Cinematography in Canada Since 1957

#AaronBernakevitch  #AssociateMemberCSC @aaronbernakevitch_dp

THE WORK – Short Narrative

Working as the DP on Dear Kate (2016), directed by @ilonamccrea and produced by matthew.ackland was one of those special projects that sticks with you. The story centers around Lorna, a retired vocalist who’s dealing with loneliness, memory loss and trying to reconnect with family. It’s quiet an emotional journey, and there was a delicate balance we had to strike between memory and reality.

Having grown up next to my grandparents. I felt a deep connection to the material from the start. I wanted the cinematography to reflect that and let the visuals carry some of that weight without getting in the way.

Ilona and I talked a lot about contrast, not just in the look of the film, but in how it felt. We used softer, warmer lighting and smoother camera movement for the flashbacks with sharp blacks, to give that sense of nostalgia and comfort. For the present-day scenes, we stripped things back, muted tones, more static shots, blue hues, open blacks, and letting the quiet moments speak for themselves. It wasn’t about showing off camera work; it was about supporting the characters emotional world. Every decision came from that place.

Elizabeth Shepherd, who played Lorna, brought so much depth to the role it made my job easier and @j.blackantelope was a grounded presence on set as well.

The film premiered at the @newportbeachfilmfest and earned recognition, including an @yourampia Award for Best Cinematographer. But more than anything, I’m just grateful to have been part of something that meant a lot to all of us. Projects like this don’t come around often, and I’ll always be proud to have played a part in telling this story and crafting the visuals.

A massive shout out to a great friend and true beauty Jamie Wensley @peakline_films who came on board to Gaff, Love you brother ❤️

The full film is available on my website 🔗 in BIO

@kenfile Editor
@kylefjcooper 1st AD
Michael Saic set designer
@peakline_films Sean Badun gaffer
Anish Bahl key grip
Connor Couzens @cinesterdan grip
@mxpx.ca 1st AC
@alexismoar_ 2nd AC
@sheldon_pearson DIT

@keepalbertarolling

#AaronBernakevitch | #AssociateMemberCSC @aaronbernakevitch_dp

THE WORK – Narrative

Reflecting on the journey of creating "Three Colours & A Canvas" brings back memories. Directed by Shailender Vyas, this film was one of my first ventures into feature filmmaking during the early 2010s.

Shot over a month in Calgary, Alberta, the film delves deep into the complexities of friendship, addiction, isolation, and the emotions that intertwine them. The collaborative spirit of our crew was the heartbeat of this project. Working alongside Camera Operator @bradleystuckel_dp Steadicam Brett Manyluk. 1st AC Krista Powell and Gaffer Josh Alkoff @modernlighting.film

I often say the "The Crew is Glue" and for this film it was no exception. Massive gratitude to the whole crew. You all brought this one to life.

"Three Colours & A Canvas" is more than just a film; it`s a tapestry woven with threads of hard work, late nights, early mornings, and an unyielding belief in the story we aimed to tell. The themes explored are touch on the highs and lows of human connections.

Looking back, I`m grateful for the team and the journey we embarked upon together and the film we created.

A few fun facts from behind the scenes:

🔧 Calgary didn’t have much grip/lx inventory at the time, so Josh and the team hauled everything from Vancouver. That 5-ton became our mobile toolkit, including his Italian super flacon dolly @cinetechitaliana.srl

💡 For the night scenes, Josh and I talked about adding a green hue to the moonlight to evoke a sense of sickness and reflect the undercurrent of addiction running through the story. Back then, that meant gelling larger HMIs, we used a mix of ½ CTB and +Green with a heat shield.

This project taught me so much about storytelling, teamwork, and trusting the process. I’ll always be grateful to the crew who believed in it and brought it to life.

Feel free to comment below with any questions or thoughts. Cheers! @keepalbertarolling

#AaronBernakevitch | #AssociateMemberCSC
Personal IG: @aaronbernakevitch_dp

HI THERE.

My name’s Aaron Bernakevitch, checking in from the prairies, Born and raised in Calgary, A.B.

