John Holosko considers himself lucky. The Toronto-based director of photography explains why as he lights the infirmary inside the Tulip spaceship of Starhunter 2300.

‘I get to do every episode,’ Holosko says, adding that the arrangement suits him. ‘I’m greedy creatively, and like to be wholly responsible for the look of the show.’

Holosko got on board for season two of the sci-fi series, produced by Starhunter 2300 Productions in a studio in Mississauga, ON, after seeing a posting in the cinematographers union newsletter. ‘I sent in my reel, and the rest, as they say, is history,’ he recalls.

Starhunter 2300 tells the futuristic action/adventure yarn of bounty hunter Travis, played by British actor Clive Robertson (Sunset Beach), searching for his lost father. Meanwhile, Travis and the rest of the crew pursue the 24th century’s most ruthless criminals. (Season one, which aired on Space: The Imagination Station, was titled simply Starhunter, starred Michael Pare and was lensed by Graeme Mears.) Gemini-winning actress Tanya Allen (The Newsroom, Platinum) plays the role of Percy, Travis’ cousin.

The production is currently working on ‘Painless,’ the eighth of season two’s 22 episodes. In this installment, citizens on Saturn Federation are dying from a new recreational drug from a powerful narcotics dealer, and Travis is hired to bring in the drug lord.

Joining the ranks of LEXX and Earth: Final Conflict, Canadian-made sci-fi series shot on high-definition video, Starhunter 2300 is being captured on Sony HDW-F900 HDCAMs. Exec producer Tony DePasquale explains the choice: ‘Sony has been researching and testing for a number of years now, and at the moment [the HDW-F900] is the system most widely being used throughout the industry. There is definitely a reliability and service that backs it up.’

Holosko tested a Panasonic HD camcorder but ultimately opted for Sony: ‘Picture quality was what I was looking for, and the Sony [camcorder] gave me the look I was pursuing.’ The HD gear is being supplied by local equipment provider Sim Video Productions.

Holosko, for one, does not buy into the video vs. photochemical hype. ‘I don’t think it’s ever film versus HD. They’re two separate mediums that both deserve respect,’ he says, adding that it is the story that carries the show. ‘People must [simply] say that it’s a pleasing image and it helps to tell the story.’

The DOP considers Seinfeld one of the flattest-lit shows on TV, ‘but that’s not why I watch the show. It is character- and story-driven and one shouldn’t lose sight of that.’

Starhunter 2300 is shot exclusively on a soundstage, with each episode taking five or six days to complete. Holosko says the sets had to be built with HD in mind, and credits the great eye of production designer David Hackl, a LEXX vet. ‘Everything David builds is a joy to look at. He challenges me constantly,’ the cinematographer says.

Holosko and Hackl discussed the problem of HD’s greater depth of field. ‘Everything you see with the eye you’ll see in HD – even the detail of the walls in the background,’ Holosko notes.

The DOP wanted to create a rich, classy look for the show: ‘I went with the approach of having layers of light, lighting the background, the actors, the floors, ceiling and walls.’

Although Holosko claims to have never been a sci-fi fan, he enjoys working in the genre. ‘There are no rules with sci-fi,’ he says. ‘I can use two suns on the city streets, and then wet it down for a nice reflection.’

As far as the color palette goes, Holosko says it isn’t fixed, adding, ‘I go as light or dark as I want and usually decide how I will light with what David’s given me.’

Holosko’s closest collaborator on the series is camera operator Richard Kearney, whom he has known for a dozen years. ‘He understands what I like and talks directly to the directors, sometimes without too much input from me,’ Holosko says. ‘I can therefore carry on lighting.’ The DOP says their smooth partnership is essential to the fast pace of series television.

Holosko reflects that it took about five episodes to achieve the desired look for Starhunter 2300, and it has remained stable ever since.

Various lenses

Holosko uses the newest Canon lenses for long and short zooms, and occasionally the crew will order special lenses for a couple of weeks, such as Primes for F/X sequences.

Toronto’s Optix Digital Post & FX does all the CGI work on the series. Holosko has been happily surprised that the production is doing less green screen work than he anticipated. ‘Even though George Lucas did it in Star Wars, I don’t think it’s fair to the actors,’ he says. ‘How can you get stimulated sitting in front of a green screen when it’s an emotional show?’

Holosko frames Starhunter 2300 for both the 16:9 ratio as well as standard definition 4:3.

‘[North America is] behind Europe and the rest of the world, since we have to still cover for the 4:3 market,’ he notes. ‘I prefer 16:9, but the average consumer has been schooled in standard definition.’

DePasquale acknowledges the massive worldwide interest in HD. ‘Some broadcasters around the world are equipped to broadcast in HD, and others are definitely moving in that direction. Starhunter 2300 will have the opportunity to be broadcast in HD.’

The series has been helmed thus far by various directors, including Brits David Wheatley, Colin Bucksey and Roger Gartland. Holosko has enjoyed working with this stream of collaborators.

‘Whomever I’m told to work with I do,’ he says. ‘I’m the common denominator for production.’

Holosko studied film at Humber College and went on to lens various low-budget features and MOWs. His credits include the Genie-nominated feature Treed Murray and the TV movie The Jesse Ventura Story.

The cameraman says he enjoys the challenge and speed of series television. ‘If Starhunter 2300 goes another season, I’d love to come back,’ he says. ‘It’s a fun place to be.’

The series’ second season wraps early in the new year for fall distribution. It will be distributed internationally through Western International Syndication.