arri news magazine ibc issue 1998

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45 Issue Munich September 1998 IVS FOR 535B/16 SR3 Meet us at cinec ULTRA PRIME LENSES ARRILASER THEATRE LUMINAIRES ARRILUX 21/50

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  • 45

    Issue MunichSeptember 1998

    I VS FOR 535B/16 SR3

    Meet us at cinec




  • 2U l t r a P r ime L e n s e sA new optical Standard for Cinematography

    [ 24 mm ]

    [ 14 mm ]

    Twelve high performance lenses with focal lengths from 10 mm to 135 mm and covering the full

    Super 35 format, have been developed over years of collaboration with Carl Zeiss. A large team of

    mathematicians and physicists have translated the latest scientific research findings into practice,

    among other things employing lead-free and arsenic-free optical glasses. The objective was to

    create lenses which for the first time completely unite all main characteristics such as focus, contrast,

    colour saturation, colour uniformity and compactness together with the high speed T 1.9 rating

    and low aperture-induced focus shift. Additionally the new lens standard was optimized for close-

    focus, where to date conventional optical concepts have clearly been weak.

  • 332 m




    85 m


    50 m


    24 m


    14 m


    [ 85 mm ]

    [ 135 mm ]

    [ 50 mm ][ 32 mm ]

    New OpticsFloating Elements for outstanding close-upPerformanceLenses reach their highest performance atthe focus setting for which they have beenoptimized. This is normally infinity. Beneaththat the performance usually drops off, par-ticularly through a considerable increase in

    image area curvature and increasing aper-ture aberrations. Because of this, most opticsmanufacturers limit the minimum close-upsetting possibility of their lenses to avoid usersfrom moving too far into this area of lesserperformance.

    With the ULTRA PRIME lenses, Carl Zeissintroduced and perfected an effective meansagainst: Floating Elements. This is a design

    principle in which lens groups move in rela-tion to each other during focusing, therebycorrecting image area curvature. This prin-ciple must be taken into account not onlyin the optical design but also in the highlyprecise construction of the mechanical com-ponents. Both were achieved for the newULTRA PRIME lenses allowing for close-upsetting possibilities almost up to the frontelement of these lenses.

  • 410 mm

    14 mm

    16 mm

    20 mm

    24 mm

    28 mm

    32 mm

    40 mm

    50 mm

    85 mm

    100 mm

    135 mm

    Genuine Internal Focus for sensitiveFocusing at a constant Optical LengthConventional lenses change the distance ofthe entire internal optical assembly relativeto the filmplane when focusing. In practicethis brings considerable disadvantages,for example through drift of the gears forfocus and iris, displacement of the centerof gravity, etc..

    All these disadvantages are avoided by theULTRA PRIME lenses: through their genuineinternal focus, the external position of thelens remains constant for the entire rangeof focus. Instead of moving the entire internaloptical assembly with a large drive mecha-nism, only small lightweight lens groups inthe interior of the lens are moved. This facili-tates considerably more sensitive focusing.

    Increased Image Contrast according to thelatest Research Findings of Carl ZeissIn response to the extreme demands of adver-tising photography, for which Carl Zeissis one of the leading optics suppliers, newmethods and materials were developed tosuppress stray light and to increase coloursaturation. Purer, more intensive colours,especially at full aperture, were therebyachieved.

    An important criterion in the optical designwas a high MTF value for the rendering of10 line pairs /mm, a frequency range which

    is responsible especially for the crispnessof the image. On all ULTRA PRIMES over90 % MTF was attained for this spatialfrequency. The extremely uniform brightnessacross the entire image area augments theimpression of sharpness. Colour fringing isno longer perceivable. For the first time theULTRA PRIMES unlike other lenses werecorrected not only for infinity, but also par-ticularly for close-focus. The result: highestquality optical performance over the entirefocus range.

    Unified Colour Characteristics: Super-Colour-MatchedIt goes without saying that the optical glasseswere especially selected to ensure unifiedcolour characteristics. As the inventor ofoptical anti-reflex coating, Carl Zeiss how-ever augments this with a T* multiple-layeranti-reflex coating system for individuallens surfaces, which is adapted so that thecolour characteristics (Color ContributionIndices) of all lenses of the entire set lie closetogether with very narrow tolerances. Putsimply: the ULTRA PRIME lenses are supercolour-matched.

    Superior mechanicsPrecision Focusing with constant opticalLength, without BacklashAll lenses in this set have a rigid, very robusthousing. The overall length is constant overthe entire focusing range. The completelynew focus drive mechanics are particularlysensitive and free of backlash.

    Iris and Focusing Rings without axialDisplacementThe rigid construction creates the prerequisitefor an important advantage: the position ofthe gears for focus and iris does not moveaxially during focusing. External motor unitsthereby work more simply and with consider-ably increased reliability. Also, lens chang-ing becomes much easier, faster and safer.

