Cinematography in Canada Since 1957

#GabrielBraultTardifCsc @gabbtcsc,
Gaby les collines.
Written and directed by the talented @zezwezo, this short film premiered at the Berlinale.

Shot in the beautiful landscapes of the Magdalen Islands, under the flattering September sunlight, the film’s visual tone and emotional rhythm were deeply influenced by the place itself.

The story follows a young girl named Gaby (beautifully intreprated by @tloulou / Lou Thompson) who spends her summers visiting her dad. During this particular summer, she begins to cross that delicate threshold between childhood and adolescence.

Our approach was authenticity. I tried to light mostly with practicals and natural light whenever possible, letting the environment lead us. We had limited gear on a single truck, which meant staying intuitive and resourceful.

Luckily, the weather was on our side, not something you can always count on in the Islands! It can be extremely windy.

For one of the night scenes, we lit an entire beach for a walk-and-talk and bonfire sequence using just a few lights placed on the hills, plus an soft light on a pole to follow the actors. The results were really satisfying given the minimal setup.

The LOMO Super Speeds from @maisondeverre, available at @cineground, paired with the Alexa Mini, delivered beautiful warm tones and a smooth, expressive bokeh that perfectly fit the story’s intimacy. The film was shot almost entirely handheld, allowing for emotionally driven camerawork that stayed close to the characters. Great grading by @simon_boisx.

A huge thank you to the crew — and to the people of the Magdalen Islands for their generosity and warm welcome.
Zoé, thank you for this unique experience and your big heart.

#GabrielBraultTardifCsc @gabbtcsc,

Plan B is a Canadian television drama series adapted from a French-language show produced in Quebec.

The show was directed by showrunner/writer @instasselin , alongside directors @maximegiroux and @aislingchinyee.
Each brought something distinct to the table, and I learned a lot from adapting to their different styles.

The tone of Plan B is grounded in realism, yet it features a fascinating time-bending element, its main protagonist has the ability to travel back to specific moments in his life.

This premise required us all to remain deeply aware of timelines while shooting, always tracking when and where a scene fit within the “main timeline” of the show.

Working with @patrickjadams and @karinevanasse was an incredible learning experience.

They brought depth, precision, and high energy to the project that elevated every scene.

I had the pleasure of sharing cinematography duties with talented CSC member @ianlagarde , along with a few other DPs who covered additional shooting days.

A major creative asset was using the @xelmusanamorphic full-frame anamorphic lenses provided by @cineground.
Paired with the Mini LF, these lenses offered a much wider perspective that helped us maximize mise-en-scène, especially in tight locations.

We could experiment with perspectives we’re not usually accustomed to. Their close-focus capabilities which are very impressive compared to most anamorphic lenses, were also a major feature.

What I loved most about Plan B was its stylistic variety and the wide range of locations.

This diversity allowed us to craft a beautiful mix of lighting moods, incorporating long dolly shots, steadicam, and handheld work.

#GabrielBraultTardifCsc @gabbtcsc,
I’ve shot a lot of commercial work, getting the chance to shoot my first feature was incredibly exciting.

Richelieu was a beautiful challenge and another strong collaboration with @ppchevigny.

The film premiered at Tribeca and was nominated for several awards, including Best Cinematography at the Canadian Screen Awards — something I’m deeply proud of.

The story follows Ariane, a translator working at a food processing plant where temporary foreign workers face abusive conditions. It’s a powerful social commentary on labor, exploitation, and justice.

It was shot handheld, very close to the lead, almost entirely in sequence shots. The Director designed every scene in 3D previs software, which gave us clarity — but also huge technical challenges.

We had to rehearse intensely to move with the cast, avoid shadows and reflections, seamlessly move in/out of buildings or vehicles in one shot while maintaining consistent lighting for complex long takes. Many sequences that last more then 5 minutes.

Indeed, almost no lighting adjustments were possible. Most of the lighting had to be “justified” within the frame. I built custom practicals with LED panels, modified fluorescent ballasts to house Astera Tubes, and adapted exposure and levels constantly as natural light changed.

We shot on Signature Primes with the ARRI Mini LF, mostly on the 47mm and 75mm, with a 3:2 Aspect Ratio.
Being that close to Ariane was intense and required sensitivity, not just precision.
@ariane.castellanos the lead actress was incredible, talented and patient. We had to “walk” together to let the story unfold naturally in the frame. I’m really proud of how fluid and emotionally connected the camera work feels. Like Pier-Philippe said, it created some immersive synchronicity with the characters.Thanks once again for your trust on this project.

This project allowed me to explore the discipline of visual storytelling shaped by constraints. Impossible without the crew’s dedication. A special shoutout to the first ac Mathieu Nadon, who worked miracles pulling focus. Also 🙏🏼 @sasquatchgripping. I’m definitely looking forward to shooting another feature soon.

#GabrielBraultTardifCsc @gabbtcsc,
Monsieur Cachemire is a short film written by @samcantin and directed by my good friend @iouriphilippepaille. It was truly a passion project, shot with very limited resources and budget. It was one of those experiences where everyone’s energy made a real difference. Both the cast and crew were incredibly generous with their time and creativity. I never laughed so much on a set. What a pleasure, the result speaks for itself. A fun, smart creative short film.

