Heat in the city of shadows

Frederic Chamberland already knew what he wanted at six years of age: to be a cameraman. At the age of 22, he visited his first camera stabilizer system workshop and decided to become a camera stabilizer operator. When he had the money together for his own camera stabilization system, he investigated different suppliers, however Sachtler caught his attention. He settled on one of the first new artemis Cine HD camera stabilization systems, the artemis Cine spring arm as well as the artemis Vest. Operator Frederic Chamberland from Montreal recounts his work for the film "The City of Shadows" – "La Cité des ombres".

"Cinematographer Nicolas Bolduc asked me whether I would like to be involved with this project in March 2008 I was somewhat skeptical. With a small independent film, to be filmed in Africa with many extras, if any budget problems occur, the stabilizer operator is the first to go. But since it is still very cold in Montreal in March, I simply had to accept the offer of 17 days on set filming and 17 days at the hotel pool, awaiting the return of the crew... While Montreal received the heaviest snowfall of the year, I tanned myself!

FROM CANADA TO TUNISIA

We headed off together and flew to Tunisia. Upon our arrival we had to adapt to the radical fluctuations in nutrition and temperature – from - 20 degrees in Montreal to + 30 degrees in Tunisia – not so easy to handle. The first location was on the summit of the mountain Guermassa. We had to carry all the equipment up ourselves. Since the steep path was also very narrow, a dolly could not be used. Natives told us that this place was last filmed in the seventies – now we also know why!

CROSS-COUNTRY

On location I determined, that the terrain in Tunisia was one of the most difficult at which I had ever filmed: Over stones, as large as pumpkins, to stairs of clay, which melt away under your feet. All at temperatures that I have never experienced in a Montréal summer. While the filming caused me some trouble,

my artemis spring arm worked reliably and I did not have problems with the joints. Last winter after over five years of practical use I brought my spring arm in for a service check. The Sachtler team did not have anything to complain about. They praised my careful treatment, as the arm still worked perfectly.

A PIECE OF PEACE

Since I mostly film under unusual conditions, I only buy my equipment from the best manufacturers. Extreme filming conditions equally stress my equipment and me. If the camera stabilization system is used, a lot can go wrong: Incorrect wiring, a missing screw or a screen, which doesn’t show a picture. Here it is then clear, that one buys not only high quality with top products but also a piece of peace of mind. I know that my cables supply the camera, I know that my Preston control operates the motor without delay and I know that my Sachtler Arm carries its load. The best part of my job is when I see the result. Stabilization operating is sometimes rather stressful and frustrating. One catches on a very small screen something that is to be seen on an enormous cinema screen. When watching the results, I still surprise myself with the fact that I would like to "operate" and change something in the frame that I had not seen when filming...

THE RESULT: LA CITÉ DES OMBRES

The director of our project "La Cité des ombres" was Kim Nguyen. The film is centered on the African desert in 1880. An army surgeon returns to the city, after three years at war, in which he lived before and nothing is as it was. Amongst the inhabitants there is great tension: When the plague breaks out and the population decreases, accusations of who is guilty leads to an escalation of the situation. With my artemis Cine spring arm I could film the dramatic scenes in the narrow city lanes, which are built into rock, problem-free. Not only I but also director Kim Nguyen and cameraman Nicolas Bolduc were inspired by the results from the city of shadows in Tunisia."