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A R R I M A S T E R P R I M E S

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A R R I M A X 1 8 / 1 2

D-20 Review 4

On-board Recording Solut ion for ARRIFLEX D-20 7

ARRIFLEX D-20 on a Hot Air Balloon Ride 8

First Master Primes in Use / 10Master Primes Technological Benefit s

T* XP Master Primes Get a New Lens Coat ing 14

Wide & Straight Ult ra Prime 8R Tests 18

Lens Data Mount 20

Lens Data Archive 21

ARRICAM on J U S T FR I EN D S 22

R E T U R N T O R A J A P U R 24

Art l ite 25

Rentacam 25

Shoot ing in Paradise 26

ARRIFLEX 235 in Tornado Aircraf ts 28

First ARRIFLEX 235 in Denmark 29

235 Lef t Rod Bracket LRB-1 29235 Compact Rod Holder CRH-1 29

Around the World with SUPER 16 30

ARRI/Zeiss L ightweight Zoom LWZ-1 32ARRI Video Accessories 33Lightweight Support LWS-4 33Hand Crank HC-1 34ARRIFLEX 435 T iming Shif t Box 34UMC-3 Compat ibil it y with Cine Tape Measure 35Camera Configurat ion Overviews 35

ARRIFLEX D-20 at the Munich Film Fest ival 2005 36

First Cinec Salon in Teheran Successful 38

Cine Gear 2005 39

Digital Day Take 3 40

Workshops in Kiew and Yalta 40

BIRTV 2005 41

Capital FX 42

Interview with Peter Doyle 44

ARRILASER HQ 46Highest Qualit y According to DCI Specif icat ions

ARRISCAN Making DI Workf low Happen 47

ARRISCAN / ARRILASER 48Preserving the Qualit y of the Image in the DI Process

Shor tCut in Copenhagen 51

First ARRISCAN in Russia at Mosfi lm 51

Pacif ic T it le 52

T H E R O B B ER H O T Z EN P L O T Z 54

Digital Intermediate and the New Lustre Grading Suite 56

Sat isf ied L ions ARRI Says Thank You 59

ARRIBA the Online Por tal 59

New Homepage 59

ARRIMAX 18/12 60

ARRI Studio Ceramic 250 63

Pick Hit Award at NAB for Ceramic 63

Paul McCarthys Lala-Land-Parodie -Paradies 64

Roger Dean Touches Down at ARRI CSC in Ft. Lauderdale 66

Il luminat ion Dynamics Launches Moving L ight Division 67

New Racking System for ARRI L ight ing Rental Trucks 68

Congratulat ions 68

A Select ion of Current ly Serviced Product ions 70ARRI Rental Germany ARRI Media ARRI CSC

ARRI Lighting Rental ARRI Visual Effects ARRI Commercials

ARRI Sound ARRI Lab TV Drama

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Size matters its not just the little things that can make life easier, as the new ARRIMAX demonstrates in a truly impressive fashion. Its claim to fame is contained in its name. Simply speaking, it is the most powerful HMI luminaire available in the market today. On set, this leads to some decisive advantages: where in the past multiple units were required, and with them due to multiple shadows complicated lighting set-ups, a single xture can save a lot of time and money. This has already been praised by Gaffer Michael Bauman in the rst production deployment on the set of Steven Spielbergs MUNICH. On the other hand, the ARRIMAX clearly shows just how much research, design effort and novel solutions go into the design of the new ARRI lighting products. This ranges from obvious advances such as the novel re ector design, which focuses without lenses, to the new cooling concept, down to subtle improvements like the new damped mount of the protective glass.

Quality, long-term value and security of investment play an equally important role in all ARRI products. This is especially apparent in the fast moving world of digital technology, where it holds true not only for the innovative modular concept of the ARRIFLEX D-20 which was recently shown together with the new Master Primes to widespread acclaim at the BIRTV in Beijing. It can also be found in the constant and dependable evolution of existing product lines. In the ambitious DCI project (www.dcimovies.com), the future digital cinema standards have clearly been de ned in 4K resolution. This superior new standard will enable a viewing experience unknown since the prevalence of 70mm cinema releases diminished to insigni cance some 15 years ago. However, the 4K/12 bit images will also act as a magnifying glass, relentlessly zooming in on every visual shortcoming introduced by acquisition, post-production or distribution. For that reason, and as a response to the elaborate and well-researched DCI Standard, ARRI has launched its own 4K+ Project. The goal of this project is to review all of our camera and digital intermediate products in their respective applications and make sure that they meet, or even better exceed, the 4K DCI recommendation. From the very beginning, the ARRILASER has ful lled 4K standards. Future HQ (High Quality) developments with e.g. substantially improved MTF performance and continuous 16 bit color depth will not only reproduce the digital source master in DCI quality onto lm but will even raise the bar a notch or two. With its novel concept, the ARRISCAN, too, effectively demonstrates our understanding of a consistent, future-proof solution for the digital intermediate eld. Offering 6K/16 bit native resolution, the ARRISCAN meets the 4K+ goal right from the start.

The experience we gain with our own lm and digital post-production operation, ARRI Film & TV Services (www.arri.com/entry/services.htm), exposed as it is to real competition in every form, is invaluable. The DI philosophy is not only preached it is practiced on a daily basis. Last spring, a grading suite that is surely one-of-a-kind in Europe was installed at ARRI Film & TV Services in Munich. Here motion pictures can be graded and viewed under practically authentic cinema conditions on a big screen with a Barco DP-100 digital projector, allowing them to be processed with a level of precision and quality that was never before possible. The experiences gained for example in matching the color representation of the digital projection to that of the nal cinema release not only directly bene t the customers of our post-production services: this know-how also ows back into the development and technical support of all our products such as the Color Management System, that itself includes an ever-growing base of partners from other areas of the industry.

We are especially pleased by the long list of success stories that come back to us from our customers. These range from the enthusiastically commented rst productions with the Master Primes to post-production with the ARRISCAN in all corners of the globe on this note we wish you all an enjoyable read.

Klaus A. Feix Franz Kraus

Dear F r iends of ARRI ,

Klaus A. Feix Franz Kraus

3E d i t o r i a l

After NAB and Cine Gear Expo various test

shoots took place with a pre-production

model of the ARRIFLEX D-20. The rst was

conducted directly after NAB when Bill

Lovell (ARRIs Product Manager for Digital

Cameras) was joined in Los Angeles by

three distinguished Directors of Photogra-

phy, Curtis Clark ASC (Vice President of the

ASC and Chairman of the ASC Technology

Committee), Walter Lindenlaub ASC and

Eric Adkins. Footage was shot exclusively

with available light at various locations and

in varying weather conditions around Los

Angeles from the famous Hollywood sign

and crowds along Hollywood Boulevard at

mid-day, to the Disney Concert Hall at dusk

and downtown LA at 11.00pm.

D-20 Test Shoots

R E V I E WD-20

L O S A N G E L E S

4 C a m e r a

This was also the rst test to use a pre-production model of the ARRIFLEX D-20 with prototypes of the high speed ARRI Zeiss Master Primes, which not only offer higher speed (with a maximum iris opening of T1.3), but also offer higher resolution, better contrast and virtually no breathing.

During shooting Clark worked closely with Lovell to monitor the relationship between his lightmeter and the waveform monitor. Clark measured light levels while Lovell ob-served the waveform monitor. This method of working proved viable for those DoPs who may not be comfortable with a wave-form monitor. When asked about his overall impression of the D-20, Clark remarked The D-20 impressed me with its ease of use and friendly feel. It is very much like a lm camera, especially the superb optical view-nder. In addition, the colour saturation and highlight detail gave me new condence in shooting with a digital camera that has these tone scale and colour saturation capabilities.

Two further days of shooting took place on the West Coast after Cine Gear Expo,

where Clark and Lindenlaub were joined by John Fauer ASC at Venice Beach. High con-trast exteriors were shot on and around the beach using the Master Primes, an Ange-nieux Optimo 24290 mm zoom, and for the rst time with the D-20, the new extreme wide angle ARRI Zeiss Ultra Prime 8R.

As well as traditional tripod work the D-20 was also used in hand-held mode, including some wide angle shots featuring skate-boarders and improvised dolly shots from a rickshaw style bicycle.

Following the exterior shoot at Venice Beach the D-20 was taken to the facilities of Stargate Films, where Stargates owner and expert SFX cinematographer Sam Nicholson conducted comprehensive blue and green screen tests. Nicholson and his team experi-mented with various set ups and Look Up Tables (LUTs), which are available within the D-20, to determine the best settings for blue and green screen. While his composit-ing artists admired the quality of the keys that they pulled from the images, Nicholson was also impressed by the camera itself,

commenting, I love the feel of the D-20: it feels like a regular, dependable ARRI camera. The depth of eld and the lens choice it gives are great, but the real ad-vantage is the optical viewnder. Judging focus is usually quite impossible on an electronic camera, unless you have a 30,000 US dollar monitor with you. The optical viewnder of the D-20 will essen-tially save me real money. Focus is the one thing that no one notices until it is out. Things often get soft in HD and you cannot tell. I would look to use the D-20 for some high quality keying on set for virtual backgrounds.

D-20 at Cine Gear Expo & Cine Gear Expo Master ClassThe pre-production model of the ARRIFLEX D-20 proved to be one of the biggest draws on the ARRI booth at this years Cine Gear Expo in Los Angeles, where it appeared in its most advanced version to date. During the show, lm prints from some of the D-20 test shoots were screened in excellent view-ing conditions in a screening theater at the Warner Bros. lot.

