ED, Nov-Dec 2005

Message from the Executive Director

It is my pleasure to announce Bunmi Adeoye as our new editor of FilmPrint Magazine. Bunmi (pronounced Boomi) has all the qualities one could hope for the job: remarkable editing skills, boundless energy and a definitive vision for the magazine. We look forward to seeing Bunmi make her mark as FilmPrint becomes a national magazine. I would like to thank Jason McBride, our outgoing editor, for his tremendous efforts in navigating our newsletter to its current status as a fledgling magazine.

It is with some regret and great pleasure to announce that our Development Coordinator Wanda Nanibush has accepted a position at the Ontario Arts Council as the Aboriginal Arts Officer. Although Wanda was here for only six months, she did a commendable job organizing events, spearheading new programs and seeking out new funding sources. Most importantly though, we would like to thank Wanda for gracing our presence with her lovely sense of humour . Let’s hope that the folks at the OAC appreciate her charming wit as much as the staff did at LIFT. We look forward to working with her to ensure that remote communities have an opportunity to learn about film in pursuit of their own unique artistic vision.

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Over the past few months, there have been some ominous events that have seriously affected film production in 16mm. Technicolor has announced that it will no longer print 16mm film. McClear Pathe (or McClear Digital as it has come to be known) suddenly went bankrupt and no longer does optical transfers; this, on top of Kodak discontinuing Kodachrome in Super 8 earlier this year.

It remains to be seen if McClear will once again provide optical services for 16mm filmmakers or if a laboratory will step up and fill the large demand to make 16mm prints. It is important that our partners in the film industry understand that 16mm is an important format to train the next generation of filmmakers in Canada. As film production centres assume the responsibility of providing affordable training and access to future generations of independent filmmakers and film artists, our colleagues in the commercial realm have to accept their role and ensure that their services are readily available. It is an investment in their future as well as ours.

To that end, I would like to thank Kodak Rep Michel Golitzinsky, for attending the Independent Media Arts Alliance Conference in early September in St. John’s Newfoundland and meeting with all of the film production centres from across Canada. Michel listened to our concerns and in response solicited a new 20% discount for all film centres and their membership. It is this kind of commitment that is necessary if we want to see film production succeed in both the commercial and artistic realms.

Roberto Ariganello

Executive Director