Q&A with Tony Costa • ProFusion 2012 · By Professionals, For Professionals2 3 CSC BaSiC Lighting WorkShop September 29 & 30, 2012 Toronto, Canada $550.00 CDN (plus HST) $450.00

Q&A with Tony Costa • ProFusion 2012

Canadian SoCiety of CinematographerS $4 September 2012 www.csc.ca

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For applications and detailed itinerary please visit the CSC website: www.csc.ca or telephone 416-266-0591

Canadian Society of Cinematographers

Workshops & CoursesBy Professionals, For Professionals

1 2 3CSC BaSiC Lighting WorkShop

September 29 & 30, 2012Toronto, Canada

$550.00 CDN (plus HST)

$450.00 CDN (plus HST) for CSC members

This two day hands-on lighting workshop offers the participants comprehensive

knowledge on the fundamentals of practical lighting setups.

CSC advanCed Car Lighting WorkShop

November 3 & 4, 2012Toronto, Canada

$875.00 CDN (plus HST)

$700.00 CDN (plus HST) for CSC members

This two-day advanced car lighting workshop includes demonstrations by full CSC members that are actively

engaged shooting high end commercials, features, TV

movies and episodic television.

CSC digitaL Camera aSSiStantS CourSe

November 17 – 25, 2012, orFebruary 9 – 17, 2013

Toronto, Canada

$1350.00 CDN (includes HST)

The CSC believes that the best training comes from doing.

Participants in the CSC Digital Camera Assistants Course will

have hands-on instruction on the latest digital cameras being used

in the industry today and will experience “building the

camera” from the ground up.The course will be conducted

by working professional camera assistants and cinematographers who will not only teach, but share

their wealth of production know-how and technological knowledge gained from years

of on-set experience.

FEATURES – volume 4, no. 4 September 2012

On the Set of Copper with Paul Sarossy csc, bsc

By Fanen Chiahemen

Reflections: An Interview with DOP Tony Costa By Roy Marques

ProFusion 2012 By Guido Kondruss

COlumns & DePARTmenTs 2 From the President

3 In the news

16 Tech Column

19 Camera Classified

20 Productions notes / Calendar

Cover: Franka Potente as eva Heissen and Tom Weston-Jones as Detective Kevin Corcoran in Copper Image courtesy of Shaw Media

A publication of the Canadian Society of Cinematographers

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The Canadian Society of Cinematographers (CSC) was founded in 1957 by a group of Toronto, Montreal and Ottawa cameramen. Since then over 800 cinematographers and persons in associated occupations have joined the organization.

The purpose of the CSC is to promote the art and craft of cinematography in Canada and to provide tangible recognition of the common bonds that link film and video professionals, from the aspiring student and camera assistant to the news veteran and senior director of photography.

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.

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Canadian CinematographerSeptember 2012 Vol. 4, No. 4

EDITOR-IN-CHIEF

Joan Hutton csc

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From The PreSIDeNTJoan hutton csc

There has been a change on the CSC executive over the summer. Nikos Evdemon csc, a long-time executive member, has decided to spend more time with his family, especially his grandchildren, and has stepped down

from the board, resigning as the Society’s Publicity Chair and website guru.

Nikos’ contribution to the CSC has been immense. He’s been a member of our organization since 1971, becoming a full “csc” in 1981. For the past seven years as an executive board member, Nikos has used his vast computer knowledge and remarkable web building skills to redesign and maintain the Society’s website. During his tenure, Nikos brought about a graceful look and functionality to our website, all the while saving the CSC thousands of dollars in website maintenance costs. His many web innovations and upgrades allowed CSC members to not only direct link to personal websites, but to also post demo reels within our website. Nikos brought into play a flip version of Canadian Cinematographer on our website and an online payment system. Through his nurturing, the CSC website now processes an average of 104,000 successful requests each and every month.

Nikos has volunteered countless hours to the CSC and has been very generous with his talents on many projects such as our 50th anniversary commemorative book. Nikos was recognized for his efforts and service to the CSC with the President’s Award in 2009.

Nikos’ career as a cinematographer spans four decades, and during that time he seems to have done it all. From dodging bullets and even being wounded by shrapnel during the Cambodian war in the ‘70s, Nikos became a top flight DOP in our industry, shooting dozens of features, movies of the week, documentaries and television series. Nikos spent 28 years at the CBC before calling it quits with the public broadcaster. While many people at that point would have sold off their cameras and retired, Nikos instead kick-started a very lucrative and prolific freelance career. For his love of cinematography and his skillful artistry, Nikos has been honoured on numerous occasions with awards that include two CSC “eyeballs,” four Geminis and seven Aniks, not to mention his many nominations.

Nikos brought a wealth of experience and inspiration to the executive table. He was always there for us and the Society no matter what. His gentle manner and thoughtful insights will be difficult if not impossible to replace. The CSC Executive wishes Nikos all the best and we thank him for his dedication to the Society – he will be missed.

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Canadian Cinematographer - September 2012 • 3

member news

CSC congratulates Michael Balfry csc for his Daytime Emmy nomination for R.L. Stine’s The Haunting Hour, a horror TV series for children that airs on Teletoon

in Canada, in the Outstanding Achievement in Single Camera Photography (Film or Electronic) category. In other Emmy news, Canadian editor Don Cassidy, C.C.E. was nominated in the category of Outstanding Editing for a Miniseries or Movie for his work on Hatfields & McCoys, Part 2. The series also garnered a nomination for Canadian post house Urban Post in the sound editing category. Meanwhile, Ron Stannett csc just finished shooting the action adventure film Marine Home Front with director Scott Wiper.

