lgodo C$C

The first Archie Moore-Yvon Durelle light {for th<: world light- heavyweight champion­

sh ip) took place In the Montrea l Forum on December lOth, 1958. It was qu ite remarkable, and in fact was voted Fight of I he Year.

I had hccn coverIng llghL~ fro m time to time and somewhere a lo ng the line l had met Charli e Golchnan, Durelle's manager, who sent me a postcard Informing me when they were coming to town. They had a camp out ncar Ste. Anne de Bellevue on lie Perrot, I believe it was, and I went out there and made some train­ing pictures or the Canadian champi­on. The American, Moore, reputedly trained on women and beer, which was probably respon\lble for the way the early par1 of the fight went .

I was ringside cameraman for Movietone News, while Charlie Quick and Arnold Hague, a CSC member, were up on a higher level using two cameras with 400-foot maga>ines. I had a I 00-foot-load 35m m Eyemo camera, a hand camera which lasted just over 60 seconds and had to be reloaded. I photographed the entry of the fighters into the ring, the Intro­duction of one to the other, the refer­ee advising them what to do in the event of a knockdown and so on ... and then the bell wen t for the first round .

Well, after about 10 seconds, I had

to reload. I knelt down by the side of the ring, opened up the camera and put In a new load of film. As I was threading it through the gate and the sprockets, I heard this thump and a roar from the crowd. I thought, "Oh, my God, It's all over." I put my head up above the level of the ring, and it's Archie Moore on the canvas. This hap­penl'<l twi~-e more in that fi rst round; Durene managed to knock him down two more times but couldn't finish him off, and as the fight progress«! it became obvious that he was not going to be able to do it.

Moore went into a kind of ~hell with both arms up in front of him and there was no way that Durene had the savvy to fin ish h im off. Finally, In the 11th round, Moore knocked Durellc down for a KO and that was the end of that fight. r believe there were two more Moore-Durelle f~ghts and I know that I covered at least one of them, but I really don't remember the out­come.

I do remember clearly that before that fi rst fight, in the hospitality )ultc that promoter Eddie Quinn hnd set ut> In the Mount Royal llotcl, Moore's manager, Doc Kearns, was proclaim­ing that DurcUc was just a barroom brawler and didn't have the . . . to fiat­ten Archie Moore. But he damn ncar did.

Kearns, who had been the ma nag­er of former heavyweight champion jack Dempsey, was a very intere)tl ng character. He related various experi­ences in his ca reer, including the time during the Gold Rush that he worked as a miner for a fellow who had staked a claim. All day long. he said, he kept running his hands through his hair, and when he got back to hi) digs for the night, he would wash his hair and get the gold dust out of it. That was his way or getting a little bit of extra money.

Everybod y who was anybody in the boxing world-people like publisher Nat Fleischer of Ri11g Masatille--cune to Montreal for that great fight.

(Editor's note: Canadian cham­l>ion Yvon OureUe, from Bale Ste. Anne, N. ll., never wre.ned the light· heavyweight c rown from Archie Moore.) e

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DUMIARTON IRIDGE " Expanses of wlltiiHe wls••l•"

Barry Stone esc is in the south San Francisco area shooUng the Indepen­dent feature Oumbt1rt011 Bridgt, pro­duced and directed by Charles Kopp!'lman. The fllm, on which Stone is DOP and operator, stars Tom Wright, whom Seill{fltl fam may remember as the black lawyer in the TV comedy series.

" ll's a beautiful rum, with great big expanses of wildlife visuals," says Stone, who is filming with 3Smm Kodak 45 and Kodak Vhlon 46 tmd 79 in a l'anavision carncra. "We're shoot­ing at Dumbarton llrldge, which is the lowest bridge In the llay area. There's a wildness preserve just south of It, which we shoot o n some of the lime. I'd say we' re shooting about 60 per cent outdoors."

CHRISTMAS TRICKERY Making Holiday Memories

Director jerry Smith and cinematographer Stan Murphy of jacksonville, Fla., had to play tricks with time, space and light to set the mood for t heir seasonal TV special, Our Holiday Memories. The autumn issue of Kodak's i11Camera maga­zine says the team not only had to turn springtime in Georgia and Florida Into Anytown, U.S.A., at Christmas, but also had to make scenes at Colonial Williamsburg in Virginia seem like they happened during the 18th century.

