ANADIAN OCIETY INEMATOGRAPHERS NEWS20 - PRODUCTION NOTES CSC CALENDAR visit: 8 4 12 COVER PHOTO by Nick Wall: A Viking ship slips through the icebergs of Iceland in a scene from the

SettingSailfor the GENIES

February 2007 Volume 26, No. 6

CANADIAN SOCIETY OF CINEMATOGRAPHERS

NEWS

IN THIS ISSUEAWARDS: Genie and ASC NomineesAWARDS SPOTLIGHT: Four for the ShowVIDEO FILE: Deluxe Fights Piracy

Canadian Publications Mail Product Sales Agreement No. 478423

CSC February 2007.indd 1 31/1/07 09:26:31


The Canadian Society of Cinematographers was founded in 1957 by a group of Toronto, Montreal and Ottawa cameramen. Since then over 800 cinematographers and per-sons in associated occupations have joined the organization. Our members now represent the film and video community in all ten provinces. Our aim continues to be to promote and foster the cause of cinematography and the interests of the Canadian film and video community. We facilitate the dissemination and exchange of technical information, and endeavor to advance the knowledge and status of our members within the industry. As an organization dedicated to furthering technical assistance, we maintain contact with non-partisan groups in our industry, but have no political or union affiliation.

CSC EXECUTIVEPresident: Joan Hutton cscVice-President: Richard Stringer cscTreasurer: Joseph Sunday phdSecretary: Antonin LhotskyMembership: Philip Earnshaw cscPublicity: Nikos Evdemon cscEducation: Ernie KestlerDirector Ex-Officio: George Willis csc sascMembership inquiries: 416-266-0591

CORPORATE SPONSORSApplied ElectronicsArri Canada Ltd.Canon Canada Inc.Cine-Byte Imaging Inc.CinequipWhite Inc.Clairmont CameraCooke Optics Ltd.D.J. Woods Productions Inc.Deluxe TorontoEyes Post GroupFour Seasons AviationFUJIFILM Canada Inc.Image Pacific Broadcast Rentals /Image Central Broadcast RentalsKingsway Motion Picture Ltd.Kino FloKodak Canada Inc.Lee FiltersLorne Lapham Sales & RentalsMole-RichardsonOsram Sylvania Ltd./LtéePS Production ServicesPanasonic CanadaPanavision CanadaPrecision CameraRosco CanadaSim VideoSony of Canada Ltd.TechnicolorVideoscope Ltd.William F. White International Inc.

CSC OfficeCanadian Society of CinematographersExecutive Director: Susan Saranchuk3007 Kingston Road Suite 131Toronto, Ontario M1M 1P1Tel 416-266-0591 Fax 416-266-3996email: [email protected]: Donald Angus (416) 699-9149 email: [email protected]: Joan Hutton cscwww.csc.ca

CSC NEWS is a publication of the Canadian Society of Cinematographers. CSC NEWS is printed in Toronto and is published ten times a year. Subscriptions are available for $75.00 per year in Canada and $95.00 per year outside the country. Canadian Publica-tions Mail Product Sales Agreement No. 478423.

CONTENTS F E B R U A R Y 2 0 0 7V O L U M E 2 6 , N O . 6


NEWS

2 - PRESIDENT’S REPORT - THE BEST LAID PLANS …

4 - AWARDS - GENIE AND ASC AWARD NOMINEES

6 - AWARDS SPOTLIGHT - FOUR FOR THE SHOW

8 - LOOKING BACK - A “NEWS” FLASH FROM THE PAST

12 - VIDEO FILE - DELUXE FIGHTS PIRACY

15 - NEWS CLIPS - ART IN THE BIG APPLE

17 - CLASSIFIEDS

19 - MEMBERS

20 - PRODUCTION NOTESCSC CALENDAR

visit: www.csc.ca

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COVER PHOTO by Nick Wall:A Viking ship slips through the icebergs of Iceland in a scene from the feature Beowulf and Grendel, shot by Jan Kiesser csc asc.

2007 GenieandASC AwardNominees


The Best Laid Plans …

The cover of last month’s CSC News, which launched the new logo of the Canadian Society of

Cinematographers, was a disappoint-ment in that a dark and muddy rendition rolled off the press and into the mail, right across the country. It was a printing glitch, which we are dealing with, and we are working to ensure this kind of error does not happen again.

We apologize to our members for the problems with the January issue, one of the most important of our 50th anniver-sary year. Because we want you to see the January cover the way it was supposed to look, we have reproduced it on page three. The new logo was conceived and designed by George Willis csc sasc, with the technical help of graphics artist Rob-ert Jones.

In addition to the magazine, the new logo has been introduced on the CSC web site at www.csc.ca, in the 2007 CSC Direc-tory and on official letterhead and forms. We are excited to move forward under this new banner. We have had compliments so far from several members, and kind words,

too, from our friends Down Under. Ron Johanson ACS, vice-president/secretary of the Australian Cinematographers Society, e-mailed us: “Congratulations to all con-cerned on the Society’s new logo. A brave step forward, but I’m sure one that will be very worthwhile.”

Meanwhile, work on our 50th anni-versary commemorative book and DVD is progressing. I would like to take this opportunity to thank all the CSC mem-bers who are working on this project, and to extend our gratitude to Vancouver DOP Cliff Hokanson for his voluntary contributions to the DVD.

Cliff shot videotape interviews with Bob Crone csc, his wife Vi, Kelly Dun-can csc and Doug McKay csc at the Crone residence, assisted by Joe Klym-kiw. Equipment was loaned by Byron Drinkle at Sim Video and videotape was donated by Ron Sheehy of Fujifilm Can-ada, Vancouver.

As a point of interest, Vi Crone was a camera operator who was involved with the early CSC. In fact, she said she was the first female camera operator in Canada.

2 • CSC News - February 2007

PRESIDENT’S REPORT

Thank you to Vancouver cinematographer Cliff Hokanson for his voluntary contributions to the CSC’s 50th anniversary DVD.

The CSC expresses condolences to the family, friends and colleagues of David Ritchie, 56, who was killed in an accident on a Toronto film set Jan. 25 when a wall collapsed on him. The movie set was at 75 Commissioners St., in the port lands near Munition St. and Don Roadway. Toronto police said crews had been taking apart the set, used earlier this month. Mr. Ritchie was not connected with the CSC, but any injury or death in the film and television workplace touches us all.


Celebrating 50 Years

1957-2007

January 2007 Volume 26, No. 5Canadian Publications Mail Product Sales Agreement No. 478423


NEWS



AWARDS

Four full CSC members were among those nominated by the Academy of Canadian Cinema and Television for the 2007 Genie Award in cinematography. The 27th an-nual Genies gala was held Tues., Feb. 13, at The Carlu atop Toronto’s College Park.

