A PUBLICATION OF THE CANADIAN SOCIETY OF CINEMATOGRAPHERS

~-... ,....., W.. ·- llo.4114U

November 1997 Volume 17, No. 3

SONY. SONY RECORDING MEotA

volume 17, No. 3 November 1997

ntents President's Report

CSC Health Pion

Vice President's Report Stories from Andrew Laszlo osc

Electronic Imaging Sony Goes to the Movies

Technically Speaking Out of the Toybox

The CSC at 40 Down Memory Lone

Corporate Spotlight The Lob in Toron to

Film Clips Rosco Shows Gobos

3

4

5

9

14

16

18

Action/CSC Calendar 20

SONY.

eSC Health Pla n . . . The executive board has recently approved and en­

dorsed the Benacare medical/den­tal plan for CSC mem~rs. The plan, which is optional, in­cludes pri!scriptlon drugs with a pay-direct card, paramedical ser­vices (e.g. massage therapist), and out-of-province and out-of -country medical and semi-pri­vate hospita l benefits. Dental coverage includes prevention and maintenance services, periodon­tic and endodontic coverage and much more.

This plan is undenvritten by Blue Cross, a recognized leader in group ~nefits. It is accessible, affordable and available every­where in Canada. Subscribing mem~rs can access the BenaCare Heal th-On-Line for info rmation on medical conditions, add iction issues, health service availabi lity, etc. For more details, contact Sharon Clavir at (4 16) 445-3501 or fax (4 16) 445-3280.

The Genie Process ... I was an alternate on this year's Genie Awards jury for cinematography, which Bob Brooks esc chaired. This kind of jury duty is always fun, and Bob thought the process would ~ of interest to CSC News readers. So Editor Don Angus sat in on our briefing session in September, and is preparing an upcoming story on the Genies and their esteemed parent, the Academy of Canadian Cinema and Television. •

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Stories from Andrew Laszlo asc ... One of the perks of my part·tlme educational position at Ryerson

Polytcchnlcal University is the opponu. nlty to rub elbows with some dlstln· guished OOPs. I have the pleasure of worldng alongside Torben johnl:e asc, who lw had a notable career shoot.lng features and commercials.. Then last month E.tstman Kodak. as pan of Its vis­Iting anlst program, brought In Andrew l.asz.lo asc for a two·<lay seminar for Ryerson and York University students of clncmntography.

Needless to say, I would have loved to have made this program available to esc members, but space just would not permit. How~"C.r. Laszlo told me he would be happy to address a esc meet· lng the next time he oomes to Cl.l\aCb.

t.uzlo, one of the many fl~ crafts. men/artists who came to North Amertca from llungary, prides himself In his no­nonsense approach of giving the picture what It needs. Because the situation demanded tt, he shot Sylvester Stallone (Fim 8/ood) In a cave with only the light of two matches. In other drcutrl5tances, he has had no qualms about shooting -.1th Coleman lanterns and utilizing one of his fa\'ourlte tricks, "liquid dlm· mer" (hair spray). He told the seminar that not e"ery shot tw to be perfect, except for the particular scene It Is ln.

Ills presentation induded dlp:s from five films, beginning with his •point and shoo!• picture, Soulhm• CQm(Ofl, on which he dec:Jdcd on the second day to send all the lights back to Hollywood. lie referred to this as his good bad pho­tography picture, and other examples Included Tl~e Wmrim, a styllz.ed street gang film, and Sums of Firt, another highly stylized rock musical which actu· ally required some o\'Ctllt nlght scenes. Clips from tnnnspoc~. with Martin Short, demonstrated many In-camera effects.

Dtsplte his seemingly rlsli.)' apptOKh, Laszlo knows predsely what he is trying to accomplish. He stated that If you have to wonder how It will tmn out, then you aren't ready to be a cinematographer. He wrapped his pre­sentation with an impressive oommet· dal reel. e

SONY GOES TO THE MOVIES NEW INITIATIVES IN PRODUCTION AND DISTRIBUTION

" WE' VE TAKEN APPROACHES WHICH ARE PROBABLY GOING TO BE COMFORTING TO THE CINEMATOGRAPHER. 11

-PATRICK WHITTINGHAM

BY DON ANGUS

ony's visual electronics, already plugged into virtually every aspect of motion imag­ing, may be coming soon to

a theatre near you. "Quite frankly, there are very few

opportunities for growth in news, which has been our core business," Patrick Whittingham, senior vice­president of the Broadcast & Professional Group at Toronto­based Sony of Canada Ltd., told CSC News in a candid interview. "More and more of the news business is being taken over with less costly equipment.

esc NEWS NcM!mber 1997 s

f A

VIDEO fU(J(S: Soory rice;omidenl Potrlct Wlallllogham says S..y Is loundalng oew ioilialivts in tleclrMk cloe1natogroplay.

"We as a corporation are looking at n~ opportunities, a t ISmm produc­tion and at providing vldro tools to support e>.isting cinema production, and c•en going down the rood to elec­tronic theatre, electronic dl~play sys­tems. Son)• 5t'es both of these are,as, production and distribution, as an opportunity for the electronic media

6 5< NtWS~ 1997

to supplement ntm. We don'a beUeve in replacing at but In supportmg it. The tools can wort.. quate successfully together.·

Whittingham was Interviewed dur­ing a on~y seminar on Sony digital technologies at Vldeoscopc in 'Joron to early last month, at which he ad­dressed the digital transi tion of broad·

cast and professional for­mats, changes •our Indus­try Is g<Mng to face In a \'t'ry short t1me.•

He told the seminar's three sessions that with the federa l CRTC and llcrltage Ministry fol lowing about a year to 18 month' hehlnd U.S. standards and hnple­mentation S<hedulcs, "tOn· ccivably at Christmas '99 you'U be able to purchase a dq;ital television ~~ In the major markets of Toronto, MontTeal and Vantouver and l't'CCive multil>le digital TV signals In those mar­keu.'"

