Cinematography in Canada Since 1957

#jonelliott #associatemembercsc @jon.b.elliott

Well that’s it for my time hosting the CSC Instagram page! Thanks so much to @416cw for asking me to do this and giving me the platform to share work and thoughts with all of you brilliant colleagues of mine. It’s been a real treat (while reinforcing my desire to never be an influencer!) and I’m thankful for all the kind words and messages you’ve sent the past two weeks.

I wanted to use my final post to give a huge shoutout to so many of my amazing collaborators; incredible DP’s, Directors, Editors and others that you should check out if you don’t know already. They’re all amazing at what they do and if you haven’t worked with them before you should try!

@kaayla_whachell @keenanlynch @michaelmaddeaux @clint_dp @matjbarkley @michael_bourquin @ramsaypictures @seansecwepemc @sab72 @courtneymontour @tanyatalaga_author @onondagajess @shanerpix @eriorofino @trevorthecreator @johnfilmsstuff @mike_corbs @saradawnnungos @peter.esteves @goforvictoria @romichelangeli @michael_ca0 @comaedits @dinae_robinson @guille_delarosa @_jordanwan @desmondstuartsimon @thezoehopkins

Nia:wenko’wa (Thank you very much) for everything and I hope to cross paths with you all in the future!

#jonelliott #associatemembercsc @jon.b.elliott

As one of my final posts during National Indigenous History Month, I want to share some tips about best practices while working on Indigenous-led projects and in our communities.

Working in Indigenous communities as a DP requires an empathetic, thoughtful and wholistic approach to filmmaking that can be slightly at odds with usual practices.

Indigenous stories being told by Indigenous creatives can often depict specific cultural practices, historic events and community knowledge/lifestyles. As a DP, it’s important to ask as many questions to your director, producers, writers, etc. to understand what their intentions are in presenting these elements. Things such as ceremonies, songs, events, smudging and even sports can have certain community protocols around them that need to be respected.

I encourage DP’s to take time before your shoot to organize a meeting with your camera, G&E teams and a community contact through the project leads to discuss their communities protocols around the events you’re going to be capturing. Being proactive and establishing those personal connections can help share the mental load that’s often placed on Indigenous leads on these projects. Ensuring your crew has this knowledge is crucial as well.

If you’re working with elders and knowledge keepers, plan your time accordingly to be respectful. In many indigenous communities, elders are given the utmost respect and when they choose to share their knowledge, they should be given your full undivided attention. Give them ample time and dont rush them through stories, teachings, etc. While film tends to move a mile a minute, this is your notice to slow down. Be present, be kind, be respectful. If timing is precious, plan your schedule accordingly.

Finally, encourage production to hire locals as crew members for your departments. Encouraging Indigenous community members to participate in filmmaking on projects in their communities helps build the next generation of storytellers and encourages authentic representation of our values and voices in these projects.

Do you have questions? Let’s discuss in the comments!

#jonelliott #associatemembercsc @jon.b.elliott

@ghosthunters_grandriver on @aptn_ca is easily the most fun project I’ve ever been part of with the best team of people.

Created by @peter.esteves the series follows @snipe.ghostcrew including @toddthebarbarian @toddthomas15 @trevorthomas9493 @awetharonkwas @arihwayens and Tristyn Miller (can’t tag) as they investigate paranormal encounters at various haunted locations across the country. I’ve always loved paranormal series growing up so getting to make one with an investigative crew from Six Nations felt like a dream come true.

With a small but mighty crew, including incredible showrunner Peter, our incredible camera operators @michaelmaddeaux and @clint_dp (also associate CSC members!) and sound recordist @lazajam we’ve collectively evolved our approach to the series over the past four seasons.

The first three seasons were shot on the @reddigitalcinema Komodo and @sonycine Handycams for night vision scenes. We wanted to create a spooky atmosphere with dramatic lighting for interviews/recreas. We used night vision to keep the environment dark for SNIPE’s investigation but Peter and I wanted to find a new approach while still keeping things dark for SNIPE.

Season 4 saw us switch to the @canonusa @canoncinemaeos C400’s and C80 whose native triple iso of 12,800 gave us the ability to light scenes at night with only @aputure.lighting MC’s and infinibars (often at 1-5%!) it elevated our look into exciting new territory and I’m excited for people to see the new season in the fall!

