Cinematography in Canada Since 1957

#barryrussell #associatemembercsc @barryrussell

C’est comme ça que je t’aime (final)

The third and final season held a special significance. Writer François Létourneau embarked on a new role as co-director alongside Patrice Robitaille. This marked their directorial debut, while also portraying two of the main characters, Gaetan and Serge. Since I had DP’d the two previous seasons, the directors granted me significant freedom and actively engaged me in the creative process. Working with them was a charm. Not only are they seasoned actors and true gentlemen, but François excels as a storyteller, intimately understanding his characters and narrative, while Patrice demonstrates a keen eye and remarkable talent for staging scenes.

I am so grateful and fortunate to have been part of this incredible series. Over the span of six years and 28 episodes, I had the chance to work with incredible actors, phenomenal scripts, a solide production team led by producers Joanne Forgues and Catherine Faucher. Creative and outstanding directors JF Rivard, Robin Aubert, François Létourneau, Patrice Robitaille, and the very best of crews!

I had a voice in this series, and I’m proud of our work. Hopefully, there’ll be another project like this in the future!

I would like to thank again the CSC and to all of you that have followed me in this 15 day adventure!

Merci,

Barry

Image 1-4. Stills from C’est comme ça que je t’aime final season.
Image 5a. Setting up the frame with Patrice and François 5b. Final frame.
Image 6a. Location scout photo, 6b. Final frame.
Image 7a. Location scout photo, 7b. Final frame.
Image 8a. BTS 9b. Final frame.
Image 9a. Final frame 9b. BTS.
Image 10a. Proud Uncle and nephew Anthony Dion (fresh out of university and newly camera trainee) 10b. Marilyn Castonguay (Huguette) 2e AC Mariane Laporte, Best girl grip Mélanie Guertin 10c. Gaffer Daniel Ho-Tieng 10d. Lining up the frame with key grip Camille Bergeron Bégin.

@marilynecastongau
@exmachina.ca
@yvesjacquesofficiel
@pennybobette
@xavierdolan
@cfon10
@tonay_dion
@mariane_laporte
@melguerts
@sven_bjorksson
@cambbgrip
@cathfaucher

#barryrussell #associatemembercsc @barryrussell

Short films (being part of the community)

I’ve had the opportunity to work on a variety of incredible and fascinating short films, spanning from science fiction to narratives addressing mental health, from dystopian puppetry to feminist art films.

Supporting and helping the next generation of creators and filmmakers holds significant importance for me. The cycle of knowledge must continue to spin, and dedicating time to these projects is essential to keep our community rich, creative and healthy.

It is essential for our governments to increase their support for young artists’ development, because storytelling is not just entertainment. It’s a fundamental part of being human.

Image 1-2-3. Stills from ‘Salem sur la route’ directed by Étienne Galloy.
Image 4. Stills from ‘E’ directed by Raphaël Ouellet.
Image 5-6. Stills from ‘La cité entre les murs’ directed by Alain Fournier.
Image 7-8 Stills from ‘Femme allongée’ directed by Olivia Boudreau.
Image 9-10 BTS of Salem sur la route (photos by Marie Lytwynuk)

@etsgalloy @raphaelouellet @dockfilms o_boudreau @remremgoulet @cambbgrip @mariegal @marielytwynuk @lauraaa_michaud @laurentouellette @j.farago @_triscuitt

#barryrussell #associatemembercsc @barryrussell

Throwback Thursday!

This 15-day CSC Instagram hosting wouldn’t be complete without discussing my musical background and how it has shaped my cinematographic foundations. It has helped me a great deal as a storyteller, helping me understanding others, timing, mood, tone, colour. Associating music with sound is a given, but it is also filled with all kinds imagery!

Coming back from living in Vancouver, I made the decision to step away from the music industry and focus solely on my new passion for cinematography. A few years had passed and I received an unexpected call from my friend Maxime Morin, better known as DJ Champion. He was starting a new musical project and was in need of guitar players. At first, I hesitated due to my aspirations as a DP.

Our first meeting took place in a dingy basement rehearsal space. Aside from Max, I was unfamiliar with the other band members. As we began jamming, a connection formed instantly. We caught our big break when we headlined the international jazz festival here in Montreal, and from there we toured the world.

While on tour, I made a concerted effort to maintain my storytelling skills by focusing on photography. It was important to me to document these moments, particularly when it came to the vibrant crowds that attended our shows. Their contagious and positive energy fascinated me, leading me to start photographing them at the end of our sets, hoping they would translate into good pictures.