The impact on Image creation, he said, I~ that "in time the transition will occur whee~ production will start to 1hlft from being primanly 4:.1-and stretched or convcrtl'd to 16:9-to mor~ of It being produced In high d~flnl­

tlon. This Industry ha> got to make the tran;ltlon to widescreen and w~ a~ pr<>­fessionals In the Industry have to dnve 11. I hat's what's g<Mng to g~t the con­sumer to accept digital TV. •

Rob Wlllox and l'eter Sli.sarenko of Sony Canada were also J..ey speaker~ at the seminar, pre~cnt lng th~

wide range of !lony digital cameras and 1110ciated technology.

Emergi11g Opportu 11/ t les

In his con,·crs.ltlon with CSC N~ws, Whittingham pursued the present and future role of digital video in electronic cine­matography.

"Otgatal 1\etacam today, because you tan get a ' 'e<) high-quality sagnal off a shouloo or tripod-mounted cam· era; he ~id, "has for 4·3 televl,lon made some Inroads for wrnmerdal production and some serlc' work. We believe that the wldescreen ve~lon of l)lgltal lletacam will further Increase

the opportunity because it allows more material to be integratl'<l Into Rim production, through a conver­sion of the video material in many cases. We',•e got clients, whom I can't name for publication, who have used the product and feel that it is emi­nently suitable for 3Smm release for special effects work and so on.

"So with Digital Betacam we're seeing emerging opportunities and a willingness to try it because It Is so good In terms or its overall quality. Arguments ha,·e been made about It being as sensitive as the most sensltl\·e ntm, and yet at the same time- as oppo~ed to being a tradeoff-with image-resolving capability clo~e to the finest grain nt m. It's a tool that can be used lor very specific applications.

"One of the things that Sony has been very much aware of is the oppor­tunity, as we develop high-definition equipment, to optimize HO specifical­ly for cinema production. Sony has announced to the press that we would have an Initiative In this area, focus­ing on the tech nologies of Digital Bctacam and HDCAM specifically for the motion pictu re industry. The opportunity exists for us to operate the HOCi\M camera at a 24-frame pro­gressive mode and the tape recorder, designed and optimized for replay at that mode, to provide a much easter integration of the video source of materia l Into conventiona l 3Smm production.

"Just picture the Digital llctacam camcorder as we have it today with 1,920-by-1,080-line resolution operat­Ing 24-frame progressive, and post­production being done with no frame discontinuit ies, no 3:2 pulldown Issues and so on, and being able to rut that material right into film-based work- either upconvertlng It to 3Smm film or downconverting JSm m material to 24 frame and cdlllng at that level.

•So fundamentally," Whittingham continued, •Sony has started an Ini­tiative which is built around that HDC1\M product, but will go, we believe, much farther than that. In the same initiative will be the new Sony teleclne. Sony has demonstrated the telccine in Its prototype form and has Indicated that it will be a product at

®

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

I ' I I C A N A D A

NAB, and u ltimately available for delivery at the end of next year. lly having a 35m m/16mm-ca pable telecine, with the capability of out­putting at various frame rates, includ­ing 24-frame progressive, as well as the capability of outputting at a vari­ety of broadcast standards, we're going to build a mechanl~m that will give a more optimal conversion than we believe currently exists.

Comforting Approacl1es "And we've taken approaches

which are probably going to be com­forting to the cinematographer. For example, the essence of this telccine is that we want pin-registration preci­sion \\1thout having to have the risk of damage associated with registering it based on the sprocket holes. So we've used an electron ic pi n-registra­tion system, and we've been able to do It with a level of precision that would mean that gate movement, or image movement within the gate, can be held within one pixel. Contained within a field that would be 1,920 by 1,080 pixels, the mo,•ement, be it ver­tical or horizontal. would be held sta­ble enough to be within one pixel.

"The second thing Is that colour correction is done optically. We'll take the image that we produce through the film, then do separat1ons through a dichroic beam splitter, and the red, green and blue light paths will be modulated and controlled using elec­tronic shutters that Sony has devel­oped specifically to adjust gain of those three primary colou r paths. The control or this process can be integrat­ed within a da VInci, as one example

of an external colour correct ion sys­te m. The th ree light paths when o pti­cally corrected can then be brought together In a mixing housing, and at that stage the electronic image would be created through the image array and we can then still process electron­ically for more optimization.

•The Idea Is to perform the least amount of electronic correction; let's get the optical stuff right first. That surprises people given that Sony has come from an e lectronic background. We've gone back to the fundamenta ls, and cinematographers like John Galt in the Sony Pictures operation in Cul,·er City (Ca.) have been onvolved in the development.

~rhc other Initiative that Sony wants to look at will ultimately be theatrical presenta tion electronically, a nd wh ile we don' t think it's quite ready yet, the technologies arc now starting to develop that will give u~ the Image brightness and the size that will lend more credence to electronic delivery. So Sony has really quite a strong area of interest in 35mm elec­tronic production, the post-produc­tion associated with it, and then dis­tribution."

Tile Bottom Line? Is the bottom line to make video

look like film? Whittingham was asked.

·we really do believe that video has a look associated with it, 35mm and 16mrn each has a different look, and liD has a look of Its own," the Sony executive replied. "We don't say that bccau~e it's the right political thing to say, so that it doesn't rub

CSC NEWS Novembet 1991 7

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a CSC NEWS NoYember 1997

sensitivities the wrong way. We just look at it subjectively, and it looks dif· ferent. You can try to create the film look if what you're trying to do is to integrate it into otherwise film pro­duction, but there may be other occa­sions where the reality look, which is achieved by video's ultimate three­dimensional-imaging properties, may be better suited to virtual reality sys­tems.

•we see video as another tool, just like an artist will change the brush and the blend of paints that he's using."

Is it possible that someday people won't really remember what film looked like?