Hosted by actress Dixie Carter, Our Jololiday Memories is a TV version of Soutlrem Livi11g magazine, focusing on holiday cooking, crafts and decorating. Smith says he told the magazine's producer "that if he wanted to look better than everybody else at holiday time, film was a way to look richer and deeper. It

struck me that for a holida)• spedal where everything is red, green, gold and glow­ing, film would be good."

DOP Murphy says one of the major challenges was creating a generic winter­time atmosphere, even though the segments with Carter were shot in Atlanta and jacksonville in April and May. "In a lot of instances, I let the windows blow out whenever they were seen, so the viewer just sees a piece of them. If you look out the window and see palm trees, you know you're in Florida. But if you let whatever Is outside the win­dow go two or three stops overexposed, it's now a grey wlntcr day."

On Location in Williamsburg to show how some of America's holiday traditions began, Smi th and Murphy wanted to empha­size historic authenticity. That meant that scenes had to appear to be lit by such !8th-century light sources as candles and fireplaces. In one scene, Murphy placed HMI 4K lamps outside the windows to simulate moon­light and provide an overall Light Level in the room. lie also placed small tungsten instruments throughout the room to highlight some areas and add a warm fil l to others. In the fireplace, Murphy placed two 2000-watt lights inside a flicker box and covered it with a warm gel.

The scene, says director Smith, gave the impression that it was captured from another time. "TI1e 'moon­light' lit the walls but not the people. You felt Like you were watching people sitting by candlelight with a fire, somewhere inside some house on a moon lit night."

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CSC NEWS Dccomber 1997 19

D ,I DDY (MOW); 1>01': Danny Nowak esc; Tr: Paul Ger1tleman; to Dec. 12. VAUKrm~'~ DAY (MOW); Op: Brian Gcdgc; to Dec. 19. FX: n1t S ERifS (seri~); B-eam 1St: Colleen Norcross; 2nd-unit l st: Peter Batistone; Tr: Michael Tsouras; to Dec. 15. NAJ(£I) CrrY (2 MOWs); DOP: Miroslaw 6asz.ak; Op: Ray Brouostcin esc; to Feb. 24. UNIVERSAl SOLDIFR (2 MOW~); OOP: Russ Goozee; Op: j.l'. Locherer; 2nd-unit DOP: j ohn Holosko esc; 2nd-unit 1st: Tony Lippa; Tr: Mike Unsworth; to Dec. 23. W IND AT M Y BACK (-.eries); ht: David Perkins; 2nd-unit DOP: Paul van der Linden esc; Tr: Sarah Wa rland; to March. D UE SourH (series); DOP: MUan Pod~edly; Op: Tim Merkel; 1st: Phillippe Champion; 2nd-unit DOP: Joel Guthro; Tr: Tony Oliver; to March. ONCE A THIEF (series); DOJ>: Marls janscms esc; Op: Keith Murphy; 2nd: jacqueline Hampton; Tr: Paul More; to Dec. 23. E ARTH: FINAL CoNFLICT (series); DOl': Michael McMurray esc; Op: Drew Potter; h t: <.:uda h Anda rawcwa; Tr: Rrad Crosbie; to Feb . 3. TRM>f.RS (series); OOP: PWI Earnshaw esc; Op: llod Crombie; 2nd: Mark Giles; Tr: l'aul Bc(,rtn; to jan. 28. FAST TRACK (series); 001': I'Cicr Luxford esc; Op: Henri f iks esc; to Feb. 2. NLKrrtl (series); OOP: Nlkos Evdcm on esc; B-eam Op: Brad Hr uboska; B-eam 2nd: Courtney Graham; 2nd-unit DOl': Anton Van Rooycn; to j une.

British Columbia/ Alberta TIN WIFE (MOW); DOP: David Geddes esc; to De<:. 10. BIG ANV H AIRY (MOW); 0 0 1>: Peter Benison esc; 10 Dec. 19. GomG DowN D ESIHt (feature); OOP: Greg Middleton; to Dec. 22. DISTURBING B EJVIVIOIIR (feature); OOP: j oh n S. Bartley esc asc; Jan. 12-March 16. M LLUNNIIJM (series); DOP: Robert McLachlan co;c; 1st: j un ichi Hosoi, Gillian Stokvis-Hauer; R.cam Op: j unlchi Hosoi; to April. POU CE ACADEMY (series); OOP: Manfred Guthe esc; 2nd-unit DOP/ Op: Neil Scale; to March. H OX£Y, I SHRUNK THE K IDS (series); DOP: Hoger Vernon esc; Op/SC: C.arey Toner; l st: Kirk Chiswcll; to March 8 in Alberta. PoauGusr (series); DOP: Andreas Poulsson esc; 1st: Holly Gregory; K-earn 2nd : David 6ercovici; to May 3. TilE SENTINEL (series); DOP: Tony Westman esc; to April 16. lilliE£ (series); DOP: jonathan Freeman; Op: Randal Platt esc; lst: Larry l'ortmann; SC: Michael Davies; to jan. IS. TuE X-FILES (~erie)); 2nd-un it DOl': AlUla Szalay; 2nd-unit Op: Brad Crcasser; to May. THE O UTER LIMI.,.~> (series); Op: Paul Mitch nick esc; to May.