Camera Assistant Joe Torres and cinema-tographers Curtis Clarke ASC, Walter Lindenlaub ASC and Eric Adkins with the D-20

Joe Torres (left), Bill Lovell (behind camera) and cinematographer Curtis Clarke ASC (right) during shooting at Venice Beach

SFX cinematographer Sam Nicholson gets a shot with the D-20

Walter Lindenlaub ASC using the D-20 in hand-held mode with a prototype of the ARRI Zeiss Ultra Prime 8R lens

5C a m e r a

The D-20 was one of the cameras featured in the Master Class Seminar The High End of Digital Image Capturing, which was organised by Kess van Ostrum, ASC, and Bill Bennett, ASC, on the day after the show. With the aim to explore the different pal-ettes we have at our disposal, the Master Class provided the opportunity to witness the practical testing current larger format digital cameras, including the ARRIFLEX D-20, Dalsa Origin and Panavision Genesis. An ARRIFLEX 435 Xtreme was also used to shoot 35 mm lm as a reference.

Moderated by Bennett and Russell Carpen-ter ASC, the Master Class was attended by about 80 people. Each camera was used to capture images of a young woman sitting at a table in a variety of lighting situations. Carpenter lit the set, cameras were oper-ated by Thom Cox with Focus Puller Paul Guglielmo, and David Darby supervised lm processing and scanning. The set was shot by each camera with key light on and off, followed by a blue screen set-up, a green screen set-up and then the same scene

lit exclusively by candles. The exposure for the rst set-up at EI 400 was T2.8 and for candlelight T1.3.

The ARRIFLEX 435 Xtreme, ARRIFLEX D-20 and Dalsa Origin used 40 mm and 100 mm Master Prime lenses, while the Panavision Genesis used Panavision-supplied lenses. Both the ARRIFLEX D-20 and Panavision Genesis recorded onto HDCAM SR tape at 23.976 fps, in 4:4:4 mode, while the Dalsa Origin recorded raw Bayer data onto a hard disk array provided by Dalsa. The 435 Xtreme captured images onto three different lm stocks: Eastman Kodak 5218 and 5229, as well as 5217 for the blue and green screen set-ups.

Film from the 435 Xtreme was sent to be processed by FotoKem and scanned at 2K on a Spirit by Laser Pacic while the other cameras were shooting. In the afternoon of the Master Class, everyone met at Laser Pacics 60 seat Lustre theatre, where all the material was screened using a Christie 2K digital projector.

Images shot by Russell Carpenter at the Master Class, testing the ARRIFLEX D-20 to its extremes at EI 400 and T 1.3 to T 2.8

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Thom Cox with the cameras that took part in the Cine Gear Master ClassF.l.t.r.: ARRIFLEX 435 Xtreme, ARRIFLEX D-20, Panavision Genesis, DALSA Origin

L O N D O N | B E I J I N GM U N I C H | T O Y K O

6 C a m e r a

On-board Recording Solution for ARRIFLEX D-20ARRI have entered into an agreement with Grass Valley to utilize their Venom FlashPak recorder as an on-board

FlashMag for the ARRIFLEX D-20.

The FlashMag will further expand the capabilities of the ARRIFLEX D-20 by providing a portable recording solution that allows the camera to be used with-out a cable to a separate unit. A exible bracket that can position the FlashMag above or to the rear of the camera also means that a variety of camera con gu-rations can be achieved.

The 112 GB recorder offers a capacity of 10 minutes of HD capture in 4:4:4 and 15 minutes in 4:2:2 mode at 25 frames per second. The data from the FlashMag can be transferred to a storage system such as Sonys HDCAM SR VTR or the S.two Digital Field Recorder disk based system for longer term storage of images, or delivery to a post house.

The ARRI FlashMag 112 will be demonstrated for the rst time at IBC.

The reaction to the D-20s performance was very positive. The open discussion of the results with the professional community has led to further improvements in image quality.

D-20 Around the WorldThe D-20 has also made many other appear-ances, with test shoots in Germany and the UK and a presentation to the ASC. ARRI was invited along with other leading manufac-turers to an evening at the ASC clubhouse where there was the opportunity to make a presentation and show D-20 material to a highly critical but appreciative audience.

In the UK, the D-20 featured in a seminar on HD & DI in Film & TV Production, organised by the Production Guild of Great Britain for its members. Held at the Warner Bros. Preview Theatre in London, which was equipped with a Barco DP-100 2K projector supplied by ARRI Media, the evening includ-ed a presentation by Bill Lovell and Milan Krsjlanin of ARRI Media on HD shooting options and Peter Doyle, a Senior Super-vising Colourist who has worked on many

The Venice Beach test team (standing, f.l.t.r.): Joe Torres,

Walter Lindenlaub ASC, Curtis Clarke ASC, Stephan

Ukas-Bradley, (sitting, f.l.t.r.): Bill Lovell, Andreas Weeber,

Thomas Greiser, Gnther Zh

In the middle: DoP Zhao Xiaoding (HOUSE OF

FLYING DAGGERS, HERO)

PHOTO COURTESY OF JON FAUER, ASC, FROM THE FILM AND DIGITAL TIMES (WWW.FDTIMES.COM)

Warner Bros. Productions, spoke about and demonstrated DI colour grading capabilities.

Other events where the D-20 has featured during the summer have included:

a Digital Day in Los Angeles, organised by the Directors Guild of America,

two weeks of test shoots organized by NAC in Tokyo with their clients Tohokush-insha Film Corporation and Image Studio 109, Inc, including work on a commercial high-end television drama,

two test shoot days with Professor Mu Deyuan and his colleagues at the prestig-ious Beijing Film Academy, prior to the BIRTV show in Beijing, China.

Re ecting on recent activities with the D-20 Bill Lovell summarizes, The gradual intro-duction of the D-20 through pre-production units is a challenging, but very worthwhile exercise. It is allowing us to gather invalu-able feedback from users that will help to shape future ARRI digital camera products. We are looking forward to offering the D-20 for rental later this year.

The resolution of details in the dark areas is phenomenal. The skin tones are now, like you know them from lm.

DoP Zhao Xiaoding( HOUSE OF FLY ING DAGGERS, HERO )

7C a m e r a

Camera Assistant Kaspar Kaven and DoP Sascha Mieke check the lens

(f. l. t. r.:) Balloonist Stefan Rckl, DoP Sascha Mieke, Digital Technician Andreas Berkl

ARRIFLEX D-20 on a Hot Air Balloon Ride

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With summer nally arriving in the foothills of the Bavarian Alps, it was

decided to shoot some spectacular footage with the ARRIFLEX D-20.

High contrasts, subtle movements and lots of ne details were the goals.

So why not take the camera on a balloon ride to really challenge the

D-20 s capabilities?

8 C a m e r a

The balloon did the panning ...Moments before take-off DoP Sascha Mieke

DoP Sascha Mieke framing the shot, Digital Technician Andreas Berkl checking the waveform monitor and VTR

Some minutes before touch-down

The tree to the left comes really close...

own axis. This rotation was in most of the cases extremely smooth and slow so some very nice shots where possible with this unusual camera support device.

On the other hand the basket itself reacted very sensitively to even the slightest move-ments of the passengers or other distur-bances almost like a pendulum. Thus longer focal lengths were critical and most shots where done in the range from between 25 and 70 mm. Adjustment of the uid head level was a constant challenge to the lm team. The bowl head/tripod combina-tion nevertheless provided a fast way to level the head. A at-based head/tripod would have caused many more problems considering the limited space inside the basket.

One and a half hour later and some 15 kilometers of travel the balloon touched down smoothly close to a small village after missing a nearby tree by only a couple of meters.

The resulting footage shows some very un-usual images from a birds-eye view with rich details and colors, another convincing addition to the D-20s growing portfolio.

Andreas Berkl

For simplicity DoP Sascha Mieke chose a Cooke Cine Varotal 25-250mm lens since changing lenses up in the air seemed a bit cumbersome and risky. A SONY SRW-1 HDCAM SR VTR was used to record the images from the D-20. The capability to capture about 50 minutes on a single tape was ideal for this type of shooting. Additionally an ASTRO combined wave-form/picture monitor allowed the veri ca-tion of correct exposure and evaluating the images while shooting.

After a couple of days of waiting for suitable weather conditions the balloon ride was con rmed for Friday, June 3rd.

The lm team met the balloon crew at 5:30 a.m. After about half an hour of driving to the starting location close to Bad Aibling, south-east of Munich, both the balloon and the camera/VTR were prepared for take-off in the morning mist. The basket of the balloon was designed for up to ve persons including the balloonist/pilot on an area of about 1.60 x 1.20 meters. After setting up the tripod, camera, bat-teries and VTR in that tight space it was obvious that the balloon could only be manned by three persons, the balloonist, the DoP and the VTR-operator/Digital Technician. Camera assistant Kaspar Kaven joined the ground crew to track the balloon on its way through the morning air.

After a spectacular take-off in the morning light at about 7:00 a.m. the D-20 was on the stairway to heaven.

Flight altitude was up to approximately 600 meters, most of the time at about 100-200 meters and in some cases literally almost level with the treetops. A mild wind from the Alps gently blew the team north-wards over elds, forests, small villages and farms.

Due to the limited space in the basket, it was hardly possible for DoP Sascha Mieke to do pans exceeding about 60 degrees in total. Fortunately the balloon offered the possibility to rotate completely about its

9C a m e r a

The balloon did the panning ...