Wh!ttingham said he recently vis· ited a Sony retail store with some o ther senior Sony executives and watched a digital video disc playing on three different projectors, each with d ifferent setups. "In one case," he recounted, "the picture looked very lifelike and in the other two cases it looked hIdeous. The one that looked best had been set up in movie mode, which on that projector represents a desaturation of colour and the con­trast ratios are changed."

He said it was "far more theatrical in its nature than the harsh news look" of the others, set in standard mode. "That says to me that we have come, for one reason o r another, to accept that as the standard of quality for entertainment in a theatre, and if we're trying to do that electronically a t some point in time, our objective shouldn't be to try to make HDTV look better. If this is what the industry at large and the conswner at large feel is what should be delivered in a the­atre, whether a home or commercial theatre, we've got to strive to achieve the closest proximity to that as we can.

"In my home, I make a point when a movie is being replayed to put the video projector in the movie setting and turn down the lights in the room to .give myself a more theatrica l expe­rience. There are many of us­although because we work for a video company we're often seen as the enemy by some cinematographers­who in reality appreciate the craft of cinematography as much as the next person.• e

TECHNICALLY Sp~!ij~

COMMAND POST H AS A M ILO IN THEIR TOYBOX

11WE CAN NOW GIVE NEW IMAGES TO THE COMMERCIAL AND FILM INDUSTRIES."

Tony Willis and Emily Wong are the visual effects specialist and producer, respec­tively, who get to play with the amazing motion control gadgets in the Toybox. That's the name for Command Post's motion control and visual effects division in Toronto, to which Willis and Wong have brought their talents from Hong Kong. Willis, with an industry background of 18 years in London and Asia, demonstrated the latest Toybox

~cquisition to CSC and other cinematographers at Command Post on Sept. 22. His description of the versatile and steady Milo system from Mark Roberts Motion Control, London, follows on page 12.

CSC NEWS November 1997 9

·,

Clainnont Strobes: inexpensive, run on no volts,

~to use, need no special technician, so you

control the lighting Strobe lighting is no longer a mysterious skill.

Since 1985, Clairmont Strobes have made it simpler. They work with your production

camera - we'll show you ho\v. Lights, camera and backup, all from one familiar source.

A t any speed, strobes have to ft fire in exact sync with the shutter of the camera you use. It's a good idea to get the lights and the camera from the same place, so they all work smoothly together.

All one package With our Strobes, the camera can be the one you're renting any­way for the non-strobe footage on that same commercial shoot. You prep the Strobes as part of the regular camera package and Clairmont then stands behind the whole system. If you need to be shown how the Strobes work, we're more than happy to do that­either at the prep or before.

No technician Camera crews have been handling our Strobes themselves since 1985. There has never been a special technician asking you what Tstop you need and then positioning the lampheads. With our Strobes, you position the heads, without ad­vice or suggestions.

Less ex pensive in three ways

Xot II iring a special teclmician saves mom~y; so does not rentiug a special ultro-lliglt-speed camero I hot eots jilm. Our .Strobes olso save yon money by costing a lot less to rent. 1\ tllree-llead ('lairmottL Strobe parkagt• i~; obout 30% less expensive tlttm tile l'Ompetitiou.

Tabletop anywhere Running on 110 volts can be a money-saver, too. On location, you just plug into the wall. (One 15 amp circuit per head.) You don't need to tap (illegally) into the 220 volt feed at the building's main panel.

Location interiors are generally cheaper than sets built on 220 volt soundstages. And you can shoot tabletop footage wherever there's room for a table.

Easy closeups Tabletop is where strobe light really shines. Each of our heads is 17 inches long and only 7 inches wide, so it's easy to move several heads in very close for small subjects. And you can sllope the light by positioning the tampheads horizontally or vertically.

Four times lighter The rectangular shape also makes it easy to gang them. Each head puts out 100 foot-candles at 4 feet. Gaffertape four of them together and you have a 400 foot-candle source measuring 34 x 14 inches (or 28 x 17 inches) and weighing 40 pounds. That's the weight of one of the competition's heads.

Using gaffertape is no problem because strobes run cool. That also makes it easier to tape gels. Color temperature is 7000"K.

Cool running helps with tabletop food

1\nother benefit of coot nnming is that ice cream won't melt as quickly and lettuce doesn't witt. The condensation on refrigerated beer bottles stays there Longer. Steam is much easier to controL.

Preview the lighting To light the steam rising from the soup, you use the Preview Box and the Sync Box to run all the heads at 61 frames per second without running the camera. At that speed, strobe flashes look almost like regular AC light. You can look through the camera and position the heads for the effect you want.

The Preview Box also lets you switch each individual head on and off while the Strobe system is running but the camera isn't. And there's a Low Power s1vitch on each Powerpack that gives you one stop less. Both the Preview Box and the Sync Box are cigarette­pack size, easy to hand-hold and adjust while you're looking through the camera.

Multiple heads, multiple cameras

The Sync Box automatically relays sync signals from the camera. It has settings for flash rate (marked in frames), film-and-eyepiece or film-only, 35mm or 16mm. You can run multiple heads from one camera or use multiple cameras and multiple heads, all in sync.

Helpful Powerpack Each Strobe head has a separate Powerpack that draws 10 to 13 amps (at 110 volts), depending on flash rate. It weighs 46 pounds and is shaped like a suitcase (6 inches wide) with a carrying handle on top. It has a red light and a beeper to warn you if you don't have a proper ground. There's also a ground lug and a 1vire that you can connect to a water pipe. A yellow light and a different beeper warn you if the voltage is too Io1v.

Important use for Strobes: theynm cool, so they make tabletop food shots easier.

Clairmont Strobes are available in London at Sammy's.

Clairmont Strobes work weU with Panavision cameras.

No change in exposure or aperture, even

if camera speed changes during the shot

Whatever your camera speed, a strobe flash fires in far less time than the shutter is open; so it's the flash and the T stop that set exposure. If you're using T5.6 at 24 fps, T5.6 will also be correct at any other speed, provided the flash recycle time is fast enough. With our Strobes, it is fast enough. You can even set the T stop and then change from, say, 5 fps to 150 fps during the shot and there 1vill be no change in exposure.