I’m humbled to be guest-hosting here for the next two weeks. It’s an honour to be part of this space and this community, sharing alongside many mentors and artists whom I`ve admired to for years.

My filmmaking journey began as a lil skate grom in late-’90s Calgary. Armed with a used Hi8 camcorder and a cheap fisheye lens, I spent my youth filming skateboarding and snowboarding, and somehow, 25 years later, I’m still pressing record and capturing stories through the lens.

From the start, I was hooked on capturing life, replaying it, and finding unique ways to shift perspective. Back then, it was all about making a handrail or jump look bigger than it was. You’d take your fisheye, crouch low, and find wild angles to create drama and scale. Those early lessons shaped how I shoot today.

Filming skateboarding and snowboarding didn’t just shape my aesthetic — it built the foundation of my cinematography. I still love capturing motion. There’s something about using a moving camera chasing a moving subject that is just so satisfying.

A turning point came in 1999 at a teen summer camp with @thecsif (huge thanks, Dave Jones). We shot on actual film, and that sunk the hook deep. I’d played around with B&W 35mm stills in school, but motion picture film? That was a whole new world.

That experience gave me the push I needed. After high school in 2004, I headed to @vancouverfilmschool to keep the momentum going.

Over the next 2 weeks, I’ll share past work, stories, lessons, and the moments that shaped my path, from early skate sessions to the mentors who guided me. and talk about what keeps me motivated and inspired.

I’m here not as someone who has it all figured out, but as someone who’s still learning, still curious, and still deeply in love with the craft.

Much love from Calgary and a HUGE and HUMBLED thank you to @canadiancinematographer and @416cw for trusting me with this space.

#keepalbertarolling @easyrig @chapmanleonarduk @flowcine @freeflysystems @oconnorsupport

#GabiKislat, #AssociateMemberCSC @gabi_kislat_dop

Last day! I can’t leave without mentioning my favorite film of 2024 - The Substance. Such a brilliant film. I watched it with hundreds of others in a sold-out cinema, having a blast. Experiencing different emotions and reactions together was so much fun - the “Ooohs” and “Ahhhs,” the hands clapping over faces (including mine) when it got too intense - so good! This film isn’t just a movie; it’s an experience. It’s also part of my inspiration for my next project, an arthouse thriller feature with surrealist elements written and directed by the talented Maude Michaud. We will shoot this fall and prep has started.

The Substance is a must-see. It explores misogyny, ageism, and the objectification of women. While men face this too, having a 14-year-old daughter made me reflect on these societal expectations deeply. Seeing myself in it, I started a photo project featuring women in my environment - helping them work through their fear, and embrace their uniqueness through authentic portraits. It can be empowering to find your spot in front of a camera. I know that because I was my first guinea pig, despite hating being photographed, and eventually took one picture that resonated with me - it’s on my very first post here from two weeks ago.

I set up a home studio and invited friends willing to experiment. Most were nervous, thinking they weren’t pretty enough, too awkward, or “not photogenic.” My goal was to put them at ease and create something together that would feel like truly themselves. The key words that emerged were “raw” and “essence”.

The first reaction upon seeing their photo is usually, “That’s not how I see myself.” The second is, “Thank you for seeing me.” That’s why I love The Substance so much - it brings all the limitations we often unconsciously impose on ourselves to the point. When we look beyond the societal conventions we’ve built up throughout our lives, we can see that everyone’s uniqueness is beautiful - ours included.
I’m still taking photos of women, making this an on-going project.

Thanks for joining me these past two weeks—it was a real pleasure to share. Cheers and take care!

#GabiKislat, #AssociateMemberCSC @gabi_kislat_dop
To apply to film schools, I produced my own shorts and continued for a while. Once I was shooting TV shows, traveling a lot and had a child, that completely stopped. Making your own projects takes so much time, effort, and money!