It’s rare to work with a team that truly feels like family yet runs like a well oiled machine, but this is truly one of those rare cases. Check us out on @aptnlumi and @appletv

Creator/showrunner: @peter.esteves
EPs: Sharone Ostrovsky, Jean La Rose, Charles Clement
Producers: Desiree Single, Vanessa Loewen
PM: @frantsipants
PC: Sharol Stewart
Directors: @jon.b.elliott @peter.esteves
DP: 👋
Cam ops: @michaelmaddeaux @clint_dp
Sound: @lazajam @nickdaveysound
PA’s: @jake_berny Avery Estevez
DMT: Fred Fontaine @elfred_
Winnipeg Crew
B-cam: @tamararoshka_
Sound: Joel Mireau
DMT: Darin Morash
PA: Tri Cao, David Lyle

#jonelliott #associatemembercsc @jon.b.elliott

Blue Rodeo: Lost Together is a feature doc that deep dives into the history and legacy of one of Canada’s greatest bands. Top to bottom this film was a delight to work on with an amazing team.

This marked the first collaboration between myself and the rockstar director @dale_icious_ who has a long history with the band and alongside writer Ralph Chapman, a near encyclopedic knowledge of their exploits.

After several discussion, Dale and I decided to create a nostalgic, vintage look that reflected the bands music videos, our archival footage and would keep cohesion between all the materials.

After lots of tests, we landed on the @blazarlens.official Remus 1.5x Anamorphics. These gave us a soft, but still decently sharp image that gave a gentle rendition to our subjects faces and a key characteristic of vintage images for me - interesting flares and chromatic aberrations. Shooting on the @reddigitalcinema Gemini and Komodo, we framed for a 16:9 image.

interviews were shot in two locations, so we had to create variety through framing, set dressing and lighting. We lit most of our interviews with an 8x8 book light setup, bouncing an @aputure.lighting 1200d through unleashed muslin to warm it up slightly. Often double diffused with an extra silk for added softness. Practical lamps and windows motivated any edge/backlighting, often from key side as I like the look of sharp to soft wrap from a single direction.

We had a small but great team to pull this off and they all brought their a-game to the shoot.I’d honestly be able to listen to Jim and Greg chat all day. Hearing them play so much music was a real treat.

Watch it now on @cbcgem

Production company: @creamprodinc
Broadcaster: @cbc
Producers: @coreyrussell @parisiscalling David W. Brady
Director: @dale_icious_
LP: @danmagnuss
PC: @camsparks_ Ricki Grella
DP: @jon.b.elliott
Gaffer/Cam Op: @kevinthephotonwizard
Can ops: @michaelmaddeaux Michael Grippo Zac Lasuck Dwain Parri
Sound: Brendan Michie @alexandregougeon
Editor: @drewmacleod
Grip/Swing: @jake_berny
Colour: @pictureshop
Colourist: @marc.bachli

#jonelliott #associatemembercsc @jon.b.elliott

True Story: Part Two is a feature documentary produced by @eaglevisioncanada for @history was a fun and fast-paced shoot that presented lots of unique challenges to overcome.

Brilliantly directed by @dinae_robinson this doc was a follow up to True Story: Part One that details key historical Indigenous events from the past 100 years in an educational, tongue-in-cheek way. Consisting of expert interviews intercut with recreations and animation to bring the stories to life.

Carrying forward some aesthetic choices from part one, we shot all of our master interviews exterior in order to show the subjects in their home territory and on the land. We had a small 5 person crew for our travel shoots so had to be smart with scheduling our interviews around best sun positioning time of day with our limited gear. These interviews were a treat to listen to, teaching all of us so much about Indigenous history across the country.

Recreations were a much bigger production, with a proper sized crew, over 40 performers, with nearly 100 different scenes to be shot over 5 days. After extensive scouts, lighting plans and discussions with my gaffer @holowka and key grip @conroy100 we knew we’d need to hopscotch our setups and always work 2 scenes ahead by splitting our gear and crew to make our days.

Our team pulled this off brilliantly, always locking in the majority of our setup right before we landed for the next scene. Huge shoutout to our great camera team who worked with practically no rehearsals and still nailed their shots and focus every time.

