Cinema Canada (Dec 1974-Jan 1975)

of a very trying day we unanimously selected the entry of Norm Keziere, called Mirror of the Sun as the best example of the contribution of the camerman. Our second choice was a film by Yuri Spilny, called Italo. One of the judging points was innovation, which is really a different way of describing budget difficulties. In this case, the use of light, both natural and tungsten, was ... exemplary in its simplicity. Our best wishes on his future efforts. Scratches I have been known as a shit disturber for a long time now, and since I started to vocalize through Cinema Canada more and more tid-bits of dirt come floating my way. I have to step very carefully around some of it, because after all I have to make a living in this town. But here are some interesting items, checked out with care. Very funny though, the more you disturb said shit, the more seems to turn up! It all started with a letter from Don Ryder, president of the McMaster Film Board in Hamilton. He sent out a form letter regarding a recently purchased Steenbeck editor, available through him for a very soft rental price. He made the mistake of including several film production houses in his mailing list. And predictably, they blew their collective tops. It seems that it was originally understood this would be unfair competition as it was assumed that this gear was purchased with tax money. I was able to ascertain that this was not so, that said gear was purchased with a producers license however, and is presently located on the University premises. In any case, it is unfair competion to those among us who have to make a living and who pay taxes supporting such Universities. Happy to say that Mr. Ryder promised Bruce Sabsay to cease and desist such practices and sent out a follow-up form letter to customers to that effect. But poking around produced other cans of worms. Like; the CBC sometimes hires film crews for very small fees indeed, fees that would barely cover the basic rental fees of the equipment used. So, who are the magicians who can shoot film for peanuts? Well, students from Ryerson and York 22 Cinema Canada University, using equipment belonging to those bodies. Let’s just examine this situation. The CBC, whose sole existence is based on tax monies you and I have to fork up, is hiring students with our tax money, who use equipment bought with our tax money. When queried, the CBC spokesperson, insisting on staying unnamed, dismissed the whole thing with: “‘Oh, they need the experience, and you guys need the competition.” Well, yes, competition is good for us, but this type of competition is a bit much. You see, at this moment there are 72 assorted colleges and universities in Canada alone, offering film, television and other communications courses. That means that every year several thousand hopeful youngsters are let loose on our very small industry. Every sorry one of them out-Ingmar Bergmanning each other. If they can make it under their own power, in the open market, fine. Based on the observation that very few good journalists come out of a journalism school (name one, if you can) we don’t have too much to worry about, but when we are forced to subsidize them to compete against us, we get pissed off. How to put a stop to it? Hard to say. Maybe it would help if in future issues we would name the persons involved, the programs, the airdates. If you out there have a better idea, let me know, will you? Answer Print Just one this time, from a good friend in Detroit (What is Cinema Canada doing there?) (We do get around.-£d) with an interesting tip. This is for those of us lamebrains who sometimes forget light meters at home. It happened to me once, once, so there! It seems that if you shoot in bright sunlight, the reciprocal of the ASA rating is equal to the exposure at f/16. Or to simplify: put a one over the ASA and expose at f/16. Don’t believe me? OK, let’s try. 7252 at ASA 25, with 85 filter ASA 16. The exposure is 1/16 at f/16. Or 1/32 at f/11. Or 1/64 at f/8. So at 1/50, roughly between f/8 and f/11. Spot-on. One stop less for side light, two stops less for back light. And one stop more for snow. Wish I’d known that a few years ago when it happened to me. Another one, from A. Makosinski in Fredericton, N.B. He was the first to write about the BEAULIEU parts I had, so I’m sending them forthwith. Sorry guys, first come first served! Dear Mr. Rouveroy; I very much enjoy your “Rough Cut’’ in Cinema Canada. That section is worth the price of the magazine alone. In the last issue especially the comments on the 16mm Beaulieu really hit home. I too owned this camera for some time, and have made several prizewinning films. Then the urge took me to make it “‘silent”, and I took the thing apart trying to replace some of the gears by nylon counterparts. Needless to say the experiment was a total failure, on top of which I lost some small parts and the photocell system was damaged. Your adventures with the Beaulieu mention how you wound up with a box of parts. Well, I am willing to buy them from you and rework my camera. I should mention that I work as an electronic technician, but I am greatly involved in filmmaking, havingthis year received a considerable grant from the Arts Council to make a film. Doing any kind of filmwork is a hell of an experience down here in New Brunswick, especially from the point of view of equipment and services. Should you be willing to part with the parts and send them on an adventure to the heart of New Brunswick wilderness, let me know their price. Yours sincerely, A. Makosinski Extro The following questionnaire is to gather information on free-lance rates across the country. It will be treated in a completely confidential manner. Such information is highly beneficial to us all, so please return it as soon as possible. Meaningful correiation of data can become available in the early spring. Meanwhile, join the CSC. See you. O