The nominated directors of photography were Jan Kiesser csc asc for Beowulf & Grendel; Bruce Chun csc for Bon Cop, Bad Cop; Pierre Gill csc for Maurice Richard / The Rocket; Steve Cosens csc for Snow Cake; and Nicola Pecorini for Tideland.

The Genie Award honours the best in Canadian movies.Maurice Richard / The Rocket, a film about Quebec’s greatest hockey player, collected

13 nominations, including best picture, best cinematography, and best director – Charles Binamé. A best actor nod went to Roy Dupuis, who played Rocket Richard, and Julie Le Breton was contending for best actress.

Érik Canuel’s Bon Cop, Bad Cop had a second-best 10 nominations, including best picture, best director and cinematography. Colm Feore and Patrick Huard were both up for best actor for their roles in the movie, which displaced Porky’s as the all-time top gross-ing film at the Canadian box office. Canada’s other box office success in 2006, Trailer Park Boys: The Movie, received a best picture nomination, along with Un dimanche à Kigali and Guide de La Petite Vengeance.

2007 Genie Award Nominees for Cinematography & ASC Feature Film and TV Award NomineesDavid Moxness csc Nominated by ASC for Smallville Episode


CSC News - February 2007 • 5

For the quartet of CSC members among the five cinematog-raphy nominees at this year’s Genie Awards – Pierre Gill csc, Bruce Chun csc, Steve Cosens csc and Jan Kiesser csc

asc – the films they created are carefully crafted contrasts in styles and objectives.

A best picture contender, the Quebec feature Maurice Richard, in French, and The Rocket, in English, recalls in dark tones and muted colours the tempestuous career of one of Canada’s most famous and fiery hockey warriors. To fit the period of the 1940s and ’50s, DOP Gill wanted lots of black. The drama of the images reflects the intensity of the story.

Chun, another Montrealer, found his work on the action-packed comedy/melodrama Bon Cop, Bad Cop to be a challenging mélange of well-lit broad comedy, eerie darkness and explosive violence. It is a roller coaster of sensations – a surprise at every turn – and audiences went to see it in record numbers. It was also up for a best-picture Genie.

The quiet, relatively obscure Snow Cake, a romantic drama with emotional hurdles, was lensed warmly and sympathetically by Toronto DOP Cosens. Starring Alan Rickman, Carrie-Anne Moss and Sigourney Weaver, Snow Cake tells the story of a man, traumatized by a tragic accident in his past, who becomes friends with an autistic woman. No hockey, no cops.

At the opposite end of the scale is the heroic epic Beowulf and Grendel, shot magnificently by Kiesser on remote locations across wind-swept Iceland. The Canada-UK-Iceland co-produc-tion received limited distribution and was roughly treated by most reviewers, but Kiesser’s cinematography was called by Variety, among other plaudits, “visually arresting.” The trade magazine said that “visually … the film is a treat. Shot entirely in the out-back of Iceland, it’s a gallery of hauntingly beautiful locations, and director Sturla Gunnarsson skillfully uses its bleak otherworldli-ness to distance us from anything familiar and evoke a lost heroic age.… Stark, barren Icelandic locations stand front and centre in Jan Kiesser’s muscular widescreen compositions.”

Nicola Pecorini, for his work on Terry Gilliam’s fantasy, Tide-land, was the fifth nominee. With Steadicam inventor Garrett Brown, Pecorini founded the Steadicam Operators Association in 1988. His camera operator and second-unit DOP on Tideland was Mark Dobrescu csc. cont’d on next page

David Moxness csc has been nominated for an ASC Award in the episodic television competition for “Arrow”/Smallville.

Meanwhile, the ASC announced that Emmanuel Lubezki, ASC, AMC (Children of Men), Dick Pope, BSC (The Illusion-ist), Robert Richardson, ASC (The Good Shepherd), Dean Semler, ASC, ACS (Apocalypto), and Vilmos Zsigmond, ASC (The Black Dahlia) were vying for top honours in the feature film category at the 21st annual American Society of Cinematographers Out-standing Achievement Awards competition. The winner was an-nounced during the awards gala on Feb. 18 at the Hyatt Regency Century Plaza Hotel in Los Angeles.

This was the eighth ASC nomination for Richardson, the third for Zsigmond, who won in 1993 for the telefilm Stalin, the second for Lubezki and Semler, and the first for Pope. ASC Presi-dent Daryn Okada noted that all five nominees trace their origins to different countries. Semler was born and launched his career in Australia, Zsigmond in Hungary, Lubezki in Mexico, Richardson in the United States, and Pope in England, where he still resides.

The ASC also announced 10 nominees in the two television categories. The finalists in the Television Movie/Miniseries/Pilot category were Thomas Del Ruth, ASC for Studio 60 on the Sunset Strip (pilot); Adam Kane for Heroes (pilot); Walt Lloyd, ASC for The Librarian: Return to King Solomon’s Mines (telefilm); Bill Roe, ASC for Day Break (pilot); and John Stokes for the “Umney’s Last Case” episode of Nightmares and Dreamscapes: From the Stories of Stephen King (miniseries).

The nominees in the Episodic Television competition were Toronto/Vancouver DOP David Moxness csc for “Arrow”/Smallville; Eagle Egilsson for “Darkroom”/CSI: Miami; Nathan Hope for “Killer”/CSI: Crime Scene Investigation; Bill Roe, ASC for “What If They Find Him”/Day Break; and Gale Tattersall for “Meaning”/House M.D.

This was the 11th nomination for Del Ruth, the eighth for Roe, and the third for Hope. Del Ruth has earned top honors four times for his work on ER and The West Wing. Roe previously won for episodes of The X Files, and Hope took home the award the last two years for CSI. It was the first nominations for Egilsson, Kane, Lloyd, Moxness, Stokes and Tattersall. •

Four for the Show

CSC Genie Nominees

Push Action and Emotion

By Don Angus

AWARDS SPOTLIGHT


AWARDS SPOTLIGHT CONTINUED

“We wanted to make a period film that speaks to modern audiences,” Pierre Gill said about Maurice Richard / The Rocket. “Given the subject and the budget, some people might have chosen to play it safe, but we didn’t hesitate to take chances when that was what it took to tell this story.”

Director Charles Binamé asked his collaborators to work with a muted co-lour palette, including some pastel hues, reddish browns and steel blues, Gill told the CSC News last year (see CSC News, February/2006). “I encouraged the pro-duction designer to be bold with darker paint colors. I told him to paint it black

if he wanted but to make sure I could get a reflection. That allowed me to get a nice blend of color and light.