First Master Primes in Use

Here is one of the first real world test images taken with a Master Prime prototype. This image of beautiful Katherine Beer shows off the Master Primes ability to see deep into shadows as well as their resistance to flares.

Since the end of August we have begun shipping Master Primes and, together with the Master Prime prototypes,

these lenses are already being used on various productions. Even though it has been dif cult to get a hold of

anyone because they are all out shooting, here are some comments from the very rst Master Prime users.

Unique for high speed lenses is the fact that the Master Primes retain their high image quality over the whole T-stop range, from low light / low contrast to high light / high contrast scenes, like this car commercial shot at the Mammoth ski resort in California.

10 C a m e r a

In the United States, Michael Ballhaus (GANGS OF NEW YORK, BRAM STOKERS

DRACULA, GOODFELLAS) is currently shoot-ing a feature film called THE DEPARTED, directed by Martin Scorsese (THE AVIATOR, GANGS OF NEW YORK, GOODFELLAS). Mr. Ballhaus is using Master Primes, Ultra Primes, ARRICAMs and 435 cameras. Jack Nicholson, Leonardo DiCaprio, Matt Damon, Mark Wahlberg, Alec Baldwin and Martin Sheen headline this remake of a 2002 Hong Kong hit film, revolving around the rivalry between the Boston police force and a gang. A gangster infiltrates the police force while a young police officer infiltrates the gang. Suddenly the race is on to uncover each others identities. Michael Ballhaus commented on his use of the Master Primes: The film called for many low light set ups, including location street scenes at night with very little light to work with. I chose the Master Primes in order to work with the available light and to preserve

the natural look of the scenes. On several occasions the Master Primes saved last minute setup changes, late in the day, when the daylight was disappearing. These scenes would not have been possible to shoot without these lenses. I am truly impressed with the optical performance of the Master Primes. The production company is also extremely impressed with the Master Primes, as they saved on setup time, personnel, lighting and grip equipment needed to accomplish these delicate shots. Technical support for this feature is provided by ARRI CSC in New York.

From June 2005 on, a number of Master Prime prototypes were used by cinematog-rapher Frank Griebe (HEAVEN, RUN LOLA RUN) on the feature film PERFUME: THE STORY OF A MURDERER. This film is an adaptation of the book by Patrick Sskind that has sold over 15 million copies world wide and has been translated into 42 languages. The film is directed by Tom Tykwer (HEAVEN, RUN

Michael Ballhaus on the set of THE DEPARTED with a 35 mm Master Prime and an ARRICAM Studio.

11C a m e r a

LOLA RUN) and produced by Bernd Eichinger (THE FANTASTIC FOUR, NOWHERE IN AFRICA, THE NAME OF THE ROSE). It is a Constantin Film production, starring Dustin Hoffman, Corinna Harfouch, Alan Rickman and Ben Whishaw. It is the story of Jean-Baptiste Grenouille who develops a superi-or olfactory sense, which he uses to create the worlds finest perfumes. His work, how-ever, takes a dark turn as he commits hor-rid crimes in search of the perfect scent. Cine matographer Frank Griebe started out with just a few of the first Master Prime pro-totypes, but liked them so much that he requested to have the missing focal lengths immediately sent to the set when they became available. He notes: I am very excited about the speed, resolution and brilliant image quality of the Master Primes! The large selection of focal lengths, the pleasant focus behavior and the sharpness cannot be beat by any other lens. I also appreciate the perfectly round iris, which provides an organic feel for this historical feature. In my opinion, these are the lenses of the future. Presently, Mr. Griebes first unit is shooting with an almost complete set of 11 Master Primes to complement the ARRICAMs, 435 and 235 cameras they rented from ARRI Rental Germany in Munich, while the second unit has a few Master Primes of their own.

The honor of the very first professional pro-duction falls to Bill Bennett, ASC. He not only shot the famous candlelight test images, but also used the Master Primes on a Suzuki car commercial, where he was shooting a car on snow in the blazing sun on top of a mountain at the Mammoth ski resort. The Master Primes perform extremely well in low light, but they are so flare-less, that they work equally well in the

blazing sunlight. You have created a truly universal set of lenses, usable in all lighting conditions, from the darkest scenes to the brightest, Mr. Bennett reported.

Aside from having supplied Master Primes to various commercials already, ARRI Media in London is providing ARRICAMs, 435 cameras and Master Primes for the feature film SUNSHINE, directed by Danny Boyle (28 DAYS LATER, A LIFE LESS ORDINARY, TRAINSPOTTING). Cinematographer Alwin Kchler (PROOF, CODE 46, THE CLAIM) was nice enough to give us his first impressions of the Master Primes, while his assistants Ollie Tellett and Pete Byrne were checking

out the camera gear. Mr. Kchler said In our tests with the Master Primes I was very impressed with their resolution and contrast. One scene especially comes to mind, where we shot a test in a corridor lit all in red. Now red is a difficult color to capture and reproduce, and we shot at T1.3! The Master Primes showed so much detail it was amazing. I also plan to use low light levels and a lot of practicals, so the widest stop of T1.3 will come in very handy. I am very enthusiastic about the Master Primes.

Andy Subratie, Head of Camera Operations at ARRI Media adds: The response to the Master Primes is amazing. Our customers love the look and the feel, but most of all they like the optical performance. Everyone who has shot with them has been very impressed. We have a lot of requests for the Master Primes, and we are trying to get more lenses now that lens production is ramping up.

Marc Shipman-Mueller

Focus Puller Ollie Tellet (left) and

2nd camera assistant Pete Byrne (right)

during the prep for SUNSHINE.

Cinematographer Frank Griebe (with hat), director Tom Tykwer (with monitor),

Steadicam operator Jrg Widmer and camera assistant Leah Striker follow Ben Whishaw

with an ARRICAM Lite and a Master Prime through the fields of the Provence.

12 C a m e r a

Marc Shipman-Mueller: Christian, what is your impression of the Master Primes?

Christian Almesberger: The Master Primes are spectacular. We shoot most of the time with the 27, 50, 75 and 100, but having all those different focal lengths is fantastic. It was a good idea to develop all 12. Having this huge spread of lenses, with all the in-between focal lengths, is a great advantage for us, and we have used and needed all of them. As you know, PERFUME: THE STORY OF A MURDERER is a historical film, and that often limits where we can put the camera. Some times we simply cannot move the camera any more forward or backwards, and to be able to then put on the perfect lens is great. For this kind of film all those different focal lengths makes a lot of sense.

MSM: How do they perform for you, as a focus puller?

CA: I love the scales on the focus ring. They are very good and the numbers are very easy to see. I think it is great that all Master Primes have the same size and front diameter and that the focus and iris rings are in the same place. I also like where the focus and iris rings are posi-tioned, it makes working with follow focus and lens motors very easy. The whole ergonomics are very well thought out.

I also feel that the Master Primes have a very organic focus fall off. It makes for a very pleasant image to look at, this is something I have always liked about the Cookes. In that respect the Master Primes

perform like the Cookes, I very much appreciate this. I also think it makes focus pulling easier, there is no sharp drop off, no point when all of a sudden the image is out of focus, but rather a gentle change from in focus to out of focus. This makes my job easier, even though they are T1.3 lenses.

MSM: Why were the Master Primes chosen?

CA: Tom and Frank (director and cinema-tographer) chose these lenses for a variety of reasons, but two things they really liked were the nice out of focus highlights and their resistance to flare. The out of focus highlights are important for a certain image quality, a soft, natural looking image. And the resistance to flare is also very impor-tant for us. We have some complex CGI work that has to be done with lights actually in the frame. Having lots of flares in the lens would affect the whole frame and be a big problem. But the Master Primes are amazing. We did a lot of tests with lights that are in the shot, pointing directly into the lens. It was surprising how well the Master Primes were able to handle this. You can place soft or hard lights directly into the frame, and there are no flares. And resolution and contrast are outstand-ing. This will make post production much easier.

MSM: At what stop do you work on this show?

CA: We shoot usually at T2 or T2.5, those are our standard stops at night, and we get an outstanding image quality from the

Master Primes at those stops. When we shoot daylight we shoot at T5.6, and that looks equally good.

MSM: Are you using any other primes in addition to the Master Primes?

CA: No. Both first and second unit use Master Primes. We have 11 Master Primes on the first unit, all focal lengths except the 65 mm, which is not ready yet, we were told, and the second unit also has some Master Primes. Why should we use other prime lenses when we can shoot everything with the Master Primes?

MSM: And what cameras are you using?

CA: An ARRICAM Studio is our A cam-era, an ARRICAM Lite is the B camera and our Steadicam camera, we use a 235 for hand held and special rigs and an ARRI Wireless Remote System. All cameras are shooting 3 perforations. The 235 really is a handy little camera. We have, for instance, something we call the Nose cam. It is a 235 mounted to a parachute helmet, and the camera looks into a mirror that shows the actors nose. So we can shoot the nose as the actor is moving around naturally.

MSM: Thank you for this interview.

We were lucky to reach Christian Almesberger, first cam-era assistant on PERFUME: THE STORY OF A MURDERER, who was on his way to a location in Spain while talking to us on his cell phone.

Interview with Christ ian Almesberger

13C a m e r a

XPXPXPT* XP Master Primes Get a new Lens CoatingTechnology

While two sets of Master Prime prototypes were being used in various test shoots

earlier this year with very positive results, Zeiss has been hard at work in their

labs in Oberkochen, Germany, secretly designing yet another technology to

enhance the already outstanding image quality of the Master Primes: The T* XP

(Extended Performance) anti-re ex coating.