WFW Chairman Paul Bronfman Joins ACCT Board

The Academy of Canadian Cinema & Television Chairman Martin Katz in June announced the appointment of WFW Chairman/CEO Paul Bronfman to its Board of Directors. “The Academy Board just grows stronger with the addition of the driving force of Paul Bronfman who has decades of experience helping to build Canada’s screen-based industry and infrastructure,” Katz said. In addition, Bronfman and WFW Executive Vice President/COO Paul Roscorla were recently honoured by the Alberta Media Production Industries Association (AMPIA) with the prestigious Friend of the Industry Award. The award is presented to individuals or companies that have made significant contributions to facilitate and support Alberta’s film and television production industry.

AsC names new President

Stephen Lighthill asc has been elected to serve as president of the American Society of Cinematographers. Lighthill takes over the reins from outgoing President Michael Goi asc, who served a maximum three consecutive terms. This will be Lighthill’s first turn as ASC president. Lighthill currently is the chair of the cinematography program at the American Film Institute Conservatory.

new shot listing App Includes multi-Camera support

The new shot listing app, Shot Lister, released in June by Vancouver filmmaker Zach Lipovsky, can build, organize, schedule and share shot lists digitally. It can also assign shots to up to 11 cameras and group them together to be shot simultaneously.

Redlab Acquires soho and Alchemy

Redlab Digital in June announced its expansion of operations. The acquisition of Soho’s postproduction services, and Alchemy’s design and animation division completes Redlab as a full service picture postproduction facility.

Michael Balfry csc

Stephen Lighthill asc

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In an old factory in north Toronto, cobblestone streets, tenement facades, and laundry lines hung with bloomers have replaced auto parts and ma-

chinery to portray the former New York neighbourhood known as Five Points, a crime-ridden slum that for decades was the scene of riots, gang fights and rampant prostitution.

It’s the set of BBC America’s first original scripted series, Copper, which follows a Civil War veteran turned detective struggling to maintain law and order within a corrupt and disorganized police system in mid-1800s Manhattan. Although it’s an era long revisited in feature films – Martin Scorsese’s Gangs of New York comes to mind – television is somewhat of a new territory for 19th century Gotham City.

For Paul Sarossy csc, bsc, who shot the first two seasons of the historical drama The Borgias, both the historical context and the unique lighting it required made Copper an attractive project.

“For a cinematographer, Copper is really interesting because you’re put in a situation where you have to invent a whole uni-verse and you’re able to do that because you’re on a sound stage,” Sarossy says. “You have a whole neighbourhood that’s been built by necessity because it doesn’t exist anymore. Plus, because it’s a period project set in 1860s Manhattan, it’s actually a great educa-tion about the world at that time. It’s interesting visually right from the start.”

As with The Borgias, Sarossy rooted his approach to lighting Copper in the context of the world he was creating.

“It obliges you to limit what you can do because the period is pre-photography, pre-electricity, pre-Industrial Revolution, so

the lighting, in a way, has to reflect that. Artificial light has to be a flame or a candle or a lantern. And that very much aims you creatively in a very specific direction,” he says. “I think those limitations are wonderful. It channels you into a place that you must go. And you can divorce yourself from many false avenues as a result.”

Most of the first season of Copper was shot in the former auto parts factory within which the production had to find a way to simulate the urban light of the 1800s.

“We built an exterior town in an interior building. When you go in, it has zero light, so you have to create light,” says gaffer Frank Tata. “It was supposed to be a dark, un-sunny place. So we needed a large, very soft ambient light.”

To achieve a general ambient overhead, the crew painted over most of the existing skylights in the factory.


By Fanen Chiahemen

Tom Weston-Jones as Detective Kevin Corcoran & Anastasia Griffith as Elizabeth Haverford in Copper.

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“In the beginning of the year, because the sun was so low it was actually ambient. But as the months went on, we actually started to get proper sunlight, and we started diffusing it,” Tata recalls. “Sometimes it was a bit too bright in there, and we didn’t really have the lighting capacity to match what was there. And at the end of the day, the sun came round and shone onto our blue screen so we had to control that.”

To that end, crewmembers built an 18,000-square-foot lighting structure that they called “The Cloud,” essentially a controllable skylight of which entire sections or individual heads could be controlled for colour and intensity.

“In real life you stand on the streets, and you may be lit only by the ambience of the sky without being hit by the sun, and then you go round the corner and there’s a much harder light. We’re recreating that in a studio. The big difference is it stays there as long as you want instead of moving,” Sarossy says, laughing. “On location that’s a whole science onto itself. You can shoot a scene that takes place in three minutes, and you’re going to shoot it all day long, and the sun starts in one place in the morning, and you have to re-organize to keep a continuum.”

The Cloud, which was fitted with large-bank fluorescents, was too big to run all the cabling to a central point, and had to be controlled manually with breakers throughout the set.

“It was very labour intensive,” Tata explains. “Six guys needed to go off and do that for about 10 minutes. “

On the other side of the factory, which had been designed to rec-reate uptown Manhattan, was the one skylight that had not been painted over, and at first the crew used natural daylight but then gradually began to diffuse it and then re-light it.

“There’s a natural diffusion on the skylight,” Sarossy says. “We’ve put silks and whatnot on it to make it look nicer. Then the grips carried that further with adjustable/retractable grypholins.”

To replicate sunlight, Sarossy used 12-light Dinos and 20Ks either on lifts, towers or on pipes that were moved around with condors and scaffolding towers.