“The costumes also helped depict the period. For example, during the late 1940s and 1950s, most people wore hats, many with a brim that shaded their eyes. Often, I didn’t add any fill for their eyes. When they look up, and their eyes are revealed at the right moment, it makes the scene even stronger.

“I also wanted dark images with lots of black,” said Gill. “I lit the actors with side and top light, and sometimes I put a highlight on something in the deep back-ground for depth. I wanted dark walls so that the faces come out first.”

Gill shot in Super 35mm using three-perf film coupled with timing in a digital intermediate (DI) suite. He convinced the producers that the three-perf, DI approach could save money in addition to gaining a

creative edge. He was able to isolate ele-ments of shots and alter light and dark-ness, contrast and colours in a fraction of the time it would have required on the set, and fine tune looks that suited the period and the emotional flow of the story.

Almost the entire film was photo-graphed on an Arri 535 and Kodak Vision 500T 5279 film, with a few scenes filmed on Eastman EXR 200T 5293 film. Gill also decided to shoot the entire film “with the oldest set of Cooke lenses I could find. The lenses were from the 1950s, and had been modified by Clairmont Camera so that we could use modern follow-focus techniques. They are basically very old lenses in new casings. There is no coating, so there’s a more romantic look, and they flare like crazy. We were a little worried about the flare until one day in dailies, the lens flared and it really made the scene. Af-ter that we tried to include more flares.”

‘I wanted dark images with lots of black’ – PIERRE GILL CSC

Bon Cop, Bad Cop was a jumping con-test for Bruce Chun. The hit film was such a mixture of styles, moods and tones, that, despite its humour, it couldn’t be shot as just a broad comedy.

The script, Chun explained, “jumps back and forth between several different types of storytelling, mood and character – from broad comedy to action to the dark and sinister, like murder, then back to broad comedy. The challenge was really in the day-to-day workings. We knew the tones we wanted to give to each separate mood of the film, but the way they were put together meant that one day we’d be shooting some-thing high key, very slapstick, and the next we’d be shooting something very dark.

“We had to be careful so that the tran-sition of the broad, high-key comedy into that dark world would somehow work, that it wouldn’t jump too much.”

It’s not unusual, Chun continued, to have moments of comedy in a dark, scary

film to relieve audience tension, but nev-er before had he done anything like Bon Cop, Bad Cop. “It can take days to find the look for something that’s dark, whereas on this we didn’t have a chance. We’d shoot one day of something really spooky and then back into broad comedy or the very technical aspects of a car rig, action or an explosion where you’re setting up several cameras for several hours. You’re always shifting gears without time to find the look for each sequence because there were so many different styles.”

It was a challenge from director Érik Canuel’s standpoint, too, the DOP said, “going from somebody being killed to some goofy guy in a mascot outfit. At what point do we get funky and stylistic or at what point do we just want the story to tell itself?”

That was the “main fun and the main challenge.”

Chun said he shot on Kodak Vision2 200T (5217) and Vision2 500T (5218)

film stock loaded in Arri 535 cameras. He ran two cameras most of the time, and as many as five for action sequences. He re-counted one scene in which a car explodes with stunt doubles walking along the side-walk right next to it – no green screen, no wires. “The fun was doing it in camera so it all feels real,” he said of the sequence. He used hand-held cameras, Steadicam and a crane for that shot, with most of the foot-age at street level as close up as possible.

Overall, he said, only about 10 per cent of the shoot was hand-held. Domi-nique Ricard was A-camera operator, and Chun pitched in himself to operate in multi-camera scenes.

‘There were so many di�erent styles’ – BRUCE CHUN CSC



CSC News -February 2007 • 7

As pre-production started on Beowulf and Grendel, Jan Kiesser said he “began to appreciate that the huge vistas and rugged terrain (of Iceland) that I would be photo-graphing required logistics to get through with equipment and crew.”

For his camera package, he chose an ArriCam ST and an ArriCam LT for their lightness, versatility and ruggedness. Di-rector Sturla Gunnarsson and the DOP “knew we needed to maximize our oppor-tunities for multiple camera setups and 2nd unit as well as having a backup camera body. I chose Cooke S4 lenses, which per-formed incredibly well and handled bright light sources such as torches and the sun in the frame very nicely.”

Every day on the shoot offered its own unique and difficult obstacles, Kiesser re-called. The first day was no exception. The crew was shooting a replica Viking ship in an iceberg lagoon in remote southwest Iceland.

“This location and situation offered some breathtaking images we achieved using both long lenses for land-to-water shots of the ship within the icebergs, and hand-held wide-angle shots onboard the ship that spoke of a different time. The challenge on this day was that the bilge pump was not able to keep up with the water seeping through the dry hull – the ship had been dry stored for many years – making us race to get our shots before it became too dangerous for the people onboard.

“I strove to keep things as simple as possible,” Kiesser said, “considering the limited budget and the tight schedule,

with short days, increasingly lower tem-peratures and inclement weather toward the end. We had a fairly simple lighting package: HMIs consisted of a few 18Ks, 6Ks, 4Ks and 1.2K Pars. The tungsten package was an assortment of 10Ks on down to a couple of Peppers, a few Kino-Flos, lots of Par 64s and some Maxi Brutes for additional punch.”

He said that “from my first introduc-tion to the exterior sets, I was concerned as to how we would be able to light the night scenes in such a vast landscape considering the historically high wind conditions. The wind velocity when we were shooting at night was in the area of 60 to 100 kilome-tres an hour, usually with driving rain or dirt and stones.

“It made it impossible to use any kind of cranes or lifts to get lights high into the air in order to get some spread. Quite often I resorted to backlighting the exist-ing atmosphere from the ground or plac-ing some bigger lights on some of the hills that surrounded our set. In the end I

would put lights where they could be safe and accessible, then manipulate the bal-ance and exposure to obtain an image that supported the scene.”

Kiesser continued: “The majority of our interior scenes were in the Meade Hall that was built as a functional structure for both exteriors and interiors. The interior offered some protection from the elements, but through the schedule we encountered more and more difficult weather condi-tions. The fatigue of the crew increased, we had three base camps blown away, and we shut down for three days because the blowing rocks made it too dangerous to get to the set.

“Daylight became less than six hours with the sun getting to 10 degrees above the horizon at its maximum elevation. But at the end, snow on the landscape provid-ed an odd contrast as we finished shoot-ing our final interior scenes in sub-zero weather in a cave with a waterfall built by our brilliant special effects coordinator, Richard Conway.”

