Veteran DP David Darby described Terry Clairmont, co-founder/CEO/treasurer of motion picture camera rental company Clairmont Camera, in three words: “Friend, mentor, sage.” Clairmont passed away on Oct. 28 at his brother Denny’s home after a brief battle with lung cancer. Terry was 64.
Denny and Terry launched Clairmont Camera in 1976 with partners Edward and Mitzie Engle. It opened as Clairmont/Engle in North Hollywood, Calif. In ’80, the Engles retired and the business became Clairmont Camera.
Initially the company’s foundation was in servicing the commercialmaking industry before diversifying into TV programs and theatrical features. The family roots were in the ad biz. Leonard Clairmont, Denny and Terry’s dad, was a cinematographer active in spots. Terry too made his mark in commercials, landing a staff job as a camera assistant at N. Lee Lacy Associates, a high-profile spot production house, in ’67. By the early ’70s, Terry had become staff cinematographer and had lensed assorted spots. He eventually went freelance and was quite successful with a loyal ad industry following. During this time, he helped advance the careers of many others, primarily those who aspired to careers in or related to cinematography.
In key respects, Clairmont Camera paralleled Terry’s DP career. The company built a loyal following and became known for being most generous in lending a helping hand whether it came to sharing info, in educating, offering counsel and expertise or cutting a financial deal that could facilitate projects that might not have gotten made otherwise.
A privately owned family business, Clairmont Camera grew steadily, opening a branch in Vancouver, B.C., in ’87 and another in Toronto in ’95. Most employees have worked at Clairmont Camera for more than 15 years, many for more than 20 years, and several much longer. This was due to Terry’s insistence on fair pay, good treatment and the best medical insurance the business could afford for its workers and their families–all paid in full by the company against the advice of financial advisors. Terry started a profit sharing plan for employees and in the past few months made plans to see that the company would go on smoothly without him.
Terry mentored many young aspiring cinematographers and saw to it that Clairmont Camera would assist universities by supplying them with camera equipment. He instituted a rule that once the company made an equipment scheduling commitment to students, it could not be broken even if a big paying job later emerged. Terry said that when he was young, others helped him and he in turn wanted Clairmont Camera to do the same for others starting out in the industry.
He is survived by his brothers Denny, Toby, Lenny and their families; nephews Jon and Joel Clairmont and Justin Chefe; close friend Mardrie Mullen, as well as countless friends.
Darby said of Terry: “Fiercely loyal, insanely generous, one of a kind…And along with his equally special and unselfish brother Denny, [Terry’s priority was] making the success of his customers his business.”
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More