“We used Dinos or Maxi Brutes because they’re very powerful, but they’re tungsten and they can have 20 or 16 lights in them,” Sarossy says. “I find them much more versatile that using a big HMI light, which is one light and you can’t dim it. To me there are so many more tungsten lights in terms of shape and size, and they’re ultimately a lot smaller. They don’t have big ballasts and cables and stuff, so they’re kind of easier to use.

“So we mix the tungsten sun, which is warmer, with the available natural light, which is bluer, and find a happy balance.”

The dimmer board that controlled the lighting was tethered to an Asus slate, a PC-based tablet, operated by Nigel Draper, who could “very quickly isolate this light from that light, put this one on a cue of some sort, so it’s very articulate in that sense,” Sarossy says.

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Above: Director Jeff Woolnough sets up a scene during the filming of Copper. Below: Actors film a scene on the set of Copper.


Technicolor On-Location, supporting your vision from set to screen

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Recreating the 1800s inevitably means devising candlelight or firelight for night scenes, something that Sarossy had lots of prac-tice with.

“Now that HD has become so sensitive, you can light things with candles, and The Borgias was a great prep for this,” he says. “But whereas two years ago we had to electrify a lantern and put in a little bulb and hide it and that would be lighting pretending to be a candle, last year we just put a candle in and it worked very well.

“And after that we started building little rigs that had candles in them, where you can have a group of eight candles and position that.”

But with these new possibilities came pitfalls that sometimes had Sarossy longing for the old style.

“Because of the movies, you always think of candlelight as very soft, warm light, and in fact it’s actually a very hard light, a not very flattering light, and if you have this little rig with eight candles, you have eight shadows, so you’re discovering that in many instances you want to go back to the old methods because they actually look better,” he says.

To simulate lantern light, Sarossy hid lights behind furniture – sometimes a tungsten light bounced into some white cloth or a small Kino Flo.

“They’re very convenient for putting behind a chair and other places. I tend to put them in a way that they’re at the edge of the frame. For the operator it’s a bit tricky,” he says, chuckling.

Another device Sarossy carried over from The Borgias was the use of smoke.

“There’s multiple justifications for smoke,” he explains. “Film is a very flattering medium for the face and the production design and what not. HD is not. Smoke helps to knock the detail down a bit.”

But smoke can be tricky. “We’re not in a proper studio; we’re in an industrial space. The temperature changes from February to May,” Sarossy explains. “Smoke works better or worse depend-ing on the situation. It can be a time waster, as you’re waiting for smoke to be perfect. But definitely photographically it does cre-ate a look that makes it stylized but also more realistic.”

The time and location not only informed the lighting but also the choices of composition and camera movement.

“I think part of the thing that the producers were interested in achieving was to make it a kind of modern police story. It was the birth of police work and the whole notion of forensics and studying dead bodies to discover how people were killed. That kind of situation obliges the cameras to a certain degree,” the cinematographer explains.

On the other hand, the producers did not want a period piece in the traditional sense.

“One of the main issues visually was not to create a period piece but in fact try to create a contemporary story much in the lan-guage of modern police dramas but set in this unusual context of 1864. In many ways, the attempt visually was to keep it alive and modern, even though the story is very old fashioned,” he continues.

“So there were a lot of situations where we were handheld, and we were enhancing the grain in the contrast and whatnot to make the material not distant but very close to reality.”

Copper was primarily a two-camera ARRI ALEXA shoot, but Go-Pro cameras were convenient for the action sequences that involved fast-moving carriages. “You can stick them all over

the place; it allows all sorts of angles you wouldn’t normally have with the big cameras,” Sarossy says.

The Canon D5, with its good video mode, also came in handy in some instances. “It opens up all sorts of possibilities because the camera is very small and you can put it in places you couldn’t do before. The irony is that it’s a great set, but if you look too high, you look off the set, so having this increased freedom with these smaller cameras is ironi-cally not always the best thing for us. But we

were trying to use all those different tools.”

Street scenes were more comfortable to shoot, at least in one sense, because of the space available for cameras and lighting. The challenge was shooting in bedrooms and bordellos.

“The main character has a very small apartment in this decrepit tenement building. So every time we go into those places it takes a lot of time. It’s complicated, and it’s harder to light because there’s very few options in there, and everyone’s sort of on top of each other, so I would say in a way the most challenging part for the cinematographer is dealing with those small locations,” Sarossy explains.

Aside from trying to fit all the lighting into a small space, he continues, “the other parts of the room that are off camera, you have to get rid of the furniture in order to work there. All the furniture has to leave, and nobody can do their work setting up the lighting and the camera till the furniture is gone. So by the time you add up the process every time you move the camera, it’s hours in the day.”

