Ron Chapman of Brandworks International took me on a great ten day shoot for a special Yukon tourism film project. This was in June when the nights never really got dark so we just kept going and going. This was quiet different from our Sorel Boot commercial winter shoot 2 years ago when we only had six hours daylite. As we drove through the beautiful Yukon scenery, we managed to get great footage of a grizzly bear (Stringer! - frame out the highway pavement!), visit the Klukshu valley at salmon smoking season (love that backlit smoke!), shoot the rapids on the Takshahini River (give the assistant the splash bag camera!), overnight in Keno City, population 30 (new meaning to "the end of the road"!), shoot the worlds largest cinnamon buns (some places of the Yukon are hard up for attractions!), and visit the famous Dawson City (hippies and hitchhikers still exist!).

And talking about Dawson City, did you know my grandfather is a famous Yukon personality? In 1909, when Isaac Stringer, an Anglican missionary bishop was lost in a blizzard for thirty days, he earned the famous title, "The Bishop Who Ate His Boots". After many days without food, he and a fellow missionary made a stew from their moccasin boots. That gave them enough strength to keep going, and three days later, they were rescued. Isaac and my grandmother Sadie Stringer, spent many years up North in pioneering times. Their lives are full of many stories, hardships and adventures. I am trying to put a documentary film together, but no go yet. CBC's "Life and Times" put it on the reject pile. Anne Murray is better prime time stuff, I guess!

My Yukon footage will be cut with some great helicopter footage shot by Bob Lynn with his versatile "Mega Mount". The show was shot on Super 16 for video projector screening next year in Whitehorse at a theatre set aside for just this show. It will be released in 3:4 video with 1.66 letterboxing. At least this isn't as bad as cutting the NTSC signal information down to 1.85. I did some research into anamorphic squeezing of the Super 16 image to make the full use of the NTSC 3:4 format. This does involve another post stage and additional costs, so it is probably only worth considering for 1.85, and only in situations where you have control of the unsqueezed projector setup.

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