Strobe and speed: not the same thing

Two ways to make deta.il clearer: slow things dotvn (expan(l the de· tail) or sharpen things up. A Sh(trp

im(lge ofmovem.ent ·1·equi1·es c1 short e:l;posure; our Strobe's pulse flctsh lasts 1!50,000 second. Obviously, high cmnera speed isn't needecl to clarify deta·il. You can combine strobe and speed, of course-ours goes up to 150fps.

Energy and screen time Here's what the veteran tabletop Director/Cameraman Ralph Chandler says: "Strobe light makes liquids come alive. You can really see what's going on, in sharp detail. And with strobe light, you don't need to use ultra high speed to get that effect;' says Mr. Chandler, "So you can show more in the same screen time and the action keeps its energy."

CLAIRMONT CAMERA

Toronto: (416) 467-1700 ·Vancouver: (604J 984-4563

Coolmnning helps with tabletop food

tlnother benefit of coot ru.nning is that ice C1-eam won't melt as quickly ancL lettuce doesn't wilt. The condensat-ion on refrigerated beer bottles stays tllere Longer. Steam is much easier to control.

Preview the lighting To light the steam rising from the soup, you use the Preview Box and the Sync Box to run all the heads at 61 frames per second without running the camera. At that speed, strobe flashes look almost like regular AC light. You can look through the camera and position the heads for the effect you want.

The Preview Box also lets you switch each individual head on and off while the Strobe system is running but the camera isn't. And there's a Low Power s\vitch on each Powerpack that gives you one stop less. Both the Preview Box and the Sync Box are cigarette­pack size, easy to hand-hold and adjust while you're looking through the camera.

Multiple heads, multiple cameras

The Sync Box automatically relays sync signals from the camera. It has settings for flash rate (marked in frames>, film-and-eyepiece or film-only, 35mrn or 16rnm. You can run multiple beads from one camera or use multiple cameras and multiple heads, all in sync.

Helpful Powerpack Each Strobe head has a sepa.rate Powerpack that draws 10 to 13 amps (at 110 volts), depending on flash rate. It weighs 46 pounds and is shaped like a suitcase (6 inches \vide) \vith a carrying handle on top. It has a red light and a beeper to warn you if you don't have a proper ground. There's also a ground lug and a wire that you can connect to a water pipe. A yellow light and a different beeper warn you if the voltage is too IO\V.

Important usc for Strobes: they ru 11 cool, so they make tabletop food shots easier.

Clairmont Strobes are available in London at Sammy's.

Clairmont Strobes work well with Panavision cameras.

No change in exposure or aperture, even

if camera speed changes during the shot

Whatever your camera speed, a strobe flash fires in far less time than the shutter is open; so it's the flash and the T stop that set exposure. If you're using T5.6 at 24 fps, T5.6 \viii also be correct at any other speed, provided the flash recycle time is fast enough. With our Strobes, it is fast enough. You can even set the T stop and then change from, say, 5 fps to 150 fps during the shot and there will be no change in exposure.

Strobe and speed: not the same thing

Two ways to make detail clearer: slow things down (e:t•pcmd the de­taiL) or sharpen things up. ;\ shm-p

image of movement ·requi1·es a short exposure; our Sti'Obe's pu.lseflash lasts 1!50,000 second. Ob!Jiou.sly, hi.gh camera speed isn't needed to clarify detail. You can combine st?·obe and speed, of course- Om'S goes up to 150fps.

Energy and screen time Here's what the veteran tabletop Director/Cameraman Ralph Chandler says: "Strobe light makes liquids come alive. You can really see what's going on, in sharp detail. And \vith strobe light, you don't need to use ultra high speed to get that effect;• says Mr. Chandler, "So you can show more in the same screen time and the action keeps its energy."

ClAIRMONT CAMERA

Toronto: (416) 467-1700 ·Vancouver: (604) 984-4563

i

LAPTOP COMPUTER CONTROl. UNIT (I'I.AIR)

The Technique of Motion Control By Tony Willis

Motion control has changed a lot since its inception by Industrial Light & Magic in

Los Angeles. it has progressed from long exposures (three to I 0 seconds per frame), model and matte stage work to high-speed portable rigs linked to computer graphics systems by data.

Toybox's latest high-speed motion­control camera system is portable in nearly any location; up and running In one hour. it Is a dolly, a crane and an effects system in one. Programming is relatively easy, using a hand-held jog box to move the sys­tem around. Then it is a matter of storing each axis movement into the laptop. This data can then be manipu­lated in the graphics program, and there are various ways of helping the system to achieve the correct move.

12 CSC NEWS Ncwembo< 1997

Our Sept. 22 demonstration showed a slow-speed motion-con­trolled manoeuvre through all the axes, then repeated it at high speed­exactly the same movement for each. This same move could be rerun all day at different speeds and in different locations.

The axes consist of track, rotation, lift, boom, boom extend, pan, tilt, roll, zoom, focus and iris. Each axis works either individually or all together as one movement, called tar­get tracking.

In this mode, you can track any object by a measurement from the film plane to the object. Once this fig­ure has been measured, you put the figure into the laptop and now you have a target point. With this method, you can also output the rig data (axis target data) and its move-

ments to a CG (computer graphics) system.

Motion control is all about the ability to control the camera and sys­tem to repeat the move. In its simplest form, you can shoot a stop-motion element, where you take something in the shot, go in and move it, and repeat this frame for frame. Take this example to the next level, now change the shooting exposure and shoot it. Now add a live-action ele­ment into the mix, then shoot a time­lapse keyed image back into the shoot.

Then you start playing with your lights, changing colours and densities as the camera moves. All this can then be com posited and colour corrected in the digital domain. The difference is that we have been using reality and physical elements to put our image

together. This can then be added to with CG elements or miniature shoots.