Master P r imes Techno log ica l Benef i t sThe Master Primes prototype tests have now been completed, and what has been learned during the tests has been incorporated into the nal product that has been shipping since August 2005. In addition to a very positive response we have also received many questions on the different technologies, new and proven, that are used in the Master Primes. To answer those questions we have assembled a list of the main technol -ogies and their direct bene t.

Still in development, but available soon, are the Master Diopters, which

are a set of three diopters (+0.5, +1 and +2) that are optically matched to the Master Primes, but can also be used with many other lenses. Due to the achromatic lens design of the +1 and +2 Master Diopters, they are of a signi cantly higher optical quality than traditional diopters, and thus match the high quality standard set by the Master Primes.

14 C a m e r a

XPXPXPThe Master Primes are high speed lenses, replacing the venerable Zeiss Super Speed lenses which were awarded a technical Academy Award in 1987.The Master Primes produce a substantially improved picture at T1.3 with even illumination across the entire frame and no visible light fall-off towards the corners.

Other high speed lenses tend to have a sweet spot when stopped down 2 3 stops from the widest opening; they are when wide open and their optical performance deteriorates when stopped down. The Master Primes have been designed to exhibit their high optical performance over the entire T-stop range, so a candle lit dinner scene at T1.3 will look as good as a high contrast shot in the snow at T22. The Master Primes at T1.3 have a signi cantly better optical performance than other modern 35 format primes lenses at T2.

At their close focus range, the Master primes exhibit high resolution and contrast, and negligible geometric distortion and minimal chromatic aberration.Both Ultra Primes and Master Primes have oating elements. A decrease in optical performance at close focus with other lenses is most noticeable in the corners and at wide open apertures.

High speed T1.3

Consistent optical performance over the entire T-stop range based on most of the technologies mentioned below

Floating elements

Shoot in low or available light, reduce lighting budget, get more natural looking shots, shallow depth of eld

Shoot in any lighting situation with great results

Excellent close focus opticalperformance

T* XP Master Primes Get a new Lens Coating rst coatings were single layer coatings, which optimized transmission for one color only, leading to an uneven transmission behavior across the color spectrum. A signi cant improvement was introduced in the 70s when multilayer coatings were introduced, offering a further reduction in re ectance from glass-air surfaces in a broader spectral range. A highly sophisti-cated version of this technology is the Zeiss T* coating used in the ARRI/Zeiss Ultra Primes and Variable Primes. For the Master Primes the T* coating has now been re ned even further, resulting in the T* XP coating.

To achieve the excellent image quality of the Master Primes even at T1.3 and to elimi-nate breathing, the number of lens elements had to be substantially increased. This could have lead to a decrease in light transmis-sion and an increase in various false light effects such as veiling glare, are and narcissism. Instead, the new T* XP coating as well as other measures allow a greater light transmission, and the false light effects

Bene t NotesTechnology > > > > > > >

Anti-re ex coatings have proven to be one of the most important inventions in modern optics. By reducing the natural tendency of glass-air surfaces to re ect a portion of the incoming light, these coatings ensure that the maximum amount of light reaches the lm, instead of being re ected away from the lens surfaces or, worse, bouncing around inside the lens. Especially modern lenses with their large number of single lens elements would otherwise not be able to transmit enough light to the lm. At the same time, anti-re ex coatings suppress false light (internal re ections including veiling glare, are, narcissism), resulting in higher contrast and deeper blacks in the image. Last but not least, they are an impor -tant contributor to proper color balance. Thanks to modern anti-re ex coatings we are used to brilliant images in almost all lighting situations on the lm set.

First developed in the Carl Zeiss laborato-ries in 1935, anti-re ex coatings found widespread adoption after 1945. These

15C a m e r a

Technology

This graph shows the reflectance of a lens sur-face with a conventional anti-reflex coating at different frequencies of the light spectrum. Notice how the red line, which represents the reflectance at the edge of a strongly curved lens, indicates a severe increase in reflect-ance starting at 580 Nanometers.

have been attenuated even below the level of other modern cine lenses. Thus the Master Primes can catch subtle tones in the deepest shadows and fully utilize the high dynamic range of modern lm stocks.

The T* XP coating is optimized with respect to the spectral sensitivity of motion picture lm and the sensitivity of the human eye. Additionally the color of any remaining minor

ghosting effect is magenta instead of green, which is considerably less noticeable on lm.

A disadvantage of conventional multilayer coatings was their application on large, strongly curved surfaces. On this type of surface the spectral re ectance of the coating usually shows a variation, so that its optical and mechanical performance close to the lens edge becomes worse than

its performance closer to the optical center. Compared to conventional multilayer coatings the T* XP coating has a more uniform performance across the lens from optical center to the edges; in fact the T* XP coating has up to ve times better transmission at the edges.

Designing an anti-re ex coating formula that ensures maximum light transmission in

Breathing is de ned as a change of a lens angle of view during a focus pull. The Master Primes are the rst set of prime lenses that show virtually no breathing thanks to the Dual Floating Elements (patent pending) technology.

To achieve an undistorted geometry (so called correct rectilinear perspective, which is especially dif cult to achieve in wide angle lenses), all Master Primes use aspherical lens elements. These are produced with an extremely elaborate polishing processes, and they must be tested with a complex holographic technique. Aspherical lenses can be made smaller, lighter and, in general, better than similar lenses which employ only spherical elements.Aside from simply better and more natural looking images, no geometrical distortion also means that it is much easier to combine footage shot with the Master Primes with computer generated elements.

For higher levels of chromatic correction, both elaborate optical design, as well as exotic glass types with anomalous partial dispersion, like uor crown and barium dense int are required. Some of these exotic glass types are almost as heavy as steel, some as expensive as gold, but together they ensure the high accuracy with which chromatic aberrations are corrected in the Master Primes.The absence of color fringes helps in blue or green screen work, as it provides cleaner edges.

Excellent close focus optical performance AND no breathing

No geometric distortion, less weight, no color fringes

No color fringes (= no chromatic aberration)

Dual Floating Elements

(patent pending)

Aspherical lens surfaces

Exotic glass materials

NotesTechnology Bene t

>>> Master Pr imes Technological Benef i t s cont inued > > > > > > > > > > > > > >

16 C a m e r a

Conventional Coating on Strongly Curved Surfaces

Re e

ctan

ce

380 480 580 680nm

middle of the lens edge of the lens, 45 inclination

This graph shows the reflectance of a lens surface with the T* XP anti-reflex coating at different frequencies of the light spectrum. Notice how the red line, which represents the reflectance at the edge of a strongly curved lens, essentially follows the green line, which represents the reflectance at the center of the lens.

a wide spectrum of wavelengths is one part of the high art of anti-re ex coatings. The second part is the equally tricky art of applying the coating in the proper and even thickness onto the lens elements. Zeiss uses a carefully monitored, elaborate proc-ess in high vacuum where special optical substances are evaporated one after the other and deposited on the lens surface with precisely controlled thickness. For the

T* XP coating this process was further re ned to assure a perfectly even and symmetrical application of the lens coating.

The design of the new T* XP anti-re ex coating and its sophisticated application techniques are yet another technology that contributes to the outstanding optical quality of the Master Primes. What counts in the end, of course, are the new creative

option these technologies allow the cinematographer, are the images on the screen. So we are now looking forward to the new and exiting visuals cinematogra-phers world wide will be able to produce with these new lenses.

Hubert Nasse/Zeiss

The larger barrel of the Master Primes allowed for a mechanical design that incorporates various light traps to keep unwanted light from bouncing around inside the lens.

Carl Zeiss uses several types of proprietary black paints with different refractive indices to blacken lens element rims with maximum light absorbing effect.

Accomplished through choice of glass, the Zeiss T* XP anti-re ex coating and other measures, all Master Primes are super color matched to each other and to the other lenses in the ARRI/Zeiss lens program, including the Ultra Primes, Ultra 16 prime lenses and the Lightweight Zoom LWZ-1.

More lens elements than in most other lenses lead to an improved optical performance across the board.

Traditionally, standard speed lenses have a range from T2 to T22, and high speed lenses have a range from T1.3 to T16. The Master Primes not only have an extended range from T1.3 to T22, but they also offer superb optical quality over that whole range.

Higher contrast, deeper blacks

Higher contrast, deeper blacks

Shots from one lens match shots from another in colorimetry

Better overall optical quality (resolution, contrast, geometric distortion, chromatic aberration)

Shoot night or day, low key or high key with the same lens set

Internal light traps

Strategically painted lens rims

Super color matched

Multiple lens elements

Extended iris range

Technology Bene t NotesNotes

>>> Master Pr imes Technological Benef i t s cont inued > > > > > > > > > > > > > >

17C a m e r a

T*XP Coating on Strongly Curved Surfaces

Re e

ctan

ce

380 480 580 680nm

middle of the lens edge of the lens, 45 inclination

In April of 2005, Bill Bennett, ASC was handed the rst prototype of the Ultra Prime 8R lens for tests. This was a tting honor, as Bill had been instrumental in the conception and speci cation of this unique lens. Since images speak louder than any speci cations we could list here, and since we have all the speci cations on the Ultra Prime 8R web page anyway, above are some screenshots from this shoot. A short corresponding video clip can be down-loaded from our website.