    Nine-bladed and ten-bladed IrisesThe iris on the ULTRA PRIME lenses is anew design and practically free of hysteresis

  • 55

    ft-scale m-scale

    Distagon 2.0/10 K2.47322.0 K2.47310.0

    Distagon 1.7/14 K2.47323.0 K2.47311.0

    Distagon 1.7/16 K2.47324.0 K2.47312.0

    Distagon 1.7/20 K2.47325.0 K2.47313.0

    Distagon 1.7/24 K2.47326.0 K2.47314.0

    Distagon 1.7/28 K2.47327.0 K2.47315.0

    Distagon 1.7/32 K2.47328.0 K2.47316.0

    Distagon 1.7/40 K2.47329.0 K2.47317.0

    Planar 1.7/50 K2.47330.0 K2.47318.0

    Planar 1.7/85 K2.47331.0 K2.47319.0

    Planar 1.7/100 K2.47332.0 K2.47320.0

    Sonnar 1.7/135 K2.47333.0 K2.47321.0

    error. The 135 mm focal length employs aten-bladed construction, the other focallengths a nine-bladed design. The contoursof the aperture are better rounded, and thedepiction of unsharp light sources on the filmthereby more round than angular i.e. morenatural and aesthetic than technical.

    A Concept to meet todaysDemandsQuick, sure and efficient operation is moreimportant than ever for todays film pro-ductions. Lenses also play an important rolein simplifying their tasks. Some advantagesof the new lenses at a glance:

    Maximum contrast and resolution overthe entire focal range.

    Uniform and constant position of thescales.

    The scales can easily and clearly be readfrom both sides, as can be the focallength.

    Scales in m or ft can be easily exchanged.

    Uniform overall length of the main focallengths.

    Uniform weight of the main focal lengths.

    Service-friendly modular design with easilyexchangeable front and back elements.

    The uniform design principle also offersthe rental house many advantages: ahighlevel of modularity simplifies service andreduces necessary tooling equipment andspare parts stock.

    Technical Data

    closest focus setting horizontal image angle

    lens meter feet length front weight number number 18 x 24 16 x 22 MTF value mm in mm in lbs of lenses of groups 10 lp/mm at

    Distagon 2.0/10 0.35 1 195 156 6.4 16 13 100.20 90.80 > 90 %

    Distagon 1.7/14 0.22 3/4 164 114 4.0 14 12 80.60 75.60 > 90 %

    Distagon 1.7/16 0.24 3/4 143 95 3.1 14 12 75.60 70.80 > 90 %

    Distagon 1.7/20 0.28 1 143 95 2.7 12 11 62.80 58.40 > 90 %

    Distagon 1.7/24 0.3 1 143 95 2.2 12 9 54.20 50.20 > 90 %

    Distagon 1.7/28 0.3 1 143 95 2.2 11 10 46.80 43.20 > 90 %

    Distagon 1.7/32 0.35 1 1/4 143 95 2.4 10 9 41.60 38.20 > 90 %

    Distagon 1.7/40 0.4 1 1/2 143 95 2.2 9 8 33.20 30.60 > 90 %

    Planar 1.7/50 0.6 2 143 95 2.2 8 7 26.20 24.00 > 90 %

    Planar 1.7/85 0.9 3 143 95 2.2 8 7 16.50 15.20 > 90 %

    Planar 1.7/100 1 3 143 95 2.7 8 7 13.70 12.60 > 90 %

    Sonnar 1.7/135 1.5 5 170 95 3.5 8 7 10.20 9.30 > 90 %

  • 6I V S for theARRIFLEX 535B/16 SR3


    With the new IVS-colour video assist for the ARRIFLEX 535 B and

    16 SR3, video of the highest image quality is now available for the

    entire range of ARRIFLEX cameras. As with the ARRIFLEX 435, the

    video assist has also become an integral part of the 535 B and

    16 SR3 cameras.

    The technical possibilities such as insertingof image format frames, camera status indi-cator, Time-Code, userbits, text etc. were alsoincorporated.

    The IVS consists of two components: on theone hand, a common video electronicmodule which can be used on both camerasand on the other hand, a CCD-Modulewhich is specially adapted to the respectivecamera. The CCD-Module is available inPAL and NTSC versions and is equippedwith interchangeable optics for Silent andAcademy, respectively for Super and Normal16 formats.

    The number of cables has been reduced toa minimum: just one cable from the camerato the power supply and the usual connectorto the recorder or monitor are necessary.

    High speed high Resolution flicker-freeExtremely fast optics and a highly sensitiveCCD-chip ensure an excellent colour videoassist image in editing quality, even in diffi-

    cult lighting conditions. The effective sensi-tivity corresponds to 4000 ASA. Even withthe most sensitive film stocks, sufficient re-serves are available.

    The high resolution image quality, whichsurpasses that of any add-on system, wasachieved by specifically designed optics,each an integral part of the cameras view-finder system.