Now you do have the ability to mix imagery. Now you can add a high-speed system to this mix and you have a d edicated controlled m otion/motion control camera mover. Working within its environ­ment and physical limits, this type of camera system gives the total option o f how you now go about effects work.

We now have a system in Toronto that Is more user friendly, and very flexible within its operating envelope. It also adds a new mix to shooting anything from a "pack" (package) shot to high-speed shots, forward or reverse. With new add-ons happening soon, Arri 435 being one, we can now explore a mix of camera effects pho­tography and live-action photogra­phy, and give new images to the com­mercial and film Industries.

Ou t in the Country Our demonstration included a

screening of Canadian country singer Paul Brandt's latest music video, now playing on the COuntry Music Television cable channel.

Filmed in colour 35mm, the four· minute video was shot completely in motion control in two locations, on a hill in the Caledon Hills north of Toronto and back in the ciry at the cor­ner of Bay St. and University Ave.

We shot Brandt at 30 frames per second in real t ime in sync with the music. He's in five different places in five different shots; basically, every five seconds he's in a different place. We programmed each move in about 10 minutes and then, with the system rigid on its rails, we did all the shots. We also shot a herd of galloping horses at 60 frames a second on the same hill.

For the series of sequences at Bay and University, we put the rig back up and Just levelled the rails; as long as we were level we knew we were in the same position we were in out in the field. We reloaded the software with all the various moves and reran it, at one frame a second to time-lapse some street sequences and at 30 fps to shoot Brandt in the downtown location.

None or these series of clements needed to be keyed-we could Just use soft-edge wipes-because the rig stayed solid even though we were travelling up and down all day at high speed. As long as we knew roughly where Brandt was, we did a soft-edge wipe round him; you wipe the shot from back­ground plate A to background plate B. No keying means saving a lot or time, effort and money.

We took thiS big rig out on location and did IS shots a day with maybe seven layers in each shot, and every single scene had live action. Some were shot forward and some reverse; it mal<es no difference to the system, which is also flexible enough to permit shooting without a storyboard. We just made quick revisions to the program whenever a sequence change was required. e

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CSC NEWS Nowtmber 1997 13

·THE CS€ IT Down Memory Lane with Ron WegodJa esc Montreal cinematographer Ron WeF,da esc, with a long career full of memorable

experiences, takes us on a couple of "tripa ~Memory Lane." They are personal, tape-recorded narratives of location work on a major Hollywood feature and the bedding

of a Beatle--and next month he11 recall one of the greate5t boxing matches of all time.

Wait Un til Dark This is an account of the two-day,

full-scale location shoot mounted in Montreal by Warner Brothers for Wait Until Dark. You can clearly see snow on the ground in the street scenes and it was cold, so I would estimate that the date was probably late February, 1967. The copy of the final shooting script I have is dated November 25th, 1966.

I was hired as the second-unit and 8-camera operator and as my assistant I had jim Grattan, a fellow CSC member. On the first-camera unit, the director of photography was Charles B. 1.ang Jr., who had won an Academy Award in 1933 for A Farewell to Arms. liis operator was Kymie Mead, anoth­er veteran from Hollywood. Another interesting fact about Lang is that, although he had only one Oscar, he had at least 14 nominations, which to these guys in Hollywood is every bit as valuable as the Oscar itself.

The scenes we shot in Montreal for the opening of the movie represent about the firs t 4 1/2 to five minutes of the film- some of the scenes had the main titles running over them. We shot in a disreputable rooming house ott o f St. Louis Square, which runs off St. Denis Street. And then we shot out at Dorval Ai rport.

The producer of the film was Mel Ferrer, who was the ex-husband of Audrey Hepburn, who played the lead as the blind girl in the picture. I had a couple of chats with Ferrer and found him to be a most charming individual, very urbane and really a pleasure, not the usual type o f sharp Hollywood producer that one comes across.

It was a very interesting shoot, and

14 esc NEws~,., 1997

those of us in Montreal welcomed the opportunity to work with a fi rst-class Hollywood crew. We had all the eqyip­ment we needed, including a small crane which I believe we didn't actual­ly use. And the 8 camera I was in charge of . . I don't think we shot more than two shots. So we were able to observe l.ang doing his lighting. and if you have seen the picture, you know that the lighting is absolutely superb, especially the sequences in the dark.

(Edito r's note: James Grattan esc is a Full Li fe Member living in retire­ment in Mo ntreal. Audrey Hepburn was nominated for an Oscar for Wai t U11HI Dark, di~cted by Terence You ng.)

Jolin and Yoko This next trip down Memory Lane

is about the john Lennon/Yoko Ono lie-in at the Queen Elizabeth Hotel in Montreal during the week of May 29th, 1969.

I received a call from the assign­ment editor at UPITN in New York that Lennon and Ono were going to arrive in Montreal at around four in the afternoon and would be going directly to the hotel to start one of their He-ins. I was there when the lim­ousine pulled up In front of the hotel and photographed them getting out with a considerable amount of bag­gage and also Yoko Ono's young daughter. I photographed them check­ing in at the front desk, and I rode up in the elevator and photographed them entering their room. They then indicated that was it for then, and closed the door on me.

I shipped the film to New York and

thought that was the end o f th i gs. However, t he following morning UPITN calle<J again to say ont0f their cUents, WNEW-TV in New York, was sending a reporter to do a specia l on this event. They asked me to put on another crew to photograph myself and the reporter going into the room, and my good friend, jim Grattan, obliged.

Inside, it was an incredible scene. There were people all over the place doing interviews-at least two differ­ent radio stations were going live from the suite. And Lennon and Yoko were in the bed giving interviews. My reporter, Ted Kavanaugh, placed him­self at the foot of the bed and when his turn came he asked a few ques­tions and got a few answers. Then he suggested we go into the other room of the suite and ask Yoko's daughter a few questions.