This experience inspired me to immortalize and film the last show of our first tour. Teaming up with my friend Jeremie Fournier, we co-produced and co-directed the project. Jeremy took charge of directing the night of the performance, I set up the cinematography before the show with our operators and lighting technician, while together, we edited the footage afterward. The result? A live album/DVD—yes, a DVD, it’s Throwback Thursday! :)

Image 1-8 On tour with da band
Image 9. Live video recording of the song ‘No heaven’ at Metropolis @ledjchampion @je_re_mie_tf @sebruban @bettybonifassi @mixbyfets @renardroo @blanche.baillargeon @bonsound

#barryrussell #associatemembercsc @barryrussell

It All Happened in Sherbrooke

Addiction is often viewed as a taboo subject, something that should be lurking in the margins of our society. However, it is very much present in the day-to-day lives of many people. « Bon matin Chuck » tackles addiction with humour, making it more approachable and easier to understand without instilling fear. By using comedy, it opens up a dialogue about addiction, aiming to offer support without passing judgment.

It was my third collaboration with Director J.F. Rivard, and my first scripted project alongside co-director Mathieu Cyr. After reading the first three episodes, I felt compelled to suggest something: why not shoot this in black and white? I’d harboured a desire to work on a black & white project for quite some time, and « Chuck » seemed like the perfect fit. Interestingly, JF had already considered the idea of black and white, so it was a unanimous decision—we were going to shoot this project in black and white!

I had read an interview a long time ago on one of my idols, James Natchwey, and he explained why he preferred to shoot in black and white instead of colour.

“ Black and white is not real, it’s abstract. But what it does do is, I think, it distills the essence of what’s actually happening, because colour itself is just a strong phenomenon, in a physical sense, that in a way it competes with what is happening in the picture. It tries to become the subject of the picture. So, if you abstract it into black and white, it distills the essence of what’s happening without competing with color.”

Those words stuck with me, and years later, we applied them to Bon Matin Chuck….. Black and white was the search for sobriety.

Images 1-9 Stills from Bon Matin Chuck
Images 10a Cast and crew photo 10b-c BTS photos by @dannytaillon

Auteur: Jean-François Rivard
Idée originale: Nicolas Pinson, Mathieu Cyr, Émilie Lemay-Perreault, Jean-François Rivard
Réalisation: Jean-François Rivard, Mathieu Cyr
Direction artistique: Paskale Jobin
1st AC: Pierric Soucy
Key Grip: Camille Bergeron Bégin
Gaffer: Daniel Ho-Tieng
Coloriste: Martin Gaumond

#barryrussell #associatemembercsc @barryrussell

LIFE AQUATIC

After spending months on a set, I need to take some time for myself to regain tranquility and balance. There’s only one place where I can find this peace, and that’s beneath the waves! It’s where I achieve a profound harmony with the natural world and myself, a sort of aquatic meditation reset. Diving in our oceans not only refines my skills as a cinematographer, but also cultivates personal growth, making me a more intuitive and aware individual.

I truly believe in the necessity for artists to tread unconventional paths, to confront danger head-on in order to emerge stronger. Capturing underwater photographs that evoke emotions is a challenging endeavour. For me, scuba diving, free-diving, and underwater photography is a lifelong journey of learning, training and inspiration.

Bearing witness to the beauty of the sea is both a privilege and a humbling experience, having immersed myself in diving for over two decades, I’ve sadly observed the decline of this paradise. Yet, nature’s resilience remains awe-inspiring. Despite witnessing these damages, I still encounter coral reef systems and underwater sea mounts bursting with life. This is the narrative I aim to convey through my photography: that with our concerted efforts, nature can reclaim its former majesty, given the chance.

If you want to learn about ocean conservation, here are a few organizations that you can check out! @padiaware @wwf @oceana

Image 1. Sea lion, Cortez Sea
Image 2. Sand tiger shark, North Carolina
Image 3. Manta ray, Isla Mujeres, Mexico
Image 4. Whale shark, Isla Mujeres Mexico
Image 5. The abyss
Image 6. Bottle nose dolphins, Revillagigedo Islands
Image 7. Nurse shark Banco Chinchorro
Image 8a. Planning out our shoot. 8B.C. Diving with mantas.
Image 9. My brother Jason, Instructor Jason Levi and I after completing our advanced certification, Utila, Honduras.
Image 10. Bubbles and gear:)

#scubadiving #scuba #freediving #underwaterphotograhy #mantarays #manta #whalesharks

#barryrussell #associatemembercsc @barryrussell

C’est comme ça que je t’aime Part 2

Season 2 of c’est comme ça que je t’aime took a darker turn in the narrative, introducing heightened conflicts among the main characters and the addition of several new ones. This new season had more lust, gore, violence, and action, setting the stage for a creatively charged continuation of the story. The season’s production would be split between two directors: J.F. Rivard for the initial half and Robin Aubert for the latter.