‘I strove to keep things as simple as possible’– JAN KIESSER CSC ASC

STEVE COSENS CSC was not available for comment on Snow Cake, but he e-mailed that one of his most recent efforts, the feature The Tracey Fragments for director Bruce McDonald, was the opening night film in the Panorama section at the Berlin International Film Festival this month.

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FOOTNOTE: Sturla Gunnarsson and Jan Kiesser csc asc are guest speakers at the Toronto Camera Club on Thursday, March 15, from 8 to 11 p.m., talking about shooting the movie Beowulf and Grendel. VENUE: 587 Mount Pleasant Road. Tickets available for $10 at the door on the night of the lecture, as space permits. Go to www.torontocameraclub.com/lect

Jan Kiesser csc asc looks a little anachronistic among this group of interested Vikings as he uses his Mac laptop to set up a scene for the epic feature Beowulf and Grendel. That’s director Sturla Gunnarsson on the DOP’s right and over his left shoulder is Gerard Butler, who plays Beowulf. Kiesser explained: “We are reviewing rehearsal footage I shot on Mini-DV then edited on FinalCut Pro to illustrate the movement required in the staging of a sword fight sequence.”

Wind, cold, rugged terrain and short days were a few of the obstacles that faced Jan Kiesser csc asc and his crew on the Iceland shoot of Beowulf and Grendel.


It’s yellowed and a bit tattered now, al-most 50 years later. It wasn’t a thing of beauty to begin with. After all, it was just

a rough worksheet or mock-up of a four-page bulletin that would be retyped, mim-eographed and mailed to some 50 people, all of them men with a common interest: Cinematography.

George Morita csc, who was a young camera assistant for master craftsman Fritz Spiess csc when he joined the brand new Ca-nadian Society of Cinematographers as an associate in 1957, kept this original draft of the very first CSC newsletter all these years.

He came by the document when he was recruited by Fritz to take on the job of sec-retary. “There was a tense moment for me during one of the early meetings, which has

a comic twist in retrospect,” Morita recalled. “Some of the group felt that only full cam-eramen could be members of the Society and that assistants should be excluded. As the de-bating continued – and I dutifully contin-ued to record the proceedings as secretary – I thought I might have to leave the room if the voting went against including assistants and try to eavesdrop from the hallway to com-plete my minutes!”

Morita, who went on to become a re-nowned Toronto-based director of photog-raphy and a legend in the world of commer-cials, said he thought the relic might be of interest as the CSC celebrates its 50th anni-versary this year.

The paper is simply a pasted-up layout sheet of what became the inaugural com-

muniqué from the fledgling Society to its earliest members. It is dated OCTOBER 1957, a month after the CSC was officially launched. The front-page masthead bears three lines, hand-printed in ballpoint pen:“To promote and foster cinematography in Canada”CANADIAN SOCIETY OF CINEMATOGRAPHERSOCTOBER 1957 – 1202 Woodbine Ave. Toronto 13, OXFORD 8-1628 No. 1

The two-column front page features the first paragraph of a “Greeting from the Presi-dent of C.S.C.,” signed by Herbert S. Alpert csc asc, the Society’s first pro-tem president. Below that is a long, blank space, presumably for an article or an advertisement to come.

Appearing in the right-hand ...see page 10

LOOKING BACK


HISTORY IN A RAGGED NEWSLETTER ‘Drop us a post card with the dope’ By Don AngusNO. 1:



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column is a short article by Julian Roffman, an “internationally known film maker” who was among the charter members. In 1961, Roffman produced and directed the 3-D fea-ture The Mask, with Alpert as DOP and Sam-my Jackson-Samuels csc (Sammy) as camera operator. (More on the making of The Maskin a later issue. Was it the forerunner of the 1994 comedy starring Jim Carrey?)

Page 2 included a small section on Pho-tographic Assignments (who, where the members are working): Sammy had just completed a feature (unnamed) as operator and was up north shooting a mining film, while Alpert had recently completed shoot-ing on a 35mm B/W feature with the work-ing title The Runaways, and was shooting a musical pilot film at Meridian Films. There was a plea for more assignment notices: “If each member will drop us a post card with the dope it will be included in the next pa-per.”

There are several ad spaces, spilling over on to page 3, where the president’s greeting is continued below a short Questions & Answers column. The back page is taken up

with Bylaws of the Society and a “space … reserved free, for any members who would like to advise other members that he has equipment he’d like to sell, rent or swap.”

In his presidential greeting, Alpert said: “It is, of course, with great pride that I write this short note to all the members. I have long looked forward to the moment when an organization such as the CSC would come into being.

‘Constant nourishment of interest and desire … will provide

the growth of this Society’“I feel that at this particular moment in

Canadian film history an organization or so-ciety such as ours will directly help shape in some small manner the course the industry will take.” After pointing out the bylaws on the back page, Alpert noted that the purpose of the Society “is to promote and foster cin-ematography in Canada; to develop the mu-tual interests, and to provide the membership with technical information to enable the im-provement of their professional status.”

He closed with: “It is only through the

constant nourishment of interest and desire will we, as members, provide the growth of this Society.… It is my hope that the CSC will represent the hallmark of professional Canadian cinematography.”

Julian Roffman’s article waxed optimis-tically: “With the first flicker of film on a nickelodeon screen, the link between the cameraman and the art of the motion pic-ture was forged into a bond so solid that half a century of production has only served to strengthen the contribution of the camera-man as a craftsman and an artist.

“In Canada, the growing list of inter-national awards for both government and commercial films attest to the status of the cameraman as a vital collaborator in the cre-ative effort of film production. The produc-tion picture is slowly changing in Canada. New demands in different fields of produc-tion will call forth the development of new and more exciting techniques from the cameramen in Canada. A distinct style and technique of dealing with light and shade will emerge to bring further recognition on world screens. Canadian cinematography

will take its place alongside the major contributions of the finest cameramen of the world.”

Finally, how about those Questions & Answers? There were two in issue No.1:

Q. Where can I get some info on aspect ratios and aperture dimensions of all the different screen systems? HGB Tor.A. The ASC Handbook by Jack-son Rose and from the Society of Motion Picture and Televi-sion Engineers, 55 West 42nd St., New York 36, N.Y. They have a booklet titled Wide Screen Mo-tion Pictures which contains plenty of gen. Q. What will a viewing filter do for me? J.P. TorA. The viewing filter or mono-tone filter will enable you to see contrasts and relative tones as they will be recorded on film.

But wait a minute! Herb Alp-ert, said Morita, “confided in me that he had conjured up the ques-tions for the Q & A column.”