This little girl was around seven or eight, and l think she had done th is before because, when we were reach­ing the end of the interview, she sud­denly grabbed the microphone away from Ted and didn't want to let go of it. We stopped the ca mera, but she was still hanging on to the mike a nd twist­ing the cable around. So I just switched out the lights and this did the trick. She let it go.

We then went back into the main room, where most of the people had cleared out by that time. We set up the camera facing the bed as three or four room service waiters came in bearing large trays and proceeded to lay out what looked to be a pretty sumptuous meal for the pair of them. Whi le I was filming Lennon in a closeup, he looked up just as he was

about to put a fork full of food in his mouth and gave me the old middle­finger salute, but in kind o f a friendly way. Shortly after that we packed up and left.

Well, they were able to put together a half-hour film in New York, and, since I think we were the only ones shooting colour, I believe that some clips were used in the fea-

MAKING A CLASSIC: Thirty ye..n ago, Roa Wegoda m (r. re..r) was 2od-unit aod B·ca11era operator oa lacatiott shoatiog in Montre..l lor the leatore Wait Until Dot#(. starring Audrey Hepboro. Clockwise, that's operator Kymle Mood (barely visible behind the camera) aod focus poller Elmer Faobiaa, bath from Holywood; 2nd-••" d"''Per /loader Jim Grattan esc; 111d diredor TtreOKe Youag.

ture film Imagiue that was made a few weeks ago. I have not seen the film, so I can't be sure, but I feel that any colour film of that particular episode would have to have been shot by me. Anyway, WNEW was very pleased with the footage, and I was invited to New York to screen the half-hour film, on which I have a full credit as the cinematographer. e

CSC NEWS November 1997 1 s

CORPORATE SPOTLIGHT THE LAB IN TORONTO INC.

''Providing 1990s technology with a 1970s attitude~~

DEVELOPING BUSINESS: !d Higgjnsoo ts< Ill and AI Undsay are osing their combiled experieoce to nouris~ tlleir new bosioess, TN Lob io Toronto In<.

The newest fi lm lab in Toronto is called quite simply The lab in Toronto. Co-founders Ed

Higginson esc and AI Lindsay, two self-proclaimed "lab rats• with a couple of lifetimes in the Canadian motion picture processing industry, wanted to keep their new venture uncomplicated and efficient. The lab is a shining example.

"We started from an empty space and built it the way we wanted to," Higginson, The lab president, told CSC News during a tour of the immaculate plant. "We ordered what we considered to be two of the best machines from Allen Products Ltd. that go 85 feet a minute, 16mm

16 CSC NEWS N<M>mbet 1997

and 35mm. The lab area has lots of space, with its own air-conditioning and humidity control, spedal anti­static flooring in the set-up area and anti-corrosive flooring in the mixing area.,

•we had the opportunity to insulate the entire area, to stop traf­fic through that area," added vice­president Lindsay. "Exposed nega­tive comes in from a client in a black bag in a can; it goes into that envi­ronment and does not leave that environment until it's in a plastic bag in a can ready for shipment. •

• All the people we have helped design it," Higginson said. "It's a lab built by lab people."

The people include John Walsh and Bernie Gomes, both vice-presi­dents or operations, and quality con­trol manager Ross Chamberlin. That professional trio accounts for nearly a century of combined experience at 183 Carlaw Ave., where, Higginson said, "We're providing 1990s tech· nology with a 1970s attitude."

Practice makes perfect, and there arc history books shorter than Higginson's and Lindsay's resumes.

Higginson, who maintains h is esc membership proudly, started shooting freelance with CBC-TV when it went on the air in 1952 and stayed with the corporation as a con­tract cameraman for 19 years. He and jack judges opened Best Film Labs in Toronto in 1954 to do CBC work, but he withdrew from that enterprise when the CBC posted him to London from 1961-65 to cover Europe and the Middle East.

He then went to CTV for about seven years under contract, free­lanced for a while and started PFA (Production Filmmakers Associates) in 1972 with four o ther partners. In 1989, he sold his interest in PFA, which later became Medall ion/PFA, a lthough he stayed on staff for a year. After a year off, he went to work with li ndsay at Spot Labs, then moved to Agfa as national accounts manager, "three months before they stopped making motion picture camera stock.,

Lindsay worked 14 years at Pathe in Toronto before moving to Eastern Film Labs in Halifax in 1974. He came back to Toronto in 1976 to join Spot, where he rose to general manager over 20 years that ended with Spot's demise last year.

After the respective stings of Agfa and Spot, Higginson and Lindsay got together in June of 1996 and "started talking." The Lab resulted and, said Lindsay, "we did our first job on jan. 6, 1997. Business has been excellent."

"There's lots of space for more work," Higginson added, "but we're happy with the way it's going and the clients seem happy. We're slightly ahead or target, and we're getting work from the Atlantic provinces and some from the Prairies as well as from the Toronto area." e

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esc NEWS November 1997 1 7

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ra esc NEWS Nowtmber 1997

ROSCO SHOWS GOBOS Plartlme Proves Popular

Rosco Laboratories Ltd. presented a Ligllti11g with Gobos show for €i lm and theatre production profes­sionals on Sept. 26 as part of Its one--day Master C lass seminar at the Unive rsity of Toronto. joshua Alemany, Rosco's product manager for pat­terns and colour, conduct­ed the gobos demonstra­tion, whi le Tracey Cosgrove, manager for paint and scenic shop products, introduced Creating Scenic Surfaces.

Complete with theme music, the pre-designed lighting with Gobos pre­sentation featured a 26x32-foot box truss, 16 feet high, set up on the apron of the stage in the university's MacMillan Theatre. Four Clay Paky super scans and 40 Source Fours, many with Wybron colour scrol lers, made up the rig. All nxtures included one or more of the new gobo products from Rosco.

