Cinematography in Canada Since 1957

#MitchellBaxter #AssociateMemberCSC @mitchell.baxter

I had the immense privilege to be a part of a short documentary in 2019 called “This Ink Runs Deep” directed by @asia.youngman that premiered at TIFF that fall. The film explores the revitalization and reclamation of indigenous tattooing practices throughout Canada. We were fortunate to spend time with communities in Haida Gwaii, Northern BC, and Nova Scotia over the course of a week.

Prep on a documentary is an interesting paradox. There’s a level of prepared you want to be before you walk into some of the situations you’ll be covering, but there’s also an immense responsibility to allow spontaneity and the room for things to progress as naturally as they can.

Asia and I knew the approach was going to be very stripped back. With some incredible locations in mind we knew letting environments speak in certain moments of the film was going to be pivotal in providing context to the artist’s stories and influences. We experimented with negative space in our compositions and used slightly wider lenses then that of a traditional doc so we could capture more of the surrounding environments. I think about 75% of it was shot on a 25mm Super Speed, and about 95% of it handheld; including the interviews to allow ourselves to fluidly adjust with the moment.

The film was almost entirely naturally lit, minus a few interviews where we utilized our small travel lighting package which consisted of a couple litemats and some fold away 4x4 and 6x6 frames. When we opted to use lights my approach was always to make the interviews feel as cohesive with the environments as I could. This meant placing practicals in some of the night looks to motivate our key, or using window light to key, closing a few blinds and very subtly filling with our own lights when it was appropriate. It was very simple single source lighting for the most part, where really choosing the right location and blocking did most of the work for us.

#MitchellBaxter #AssociateMemberCSC @mitchell.baxter

I love shooting Music Videos. They can be such a fun place to experiment and learn. The budget side of things can be challenging but I think there are few genres that give you as much creative freedom so I find it a a worthy trade off.

I have been lucky to worth a some incredible directors on music videos. Here are a few stills from one of my favourites back in 2019: @jonrbryant “Headphones” directed by Brock Newman ( @brock.newman )

We shot this over the course of a morning and an evening with a small but mighty team. Creatively, Brock and I were excited to explore the use of volumetric pixel clouds for key scenes in the narrative that represented distinct memories. We were heavily inspired by the works of Benjamin Bardou and RubenFro, and thanks to our incredible VFX supervisor Riley Gray ( @riley.gray.vfx ) we were able to create something uniquely our own. Riley shot a few tests before the shoot and we were able to work out some kinks in the compositing to get the look we were hoping for. (Slides 7 & 8). We used a blended technique of shooting plates with our main camera, detailed on-set stills of our talent, and 360 photo scans of each space to give us our “cloud” data points that were later comped into the final shots.

#MitchellBaxter #AssociateMemberCSC @mitchell.baxter

When I decided I wanted to take the plunge into DPing full time, I got really into photography. I tried my best to spend about a half hour every day for the better part of a year going on photo walks. Even if it was just around the block or up a few streets and back. The photographs were’t really any good, but that’s not really what it was about in hindsight. It was about studying them and trying my best to pull a detail out that I found interesting. Even if it came subconsciously, it got me familiar with light and shadow, made me curious about composition, and what colour combinations seemed to work. This can be intrinsic and instinctual to who you are as an artist - so it felt important that I was in tune and aware of that. And, as I later learned it was critical to be confident in my choices - because there’s a lot of them to make as a cinematographer.

When work gets slow for me, I find myself reaching for my camera and longing for a photo walk. It’s a skill that can constantly be practiced and improved. I find it fascinating.

Here are a few photographs from over the years. Some are from around my home province of BC, but most are from my travels abroad. Placing myself in a foreign place and making photographs is a very pure source of joy for me.

#MitchellBaxter #AssociateMemberCSC @mitchell.baxter

I wanted to start by sharing a bit about how I found myself on my first set, the importance of giving back to those starting out, and the time I spent as an AC in my first few years in the industry.