How did they do that? Below some comments and making-of stills by Bennett regarding the motorcycle shoot:

These Motocross scenes are the best exam-ple of how the Ultra Prime 8R can put the viewer right in the middle of the action and of the extreme dynamic look it will give you. Knowing that in previous tests I had already done the sedate and safe shooting with

the lens of the buildings in downtown LA from the top of the car, the freeway inter-change from the front of the car and the hand held material in the train station and on the beach, I decided to go all out and create some very dynamic footage.

We mounted the camera and lens on the back of Alan Padelfords Maverick miniature camera car, built around a Yamaha V-Max motorcycle power plant. The water cooled V-twin engine has a 1,200cc displacement, putting out 120 horsepower. It utilizes a Porsche transaxle and custom off-road rally-car suspension, with Michelin rally tires. The chrome-moly steel tube frame chassis was totally custom built by Alan to join the Yamaha bike frame to the rest of the components. Alan is one of the best camera vehicle drivers in the world. He had driven high speed camera cars for many big racing movies like DAYS OF THUNDER.

WIDE & STR A IGHT ULTR A PR IME 8R TESTS

When a group of rental house owners and cinematographers got together

with some ARRI folks at the NAB in 2003 for a users group meeting,

none could have guessed that this meeting would lead directly to a new

product. Born from this meeting and a desire to expand the range

of the Ultra Prime lenses, a new wide angle lens was developed by ARRI

and Zeiss, the Ultra Prime 8R.

UP8R

DoP Bill Bennett

from left to right: Craig Devereux, Bill Bennett, ASC, Alan Padelford, Craig Conaway, Scottie Niel

The Maverick rig with the ARRIFLEX 435 attached

18 C a m e r a

Lets just say this with a camera mounted and two people on board it is very fast! When we were chasing the motocross drivers on the mountain dirt roads, Alan had the machine in a constant 4-wheel drift, steering and pointing the camera using the throttle. That was fantastic, as you can see from the footage. I was riding along, looking at a small LCD video tap monitor. What I was seeing on the monitor was amazing, but when I looked up at the real world and saw just how fast we were going, inches from these speeding motocross bikes, drifting right on the edge of a bottomless cliff, it scared the hell out of me! My solution was to look back at the monitor, and just ignore the outside world!

To get the dynamic images you see here, we had to place the lens extremely close to the speeding motorcycles. We had the camera mounted on the end of 6 foot

WIDE & STR A IGHT ULTR A PR IME 8R TESTS

(2 meter) pipes, attached to the chassis with Speed Rail ttings. Placing the camera out away from the camera car allowed Alan to stick the camera up next to and between the riders, just inches from them, to get these extremely aggressive shots.

I do remember that Alan admitted at one point that he was scaring himself too on occasion. At the end of one particularly close run, he said to me, I dont think I want to do that again! We had to admon-ish the motocross riders to not look back at us, because they would unconsciously lift out of the throttle just a wee bit, and would

back into our camera, which was inches behind them at the time.

We shot the lens at T11, with the focus set at 2 meters, (6' 6") using a Schneider ND9 lter, with a clear lter in front to protect the ND lter and the lens from rocks. We

rolled the 435 at 20 fps, for an intended projection or transfer rate of 24 fps. For some of the shots, we did a speed ramp, while the camera was rolling, from 20 fps to 96 fps. When we were doing the speed ramping, we changed the ND lter to an ND.3 and set the aperture to T5.2. When the camera initially rolled at 20 fps, the internal computer set the shutter angle to 37.5 degrees to compensate for the extra light, giving the skinny shutter look to the low frame rate portions of those shots. When I ramped towards 96 fps, the shutter angle automatically compensated until it was 180 degrees at 96 fps. The lm stock used was Eastman 5246-250D.

Bill Bennett

19C a m e r a

The ARRI Lens Data System collects essen-tial lens and camera information and displays it to the camera assistant either on a dedicated remote display or on the video assist. This information includes focus, iris, zoom, depth of eld, hyperfocal distance, close focus, fps, shutter, battery voltage, footage, lmstock reserve, take length, etc. The LDS can speed up work and assist the camera crew when the camera is in a remote situation (like a crane, Steadicam, car rig, etc.), in critical focus situations to see if an actor was within the depth of eld, for faster speed/iris ramp setups and as an accurate video tape log for second unit work, re-shoots and pick-ups.

Originally available only with the ARRI-CAM system, the Lens Data System has been continually expanded to include other cameras like the ARRIFLEX 435 Xtreme. Now two scalable and compatible options have been added that expand the system to any camera and any lens: the Lens Data Mount and the Lens Data Archive.

The Lens Data Mount can update non-LDS lenses, including most zooms, to work with LDS cameras like the ARRICAM Studio, ARRICAM Lite or ARRIFLEX 435 Xtreme. By exchanging the PL mount of a lens for the LDS Data Mount, which has an embedded miniature chip and LDS contacts, this lens

can be used with the LDS system as long as lens motors are used. Using an Lens Data Mount preserves the ability to change lenses quickly, as the camera recognizes the lens automatically.

The Lens Data Mount Standard LDM-1 mounts instead of the standard ARRI/Zeiss PL mount. It is compatible with Ultra Primes, Variable Primes, Standard Speeds, Super Speeds and any other lenses that can accept the standard ARRI/Zeiss PL mount (K5.35204.0).

The Lens Data Mount Intermediate LDM-2 mounts instead of an intermediate mount. It is compatible with the Angnieux Optimo

The Lens Data Mount Intermediate LDM-2

The Lens Data Mount Standard LDM-1

A regular Super Speed lens with the Lens Data Mount Standard attached

Ident Numbers:

Lens Data Mount Standard LDM-1 K2.52254.0

Lens Data Mount Intermediate LDM-2 K2.52272.0

With the Lens Data Mount, many popular zooms, including the 24-290 Optimo, can become part of the ARRI Lens Data System

The Lens Data Mount (LDM) allows most Lens Data System (LDS)

features to be used with ARRI LDS cameras and the vast inventory

of existing lenses.

24-290, Angnieux 17-102, Angnieux 25-250, Cooke 25-250, Cooke 18-100, Zeiss Apo Tessar 300 and a wide range of other lenses that use the same intermediate mount. Lens Data Mounts for other lenses can be supplied on demand.

Marc Shipman-Mueller

L ENS DATA M O U N T2 0 C a m e r a

Selecting a lens can be easily done from a series of screens on the LDD-FP

UMC-3

WirelessLens Control System

WirelessLens Control System

ARRICAM Studio ARRICAM Lite 435 Extreme

Lens Data Box or FEM-2

Lens Motor

Any Camera

Lens Motor

Any Lens Any Lens

The Lens Data Archive allows the use of LDS features with any camera and any lens

After each lens change, the lens type must be selected from a pre-programmed menu on the LDD-FP. Once the lens motors are calibrated, the system can display LDS in-formation on the LDD-FP.

The Lens Data Archive also allows LDS cam-eras to use non-LDS lenses, as shown in the diagram to the right.

The great advantage of the Lens Data Ar-chive is that it works with any camera and any lens, wired or wirelessly. However, in contrast to LDS Ultra (LDS lenses with LDS cameras) it does not support manual follow focus, camera status infor-mation and video insertion. Lens Data Archive functionality is already part of the latest software for the ARRICAM Studio, ARRICAM Lite, ARRIFLEX 435 Xtreme, LDD-FP and UMC-3. Even non-LDS cameras like the 235 can enjoy basic LDS features with the Lens Data Archive.

The Lens Data Archive provides basic LDS features for any

camera with any lens, as long as the ARRI Lens Data Display

for Focus Puller (LDD-FP), the Universal Motor Controller UMC-

3 and lens motors are used.

L ENS DATA A R C H I V E

21C a m e r a

Out in the ColdWhen rst camera assistant Ted Overton got a call from cinematographer

Anthony Richmond, ASC, BSC (A CINDERELLA STORY, SHADE) to work on

the feature lm JUST FRIENDS, Overton jumped at the chance. When he

learned shooting would occur in Regina, Saskatchewan at the height of winter,

Overton was a little hesitant. I have always enjoyed working with Tony

and I would go anywhere in the world for the opportunity to do it again, but

the Canadian prairies in January and February! This was going to be proof of

willingness and proof of the equipment that we would be taking, he says.

JUST FRIENDS was directed by Roger Kumble and produced by Benderspink and Innity Media, Inc. The lm follows Chris (Ryan Reynolds), a man rejected by his true love who moves across the country to transform himself into a selsh womanizer. The cast includes Amy Smart, Chris Klein and Anna Faris. Additional locations were also shot in Los Angeles.

To help translate the relationships between the characters onto the screen, Richmond chose a camera package that would taste- fully render images and perform well in

Canadas extreme climate. The camera package included an ARRICAM Studio, an ARRICAM Lite and an ARRIFLEX 435. For lenses, the production had two complete sets of Cooke S4 primes and Angenieux Optimo long and short zooms. With actors and crew depending on the camera equip- ment to perform when needed, keeping these important tools warm was a serious priority. The ARRICAMs did exceptionally well in the cold outdoor conditions that we were working in, notes Overton. The temperature was rarely above 20 deg- rees C (-4 degrees Fahrenheit) and more

often closer to 40 and lower (-40 deg- rees Fahrenheit). On the day that we ew into Regina our second assistant David Rumley looked at the weather map in the newspaper and saw that the only place colder in Canada that day was the town of Iqualuit, north of the Arctic Circle. The next day the lift on the back of our camera truck could not be lowered because the hydraulic uid had frozen.