Featured new products were I mage Glass, Color­izers, Spectrum Gobos and Photo Gobos, all designed for optical lekos using 575-watt bulbs or moving light fixtures. Image Glass Is heat-tempered glass in six styles to blend light, offer­ing textured high lights; Colorizers are heat-tem­pered glass in 10 styles, with colour silk.screened and baked on to add multi· layers of colour to a light; Spectrum Gobos are single or multiple dichroic colours

that can be custom made into almost any graphic image; Photo Gobos offer 12,000dpi standard resolu­tion or 24,000dpi high reso­lution black-and-white pho­tography on heat-tempered glass.

After the formal show, it was playtime-a popular opportunity for the audi· e nce to come up on stage to check out the new products.

IN MEMORIAM Edward Thomas (Ted) Parks esc, CD

The CSC sad ly acknowl­edges the death in Victoria, B.C., on Sept. 14, the day before his 68th birthday, of Edward (fed) !'arks esc, a career cinematog.rapher in the Canadian Armed Forces whose exploits behind tl1e camera covered over two decades o f military life and times. His daughter, Deborah Parks of Toronto, is an award-\'1.tinning cine. matographer in her own right and was featured with her father in a special "two generations• issue of the CSC News in March, 1992.

Deborah says her father "was very proud of his suc­cess as a photographer and cinematographer and when he was able to put the let­ters esc after his name, it meant the world to him. His love of the medium has had a great effect on the chosen career paths of both me and my brother, a corporate graphic designer

•

in Toronto." Raised in Winn ipeg, Ted

Parks watched four older brothers go off to Europe during the Second World War and, a lthough too young for wartime service, followed in their footsteps by joining the RCAF as a reservist at the age of 20. Selected for the regular force three years later, he was posted to Ottawa to train in black-and-white photogra­phy and in 1956 was named to the motion picture team.

He started by shooting survival and training films in canada's North and High Arctic regions, then moved "with us in tow, • Deborah recalls, "to France during the Cold War, a year before the erection of the Berlin Wall and the Cuban missile crisis. His work there took him to Belgium, West Germany, Sardinia and Cyprus, attac-hed to the 42Jst fighter squadiOn_ He became greatly involved in the life of this elite squadron, which was responsible for surveillance photography over Europe and North Africa, and I believe this was one of t he

months covering military sea manoeuvres or war games in the Caribbean and the desert. "He travelled the world extensively as a lead­; ng military cameraman," Deborah says, "and shot many of the training and promotional films for Canada's acrobatic flying teams, the Golden Hawks and then the Snowbi rds.

"Whether it was the Queen's first visit to canada in 1954, Canada's first open-heart surgery (per­formed at the Tri-Servlce Military Hospital in Ottawa in 1966), or covering the canadian Navy's excursion to Leningrad In 1977, he was there_ He told the sto­ries and brought home the mementoes of his adven­tures."

Deborah says her dad took early retirement in 1978 "and moved to Victoria with my mother and did not shoot motion picture film again. He was tired and not well, but he rema ined a photographer in the community to the very end. " She says he had always photographed sports, school, weddings,

Christmas and va­cations, along with the life of the mi litary communi ­ty and personal photographic es­says on his exotic postings.

Ted Peds "' was photographed with his claugltter, Deborah, just two weel<s before his death_

Deborah, who now cherishes her father's prized 1962 German Rolleiflex­twin reflex, says of her dad: "We cele­brate your life and your contribution

most satisfying periods of hh life.•

Back In Ottawa later in his career, Parks and the motion picture team spent

to thi~ grPat indus­try and of an era now past."

Ted Parks esc Is sur­vived by his wife, children and grandch ildren. He took pictures of all of them. e

Whether lighting a desert or a broom cloSC't, f'iJming a termite colony or critical focusing-Ani has chc lights, the lenses and the cameras thai will make your job th:u much easier.

SALES. SERVICE & DEPENDABILITY. ARRI CANADA LIMITED ~33 Homer A,·e .. Unit II &obicokc, ON MSW 4Y4 Tel: (416) 255-3335 or (800) 379-AAAI F.x: (4 16) 255-3399 email: @arrican.com (mernct: http://www.arri.com

esc NEWS No;,mber 1997 19

lANe:•= AND ARAIA.DILWS (feature); 2nd : Joe Micomonaco; Nov. 14 in Ottawa and N.S.

-lii.A•CKJ.•CK (pilot); DOP: Bill Wong esc; Op/SC: Peter Rosenfeld; B<am Op: Mark Willis; to Nov. 28. po<; PARK (feature); 1st jeff Hohener; Tr: 1iina Martin-Lucas; to Nov. 28. f X: THE SERIES (series); B<am 1St: Colleen Norcross; to jan. 4. f 'tL Bs Rous FOR CHRISTMAS (MOW); Op: Perry Hoffman; 1st: Christopher Raucamp; 2nd: jim Saysana; to Nov. 15. M mY!R H SAD MISTRESS (TV movie); Laszlo George esc; Nov. 3·28. NAKED CITY (2 MOWs); DOP: Miroslaw Baszak; Op: Ray Brounstcln esc; 2nd: Reni Hoz; Nov. ll·l'eb. 24. THANKS OF A GRA'Jl;FUL NATION (mini-series); Op/SC Michael Soos; to Dec. 19. UNIVERSAL SOLDJ£11 (2 MOWs); DOP: Russ Goozce; Op: J.P. Loch<"rer; 2nd-unit DOP: John Holosko esc; to Dec. 23. Wmv AT M Y BACK (series); 1st: David Perkins; Tr: Ma rk McLean; to March. DuE SoUTH (series); DOP: Milan Podscdly; lst: Phillippe Champion; 2nd·unlt DOP: Joel Guthro; to March. ONCE A THIEF (series); DOP: Bill Wong esc; Op: Keith Murphy; 2nd: jacqueline Hampton; 2nd -unit DOP: Maris jansons esc; 2nd-unit Op: J.P. Locherer; to Dec. 23. Ps1 FAcm• (series); DOP: Adam Swica esc; Op: Colin Hoult; 1st: Brad Vos; 2nd-unit DOP: Martin julian esc; to December. EARrn: FINAL CoNFLICT (series); DOP: Michael McMurray esc; Op: Drew Potter; 1st: Cudah Andarawewa; to Feb. 3. TRAI>ERS (series); DOP: Phil Earnshaw csc;Op: Rod Crombie; to jan. 28. FAST TRACK (series); DOP: Peter Luxford esc; Op: Henri Fiks esc; to january. .EMrtY oF NEw M oo:< (series); DOP: Steve Oanyluk esc; I st: Paul Gravel; Ldr. Oany Ch iasson; in P.E.I. to Dec. 4. NIKTTA (series); DOP: Nlkos Evdcmon esc; B<am Op: Brad Hruboska; B-eam 2nd: Courtney Graham; 2nd-unit DOP: Anton Van Rooyen; to june.