Now, if only we can conjure up a copy of the finished news-letter No. 1. •





By Solange De Santis

Nobody in the electronic confines of Deluxe Toronto’s post-produc-tion headquarters on downtown

Adelaide St. actually utters “Surrender ye scurvy dogs” or other buccaneer vernacular. That’s left to Johnny Depp in Pirates of the Caribbean or Dustin Hoffman in Hook as amusement for movie audiences.

Nevertheless, Deluxe Toronto, part of the international Hollywood-based Deluxe Laboratories Inc. film-processing company, has developed technology that is sending a shot across the bows of 21st-century video pirates.

Today’s video robbers are not a source of swashbuckling entertainment. They preyed on the motion picture industry (defined as foreign and domestic film producers,

distributors, theatres, video stores and pay-per-view providers) to the tune of US$18.2 billion in 2005, according to the Motion Picture Association of America (MPAA).

The problem is worldwide. According to the MPAA’s estimates: the U.S. film in-dustry lost $6 billion, China, $2.7 billion; France, $1.5 billion, Mexico, $1.1 billion.

According to Jeff Dewolde, vice-presi-dent of technology at Deluxe Toronto, video theft takes several forms. On the first day of a movie’s release, “cammers,” as they’re called, are sitting in movie theatres with hidden camcorders, filming the film. Illegal DVDs are on the street within hours of a movie’s premiere.

Other thieves download movies from the Internet and make copies. Still others buy a legal DVD, then make and sell illegal copies.

To fight video piracy, Deluxe Toronto has developed a division it calls Content Protection Services, with

the motto “detect and analyze.” Jeff Dewolde, vice-president of technology, is the top watchdog.

VIDEO FILE

‘SURRENDER YE SCURVY DOGS!’

Deluxe Toronto Fights Video Piracy

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One form of video piracy that’s espe-cially busy in the fall months is the theft and illegal reproduction and sale of “screen-ers,” DVD copies of movies that are can-didates for awards and sent to members of such organizations as the Academy of Mo-tion Picture Arts and Sciences (the Oscars), the Hollywood Foreign Press Association (the Golden Globes) and the Screen Actors Guild (the SAG awards).

‘If it shows up on the Internet, we can grab you’

Screeners of a film such as Dreamgirls, which is in theatrical release but not yet released commercially on DVD, are most vulnerable, said Dewolde.

“For the Christmas releases, there is a push (by the studios) to be one of the first with your screeners (to awards voters),” he said. Since awards have proliferated, the number of potential voters is huge. The Academy has about 6,000 members, the Hollywood Foreign Press about 100 and the Screen Actors Guild a whopping 130,000.

Deluxe Toronto over the past few years has developed a division it calls “Content Protection Services,” with the CSI-like motto “detect and analyze.” The unit fights piracy in several areas – film duplication, Internet monitoring and analysis of illegal, street-purchased DVDs.

Several major studios – MGM, Fox, Paramount, Sony and Miramax – send Deluxe Toronto their films for screener production. Other studios use a system developed by Technicolor. In a computer

laboratory lined with DVD duplicating ma-chines, Deluxe applies an identifying code called a watermark (after the marks used in fine paper) to each disk. “We came up with the technology – how do you recover that code and associate it with an individual?” said Dewolde.

As many as 15 staffers might be work-ing during awards season, said Stan Ford, Deluxe Toronto’s vice-president, video and data dailies. If the film is stolen and repro-duced, Deluxe can trace it back to the per-son who received it.

“There was an arrest made on some

screeners early last year, involving Babel (which won the Golden Globe this year as best motion picture/drama) and some oth-ers. They were being delivered to a mem-ber’s office and the receptionist was giving them to her cousin who uploaded them on the Internet,” recalled Dewolde.

Deluxe Toronto’s identifying technol-ogy can also trace a screener that’s posted to the Internet for illegal downloading. “If it shows up on the Internet, we can grab you,” said Ford. Dewolde noted that “an organized crime group would try to get hold of these screeners and replicate them,

On the inside, Content Protection Services looks like most other computer rooms, but technology vice-president Jeff Dewolde (seated) and Stan Ford, vice-president, video and data dailies, say that if a film is stolen and reproduced, Deluxe can trace it back to the person who received it.

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then send them via FTP (the electronic process called file transfer protocol) to Moscow and within 24 hours, they would be on the street.”

The business of identifying screeners has grown for Deluxe in recent years due to a court decision in 2003. Outraged at

video piracy, the major studios supported a move by the MPAA to ban screeners and to urge potential voters to see their films in theatres. However, smaller film producers filed suit, saying they needed the economi-cal method of getting their movies before the voters. The court sided with them and screeners were here to stay.

Deluxe Toronto has the capacity to do 8,000 screeners a day, Dewolde said. Among the films that came to Deluxe To-ronto this past year were Borat, Little Miss Sunshine, The Queen, World Trade Center and Babel.

Another major portion of Deluxe Toronto’s business is the manufacture of “release prints,” that is, copies on film that are to be projected in movie theatres. It can also apply a watermark to the prints that “allows us to identify a theatre in which illegal camcording is occurring,” said De-wolde. At digital cinemas, a date and time stamp can also be inserted by the data pro-jector at the time of showing.

Canada is a particularly active source of camcorded movies, mainly because laws here concerning intellectual property rights are relatively weak. According to a story in the Toronto Globe and Mail on Jan. 13, Bruce Snyder, Twentieth Century Fox’s president of domestic distribution, esti-mated that at one point in 2006, Canadian theatres were the source for nearly 50 per cent of illegal camcords across the globe.

Fox was able to trace the source of cop-ies of its films to several Cineplex theatres in Montreal. Snyder told the Globe and Mail that Fox was considering the drastic step of delaying the release of its films in Canada for several weeks after their U.S. release. “At least we would then have a running start before we have to start competing with ourselves,” he told the newspaper.

Downloading films from the Internet has grown and Deluxe Toronto’s forensic division monitors Web sites in several lan-guages, including Russian, Chinese/Man-darin and Japanese, for illegal use. It can analyze the source and attributes of the pirated material.

“The studios also send us bags of DVDs,” said Ford. Deluxe Toronto’s inves-tigators can analyze the plastic, glue, disk, content, artwork and graphics of a ship-ment in order to trace its origin.

(Solange De Santis is a Toronto-area arts and entertainment writer and is a fre-quent contributor to the CSC News.) •

Dean Tremblay (left) and Trevor Currier are required to be secretive about what they do in the encoding dept. at Deluxe Toronto. On this day, Currier was encoding some new DVDs while Tremblay was scanning the Internet for illegal movies.