To deal with the low temperatures, the camera crew kept equipment inside and warm for as long as possible to reduce the time exposed to the cold. Outside, if a camera or head was not being used, the item would be immediately covered with an electric blanket. These extra precautions made the cameras ready for shooting, but the equipments design also played a large part in allowing the production to run with- out interruption. Both the ARRICAM came- ras and the magazines are designed so that their motors will heat the camera when they are detecting very cold temperatures and when they are not running. he notes.

Specialty items made by Clairmont Camera were also brought along to help deal with the cold weather. Ted Overton further ex- plains, Denny Clairmont ingeniously de- signed an insulated magazine case that we could connect to a 24-volt battery in order to power the magazines before they were put on the camera. This supplied power to the magazines heater even when the magazine was not on the camera. With Dennys case we could keep the magazines warm before they were put on the camera.

The production also used ARRIHEADs, since the smoothness of a gear-head is the rst choice of A camera operator, Candide Franklin and B camera operator, Roger Finlay. The ARRIHEADs performed well in all but the most extreme cold. At the lowest temperatures we experienced a loss of smoothness in the pan. Clairmont was great in supporting us with detailed instructions on how to loosen the pan and this helped, notes Overton.

Out in the ColdOut in the Cold

Tony Richmond, ASC, BSC, takes a reading from his light meter in front of actor Ryan Reynolds

2 2 C a m e r a

First AC for B camera Dean Frank became very adept at creating heating systems for the heads. Frank used a combination of hand-warmers, reective insulating tape and deconstructed heating pads to create heating systems that kept everything work- ing.

We had a hard lesson the rst night out- doors when we had to heat up a head with an open face 2K lamp to get it functioning again. With the exception of when we were in the worst cold, the ARRIHEAD worked smoothly and we were glad to have it, Overton remarked.

Working in such frigid conditions required the production to plan accordingly, even when the crew would retreat indoors to shoot scenes out of the cold. Any lenses not working were brought in to warm up when we were making a move inside and we carried two sets of primes so that we could have an indoor set and an outdoor set. This really sped things up when we wanted to come inside after we had been shooting outside. An acclimated set of lenses meant that we were not putting up lenses covered in condensation and fogging. Taking warm lenses outside wont create problems, but careful planning has to go into bringing cold equipment indoors. The cameras always have to be sealed in a plastic bag when they are coming inside from the cold so that the bodies do not be- come wet with condensation as they warm up. I usually leave them plugged in with the main power switch on in hope that they will warm up faster.

Overton is quick to acknowledge the hard work of the crew in making the shoot a success. Working in cold conditions re- quires a lot of cooperation and our camera crew accepted the challenge. David Rumley kept all of the equipment well organized with a good sense of anticipation and an eye on the thermometer and the weather report. Jesse Sannerud made sure that magazines were in the proper rotation so that we didnt have a magazine that had been getting cold for hours going on the camera. Candide and Roger understood things would take a little longer on occa- sion because of the conditions. Clairmont Camera offered us wonderful assistance in

prep, when they were adapting equipment for us and anticipating solutions, and also throughout the shoot, he says.

Despite the rough conditions of the shoot, the overall experience is lled with warm memories. He explains, The many laughs we shared making JUST FRIENDS more than made up for the cold and it is always a good shoot when you are working with Tony.

JUST FRIENDS is scheduled for release in the US for Nov. 23, 2005.

An Tran

Tony Richmond, ASC, BSC, next to director, Roger Kumble

Photos: Allen Markeld

Tony Richmond, ASC, BSC,

on the ARRICAM ST,

behind him A unit

camera operator,

Candide Franklin

2 3C a m e r a

A Passage to India:

Shooting RETURN TO RA JAPURAlthough Hollywood is widely regarded as the lmmaking capital of the world,

Indias movie production is actually the most proli c with well over a thousand

feature lms released each year. For director Nanda Anand, the New York-

based lmmaker would be able to take advantage of Indias experienced

crews and the setting of her native country as a dramatic backdrop for her

rst feature lm. RETURN TO RA JAPUR follows Samantha (Kelli Garner), who

arrives in the historic Indian desert town of Rajapur to discover the truth about

a mysterious man, Jai Singh (Manoj Bajpai). With only scattered photos, old

letters and a love stone to guide her search, she unveils the story of Sara (Lynn

Collins) and Jeremy Reardon (Justin Theroux), along with a secret love affair.

The crew was comprised of primarily two backgrounds: the Indian crew came from the Bollywood lm tradition and the Ameri-can crew came from the U.S. independent film world. Anand hired Dileep Singh Rathore of On The Road Productions, a Los Angeles-based producer who had done many projects in India. The director also enlisted Harlan Bosmajian, a cinematogra-pher with over 20 features, including LOVELY AND AMAZING, LA CIUDAD, SAVING

FACE and WINTER SOLSTICE.

For Bosmajian, RETURN TO RAJAPUR was his rst anamorphic lm and his introduction to the ARRICAM. This was the rst time with the ARRICAM. Before I had always used 535s. Our B camera on the shoot was an old BL4 which was a good workhorse, he says. The ARRICAM was very silent with a functional design and nice, clear eyepiece... I would love to use this camera again.

Mixing different time periods, the lm incor-porated different operating styles, shooting the second half of the lm handheld. There was lots of handheld, says Bosmajian, who chose to shoot the entire project on Kodak

DoP Harlan Bosmajian Producer Dileep Sin Harlan Bosmajian andGaffer Vineet Malhotra

1st ACManuel Billiter

Director Nanda Anand

2 4 C a m e r a

A Passage to India:

Shooting RETURN TO RA JAPUR

ARRICAMs go EastArtLite is a rental company with pro-

duction bases in Yalta (on the Crimean

peninsula), Moscow and Kiev the

Hollywood of the ex-Soviet Union.

They have recently added the rst

ARRICAM Lite and Studio cameras for

the ex-Soviet market.

Both cameras have been booked out ever since: CAPTIVITY, directed by Oscar-winner Roland Joffe, was shot by DoP Daniel Pearl, ASC. Now the cameras are on the set of CORRECTION OF FATE, shot by cinematogra-pher Andrei Makarov and directed by Vladimir Mirzoyev, and also on CONSERV, directed by Russian hit-maker Yegor Konchalovsky, and shot by Anton Antonov.

Were very happy that we choose three perforation cameras, comments ArtLiteco-owner Robert Crombie. The digital intermediate process is very accepted now

all ve lms nominated for the Oscar in cinematography this year went through the DI-process. And producers are a lot

happier when they realize that they will save 25% in lmstock and developing costs by shooting with 3 perforation cameras.

Weve also noticed that the ARRICAM Lite is incredibly popular, adds Robert Crombie.

The mobility of the Lite, together with the sensitivity of the new Kodak lm-stocks, the Cine Tape measuring system, and the wide apertures of the new Master Primes are coming together to create a new style of lm-making one that can travel hand-held into the smallest and darkest corners with-out fear.

ArtLite also offers lights, cranes, dollies, generators etc., including a wide range of ARRI products.For more information: www.artlite.com.ua

Vision2 5218 lm stock. I wish there were smaller zoom lenses that are good quality but can be used in 35mm handheld.

Because shooting style in India is also very different, 1000-foot magazines were not available. Since the lmmakers wanted to be able to have longer takes, the larger magazines were rented from ARRI CSC in New York. Production took place over 35 days and included scenes taking place in the desert during a sandstorm. The equip-ment was excellent and we put it through the intense heat of the Rajasthan desert and multiple sandstorm scenes. We never had a jammed magazine, says the cine-matographer who studied lm at New York University. My grip and electric crew in India was one of the best I have ever worked with. They were both creative, enthusiastic and technically proficient. I would work in India again in a second.

An TranMichael Mukasey is one of Russias success-ful DPs. For his Moscow based rental company Rentacam he had choosen the ARRICAM Lite not only as a very attractive visual (on one of Moscows busiest streets the Mos lmovskaya) but also as a true work-

ARTLITE Yalta Moscow Kiev

RENTACAM Moscow

horse. Along with the most modern access-ories ranging from the newest wireless systems and LDS lenses, the company also offers the ARRIFLEX 435 Xtreme, ARRIFLEX 535B and 16SR3 cameras. Currently the ARRICAM is on the set in Sewastepol.

Robert Crombie

Michael Mukasey

1st ACManuel Billiter

2 5C a m e r a

Mike started his career in the BBC sound department in 1972 but was soon seduced by the idea of creating wonderful images through photography. During his twenty year career he has become an internation-ally renowned DoP and is considered a specialist in the eld of underwater photo-graphy for commercials, dramas and feature lms. He has worked on over fty-six feature lms, such as TR A INSPOT T ING, TOM B R A I DER , D I E ANOTHER DAY, and STAR WARS EP ISODE 1 to name but a few. He now runs his own production company, Valentine Films with his wife Francoise who works regularly with him on productions as 1st Assistant Director / Producer.

Recently Mike met with Hedley Dindoyal and Stuart Ryan from PWI who commis-sioned him to shoot a commercial for the International fashion house, Escada for their new fragrance, Paci c Paradise. When asked about the location for the shoot Mike didnt hesitate in stating that he thought the

only place possible for the shoot had to literally be paradise and on this occasion the destination became Palau and paradise became one of several hundred islands scattered in the South Paci c. Mike ex-plained These islands are some of the most beautiful in the world with the most amazing deserted beaches, jungles, waterfalls and sh life, therefore supplying the most perfect of back-drops for the commercial for this luxury brand.