Still, Sarossy maintains that when it comes to lighting shows like this, “the biggest challenge is not taking too much advantage of all the toys you have. Something may be practical and time ef-ficient, but is it better? I think the cinematographer is obliged to try to balance those things as much as possible and maintain a kind of discipline.” Im

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Canadian Cinematographer - June 2012 • 11

http://www.simdigital.com


Tony Costa is the founder of the Portuguese Society of Cinema-tographers (AIP). He was born to Portuguese immigrants in 1962 in Hamilton, Ontario, and relocated to his parents’ native country at the age of six. Although he returned briefly to Canada after high school, he developed his career as a cinematographer in Portugal. He has worked on dozens of films in various capacities including clapper loader, focus puller, camera operator and cinematographer, all the while being active in industry organizations (he was vice-president of IMAGO – the European Federation of Cinematographers – between 2004 and 2008), and promoting cinematographers’ authorship rights. He is also a professor at the University of Lusofona in Lisbon. Costa talks with associate csc member Roy Marques about his career trajectory, his advocacy, and how changes in the industry have impacted the cinematographer. What first attracted you to films? I remember when I was eight years old imagining making films before falling asleep. I grew up watching TV at a very early age. My parents moved back to Portugal when I was six years old, and there was no electricity or television in their village. I used to complain about not having a TV, so my mother arranged for a TV set that could be powered from a car battery. I was the happiest boy on Earth when my father and mother arrived from town with a small TV that I still keep in my loft. I wouldn’t miss one episode of Bonanza, Daniel Boone and classic movies of the ‘40’s. My first outing to the cinema was when I was five. My mother took me to see The Jungle Book in a cinema on James Street in Hamilton. She says she has never seen me so happy as I was on that day.

Where did you study film and take workshops while you were in Canada?I was 21 years old when I arrived in Toronto. I worked at Caledonian Labs while taking night courses at George Brown and Trinity Square Video. Later I knew of an opening at Medallion Film Labs in Toronto. I called, asked for an interview, and the following day I was hired. Later I found out about a Panavision workshop for camera assistants, applied and took the two or three weeks’ training. I got an invitation as a trainee loading magazines in music videos and commercials. Cinema was growing a lot in Toronto at the time, and with many American movies coming in, I knew I could have a bright future. In late 1988, I got a job in a feature film directed by Ken McMullen as a clapper loader. I haven’t stopped since.

What did you learn as a lab technician at Medallion in

Toronto? How did it help with your role as a DOP?I didn’t really work as a colourist, but I was always after my colleagues, watching what they were doing. I witnessed the assembling of the very first TK machine. I used to watch the client rushes whenever I could; I was doing very well at Medallion Film Labs. Your first feature length film was Sans Elle, directed by Anna Da Palma. How did you like using the semi pro Panasonic DVC Pro 50 format? At first I didn’t. I was confronted with great budget limitations since it was Anna’s first feature film. François D’Artemare, a French producer based in Lisbon, convinced me to go ahead with the DVC Pro, which he had just acquired for the company. I took the camera with me, and over the following weeks I extensively tested the capacity of the camera. It was new for all of us; the lab didn’t have any experience dealing with the format. We knew that some colleagues had shot features with the same conditions in France, but there was no experience in Portugal of shooting features with this format. I tested the camera in different lighting situations until I grabbed one particular look that I thought would serve the film’s story. It was a great production after all, but some problems came after shooting. I had made a few mistakes that I could have avoided easily on set, like one bathroom scene where we shot a mother trying to get rid of the bloody clothing on her son. I didn’t like that shot along with other shots in the kitchen and in the bathroom. In both scenes the walls were covered with tiles that had very shiny surfaces, which gave me some trouble managing from the digital intermediate to 35 mm. The budget was already blown and I couldn’t manage to get another copy of the film. Fortunately, the film was selected for a film festival and the producer could make another copy. I managed to separate the three scenes that I wasn’t happy about and worked them between digital and scanning to 35 mm, and after a few tests I was happy with the result. The look of the film suited the story and Anna’s intentions very well. How would you describe the merits or disadvantages of traditional film formats?In comparison to the Sans Elle shoot in 2001, the differences today are amazing. Using an HDSLR in comparison to the Panasonic format is heaven. Despite the great evolution of digital formatting, I am still very fond of film. It is not just because I am conservative, but the look of the image is still magic to me. The grain, the subtle tones, the highlights, and most of all

Reflections: An Interview with DOP

Tony CostaBy Roy Marques

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Tony Costa shooting the short film Blue Pencil with actor António Rama.

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the discipline that film has over crew and filmmakers in contrast with the indiscipline we experience while shooting in HD. The quality of the image we capture on film is so much more valuable to work on, giving us such a wide range of colour and tones that is not possible to get on digital even with the new digital cameras like RED or ALEXA. It is a false image, too sharp, too strong colours, mechanic, plastic and terrible on highlights. When you work on film you care for the direction of light and the mood to give to the scene. When you work on digital you worry about the highlight coming from the window, or from the sparkling cars, and that takes quite a lot of artistic thinking while on set. On the other hand, rehearsals being shot on digital are rare. A close-up of an actor is always tricky when shooting digital. The contrast is, in my experience, much more difficult than with film. The contrast separation between light and shadow is crucial on close-ups, and I always get a bit annoyed with the result in certain faces. In average digital shooting you are obliged to go to the flat solution of lighting the face. The Hollywood glamour light solution solves many of these cases. I have never used that technique shooting on film, but with digital I found myself obliged to use it.

You founded the Portuguese Society of Cinematographers (AIP) and have been involved with a lot of other organizations within the industry. What has been your experience with these societies? From living in Canada I noticed the importance of social organizations and how important it is for a professional class. When I got back to Portugal, I found myself involved with the Union. Much later, in 1998, I founded the Portuguese Society of Cinematographers while I was still working as a focus puller. Cinematographers and camera assistants got together and we founded the AIP. I was president from 1998 to 2005, and recently I became president for two more years. In the meantime, I also helped originate the Film Workers’ Association (CPAV). I was vice-president of IMAGO from 2004 to 2008. I recently founded the Portuguese Academy of Cinema where I bear the place of treasurer on the board. My career has some setbacks because of my associative activity. Producers do not particularly like such an active person around when speaking about the rights of people or about authorship rights for cinematographers, as I have been doing for a decade. The Portuguese cinematographers were recognized by our Collective Society due to the efforts of AIP while I was president the first time. In such a small industry where everyone knows each other, word travels very quickly. It is natural that a personality like mine would suffer some retaliation. Surprisingly, I do not regret any of the paths that I have chosen.