The story follows a mysterious and eccentric man who visits a bank to request a large sum of money, only to unearth dark secrets from the past… It even hints at an expedition to uncover the treasures of El Dorado, a wonderfully eclectic adventure…

Visually, we wanted to create our own codes to present a comedy with a distinctive and cinematic look. Some sequences were inspired by vintage 1980s adventure films, set in shadowy, exotic jungles.

Of course, we couldn’t afford to shoot abroad, so we had to get creative. Those “jungle” scenes were filmed just a few minutes outside Montreal, on a small island. The framings and setups were carefully designed to hide how close we actually were to the city. These sequences were shot on 16mm as part of the flashback scenes, on one single day. We added loads of smoke to create texture and a feeling of danger and nostalgia.

A few months later, a funky office set was put together for the main scenes of dialogues, which we lit and shot over two intense days.

Lighting-wise, we kept things simple yet textured: mainly a 12K HMI outside the main window, complemented by practicals and Asteras. The setup was minimal, but effective.

While certain moments are static to build tension, most of the film was shot handheld. I used an ARRI Alexa Classic paired with vintage Lomo anamorphic lenses as well as a Arri416 and 8-64mm canon S16 zoom for the film flashbacks. An imperfect look, embracing flares and soft edges.

The short was recognized at several film festivals, including its premiere at HollyShorts.

Big thumbs up to @dave_comerchero who edited the short and @iseehue for a smooth grading once again.

Link:
https://vimeo.com/685729014

#GabrielBraultTardifCsc @gabbtcsc

Shooting « Veterane » was an exercise in precision.

It was my first collaboration with the talented and sensitive director @ppchevigny

The short follows Camelia (played by the exceptional Sandrine Bisson), an escort with a troubled past navigating her first days at an erotic massage parlour in Montreal. Faced with the competitiveness of her new colleagues and the need to build a clientele from scratch, her journey unfolds within the tight, intimate confines of the salon.

From a visual standpoint, the limitations were real — and it even became our greatest creative asset.
The film is set entirely in a small, enclosed massage parlour, which meant every decision in lighting, framing, and movement carried weight. There wasn’t much room for gear — or mistakes.

It was shot hand-held, with a frantic camera work.
I believe we used Zeiss High Speeds paired with an Alexa Mini.

We leaned heavily on integrated lighting. In 2017, RGB lighting options were limited, so we improvised — even sourcing cheap, small RGB fixtures from a hardware store, simply because they were compact and easy to hide.

We used them to create subtle color shifts and textures that helped define the emotional palette of each scene. Speaking of colors, I should mention @iseehue, he did an amazing grade.

Pier-Philippe and I meticulously planned each sequence, aiming to shoot the film using long takes as much as possible. We wanted the camerawork to feel intimate and at times frantic — keeping the audience locked into Camelia’s experience, her emotional state, her perspective. Sandrine brought that inner life to the screen in every frame.

« Veterane » went on to receive over 25 nominations internationally, and was selected as Best Fiction by Roger Deakins at the Plymouth Rebel Film Festival.

“My first choice has to be ‘Veterane.’ I thought the way the camera was used to put us in the mind of the main character was really exceptional. Some of the wonderful compositions often reminded me of the photography of Brassai. Excellent!”
— Roger Deakins

In tight spaces, every detail matters. This short film was all about it!

#GabrielBraultTardifCsc @gabbtcsc

I’m Gabriel Brault Tardif — or Gab BT, old nicknames do stick around!

I’m one of the few Quebec-based members of the CSC, I’ll be hosting this space for the next two weeks. First of all I wish I could be posting in both languages, but Insta limits posts to 2200 characters. Happy to share the French version, just DM me, Merci.

First, I just want to say how grateful I am to work as a Cinematographer and to be part of the CSC.

I figured I’d start with a bit of my backstory.

I’ve always been drawn to cameras and their special power of capturing images. My dad was a cameraman, so there were always a bunch of old cameras and piles of diapositives lying around that I could experiment with. He often brought me on sets as a kid. One show in particular was Watatatow, a popular youth series in Quebec in the ‘90s. I remember wandering through the sets, completely fascinated by the lighting and the props. It all felt magical. I was lucky to be part of it. I think that’s when I knew I wanted to be part of this world.

As a teenager, I’d storyboard every single frame of some music videos — and with some friends and a camera we’d do our best to recreate the whole thing. A few years later, I got into film school while working as a Cameraman on TV shows.

It was during my time at Concordia University that I discovered I didn’t just want to shoot images — I wanted to shape light, create atmosphere, and tell stories through visuals. One day, while editing 16mm black-and-white footage on a Steenbeck… I figured: I’m going to be a Cinematographer.

I also feel really fortunate to have met so many amazing creatives back then, they all had an influence on me.
Some of those early collaborations turned into long-lasting relationships — and many of us are still working together.
It’s around that time that I started shooting some music videos.

Over the next couple of weeks, I’ll be sharing some of my work — but also shining a light on some of the amazing collaborators who deserve recognition.

I also want to mention that yesterday was the National Day for Truth and Reconciliation. Let’s recognize and honor its meaning.

Gab

📸:Johanna Barlet

#justinblackcsc @justinjblack

That’s it for me! Thanks to the CSC for giving its members this space to share our work.

Doing good work in film takes just the right set of circumstances and people coming together, and film sets are full of crew and cast who have dedicated their lives to chasing that. Here are some photos of just a few of those people I’ve been lucky enough to learn from and work alongside. Grateful to be a part of this community of artists. Thanks for reading ✌️