Photo: Don Angus

35mm/16mm Services | HD/SD Telecine and Editorial | Digital IntermediatesLaboratory Evans: 416.205.8155 | Laboratory Carlaw: 416.461.8090

Postproduction: 416.364.4321



The photographic art of affiliate member Paula Tymchuk has been chosen by a New York City gallery for an exhibi-tion entitled “Tripping the Light Fantas-tic” March 16 to April 6. Three of the six images that will be exhibited at the Agora Gallery, located in the heart of the Chel-sea Art district at 530 West 25th Street, are shown on this page. The Agora’s web site (www.agora-gallery.com) has infor-mation on Tymchuk’s work.

The digital photographs of Toronto-based Tymchuk, a winner of the CSC’s Camera Assistant Award of Merit, are

investigations into the human body transformed by light and shadow. She says, “The most gratifying experience for me as an artist is when a viewer is first attracted to the image on an intui-tive level.” As a child, Tymchuk’s mother encouraged her to paint large murals on the walls of her room, so that “I began, at an early age, to tell a story within one single frame.”

At times, her images are not easily recognizable as parts of the body, and could be landscapes or fantasy construc-tions. More often than not, the picture’s

centre is a place where skin meets shad-ow, or more specifically, where the light reflecting off skin meets its opposite, to conjure a mood of deep reflection. With her inspired investigations into the vi-sual and physical, Tymchuk’s work chal-lenges the definitions of portrait, realism and images of the body itself.

She is currently publishing a photo book entitled “Freedom within the Skies.” She continues to travel, observ-ing the play of light in the world, and searching as she says, “for magnificent exposures.”

NEWS CLIPS

Digital images by Paula Tymchuk that will be exhibited at the Agora Gallery in New York City next month include (clockwise from top left) “Blossom,” “Solant” and “Turning”.

ART PHOTOG PAULA TYMCHUK‘TRIPS’ TO THE BIG APPLE



LORI LONGSTAFF HELPS FIGHTTERRORISTS ON ZERO HOUR

Associate member Lori Longstaff hasn’t yet met Jack Bauer (played by Kieffer Sutherland) on the hot series 24, but she has shared an on-set airplane seat with a real anti-terrorist hero. And she has the photo to prove it.

The Toronto-based focus puller and B-camera operator has been working since last June on the Discovery Chan-nel’s Mayday, a series about real-life di-sasters – a lot of them airplane crashes. “The series shoots re-enactment scenes, five drama-shooting days per episode. Prior to the drama, they send out a small doc crew to interview the survivors and other related stuff.” Longstaff says she works on the five drama days and on a “sister” show called Zero Hour – “same shooting style, and sometimes the same locations.”

The photo she sent us is from the Zero Hour episode “Hijacked,” shot by DOP Anton van Rooyen. It shows Long-staff and “the original terrorist rescue man,” Philippe Bardelli, aboard a mock-up of an airliner. He was a member of the GIGN (Groupe d’Intervention de la Gendarmerie Nationale), the French government’s elite counter-terrorism and hostage rescue unit, when it successfully stormed a hijacked Air France jetliner and liberated 173 passengers and crew in December, 1994. Flight 8969, bound for Paris from Algeria, was hijacked on the tarmac by four young Algerian terrorists.

Three passengers were murdered during negotiations with the Algerian government before the GIGN force stormed the plane, which had been forced to fly to Marseilles, and killed all the terrorists. Although there were several casualties, none of the rescuers or passengers was killed.

Longstaff said that “Philippe was present during the filming, so the re-enactment of the aggressive take-down -- bullets everywhere! -- was accurate. “The entire (camera) crew was so proud and grateful to Philippe for risking his life and saving all those passengers.”

WIFT INTERNATIONAL SUMMITCOMES TO TORONTO IN JULY

Women in Film and Television – Toronto (WIFT-T) has announced that it will host the WIFT International Summit in Toronto July 16-19. This year will mark the first time the event, held every two years in a different country, has been staged in Toronto.

“We are very excited about presenting this important event,” said Sue Sheridan, execu-tive director of WIFT-T. “In a global market-place, it is essential for women and men in screen-based media to network, forge new partnerships, and learn from the experiences of colleagues in other parts of the world.”

Women in Film and Television – Toronto is one of nearly 40 chapters worldwide affiliat-ed with WIFT International (WIFTI), a glob-al network comprised of more than 10,000 members dedicated to advancing professional development and achievement for women working in all areas of screen-based media.

The WIFT International Summit will bring together participants from Afghanistan to New Zealand. For four days, delegates will be inspired by panels, workshops, screenings, and other special events. The International Summit will also give Toronto an opportuni-ty to spotlight our own expertise in develop-ing diverse talent and encourage international business opportunities that can assist Cana-dian production companies and filmmakers in creating strong products that are viable in the worldwide market. •

Associate Lori Longstaff shares a moment on a jetliner set with a real-life anti-terrorist hero.

These six gentlemen, decked out in CSC T-shirts, enjoyed their time at the 2007 Manitoba Advanced Film and Television Workshops in Winnipeg last month. They are (front row, from left) Jan Kiesser csc asc, Henry Lebo csc, Brenton Spencer and (back row, from left) Phil Linzey csc, Karl Herrmann csc and John Spooner csc. Spencer is president of IATSE Local 669 in Vancouver.

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CAMERA CLASSIFIEDS

CAMERA CLASSIFIEDS A FREE service to CSC members.

If you have items you’d like to buy or sell, please e-mail your list to

[email protected]

FOR SALE: Panasonic HVX-200 camera. Low hours, like new. 8 months left on Ca-nadian warranty. $4900.00. Call David @ 416-920-7979.

FOR SALE: Sony DSR 570WS with Canon lens YJ 18X9B4 IRS Head Drum Operating 1364 hours, tape transport 613 hours, total operating 1877 hours. Package includes: Porta Brace with rain cover, Circular Poler-izer filter, 1/2 Black Promist filter. Some minor cosmetic wear and tear but in good working condition. C$15,000. For more info and pictures contact Mike Sorel at (403) 451-4484 ext 273 or [email protected]

TO SUBLET: Charming, fully furnished 2 1/2 (one bedroom) in the heart of Mon-treal’s Plateau, close to downtown, an ide-al location for someone visiting the city. All included: phone, TV, DVD. Perfect for DP, director or actor going to work temporar-ily in Montreal. Beautiful light, quiet, large balcony with view oF the mountain. $700 monthly or $300 weekly.. Call Larry at 604 899 4234 or [email protected]

FOR SALE: Sony DSR-500WSL DV CAM camcorder hours: A=1435 B=0776 C=1810 Eng + French manuals. $4,400. Canon YJ18x9BRS zoom lens $2,200. Canon YJ12x6.5B4 zoom lens $4,000. Sony UVW-100 Betacam SP camcorder, Fujinon S16X6.7BRM- 18 zoom lens, Porta Brace soft carrying case $1,250. Contact Nick de Pencier, Mercury Films 416 516-2661 [email protected].