On the contrary, I feel really good and proud of all these efforts to gain prestige for my profession and for my colleagues.

What challenges do you think face DOPs in the Portuguese Society of Cinematographers? There are very difficult times ahead for cinematographers and filmmakers in general. Despite the boom of digital means and easy distribution, it seems that the level of production hasn’t increased. Even with so many TV channels and the Internet, it seems distribution in the industry has gained very little. What we do have is a great diversity of products that have taken spectators from the theatre and kept them at home consuming contents of doubtful quality. The proliferation of digital means to capture has pushed the cinematographer into a secondary position due to lack of funding. These days the DOP’s challenge is not restricted to learning how to dominate the digital machine, but to adapt his way of working to the new fast tracking that the digital era has brought us. Before digital, the cinematographer was a kind of magician, only the DOP could make magic with the images. Today you have a bunch of opinion-makers behind a screen directing your framing and lighting. It is not that bad, in fact this is the time when you share the composition and the mood immediately on set, but it is the position of the cinematographer that has been weakening. The challenge to overcome in the near future is to make all young filmmakers understand the importance of having the director of photography on a film and to take advantage of his experience and knowledge.

What strides are being made in securing the ownership rights during this era of evolving digital technologies?IMAGO, the European Federation of Cinematographers, has for long worked on defending the recognition of authorship for cinematographers in Europe and abroad. It has been a dif-ficult task to reach, with little or no success. The only exception was Poland where legislation was approved by recognizing the cinematographer co-authorship. In many other countries, like France and Spain, cinematographers don’t receive as much recog-nition. So IMAGO has promoted many conferences at the EU to make legislators understand the work and artistry of the cinematographer. Fortunately, in Portugal our Collective Rights Society (SPA) has recognized the cinematographer’s authorship, which enables us to receive secondary rights. However, [the cinematog-rapher] is not recognized as being the co-author of a film. If all of Europe secures the recognition of co-authorship, we could regain the prestige cinematographers have lost to some extent with the digital age.

Tony Costa

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At times the crowd in front of the CSC booth at this year’s ProFusion pro imaging exposition was three people deep. All were either inquiring about the society, looking over

the roster of courses and workshops being offered in the coming months, or simply watching the large-screen Sony monitor with its continuous loop of film clips from the winners and nominees from the 55th Annual CSC Awards Gala.

The CSC was one of over 120 exhibitors at ProFusion 2012. While it was a hectic two days in June, it was ultimately a very rewarding venture for the CSC. Hundreds of copies of Canadian Cinema- tographer were handed out, and through one-on-one discussions, scores of people who were not familiar with the CSC, became acquainted with the Society’s offerings and initiatives. So much so that several people signed up and became new CSC members on the spot. By the end of ProFusion, it seemed like everyone of the 4,000 registered tradeshow attendees inside the Toronto Congress Centre had stopped by the CSC booth to chat and ask questions. This was a great feeling!

Manning the CSC booth at various times during ProFusion was President Joan Hutton csc, executive members Carlos Esteves csc, Sarah Moffat and Ernie Kestler, CSC Executive Director Su-san Saranchuk, her assistant Karen Longland and myself, Guido Kondruss, CSC Advertising Manager.

ProFusion, which began just three short years ago, is rapidly ris-ing to become the standard for professional imaging tradeshows in Canada. Vistek, which originated and produces ProFusion, says it was an idea waiting to happen.“Every year we attended tradeshows around the world, and after every show, we’d come back and say to ourselves, why isn’t there anything like that in this country?” says Christopher Huchenski, Vistek Creative Director. “We were already well established in the pro photo-graphy arena. Besides, the fusion of photography and video with the popularity of HDDSLRs was well under way. We followed up with a combined pro video/photography tradeshow, and the rest, as they say, is history.”

ProFusion 2012PRO VIDeO eXPO

By Guido Kondruss

Clockwise: from above: Joan Hutton csc demonstrates interview lighting techniques. Trying out a SIGMA camera. A CSC prospect. Sarah Moffat leads a workshop on “Creating a Great Documentary.”


Client: _____________________________________________________ Docket: ________________

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An important element that helps drive ProFusion’s growing reputa-tion as a must-attend event is its full slate of workshops and seminars by professionals on a wide array of topics. Two of the workshops that played to capacity audiences were conducted by Hutton – who demonstrated “Interview Lighting” techniques – and Sarah Moffat, who outlined the path for “Creating a Great Documentary.” Both workshops were very well received by their participants.

Ross Grasse, IKAN International Sales Manager, travels the globe promoting IKAN products and says that ProFusion has a distinct advantage over the super-sized trade shows: “NAB can be a little daunting, so can CINEC, they’re giant shows,” says Grasse. “Pro-Fusion is great, to get the job done quickly and efficiently. It’s an easy show to attend and focus on for a day or two.”

So, is ProFusion a must for Canadian cinematographers?

According to Esteves, it should be a stop on every cinematographer’s agenda. “There are not many tradeshows like the ProFusion in Canada,” says Esteves. “For any cinematographer, staying on top of the industry is important. Attending a trade show such as ProFusion helps you to do that, to become aware of what’s out there. It’s a good thing to meet with equipment suppliers, to talk with them, to touch and try out new equip-ment. It can keep you ahead of the game.”