BritiSh Columbia/ Alberta A CHRISTMAS LrST (MOW); 2nd: lecily Corbett; to Nov. 4. SLEEPm•tKERS (series); B-eam Op & 2nd-unit DOP: Chrls Tammaro esc; to jan. 15. SoRROW FLOATS (MOW); DOP: Ron Stannett esc; to Nov. 24. STAIIGATE-SG 1 (series); DOP: Peter Woeste esc; to Nov. I 8. MILLENNIUM (series); DOP: Robert McLachlan esc; 1st: Gillian Stokvls-Hauer; to April POUCE A CAOlMY (series); DOP: Manfred Guthe esc; 2nd-unit 001'/0p: Neil Seale; to March. HONEY, I S11RUNK THE Kms (series); DOP: Roger Vernon esc; to March 8 In Alberta. POtTfRGEIST (series); DOl': Andreas Poulsson esc; 1st: Holly Gregory; B-eam 2nd: David Bercovicl; to May 3. TilE SrNrr~·u (series); DOl': Tony Westman esc; to April 16. ThRu (series); DOP: jonathan Freeman; Op: Randal Platt esc; 1st: Larry Portman n; to jan. 15. THE X-FILES (series); B-eam Op: Rick Kearney; B-eam 1st: Richard Eagan; 2nd-unit DOP: Attlla Szalay; 2nd-unit Op: Brad Creasscr; to May. Tilt Otmi• LIMITS (series); Op: Paul Mltchnlck esc; to May.

On Location: Barry Stone esc, DOP on Dumbarton Bridgt (feature) in San Francisco to Nov. 15; john Bartley esc asc, OOP on 71~e Visitor (series) in Los Angeles; Harald Ortenb urger esc, operator on Gloria (featLLTe) in New York to Dec. 10.

20 esc NEWS Now>mbet 1997

TORONTO

Mon., Dec. 8, 7:30 p.m.- Kodak Canada presentation and Christmas soiree. At deluxe toronto,

FOR SALE: Older·slyle Petroff 4x4 mottebox, fO< 15mm rods, with 6 slides and 3 lens rings. Three C-cnount lenses: 25mm Angenieux 10.95, 50mm Angenieux 11.5, 75mm Switor fl.9 (prefer to sell os set). Sennheiser MESO mini-shot­gun, mint. Six plate 16mm flatbed editing machine. Call Kirk at (604) 253.0047 or e­mail to K_ @compuserve.com

FOR SALE: Weaver-Stead· man bolanced fluid head with three comero brackets plus O'Conner, Nofionol Cine and Mitchell odopter rings. Recen~y repoired ond over­houled by Gerd Kurz at Precision Camero. Excellent condition, on early model in fir.l·rote working order. $1 ,500 or best offer. Call lance Carlson (4 16) 69(). 0049.

FOR SALE: Malrox studio A/B roll SVHS olf~ine system; complete • turnkey" setup: table, choir., rocks elc. Plus, 8coulieu 7008 Pro Super-S comero (used in Nike commer­ciols) with Steodicom !rocking pockage; WO<kl's finest Super· S camera to meet the exacting demands of the professional cinemotagropher. Coli (416) 533-1S13.

FOR SALE: Sony DXC537 with 601 Iinder and PVV I recording bock, $1 0,000; Canon lens B.5x 14 LF, $4,000; liffcn hozc filter,

424 Adelaide St. East. Tues., Dec. 16, 4· 9 p.m.-Ponovision Canada Open House at its new facility at 900A Don Mills Rood.

$50; nffen polorizer, $200; Century W.A. and Super W.A., $800; Canon diopter, $500; Conon zoom grip remole, $SOO; Petroff motte box, $1 ,000; Sony DXC 999 colour pen comero, $1 ,200; lenses (21 for 999, $400; power coble lor 999, $100; JVC 9" monitor, $600; 2 bot· tery belts, $500; Alexander charger, $500; 6 NP 1 As, $300; Sach~er video 2011 lri· pod, $9,000; Soch~er wheels, $1 ,200; Sochtler spreaders (2), $1 ,000; Sony video print­er CVP GSOO, $300; Sony EVO 9700 desktop editO<, $3,000. Pockoge deal ovai~ able, coli Poul Suther-lond (41 6) 423-7070/ 7784466 0< e-moil hommy03@ibm.net

WANTED: Audio/visual depl. of Emily Carr Institute of Arl & Design wonls to buy two com· plete 16mm crystal sync sound comero pockoges; eoch should include 2x400-foot mags, 12-120 Angenieux lens, adjustable eyepiece, stur­dy rood cose, quiet or blimped molion, a/ c power cord with 4-pin XLR connection. Batteries nol needed b.Jt will be accept­ed as port of the pockage, and the cameros must be cop­oble of running ot 24lps continuous crystal sync. Specilicolly interested in Arri Bl, Eclair NPR ond ACL. Send information lo Phil Jones ot (604) 844-3829, lox (6041 844- 3SO 1 or o moil pjonc>@cxiod.be.eo

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