FOR SALE: Field and post-production equipment. Cinematographer’s personal Betacam camera and film sound equip-ment: Ne mann mics, Micron wirelesses, etc. Sony BVW400 camera, tripod, lights, grip. Full list at www.saltwater.ca/equip-ment

FOR SALE: David J. Woods Heads Up LCD eyeglasses kit for viewing NTSC video. Custom power pack – uses (NP-98) Sony batteries – one included. Original val-ue over $1,000, priced to sell at $300. Alu-minum water resistant / crash box for Arri 2C with 400 mag. Replaceable plexiglass window, $150. Selection of lead lining to avoid x-ray damage when travelling with film stock, $50. Non-folding rolling spread-er, $20. E-mail: [email protected].

FOR SALE: Arri SRII camera, excellent condition: SRII camera body (metered); magazine 40 ft.; Zeiss 10-100mm T2.0 II BA-auto; Zeiss 9.5mm T1.3; right-hand grip on & off (flat plug); con’t

support LS.6 for Zeiss 10-100 & 2x Mutar; clap ring for Zeiss 10-100mm T2.0 II; guide rails (give lightweight support); Arri variable speed unit VSU; custom case (for 16mm camera package). $19,900 plus taxes. Call 613-255-3200 cell.

FOR SALE: Sony DVW700 Digital Betacam camera, excellent condition:1 Sony viewfind-er; 1 Sony battery case; 1 Sony tripod adaptor; 1 8x160mm Canon zoom lens. $19,900 plus taxes. Call 613-255-3200 cell.

FOR SALE: 52 filters 4 x 5.6, Enhancer, Neu-tral Density, Black Promist, Ultra Contrast, Soft FX - 85, 8N3, 6, 9, Regular Fogs, Corals, Sepia, Black Net, Low Light, Day for Night; 8: 6.6 x 6.6. ND Soft Grads, Sunset, Twilight, Sky Blue; 5: 4x4 Circle Diffusion; 3: 4 1/2 Round Polas; 3: 138 Round Polas. Contact Bob Saad at 416-481-5429.




CSC FULL MEMBERS

Nicholas Allen-Woolfe cscJim Aquila cscEduardo Arregui cscJohn Badcock cscMichael Balfry cscChristopher Ball cscJohn Banovich cscJohn Bartley csc ascStan Barua cscYves Bélanger cscPeter Benison cscDean Bennett cscJohn Berrie cscThom Best cscMichel Bisson cscCyrus Block cscMichael Boland cscRaymond Brounstein cscThomas Burstyn cscBarry Casson cscEric Cayla cscHenry Chan cscMarc Charlebois cscRodney Charters csc ascBruce Chun cscDamir Chytil cscRichard Ciupka cscArthur Cooper cscWalter Corbett cscSteve Cosens cscBernard Couture cscRichard Crudo csc ascDean Cundey csc ascFrancois Dagenais cscSteve Danyluk cscDavid De Volpi cscKamal Derkaoui cscKim Derko cscJacques Desharnais cscSerge Desrosiers cscJean-Yves Dion cscZoe Dirse cscMark Dobrescu cscWes Doyle cscGuy Dufaux cscRay Dumas cscAlbert Dunk csc ascPhilip Earnshaw cscIan Elkin cscMichael Ellis cscCarlos Esteves cscNikos Evdemon cscDavid Frazee cscMarc Gadoury cscJames Gardner cscDavid Geddes cscIvan Gekoff cscLaszlo George cscLen Gilday cscPierre Gill cscJohn Goldi csc

Russ Goozee cscSteve Gordon cscBarry Gravelle cscDavid Greene cscJohn Griffin cscMichael Grippo cscManfred Guthe cscThomas Harting cscPeter Hartmann cscPauline Heaton cscBrian Hebb cscDavid Herrington cscKarl Herrmann cscKenneth Hewlett cscEdward Higginson cscRobbi Hinds cscRobert Holmes cscJohn Holosko cscGeorge Hosek cscColin Hoult cscDonald Hunter cscJoan Hutton cscMark Irwin csc ascMaris Jansons cscJames Jeffrey cscSilvio Jesenkovic cscDaniel Jobin cscPierre Jodoin cscMartin Julian cscNorayr Kasper cscGlen Keenan cscIan Kerr cscJan Kiesser csc ascAlar Kivilo csc ascDouglas Koch cscCharles Konowal cscRudi Kovanic cscKen Krawczyk cscLes Krizsan cscAlwyn Kumst cscJean-Claude Labrecque cscSerge Ladouceur cscGeorge Lajtai cscMarc Laliberte Else cscBarry Lank cscHenry Lebo csc

John Lesavage cscHenry Less cscPierre Letarte cscPhilip Linzey cscWalt Lloyd cscJ.P. Locherer cscPeter Luxford cscLarry Lynn cscDuncan MacFarlane cscDylan Macleod cscBernie MacNeil cscGlen MacPherson cscHarry Makin cscAdam Marsden cscDonald McCuaig cscRobert McLachlan csc ascRyan McMaster cscMichael McMurray cscStephen McNutt cscSimon Mestel cscAlastair Meux cscGregory Middleton cscC. Kim Miles cscGordon Miller cscRobin Miller cscPaul Mitchnick cscLuc Montpellier cscGeorge Morita cscRhett Morita cscDavid Moxness cscCraig Mullins cscDouglas Munro cscStefan Nitoslawski cscDan Nowak cscRene Ohashi csc ascRon Orieux cscHarald Ortenburger cscGerald Packer cscRod Parkhurst cscBarry Parrell cscBrian Pearson cscDavid Perrault cscBarry Peterson cscBruno Philip cscMatthew Phillips cscAndré Pienaar csc