And keeping ahead of the game in the highly competitive film and television industry is what it’s all about. We’ll see everyone at ProFusion 2013.


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Rosco is known for its great filters, gels, silks, and the excel-lent Rosco View. But in recent years, the company has progressed into the market of LED light panels called

Litepads. At this year’s National Association of Broadcasters (NAB) annual technology exhibition, Rosco launched something called the LitePad Loop, an LED ring light. Jeff Armstrong, Sales Consultant, sent over a brand new Pro kit to test out.

I had the Litepad Loop for a week on a corporate destination web series I shoot in HD. The location lighting is consistently over-head ceiling pot-lights found in most hotels and conferencing rooms. I tend to use a mix of what is available, plus a small light kit, and I also tried out the Rosco Loop for some fill on close-ups. It proved to be a quick and easy fix to cancel out shadows cast from ceiling lights without creating others. And it offered a nice even softness to interviews. For correction, Rosco includes a pre-cut gel kit of magentas, CTOs, and cosmetics that attach utilizing a magnetic accessory collar. What surprised me was the gels are hard – made of Rosco’s E-colour filter technology backed onto 15 mm plastic, obviously lasting longer than standard pliable gels. For fun, Rosco has made Loop Masks, which make a perfect light shape of whatever is on the mask. (See the image of the eye close up!) They are amazingly sharp in eye reflection enlargements, and very cool when reflected on sunglasses. Could be interesting on

any reflective surface close-ups including product shots, as well as in shot practical set lights for sci-fi/action stuff!

The Loop has LEDs on both the inside and outside perimeters of the “O” shape, allowing for maximum brightness. Rosco is very clear on its function as a close-up light, and suggests, “The fall off is considerable and is best used in close proximity to the subject.” I used it on the lens with an EX3 and also on a sepa-rate stand at about 4 to 5 feet from subjects. The magenta and cosmetic filters together allowed for a fast solution when deal-ing with two different skin tones in one frame, as the fairer tone picked up some green. The cosmetic filter gave a professional pink-like hue, while magenta cancelled the green. The Loop is daylight-balanced, approximately 5800K.

Rosco has clearly put thought into the design of the whole sys-tem. At just over 9 inches in diameter with a 4.4 inch centre hole, the housing is a durable, shatter-resistant plastic, and has a slim profile with a thickness of only 1.3 inches. The Mounting Assem-bly, which holds the Loop to camera or stand is built from alumi-num, with threading for tripod quick release plates in 3/8s, and ¼-20” inch options. From there, 15 mm rods go between the tripod plate and the Loop bracket creating a sled. The camera mounts onto the tripod plate of the assembly via ¼-20 bolt, and the Loop then snaps onto the bracket at the length of the lens. It literally snaps into place using high-powered magnets that at-tach to the metal bracket. You can move the sled backwards and forwards on the rods and adjust the Loop up and down simply by pulling it off the magnetic bracket to reposition. It’s a snap!

Power can go AC and DC. Rosco developed two cheese-plate adapters - one that allows you to attach Anton Bauer batteries,

lITePAD lOOP from RoSCo By Sarah Moffat

Rosco has made Loop Masks, which make a perfect light shape of whatever is on the mask and are amazingly sharp in eye reflection enlargements.Rosco’s LitePad Loop.

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and another to attach V-Mount batteries. Eight AA batteries can also power the light using the AA box attachment. I used the AC connector with the Loop dimmer, quick and easy!

A well-made ring light casts practically no shadows on the close-up subject, and when on axis can greatly reduce wrinkles and blemishes. The shadowless light output of the Loop looks very smooth, and it is easier on the eyes of a subject than direct LEDs, causing less blinking and strain over time, thus allowing for vibrant glow in the eyes to really stand out. Attributes of a good ring light are: lightweight with a slim profile, soft light output, battery powered, and attaches to camera easily. Rosco’s Litepad Loop meets all of these specs successfully.

The fancy Pro kit comes in its own carrying case with these extras: a dimmer, 8-inch rods for longer camera bodies, 4-inch L-Bracket that allows greater vertical positioning, and a light-stand plate that allows you to quickly attach the Loop magnetically to an off-axis stand.

I enjoyed using the Loop as easy smooth fill on close-ups, and also playing with the Loop Masks to create effects in reflections. Try this out for your next rock star CU!

Sarah Moffat’s camera experience includes motion picture and still photography. She has worked in narrative, documentary/factual and live broadcast.

http://sharpsbroadcast.com


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SEquipmEnt WantEd

used Leica Geo System disto Laser measurement devices Attention crew tech-nicians interested in selling used Leica Disto Laser Measurement devices for cash to upgrade to newer models. Contact: Alan J. Crimi, Panavision Canada Corp. at 416-258-7239, shipping, receiving and client services at 416-444-7000 or [email protected]. www.panavision.com.

Wanted: 35mm and 16mm prints. I have recently acquired a 35mm projector and would like to have a print library on hand. If you have or know of any film prints gath-ering dust and in need of a caring home, contact Christopher at 902 644 3604 or [email protected]

Short-tErm aCCommodation For rEnt

Visiting Vancouver for a shoot? One-bedroom condo in Kitsilano on English Bay with secure underground parking, $350 per week. Contact: Peter Benison at 604-229-0861, 604-229-0861or [email protected].