Director: @dinae_robinson
Writers: Dinae Robinson @rebeccagibsonca
EPS: @lisameeches Dinae Robinson, @kylejirving Rebecca Gibson
AP/PC: @cynthia_murdockk
Field Producer/1st AD: @ricduf204
DP: @jon.b.elliott
Editor: @connortemp
Composer: @justindelormemusic
PM: Katelynd Johnston
B-Cam/1st AC: @tamararoshka_ @johnfilmsstuff
AC: @rushkid2112
Cam Assist/Sound: @kanekirton
DIT: @xaeas
PD: Aaron Johnston
Gaffer: @holowka
Best Person: Ryan Herdman
Lamp op: Tatianna Balcaen
Key Grip: @conroy100
Best Person: Paul Skirzyk
Grip: Vince Syposh
Colourist: @filmmakermatt

#jonelliott #associatemembercsc @jon.b.elliott

Mentoring the next generation of filmmakers and crew is a passion of mine. Rookie, a @cfccreates project I shot that my friend @goforvictoria directed earlier this year was big for this.

Part of the CFC’s actor showcase, for @theresac_k to play a role outside of their usual type. Victoria and Theresa wrote the 5 page script together and we had 8 hours to shoot it in a single day.

Our touchstone was Seven, shot by Darius Khondji so impeccably and of course the master of darkness, Gordon Willis. We wanted the short to be gritty, dark and foreboding.

I wanted to motivate all our interior lighting from hanging bulbs and resist the urge to “carry” them with any larger sources which would change the quality. We used @aputure.lighting MC’s and additional bulbs/positioning the practicals for all our shape. Bouncing light from outside using @thelightbridge CRLs kept the floor gear free in our cramped location. We chose to forego any specific eye lights, keeping the mystery of the characters intentions hidden.

I love working with people new to the industry, and since CFC requires crew to be fully volunteer, I see it as a great opportunity to mentor crew in key positions they normally don’t get to work in and build their skillset in a hands on environment. This crew did a great job - they were super professional, eager to learn, hard working and a fun group of people to be with. I hope to get more of them out on properly large sets to continue developing their skills and you should consider them as well!

Director: @goforvictoria
Writers: @goforvictoria @theresac_k
Producer: @lee.marsh.all
PM: @4yourtale
APM: @kariannetaklo
PC: @blackbirb
APC: @brian_j_coffey @natalitriv
Key PA: @tessaruryk
PA’s: Emily Thorne, Brett Hayman, @filmbymikhaela

Starring: @theresac_k @fieldcommanderwhitby and Brandon Oakes!

DP: @jon.b.elliott
1st AC: @_jordanwan
2nd AC: Veronica Ladico
1st AD: @goforjunitta
Colourist

Gaffer: @carson.davidson32
Key Grip: @dylanpaulinip
Swing: @ryanmendoozaa @solipuram_shiva
Sound: @annoyedturtle_
DMT: @punintended92

PD: @huirulala
AD: @marion_clairet_rodriguez

#jonelliott #associatemembercsc @jon.b.elliott

Macro and close up detail work is always a fun time. This commercial for @aptnnews titled “Our Eyes” wanted to show how APTN News has spent the last 25 years delivering the news to our communities through an Indigenous perspective.

I paired the @arri Alexa Mini with the @laowa.cine probe lens (t8 version) to capture our macro shots in eye-exam level proximity to our performers. Thankfully none of them were squeamish! We paired this with slightly wider shots on the @dzofilm Arles 100mm with +1 or +2 diopters.

We shot entirely at 48fps to extend any moments of great performance while minimizing blinking. We lit to expose 1 stop under for the t8 of our probe lens and compensated with ND for our 100mm shots.

I knew skin detail and colour would be important to nail for this. In my experience, I find indigenous skin tones expose best for true colour reproduction at around 30-40IRE. This keeps the tones rich without washing out colour. In LED studio lighting, I tend to favour having lights set to 3800k while shooting 4200-4400k in camera. The slightly warmer lighting helps balance out the usual red undertones of Indigenous skin tones and helps lessen blotchiness around cheeks and eyes.

Huge shoutout to our amazing cast and crew who managed working around our boxed in lighting setup all day. You’re all awesome!

Client: @aptnnews @aptn_ca
Agency: @boomintertribal
Production company: @nimblecontent
EP: @mike_corbs
Producer: @aarinmackay
Director/DP: 👋
1st AC: @em.debackere
2nd AC: @gioolucero
Gaffer: @michael_ca0
Key Grip: Lucas Mackay
Grip/Swing: @jake_berny
HMU: @xtina_rubi
Performers: Ginew Paradis, Derek Sands, Sharon Corbiere, Dehmin Recollect, @inuk.crook Rosary Spence @kimiwvn