My first experiences on set were near the end of my junior year in high-school. I’d often spend my weekends looking for volunteer work as a 2nd AC or Camera Trainee wherever I could. Craigslist of all places was an extraordinary resource for me at the time. I think the first 3 or 4 things I worked on were through craigslist believe it or not. 🤔

I met fellow Associate Member Tony Mirza on one of these experiences, who was an incredible mentor to me throughout these years. Tony taught me so much about how to be a good camera assistant, what a cinematographer actually does, and most importantly how to treat your crew. His patience and willingness to teach is a virtue I have tried my best to carry with me on my own sets.

It is so important to look back at where you started. Had it not been for Tony I think I would have been far more discouraged to jump head-first into the industry. I recognize how fortunate I was to have such an encouraging first few experiences, as I know this can often not be the case for many folks. It’s so important to create an environment that encourages and supports those new to the industry.

Shortly after this I joined @icg669 as an assistant when I had my days. I day called on a number of shows in Vancouver, and eventually spent a few seasons on the Flash as the B Camera Focus Puller before making the plunge into shooting full time.

I truly value the time I spent as an assistant, it taught me so much about the responsibilities of a DP as well as gave me the opportunity to see a lot of different DP’s work and light. It showed me there is not just one way of doing things, that you can create a system that works best for you.

#MitchellBaxter #AssociateMemberCSC @mitchell.baxter

Hey y’all! I’m Mitchell Baxter, a DP based out of Vancouver. Stoked to be sharing a bit about my experiences as a cinematographer on and off set. Big thank you to the CSC and Carolyn Wong for giving me the opportunity to share on this platform.

Growing up, I found cinematography by virtue of skateboarding. I was fortunate to be a teenager in peak YouTube-era when getting your stuff seen was relatively straightforward. I shot a ton “sponsor me” videos for friends and friends of friends and quickly developed a passion for filmmaking. I’d hog the family computer to edit on Final Cut 7 (fortunately my 3 siblings were very patient with me) and slowly developed a following on Youtube. Fast forward nearly 15 years, and while I don’t skate much anymore, I still feel that skateboarding spirit influences my decision-making on set today. I found learning this way taught me dedication and patience. I’d often myself camped out a spot for an hour or two just to get the one clip where the skater would finally land whatever it was they were working on and it was always worth it to me.

Most of my posts during my time on here will centre around a particular topic or project, but feel free to comment if you have any questions or if there’s anything you’d be interested to hear more about.

Thanks for reading, very much looking forward to this!

The CSC recently launched a NEW Cinematography Intensive in collaboration with the Canadian Film Centre @cfccreates) & presented by the Paul Bronfman Family Foundation.

This is a two-week intensive welcoming five female-identifying DOPs to work alongside the 2024 Norman Jewison Film Program residents. The intensive is geared towards helping cinematographers elevate their narrative storytelling, teamwork and technical skills while also building their professional network.

Pictured from left to right: CSC President @zoedirse csc, @iris.ng.cinematographer, @paolacontrerar, @claire.sanford.cinematographer, @emmadjwa, @kaayla_whachell, and CFC Executive Director Maxine Bailey.

Thank you to our in-kind services & equipment sponsors: @keslowcamera, @urbanpost_toronto @sunbeltrentals.

📸: Dean Oriade

@mattbendo #MattBendoCSC As my time hosting the CSC Instagram page comes to an end, I want to extend a heartfelt thank you to everyone who has followed along, commented, and engaged with my posts. Sharing my work and insights with such a supportive community has been an incredible experience.

Throughout this hosting period, I’ve reflected on my journey and the projects that have shaped me as a cinematographer. From exploring deep psychological themes in “I Feel Uncomfortable on the Balcony” to the raw and authentic storytelling in “Fuego,” each project has been a unique chapter in my career.

I’ve had the privilege of working with amazing teams, both locally and internationally, and I’ve learned that the heart of great cinematography lies in collaboration, innovation, and a relentless passion for storytelling. No matter the tools or techniques used, the goal is always to create a visual narrative that resonates and lingers.

Thank you to the Canadian Society of Cinematographers for giving me this platform to share my story. It’s been an honour to connect with fellow cinematographers, aspiring filmmakers, and enthusiasts who share a love for the craft.

Remember, every project is a new opportunity to push creative boundaries and tell stories that matter. Keep experimenting, keep learning, and most importantly, keep filming.

Until next time,
Matt Bendo CSC, AIC