With the location agreed, it was time to think about what equipment to take. As the journey would take an arduous two days from London via Dubai and Manila, it was crucial that Mike had exactly what he need-ed when he needed it, in such a remote location. Although he owns his own camera, an ARRIFLEX 435 and lenses, he wanted to ensure that he was well prepared for all eventualities and so he hired the ARRIFLEX 235 camera from ARRI MEDIA in London. He explained the reasoning behind this:

DoP Mike Valentine, BSC, puts the ARRIFLEX 235 through its paces in the South Pacific. SHOOTING in Paradise

Its not easy being Director of Photography. Sometimes you nd yourself

in paradise on one of the most breathtaking beaches in the world, shooting

a commercial featuring some of the worlds most beautiful fashion models

its a dif cult job, but someone has to do it

2 6 C a m e r a

I planned to use the camera in so many different ways, on a tripod, handheld, on a crane and in a splash bag, the size and weight of the camera made the decision really easy for me. Mike added I put a lot of faith in the 235, with only three days to complete the shoot and in such a remote location I had to hope that this small camera wouldnt let me down. My crew and I were amazed at how well it performed. At one stage we were in the jungle in 86 % humi-dity and then as if that wasnt enough, the heavens opened and it poured with rain. Im glad to say the little camera didnt let us down once.

The commercial shoot proved the perfect project to show the versatility of the camera, especially for hand held work. Mike ex-plained. Using the camera in the hand-held mode felt far better than any video camera I have held, due to the balance. The 200 ft magazine was comfortable and with the 400 ft magazine it became even more com-

fortable and for the rst time I felt I could have shot hand-held all day without any problem.

The 235 performed well even when put inside the scuba cam bag during the water level sequences. It was at this time that they used the ARRI Wireless Remote System allowing Focus Puller Dean Morrish to control the focus with a radio link in a boat up to 50 ft away.

For the reverse sunrise sequence Mike shot at 1 frame per second and was amazed to see during the telecine how stable the images were even speeded up twenty-four times, explaining that the footage shot at 50 frames per second allowed the oppor-tunity to slow down certain sequences back to 25 frames per second, hardly ever using the normal running speed.

Mike summarised his experience shooting with the 235 for the rst time: I can really

say that we put this versatile little camera through its paces and I was delighted with its performance. In many cases, the condi-tions were harsh and it performed awlessly. For those considering using it in the future, they can rest assured that they wont ex-perience any problems.

Mike and Francoise are currently preparing for their rst feature lm titled, LOU IS an aspirational love-story based on the real life adventures of Louis Boutan, one of the rst underwater cinematographers in the 1890s.

Judith Petty

Crew Details:

Focus Puller, Dean Morrish2nd Focus Puller, Jason WrenLoader, James Lewis

For further information contact details are available on www.valentine lms.com

SHOOTING in Paradise

2 7C a m e r a

The CPA (Center Production Audiovisual) is part of the complex organization of the Aeronautical Military General Staff. Its main task is to produce images on lm and video for the Italian Armed Forces and also to create a historical archive. At the moment an extensive evaluation test is carried out to replace their main 35 format lm camera, the old but reliable ARRIFLEX 35 II C, with the latest technology. Quite naturally the new ARRIFLEX 235 is consid-ered as an optimal choice since it maintains

ARRIFLEX 235in Tornado A i rcra f t s

One of the dreams of every

cinematographer is to realize

breathtaking pictures. Well, no

problem at 6 to 7 G in the cockpit of a Tornado aircraft just a little

stressful to the equipment, and

maybe for the cinematographer as

well. To produce such impressive

footage from the cockpit of a com-

bat airplane ying close to other

jet planes is one of the tasks of the

Italian Truppa Azzurra, which is

currently testing the ARRIFLEX 235.

the small size, easy handling and light weight of the venerable IIC, while offering all the advantages of modern lm cameras like much improved ergonomics, Super 35, swingover view nder, high quality video assist and support for the full range of modern accessories.

Already the rst hands-on experience, carried out at the Pratica di Mare military airport, totally satis ed the demands. Some of the new 235 features that were not present on the IIC were very much appre-ciated, including the highly exible and bright view nder with the optional view- nder extension, which allows the camera-man to easily wear a helmet and oxygen mask while lming. Also very critical are the dimensions of the equipment in the very restricted area of a combat airplane cockpit. The large number of 235 mounting options, different handles, different magazine choices and the modularity of the 235 camera system all help in the sometimes cumbersome search for enough space.

Of course, we do not want to omit the opportunity to thank the members of the unit CPA: Colonel Felici, Marshal Natale, Marshal Bielli, who carried out the rst tests and submitted these pictures.

Mauro Sembroni / Giuseppe Tucconi

2 8 C a m e r a

First ARRIFLEX 235 in Denmark

The 235 Compact Rod Holder is a view- nder port cover that can hold two support rods. When the 235 view nder is removed, for instance for a Steadicam low mode shot, the CRH-1 takes its place. The CRH-1 accepts two 19 mm support rods, or with

the addition of the CRH-1 Reduction Sleeve Set also 15 mm support rods. Thus it allows mounting of lens motors when an extremely compact build of the 235 is required.

The 235 Left Rod Bracket LRB-1 makes it possible to mount lens motors or a Light-weight Follow Focus LFF-1 along with a left hand grip on the left side of the 235 in a weight ef cient manner. The LRB-1 attaches

to the left side of 235 Riser Plate. It accepts one 19 mm support rod, or with the LRB-1 Reduction Sleeve Set, one 15 mm support rod. A left hand grip can be mounted on the rosette.

235 Left Rod Bracket LRB-1

235 Compact Rod Holder CRH-1

I always wanted a small handy 35 mm MOS camera. The ARRIFLEX 235 is perfect for shooting in cars, and on car mount, its a great camera, says DoP Jens Maasboel. He works mainly on commercials and decided to buy an ARRIFLEX 235 as his personal camera. His 235 is the rst in Denmark and already heavily in use.

Mogens Gewecke

Contact: email: jens@maasboel.com

OMV, Director Kasper Wedendahl

Ident Number: K2.65037.0

2 9C a m e r a

Over the last two years, Super 16

has emerged stronger than ever as a

viable origination medium for high

end imaging in commercial, narrative,

and documentary projects. Many

articles have been written highligh-

ting big names like Vilmos Zsigmond,

ASC, and Haskell Wexler, ASC, who

are returning to Super 16 and

extolling its virtues. Kodak is now

offering Super 16 workshops to

educate young lmmakers on the

bene ts of shooting Super 16 lm.

AROUND THE WORLD WI TH SUPER 16

A number of factors have combined to bring Super 16 to the attention of producers, directors and cinematographers again. These factors include the new Kodak Visi-on2 emulsions, faster and sharper lenses, rugged and reliable cameras like the ARRIFLEX 16 SR3 Advanced, the advent of high quality scanners like the ARRISCAN, improved telecines and the emergence of the Digital Intermediate process.

Many of these same people had been seduced by the initial promise of HD tech-nology, speci cally its proposed ef ciency and cost savings. But in the real world, high end HD video acquisition can become a daunting proposition. Cameras with elaborate menus and changing backfocus nd themselves in need of DITs (Digital Intermediate Technicians), waveform moni-tors, cables, and large calibrated monitors all of which must be moved around the set like a well choreographed carnival.

While HD has its many virtues and strengths, lm is still the standard by which imaging is judged. Because the continued liveli-hood and future development of Super 16 depends on new and emerging lmma-kers, Kodaks Entertainment Imaging (EI) division has been actively partnering with cinematographers, production companies, manufacturers, and post facilities to get lm into the hands of these young and developing image makers. This new video centric generation includes many who have

never photographed a single frame of lm. Their rst still cameras were digital their rst motion picture cameras were automa-ted consumer DV. This situation makes the lm educators responsibilities even more challenging and Super 16 camera systems serve as a practical means to bridge that gap.

While Kodak has always supported student and emerging lmmakers, the company is continuing their outreach with a series of Super 16 workshops presented worldwide. The three primary programs are entitled Stop By Shoot Film (Film Basics), The Kodak Film Experience (Intermediate Level), and The Kodak Cinematography Workshops (Advanced Production Techniques). The pri-

mary reason to implement these workshops may revolve around demonstrating the new Vision2 stocks, but the workshops are far more than PR exercises. The potential Super 16 user has advanced knowledge of video technology and techniques. To truly appreciate lm acquisition and lm images, this person must go out and shoot lm, then see the difference rsthand during a telecine session.

The Truth About Film workshop in Bris-bane, Australia, hosted by Kodaks Leigh Christensen and Randy Sparrazza was an ideal situation for this complete Super 16 experience. The program brought together a team of cinematographers, all highly experienced educators. On tap were

During the International Wildlife Film Festival, the Kodak Film Exper-ience workshop offered hands-on intensive training for documen-tary lmmakers. This beautiful nature preserve in Missoula, Montana acted as an ideal location.

The Cutting Edge post facility hosted the Kodak Film Experience in Brisbane, Australia. DOP instructors Thom Marini, Tim McGahan ACS, Michael Goi ASC, and Matthew J Siegel put this class through it paces.

3 0 C a m e r a

With director of photography Matt Siegel acting as guide, participant Mark Phillips nds exposure for a high contrast beach and sky during the Santa Barbara Stop By Shoot Film workshop.

the myths. We have to make the technology and the equipment completely approach-able, said Matt Siegel. In a workshop si-tuation, we have so little time, and so much information to convey. It is essential not to overwhelm a prospective lmmaker.