The TV show How the World Ends asked me to direct and shoot all the documentary segments. Our tiny crew of three flew across North America, hauling gear for weeks. We shot six episodes, each covering a different topic: biblical apocalypse, nuclear disaster, pandemic, alien invasion, Nostradamus, and Planet X.
This show was different because fear was at its core. Many topics revolved around humanity`s annihilation, with only a handful of true believers or preppers surviving. It was whacky hearing people talk about leaving behind family members who didn’t believe in the apocalypse - or theories like autism existing only because women are abducted in their sleep and impregnated by aliens. Talking to NASA engineers and meteor specialists, though, was great.
Aesthetically I like the show, it has its own cool look. But I’m not very proud of the show. I gave it my all - so did the whole team. I shot with two cameras: a C300 with zooms and a DSLR I could stick on a C-stand for moving top shots. For an apocalyptic feel, I used a Cokin P173 Varicolor Blue/Yellow filter, which created an unnatural, unhealthy atmosphere depending on the rotation of it. The polarizing effect made clouds pop, though it sometimes affected skin tones more than I liked, which we adjusted in color correction.
I dislike how the production company used the footage. We met many people, especially in the U.S., who opened their doors and told their stories. Many were already extreme characters, yet the producers chose takes that exaggerated their strangeness. If someone behaved oddly, I’d ask them to retell their story without, say, gripping their aluminum hat the entire time of the take - yet those were the shots used. That’s what I can’t stand about so-called documentary shows - the extreme dramatization and manipulation of people’s personalities. As media creators we have a responsibility to the protagonists & their lives.

#GabiKislat, #AssociateMemberCSC @gabi_kislat_dop
I shot two projects about magic—a one-off documentary called Beyond Magic (Maîtres de L’Illusion: au-delà de la magie) and the TV series Magic Challenge (Défier la Magie). Luc Langevin is Québec’s most famous magician. When it comes to filming magic, it’s all about placement—where you position the camera so it doesn’t give the trick away. Luc is a master at this, and it was fantastic to collaborate with him while he performed.
I’m very happy with how both projects turned out. We shot the one-off documentary with two Alexa cameras, while the TV show was filmed on a Sony F55 with 15-40mm and 28-76mm Optimo T2.6 zoom lenses. I shared the cinematography credit for the TV show with the very kind and talented Maxime Pilon-Lalande - he handled the on-location shoots, while I designed and shot all the studio setups. The look is clean but colorful, with lots of cool tones like blue, peacock, green and turquoise. To create contrast, I added warm accents here and there using Kino Flos and Fresnels with CTO gels. For overall luminance, I used three space lights. We also had opaque white tables, which I lit from underneath with fluorescent practicals, casting a soft and warm light on the performers’ faces. We had one day to prelight. Big thank you`s go to gaffer Martin Leduc-Poirier and his team, as well as my outstanding camera assistant, Harold Cassière for their hard work.

The one-off was just amazing - London, Paris, NY with two Alexas and amazing people. One of Québec’s best 1st ACs, Maxime Boutin, also operated the B-camera while I ran A-cam. Just a great experience! Very well directed by Hugo Matte, both projects were nominated for a Prix Gémeaux (the Québec equivalent of the Gemini Awards) for Best Documentary and Best Lighting & Cinematography (TV show). Unfortunately, we didn’t win, but we all had a great time at the party!

Link to watch the one-off (French only):
https://ici.radio-canada.ca/info/videos/1-6979254/maitres-illusion-au-dela-magie?isAutoPlay=1

#GabiKislat, #AssociateMemberCSC @gabi_kislat_dop

I had the absolute pleasure to shoot a music documentary on Steppenwolf - the band of the song Born To Be Wild. It was a project where shooting lasted almost two years and it recently had its premiere in Munich and in New York at different film festivals. I believe it will be on streaming platforms soon too.
It’s one of my recent coup de coeur projects, and I ended up writing a short article on the experience of shooting the film, with a small crew, road trip-style, getting the best out of each shot with the means that we had, including a pretty cool and budget friendly slider shot in a car. I geeked out a bit in the article on different approaches and set ups, amongst others, reenactments of the singer’s past with the lensbaby 35mm.

Check it out by copy pasting the following link:

https://gkfilm.myportfolio.com/steppenwolf-article

Hope you enjoy.

Producer: Lisa Roth, Rezolution Pictures and Markus Hilss, Luna Beach TV
Director: Oliver Schwehm
Assistant extraordinaire & gimbal operator: Pasquale Tropea