Liberty Village office Space Approximately 1,250 sq ft of fully furnished, turn-key office space in prime Liberty Village location available to established television or new media production company in shared office setting. Features include glassed boardroom, 2 closed door offices, internet access, alarm system and shared kitchen. Please reply by email to [email protected] or call John at 647.891.4027

EquipmEnt For SaLE

Equipment for sale!! all equipment in excellent shape!!Panasonic AJHDX900P High Definition Camera, Panasonic Stereo Micro-phone,Canon Zoom Lens 8x160 (J20a x 8B4 IRS), Dionic 90 Anton Bauer Batteries & charger, Anton Bauer mini fill light 12 V, Marshall 7” HD-SDI LCD Monitor & accessories, 2 x Porta Brace camera bags, Sony Digital Betacam (DVW700) and accessories,Sachtler fluid head VIDEO 20 III & Sachtler tripod legs fibre & fibre case. Call 613-255-3200, Total $ 25,000.- Item for sale: Meerkat Jib Arm, made by FILMAIR INTERNATIONAL. This is a mini jib for full compliment 35mm camera, lens and mattebox combination. It is a fixed length jib, very easy and fast set-up. Can be used on any dolly or tripod. Jib arm is in very good condition. Comes with four weights and case. Full specs are on website: http://www.filmairinternational.com/camera_mounts.asp#MEERKATJIBPrice $ 2,400.Contact: Milan Podsedly csc [email protected]: 416 409-5758

Super 16 Bolex h 16 conversion, Switar 10mm, Macro Switar 26mm, Macro Switar 75mmPistol grip, filter holders, Nikon to C mount adapter$2900.00Call Antonin 647 999 7172PL mount prime lens set (Sony) 35mm, 50mm 85mm all T2.0. Mint condition. Used briefly for one shoot $5200.00 John Banovich, csc 604-726-5646 [email protected]

panasonic Bt-S950p 16:9 / 4:3 Sd Field monitor for Sale (Excellent Condition) - $100. Portabrace included Please contact Christian at (416) 459-4895 or email [email protected]

oWn a piECE oF CinEma hiStorY: selling a vintage Bell & Howell 2709 cam-era with mags. THE film camera of the 1920s and ‘30s; assorted other goodies. Contact: [email protected].

VidEo & audio GEar For SaLE: (2) hVX-200 Panasonic P2 Camcorders $1,500 each; (1) dSr-1500 Sony DVCAM recorder, $1,500; (1) Sony dSr-1 DV-CAM dockable recorder $1,000; (3) Sony pVV-3 Betacam recorders $500 each; (3) Mitsubishi XL25u video projectors $500 each; (1) Mackie 1604VLZ audio mixer $500; (1) Glidecam pro2000 camera stabilizer $200; (1) Glidecam dVpro riG camera stabilizer $300; (1) Yamaha p2075 amplifier 75W stereo/150W mono

$500; (3) HVR-Z1U Sony HDV camcorders $1,000 each; (1) Sony dSr-300 DV-CAM camcorder $1,500; (1) For-A VpS-400d 8 input SDI switcher $2,700; (2) Sony Wrt822/Wrr861 wireless transmitter/receiver – no mic - $750 each; (2) Sony BrC-300 remote control P/T/Z cameras $1,990 each. Call Ted Mitchener at ZTV Broadcast Services 905-290-4430 or email [email protected].

portable Gel Bin great for studio or location use, holds 24 Rosco or Lee colour correction, diffusion, reflective, scrim, etc., rolls outer dimensions measure 17.5x24x 63 inches, not including wheels and sturdy wooden construction, painted black, bottom and back wheels, side handles hinged front & top, locks for added safety, handy reference chart, $250 obo; darkroom Safety Lights popular Model D type, accepts 10x12 inches safelight filters (possibly included, depending which kind you’re looking for), takes 7½-, 15- or 25-watt bulb, excel-lent condition, $50 each. Contact: Andrew at [email protected].

Beta SP DXC-D30WSP/PVV3P, PAL, 262 hours drum time, $ 1,000; Sony Beta SP DXC-D30WS/PVV3, NTSC, 251 hours drum time,$1,000; Sony BetaCam SX DNW-7, NTSC, 257 hours drum time, $1,000; and IKEGAMI DV-CAM HL-DV7-AW, NTSC, mint condition, as new, 61 hours drum time, $1,500. All cameras with porta-brace covers. All owned by me and serviced by Sony Hong Kong. Sony Beta SP/SX player/recorders, DNW-A25P X2, PAL & NTSC, 500 & 644 hours drum time, $1,500; Satchler 575 HMI, open-face, mint condition with spare bulb, $1,500 & case. The lot for $4,000. Contact: Francois Bisson [email protected].

Sony BVW-400a Betacam Sp Camcorder camera used by professional cinema-tographer (one owner), never rented out. Comes complete with Fujinon A15x-8BEVM-28 lens, Petroff matte box with 4x4 and 4x5.6 filter holders, remote zoom and focus control for lens, six Cadnica NP-1 batteries, Sony BC-1WD battery charger, Porta-Brace fitted cover with rain jacket (like new) and Sony factory hard shipping case and manuals. Lens and camera professionally maintained by factory technicians. Usage hours are: A – 1,918 hours; B – 1,489 hours; C – 4,286 hours, $10,000.00 obo. Contact: Craig Wrobleski csc at 403-995-4202.

aaton Xtr Super 16 package including body, video relay optics, extension eyepiece, three magazines, Cooke 10.5-mm¬–60-mm S-16 zoom lens, Zeiss 9.5 prime lens, 4x4 matte box, 4x4 filters (85,85N6, polarizer, ND6, clear), follow focus and cases $12,000. Nikon 50–300-mm F4-5 E.D. lens with support, $1,000. Kinoptik 9–8-mm 35-mm format lens c/with sunshade. Contact: [email protected] or [email protected].

new Video Camera rain Covers. Custom rain covers for sale. New design that fits and protects most Sony PMW EX3, Canon XHHDV, Panasonic VX200 cam-eras with the viewfinder extending toward the rear of the camera, $200. Noise-less rain cover for the external camera microphone, $30. Onboard Monitor rain cover, camera assistants can see the focus during the shot. No more hassles in the rain, $60. Custom Red One camera covers available upon request. Also can sew various types of heavy-duty material. Repairs and zipper replacement on equipment and ditty bags. Contact: Lori Longstaff at 416-452-9247 or [email protected].