Both directors brought unique perspectives that we would blend into the creative process. Our collaborative meetings were particularly stimulating, encompassing discussions on approaching pivotal scenes, establishing the overall aesthetic, and enriching the narrative. In general, J.F. and Robin wanted to intensify the mood, making it darker and more threatening than in season one. Additionally, the decision to set the story mostly at night presented exciting opportunities for creative lighting.

It was crucial for the cinematography to resonate emotionally with the main character, Huguette Delisle (portrayed by Marilyn Castonguay). As Huguette traversed through a range of emotions, it necessitated a meticulous choice of lighting, framing and colour. We carefully selected these elements to harmonize with Huguette’s narrative journey, ensuring a seamless integration between visual storytelling and her emotional arc.

Creative-technical note:

Director J.F. Rivard had a specific vision for the introduction of the character Gracia. He wanted to evoke her beauty and powerful femme fatal charms with a special lighting scheme that resembled a bit like the 1940s film noir lighting of actresses. We achieved this effect by using fresnel light with snoot that would serve as a follow light for Charlotte Lebon’s portrayal of Gracia.

Filmed with the Arri Alexa mini, with a set of Zeiss super speeds, Zeiss 32 mm standard speed and a 24-290mm Angénieux zoom lens.

Images 1-8 C’est comme ça que je t’aime 2, stills
Images 9-10 BTS

#barryrussell #associatemembercsc @barryrussell

2.0 After the lockdown

After months of turning around in circles, debating if I should start a cucumber farm, and going batshit crazy, things started to pick up after the 2020 lockdown. Director Robin Aubert gave me a call to DP the new season of ‘Les beaux malaises 2.0’. It had been a hit TV series in the early 2010s, and writer and comedian Martin Matte had written a new season after a few years’ hiatus. So after spending months in lockdown, a comedy was just what the doctor ordered!

I had never filmed a full-on comedy, but I am a huge fan of the genre. As a kid, I would spend evenings with my family watching classic comedies featuring actors like Peter Sellers and Thierry Lhermitte. These movie nights were more than just entertainment—they were moments of shared laughter that brought us closer together. Through these experiences, I learned not only the value of humor but also the art of self-mockery. I am a huge fan of director Edgar Wright (Hot Fuzz, Shaun of the Dead), and I absolutely flipped for Phoebe Waller-Bridge’s Fleabag! I am also an admirer of director Roy Andersson (Songs from the Second Floor, You, the Living) and Anderson’s early commercial work is hilarious!

As a feature film director, Robin wanted to bring a more cinematic approach to the 2.0 series. We talked a lot about the scenes and the ambiance he wanted to achieve. He was looking for something with a distinct character but without overstepping the comedy. We talked a lot about lenses as well, and how some focal lengths work better in comedic situations than others. We settled on the Cooke S4i, relying heavily on the 27, 32, and 40mm. We loved the look, and it fit perfectly with the narrative.

I consider myself fortunate to have had the opportunity to work alongside and learn from some of Quebec’s finest comedic talents on this series.

Image 1-9 Les beaux malaises 2.0 stills
Image 10 BTS

@robinaubert @martinmatteofficiel @melguerts @cambbgrip @j.farago @mariane_laporte

#barryrussell #associatemembercsc @barryrussell

Beginnings

When I first entered this industry twenty years ago, I was uncertain about the path I wanted to take. To make a living, I took on a variety of operating jobs: from news cameraman to live concerts operator, corporate shoots, sports events, cooking shows, and documentary reenactments—essentially, anything that would help me gain experience and pay my rent! After a few years, a clarity began to emerge within me: I had a strong desire to blend travel with documentary storytelling. Concurrently, the band I was part of started gaining momentum, opening up opportunities for us to tour. The idea of combining both worlds was very appealing to me.

Amidst my cinematic endeavours, photography began to weave its way into my life and was a great asset to my storytelling foundations. My introduction to street photography occurred during the student protests against the rise of Jean-Marie Le Pen’s right-wing movement in France during the early 2000s. I followed some journalist friends through the streets of Paris during these protests; it was a very intimidating but powerful experience!

In my view, documentary work stands as an absolute necessity for any cinematographer aiming to enhance their storytelling skills. Working on your own, relying on your instincts, available light, and being close to your subjects is an invaluable learning experience, one that continues to benefit me to this day! Throughout my travels, I’ve been fortunate to engage with incredible and fascinating individuals and to venture through landscapes that have left an indelible mark on me.

Image 1. Chuck Hughes with Mexican chefs
Image 2. Woman of Marrakech
Image 3. Filming with the Canadian armed forces
Image 4. Spain & Portugal Street photography
Images 5-6. Student protest, France
Image 7. Crew and Sheikh Zayed grand mosque
Image 8. Malaysia Street photography
Image 9a Popocatépetl volcano 9b. Road to Loreto, Mexico
Image 10. Vultures Baja desert

@chefchuckhughes #streetphotography #documentary #streetsofmalaysia #volcano