Edward Pietrzkiewicz cscRonald Plante cscRandal Platt cscMilan Podsedly cscHang Poon cscAndreas Poulsson cscPascal Provost cscDon Purser cscJoel Ransom cscOusama Rawi csc bscWilliam Reeve cscStephen Reizes cscDerek Rogers cscBrad Rushing cscBranimir Ruzic cscRobert Saad cscVictor Sarin cscPaul Sarossy csc bscGavin Smith cscChristopher Soos cscJohn Spooner cscRonald Stannett cscBarry Stone cscMichael Storey cscRichard Stringer cscMichael Sweeney cscAdam Swica cscAttila Szalay cscChristopher Tammaro cscJason Tan cscGabor Tarko cscJohn Tarver cscBrian Thomson cscPaul Tolton cscBert Tougas cscChris Triffo cscSean Valentini cscDerek Vanlint cscGordon Verheul cscRoger Vernon cscSteve Vernon cscDaniel Villeneuve cscDaniel Vincelette cscMichael Wale cscJohn Walker cscJames Wallace csc

Tony Wannamaker cscPeter Warren cscAndrew Watt cscJim Westenbrink cscTony Westman cscKit Whitmore cscBrian Whittred cscRon Williams cscGeorge Willis csc sascRichard Wincenty cscGlen Winter cscPeter Woeste cscBill Wong cscBruce Worrall cscCraig Wrobleski cscYuri Yakubiw cscEllie Yonova csc

FULL LIFE MEMBERS

Herbert Alpert csc ascRobert Bocking cscDavid Carr cscChristopher Chapman cscRobert Crone cscKenneth Davey cscKelly Duncan csc dgcKenneth Gregg cscBrian Holmes cscMaurice Jackson-Samuels cscDouglas Kiefer cscNaohiko Kurita cscHarry Lake cscDouglas Lehman cscDouglas McKay cscDonald McMillan cscJim Mercer cscRoger Moride cscDean Peterson cscRoger Racine cscRobert Rouveroy cscIvan Sarossy cscJosef Sekeresh cscWalter Wasik cscRon Wegoda csc

CSC FULL AND LIFE MEMBERS



British Columbia, PrairiesAnd She Was (MOW); DOP: Tony Westman csc; to Feb. 13, Victo-ria.

Blood Ties (series1); DOP: Danny Nowak csc; Op: Chris Tammaro csc; to March 5, Maple Ridge, B.C.

Conspiracy (pilot); DOP: Attila Szalay csc hsc; wrapped Jan. 28, Van-couver.

Downloading Nancy (feature); Op: Mark Dobrescu csc; to March 3, Regina.

Holidays in Handcuffs (MOW); Op: Jarrett Craig; to Feb. 17, Cal-gary.

Men in Trees (series1); DOP: David Geddes csc; to April 3, North Vancouver.

The Quality of Life (MOW); DOP: David Frazee csc; Feb. 8-March3, Burnaby.

Smallville (series6); DOPs: Glen Winter csc and David Moxness csc; to April 1, Vancouver.

Supernatural (series2); DOP: Serge Ladouceur csc; Op: Brad Creas-ser; to April 4, Burnaby.

Whistler (series2); 2nd: Trevor Wiens; to May 25, Langley, B.C.

Ontario, Quebec, AtlanticThe Best Years (series1); DOP: David Herrington csc; Op: Michael Fylyshtan; to March 14, Toronto.

The Dresden Files (series1); DOP: Alwyn Kumst csc; Op: Colin Hoult csc; Op: Gottfried Pflugbeil; B-Op: Brian Gedge; to Feb. 9, Toron-to.

La Galere (série); DP: Yves Bélanger csc; au 6 mars, Montréal.

Glimmer (series1); PedOp: Rod Crombie; to March 8, Toronto.

Ice Planet (series1); DOP: Mike McMurray csc; to June 15, Toron-to.

Kill Shot (feature reshoot); DOP: Caleb Deschanel asc; 1st: Joseph Micomonaco; B-2nd: Marcel Janisse; Jan. 15-Feb. 2, Toronto.

Monster Warriors (series2); DOP/Op: John Lindsay; 1st: Demetri Portelli; 2nd: Blain Thrush; to Feb. 5, Barrie, Ont.

Rent a Goalie (series2); DOP/B-Op: James Jeffrey csc; Op: Kim Derko csc; Feb. 5-April 5, Toronto.

PRODUCTION NOTES AND CSC CALENDAR

Schedule of Meetings and Events of Interest to CSC Members

TORONTOThurs., March 15, 8 to 11 p.m. – Director Sturla Gunnarsson and DOP Jan Kiesser csc asc are guest speakers at the Toronto Camera Club, talking about

shooting the movie Beowulf and Grendel. Tickets available for $10 at the door on the night of the lecture, as space permits. At 587 Mount Pleasant Road.

Check out www.torontocameraclub.com/lect)

Sat., March 31 – The 2007 CSC Awards Gala will be held at the Westin Prince Hotel in Toronto. For information and tickets, call (416) 266-0591.

Check www.csc.ca/calendar for the latest information



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Trim Size: _________________________ Safety: ______________________ Bleed: __________________

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Tel: 416-423-9825 Fax: 416-423-7629 E-mail: [email protected]

Kodak Entertainment Imaging KOD-EI-1442-07CSC News OBC

8.5" W x 11" H N/A Yes4 Colour February 2007 Jan. 12, 2007

C M Y K

The Kodak Totem Award

Designed to emulate the artistic combination of the art

and science of cinematography, the Kodak Totem Award

is presented annually to each of the Genie nominees in the

'Achievement in Cinematography'category.

This award symbolizes the ongoingdedication and commitment

to excellence that the nominees bring to their craft.

Congratulations to the 27th annual Genie Award nominees for Achievement in Cinematography.

Kodak is a proud sponsor of the Genie Awards.Kodak is a proud sponsor of the Genie Awards.

Jan Kiesser CSC, ASC

Beowulf & Grendel

Nicola Pecorini

Tideland

Steve Cosens CSC

Snow Cake

Pierre Gill CSC

Maurice Richard The Rocket

Bruce Chun CSC

Bon Cop, Bad Cop

Jan Kiesser CSC, ASC

Beowulf & Grendel

Nicola Pecorini

Tideland

Steve Cosens CSC

Snow Cake

Pierre Gill CSC

Maurice Richard The Rocket

Bruce Chun CSC

Bon Cop, Bad Cop

The Kodak Totem Award

Designed to emulate the artistic combination of the art

and science of cinematography, the Kodak Totem Award

is presented annually to each of the Genie nominees in the

'Achievement in Cinematography'category.

This award symbolizes the ongoingdedication and commitment

to excellence that the nominees bring to their craft.

Congratulations to the 27th annual Genie Award nominees for Achievement in Cinematography.


Documents

ANADIAN OCIETY INEMATOGRAPHERS NEWS20 - PRODUCTION NOTES CSC CALENDAR visit: 8 4 12 COVER PHOTO by Nick Wall: A Viking ship slips through the icebergs of Iceland in a scene from the