ON LOCATioN: Barry Stone esc, OOP on Dwn/Jarllm Briclge (feature) in San Francisco; john Bartley esc asc, OOP on Tile Visitor (series) in Los Angeles; Harald Orten burger esc, opera· tor on Gloria (feature) in New York.

20 CSC NEWS December 1991

CpC CALENDAR Sq/Jedule of Meetings ami Eve1lt.1

of lntJrest to CSC Members

TORONTO

Tues., Dec. 16, 4-9 p .m.- Panovision Canada O pen House at its new focilily at 900A Don Mills Rood.

January meeting TBA

Mon., Fe b. 9 , 6 p.m. -CSC Annual General Meeting. At Precision Camero, 181 Carlow Ave.

FOR SALE: 16mm ACl com-~~=~w:~= order. $1,500 or best olfer. Call lance Carlson (416) 690 0049.

era with Iorge cryslol molor, 3x mounh (ComHex, Nikon and Ani), 3x 400' mogo.tines, 2x belt batteries, 2x dipoo battery pocks, Angenieux 9.5· 95mm lens with 85 filter and diopler, Nikon 300mm lens: $6,000; Angenieux 5.9mm lens: $2,000; Sochder-Wolf Auid head 3+3, reg aluminum legs, spreader and case and baby legs and case: $2,800; lowell 'Ambi' light kit with 2 Omni lighh and 2 Toto lighh, 4 stands, bulbs, accessories and o case: $1 , I 00; Ruores.­cent bonk l4x 2' tubes) plus cose (cuslom built by Precision Camero): $300. Call (416) 516-9110 (8) Of (416) 587-1149 (R); fox (416) 516-91 13; e<noil hlp@syrnpo1ico.co

FOR SALE: OkJer.styte Petroff 4x4 mottebox, for 15mm rods, with 6 slides and 3 lens rings. Three C-mount lenses: 25rrun Angenieux 10.95, 50mm ~nieux. 11.5, 75mm Switor 11 .9 (prefer 10 sel as set). Sennheiser MESO mini-shot­gun, mint. Six plate 16mm Ratbed editing machine. CaR Kiri at (604) 2530047 or e­mail to K_@compuse<'le.com

FOR SALE: Weaver· Steo<lmon balanced Ruid head with three camera brackets plus O'Conner, Nolionol Cine and Mitchell adopter rings. Recently repaired and over· hauled by Gerd Kurz at Precision Camero. Excellent condition, on early model in

FOR SALE: Motrox studio A/8 roll SVHS oll~ine sy>tem; complete •turnkey• setup: table, choirs, rocks elc. Plus, Beaulieu 7008 Pro Super-S camera (um in Niko commcr· cials) with Steodioom tracking package; world's finest Super· 8 camera to meet the exacting demands of the pcolessionol cinematographer. Call (416) 533-1813.

FOR SALE: Sony OXC537 with 60 I finder and PVV 1 recording bock, $1 0.000; Canon lens 8.5x 14 lf, $4,000; Tiffen haze filter, $50; Tillen polarizer, $200; Century W.A. and Super WA., $800; Canon diople<. $500; Canon zoom grip remole, $800; Petroff motte box, s 1 ,000; Sony oxc 999 colooJr pen com«o, $1 , 200; lenses (2) lor 999, $400; power cable for 999, $ 1 00; NC 9" manila<, $600; 2 bo~ tery belts, $500; Alexander charger, $500; 6 NP1As, $300; Sochtle< video 2011 tri· pod, $9,000; Sochder wheels, $1 ,200; Sochder spreaders (2), $1 ,000; Sony video pcin­er CVP G500, $300; Sony EVO 9700 desktop editO<, $3,000. Poclogo deal ovoi~ able, call Paul Sutherland (4 16) 423-7070/778-4466 or e-.noil hommy03@ibm.net

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