In keeping with that philosophy, the Truth About Film workshop took a decidedly hands-on approach. Students broke away into small production groups. Each member took a turn as director of photography designing his/her own shots, as camera operator framing for a director of photo graphy, as 1st camera assistant setting T-stops and pulling focus, as 2nd assistant loading cameras, and as gaffer lighting the set and reading light meters. Away from

these technical/crew challenges, the instruc-tors emphasized the collaborative nature of lmmaking and the heightened need for communication when working in lm.

What is different or unique when going out to photograph with Super 16 motion picture cameras and lm? The rst realization that came from many students was the idea that nothing is automatic. Unlike video systems, a lm camera does not think for you; no auto focus, no auto iris. The shoots also introdu-ced proper set procedures and protocol, a strange novelty for those coming from the I can do it all myself school of video. The use of grey cards, slates, camera reports, and light meters demonstrated certain rituals for lm photography designed to make the expe-rience most productive, creative and effective.

Ultimately it came back to the images. Whether lming at 24 fps on a 30-year-old ARRIFLEX 16 SR1 or animating on a hand wound Bolex, or doing time lapse, modern lm stocks and camera technologies have ad-vanced motion picture lm to a point where by all accounts the process is easier for the novice to produce stunning images. The key factors include its tremendous latitude, high ASA, and extremely ne grain structure. This fact was evident on the workshops nal day as an extremely wide range of images came up on the telecine at Brisbanes Cutting Edge post facility.

For people to choose Super 16, they have to see the difference. The major impact has to be the image itself. When the lm images came up on the HD monitor in the workshops telecine suite, there was a resounding Wow factor. Without question, the Brisbane cine-matographers, directors, and producers were amazed by the difference in the lm image compared to their previous experiences with videography, speci cally in the rich skin tones and in the highlight information.

Heading into 2006 with the educational schedule, it is exciting to see Kodak joined by ARRI, Schneider, and other lm companies in a coordinated effort to bring the simple and elegant advantages of Super 16 cinemato-graphy to the world. Detailed information on the workshops can be found at www.kodak.com/go/motion.

Matt Siegel

SUPER 16

Matthew J. Siegel (USA), Michael Goi, ASC (USA), Tim McGahan, ACS (AUS), and Thom Marini (USA).

The cinematographers tag teamed to teach the thirty participants both the basics of production and the essentials of lm style shooting. On the rst intensive day, they touched upon lm language, exposure, me-tering, loading, and cameras. Immediately following this overview, the class began lming on Super 16 with a wide variety of cameras including the ARRIFLEX 16 SR3 and SR2, Aaton XTR Prod, and the Aaton A-Minima.

The challenge of current lm education is to make it simple. I do all I can to dispel

Participants at the Kodak Film Experience-Singapore take their turn at Super 16 motion picture photography.

Media Corp provided stage space, lighting equipment, and crew for the participants of the Kodak Workshop-Singapore. Kodak educational DOPs David Lee, Thom Marini, and Matthew J. Siegel take a moment to pose with the class.

31C a m e r a

Soon after the rst ARRIFLEX 235 prototypes were in customers hands, those customers were asking for a lightweight wide zoom that could be used when going hand held or on a Steadicam. Similar requests have been made by customers shooting with the ARRICAM Lite.

For years ARRI and Zeiss have been work-ing on several alternatives for a lightweight wide zoom with outstanding performance and a weight of under two kilograms (4.4 lbs). Sophisticated design and manu-facturing techniques, which include the production of large diameter aspherical elements of high precision, and the uses of exotic glass materials, ensure that this lens will deliver the customary Zeiss

ARRI and Zeiss are announcing

the development of a lightweight

zoom (LWZ-1) inspired by the

ARRIFLEX 235 and ARRICAM Lite

cameras.

quality despite its compact form factor and light weight. This zoom lens matches perfectly with the ARRI/Zeiss Ultra Prime and Master Prime lenses, since it is super color matched and shows similar image quality and image characteristics. Special light absorption techniques and the new and improved Carl Zeiss T*XP multi-layer anti-re ex coating keep veiling glare to a minimum. The design of focus, zoom and iris scales has also been matched so assis-tants can work with familiar controls on all ARRI/Zeiss lenses.

The ARRI/Zeiss Lightweight Zoom further expands the range of 35 format lenses of the highest quality offered by ARRI and Zeiss.

ARRI/Zeiss L ightweight Zoom LWZ-1

Main Features at a Glance:

Compact, lightweight zoom covering ANSI Super 35 15.5 to 45 mm T 2.6 Weight under 2 kg /4.4 Lbs Ultra Prime image quality through aspherical elements and Zeiss T*XP coating Color matched to Master Primes, Ultra Primes and Ultra 16 lenses Perfect for ARRIFLEX 235 & ARRICAM Lite

3 2 C a m e r a

ARRI Video Accessories An Interview with Casey Kemp, First Light HD

Casey Kemp of First Light HD in

Denver had heard that the rst

prototypes of ARRIs new compact

wide angle matte box MB-20 were

making the rounds. When Kay Baker

of Film/Video Equipment Service in

Denver nally showed it to him, he

said I fell in love with it and just

had to have it I felt youd have to

tear it out of my hands. Casey

quickly added the unit to his produc-

tion inventory and has been very

pleased ever since.

We were originally convinced by the pro-duct because of its exibility, he says, referring to the MB-20s unique ability to be used both in rod-mounted and clip-on con gurations. But then we also like the MB-20 lter setup, where we can rotate both lters, not just one. Casey also noted that the MB-20 allows for an unpreceden-ted number of lens options. We use the MB-20 with Fujinon primes and EFP lenses, which are high-quality zooms. Weve also used the MB-20 with the 114.7mm Canon, the 227.3mm Fujinon, and the 134.5mm Fujinon. With very wide-angle lenses like the 134.5mm Fujinon the other matte boxes vignette, but the ARRI doesnt.

Quality is important to videographers, who have to face the same rough conditions and hostile environments as lm crews, and Casey feels that the MB-20 lls the need for a robust compact matte box in the video accessory marketplace. The workmanship and hardware are really nice, he says,

and theres also just something great about the way it looks. You can see that the quality is there. Plus, theres the reputation of ARRI. Its really great that you guys have decided to get involved in this.

Casey nds that his matte boxes sees good utilization reaching 15 rental days per month.

The rst question everyone asks is, is the ARRI in? Unfortunately, since we only have one for now, we often have to say no. But as the MB-20 starts to ship in August, Casey is planning to rectify that situation as soon as possible. We also want to add the new follow focus (FF5-HD) as soon as possible, he ads. Its a big advantage when you can put the follow focus on or take it off without removing the matte box, which is what you have to do with the other video units. In our eld, being fast is really important. As soon as we saw it, I thought, gosh, its great get one.

Thank you, Casey and Kay.

Jim Elias

Lightweight Support

LWS-4

An update to the Lightweight Support LWS-3, the LWS-4 ful lls the same functions but with a more robust design. Like the LWS-3, the LWS-4 is used to attach the 15 mm lightweight support rods to the front of either an ARRIFLEX 16SR 3 or a video camera. Especially for video cameras the lightweight support rod system is popular, since it allows accessories to be mounted with the least increase in weight. Many accessories can attach to the light-weight support

system, including the ARRI lens motors CLM-1 or CLM-2, the Lightweight Follow Focus LFF-1, the Studio Follow Focus FF-4, FF-5HD and the matte boxes MB-19 or MB-20.

Casey Kemp and Kay Baker with the new wide-angle compact mattebox MB-20

3 3C a m e r a

ARRIFLEX 435

The Timing Shift Box alters the phase rela-tionship of the mirror shutter to the move-ment, so that the film is exposed while being transported. This creates a streaking effect that has become popular to indicate a heightened awareness of the characters, like in a combat situation, for instance, or an unusually stressful or unique state of mind. Even though a timing shift was con-sidered an image defect for decades, modern lm cameras like the ARRICAM Studio, ARRICAM Lite or 435 Xtreme can make this effect available to lm makers in a controlled fashion.

The Timing Shift Box (TSB) is an accessory that has been available for

the ARRICAM already, and is now also available in a version compatible

with the ARRIFLEX 435 Advanced and Xtreme.

With the TSB the timing shift effect can be adjusted from very faint to very strong. The amount of jitter, a random uctuation in the strength of the effect, can also be set to various degrees. In the past a timing shift effect with jitter used to be done by pur-posefully misadjusting the timing belt of the oldest camera in the eet; this effect can now be simulated by the software that controls the camera movement and mirror shutter motors. The timing shift effect can be executed while the camera is running (a timing shift ramp), or the effect can be locked in to remain constant.

The 435 Timing Shift Box is connected to the 435 by means of the MCB Cable Adapter (K2.52213.0) and the 435 Timing Shift Box Cable. To distinguish the 435 Timing Shift Box from the ARRICAM Manual Control Box (black cover) and from the ARRICAM Timing Shift Box (red cover), the 435 Timing Shift Box has a blue front cover.

TIMING SHIFT BOX

The Hand Crank HC-1 can be used with any ARRIFLEX 435 Xtreme or 435 Advan-ced (even without FEM-2), to achieve that old fashioned hand cranked look. An ARRIHEAD hand wheel (not included) can be attached to the HC-1, and the rotation of the hand wheel will govern the speed of the camera. The slight inconsistencies in speed introduced by the human arm is what makes for that special historic look in old newsreel footage, and it can now be re-created easily with the 435.

HAND CRANK HC-1

To set the HC-1 to the operators liking, a uid dampening of the hand wheel can be set, and thr