For SaLE

28-Foot Black Camera trailer with new brakes and tires, 20-foot awning, dark room, viewing lounge, two countertops with lots of storage space, heating and air con-ditioned, side windows and three access doors. Contact: [email protected].

SErViCES

Need your reel updated? Looking for an editor? I am a CSC associate member who is also an editor with my own FCP suite. I am willing to trade my edit suite time in exchange for rental of your gear, or shooting advice, or both. Please send email to [email protected].

Camera Classified is a free service provided for CSC members. For all others, there is a one-time $25 (plus GST) insertion fee. Your ad will appear here and on the CSC’s website, www.csc.ca. If you have items you would like to buy, sell or rent, please email your information to [email protected].

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Calendar of events

One-year subscriptions are available in Canada for $40.00 for individuals and $80.00 for institutions, including HST. In U.S. rates are $45.00 and

$90.00 for institutions in U.S. funds. International subscriptions are $50.00 for individuals and $100.00 for institutions. Subscribe online at www.csc.ca.Subscribe to Canadian Cinematographer online www.csc.ca

Production notesBeauty and the Beast (series); DOP D. Gregor Hagey csc; OP Sean Jensen; to December 20, Toronto

Christmas With holly (TV movie); DOP Charles Minsky; OP Forbes MacDonald Jr; to September 5, Halifax

Covert affairs iii (series); DOP Colin Hoult csc & Jamie Barber; OP Michael Carella; to October 31, Toronto

Cracked (series); DOP Norayr Kasper csc; OP Dino Laurenza; to December 4, Etobicoke

defiance (series); DOP Thomas Burstyn csc, frsa, nzcs; OP Jim Van Dijk; to November 9, Toronto

the good Witch's Fate (TV movie); DOP John Berrie csc; OP Paula Tymchuk; to September 12, Toronto

haven iii (series); DOP Barry A. Donlevy; OP Christopher Ball csc; to September 6, Chester

hemlock grove (series); Steven B. Poster ASC & Fernando Arguelles; OP Kevin Jewison; to December 14, Toronto

the La Complex ii (series); DOP Alwyn Kumst csc; OP Jeremy Lyall; to August 31, Toronto

Lost girl iii (series); DOP David Greene csc; OP Dave Sheridan; to September 7, Toronto

mortal instruments: the City of Bones (series); DOP Geir Andreassen; OP Robert Stecko; to November 6, Toronto

murdoch mysteries Vi (series); DOP James E. Jeffrey csc; OP Michael Fylyshtan; to September 28, Toronto

the next Step (series); DOP Kim Derko csc; OP Brad Hruboska; to September 6, Mississauga

red ii (feature); DOP Enrique Chediak; to October 12, Montreal

republic of doyle iV (series); DOP Malcolm Cross; OP Tony Guerin; to December 14, St. John’s

Suits ii (series); DOP John Aronson; OP Michael Soos; to October 19, Toronto

Wolves (feature); DOP Scott Kevan; to October 25, Toronto

SeptemberAug. 31-9, Vancouver Latin American Film Festival, vlaff.org

6-16, Toronto International Film Festival, tiff.net

13-20, Atlantic Film Festival, Halifax, atlanticfilm.com

15-13, Cinéfest International Film Festival, Sudbury, ON, cinefest.com

19-23, Ottawa International Animation Festival, animationfestival.ca

20-30, Calgary International Film Festival, calgaryfilm.com

27-Oct. 12, Vancouver International Film Festival, viff.org

28-Oct. 6, Edmonton International Film Festival, edmontonfilmfest.com

29-30, CSC Basic Lighting Course, Toronto, csc.ca

October10-14, Planet in Focus: International Environmental Film & Video Festival, Toronto, planetinfocus.org

10-21, Festival du nouveau cinéma, Montreal, nouveaucinema.ca

12-20, Antimatter: Underground Film Festival, Victoria, B.C., antimatter.ws

16-20, St. John’s International Women’s Film Festival, St. John’s, NL, womensfilmfestival.com

17-21, imagineNATIVE Film Festival, Toronto, imaginenative.org

18-26, Toronto After Dark Film Festival, torontoafterdark.com

Sept. 27-Oct. 12, Vancouver International Film Festival, viff.org

Sept. 28-Oct. 6, Edmonton International Film Festival, edmontonfilmfest.com

CUT. SHAPE. FOCUS. TUNE.

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The MXF fi le structure recorded on the UDF formatted SxS cards makes the new PMW-200 fi les compatible with the PDW-500, and PDW-700/F800 optical disc based camcorders.

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Documents

Q&A with Tony Costa • ProFusion 2012 · By Professionals, For Professionals2 3 CSC BaSiC Lighting WorkShop September 29 & 30, 2012 Toronto, Canada $550.00 CDN (plus HST) $450.00