    Through the digital image storage, the videocamera can be synchronized to the runningspeed of the film camera. From 5 fps on thesystem is completely flicker-free. The exactmoment of the exposure of the CCD-chip isthen chosen to optimally match the mirrorshutter position of the camera. As well as theusual composite output, the IVS offers aY/C interface for better resolution withoutdisturbing composite colour artefacts.

    Inserting Format Masks, Camera StatusIndicator, Time-Code and TextAdditionally the IVS offers a particular usercomfort: format markings can be electroni-cally inserted into the video image and there-fore remain clearly visible even in low lightingconditions. The area outside the formatmarking can be darkened electronically tobetter emphasize the image area. In the sameway Time-Code and camera status indica-tors such as Standby/Run can be directlyinserted into the video image. This ensuresa quick interface to off-line video editingsystems.

    An explicit correction is assured even forNTSC video assist through a display of the3:2-Pulldown. The Time-Code informationis of course available as text and VITC.

    In addition a serial interface offers the possi-bility of inserting text such as scene and takenumbers into the video image.

    On-Screen User ComfortWith exception of the basic image settings(e.g. gain-control), all set-ups can be carriedout via the comfortable on-screen menu onthe monitor.

    A compare function allows an image to besaved and then to be compared with othervideo images. That considerably simplifiesthe setting up of stop-motion images forexample.

  • 77

    The brightness of the video beamsplitter isautomatically regulated to the optimal range,however it can also be set manually. For thewhite balance, two standard values for3200 K and 5600 K as well as an automaticbalance are available. Via an external syncinput the video camera can be synchronizedto an external video signal, facilitatingthe parallel and trouble-free use of severalcameras.

    For highest image quality, two separateoptical configurations are available for eachcamera: Academy and Silent for the 535B,Super and Normal 16 for the 16 SR3. Eachis optimized to utilize the entire area of theCCD and, unlike zoom lenses, provides thebest possible quality and speed for thespecific format. The optics are easily inter-changeable via a bayonet mount.

    The Advantages of the IVS at a Glance integral part of the camera high-speed high resolution flicker-free integrated format mask inserter integrated Time-Code inserter integrated camera status display integrated text inserter additional Y/C output on-screen programming compare function automatic and manual brightness control external sync input indoor and outdoor colour balance mini monitor connection 12 V / 1,5 Ah integrated IVS film counter

    IVS 535B Version

    Video electronics PAL K2.47306.0

    Video electronics NTSC K2.47307.0

    Optic Silent K2.47298.0 optionally

    Optic Academy K2.47301.0 optionally

    IVS 16 SR3

    Video electronics NTSC K2.51103.0

    Video electronics PAL K2.51104.0

    Optic Silent K2.51100.0

    Optic Academy K2.51101.0

    Technical Data

    Weight: approx. 600 g

    Power consumption: approx. 8 W

    Power supply: from the camera

    Input: Gen-Lock

    Outputs: 2 x composite outputswith and without dataY/C optionally with andwithout data

  • 8C F M - 1

    C o n t r o l l e d F o c u s M o t o r

    A motorized focus drive is now availablefor the successful ARRI Shift and Tilt System,making handling much easier.

    The various Shift and Tilt lenses each need,depending on their focal length, differentfocusing distances particularly the shortfocal lengths on which the entire focusingmotion is often only a few millimeters. Toenable more exact focusing, the focus drivehas now been motorized.

    The Controlled Focus Motor CFM-1 is con-nected to the new Universal Motor ControllerUMC-1 and can be remote-controlled bythe existing manual control units of the ARRILCS system.

    With the LCS control units, the focusingrange of the hand wheel attached can beextended or compressed as desired. A fineradjustment or a quicker focus change canthus be achieved.

    ARR I F L E X 435with CFM-1

    Technical Data

    Max. adjustment speed: approx. 13 mm/s

    Resolution: 0.001 mm

    Operating temperature: 20 +50 C

    compatible with UMC-1 and the LCS manual controlunits

    Ident-No.: K2.52042.0

  • 9The ARRI Lens Control System is now evenmore flexible: by wireless transmission in-stead of via a cable, remote control is possi-ble in the usual robust and reliable way. Thisremote control system thereby creates newfreedom when shooting from a crane or onparticularly complex shots. The various settingoptions can also be controlled via separatehand-held control units, enabling them tobe split among camera team members afurther advantage for flexibility and operatingprecision. The new Wireless Lens ControlSystem consists basically of a receiver uniton the camera and a hand-held control asa transmission unit.

    The Universal Motor Controller (UMC-1)functions as the receiver unit, both the CLM-1and CLM-2 motors can be connected to it.

    The hand-held control unit consists of variousmodules depending on the type of use:

    The Wireless Main Unit (WMU-1) is theactual transmission unit. It carries thebattery for the power supply as well as aninterface to the CCU, RCU or LCC anda RUN/STOP button for the camerasremote control.

    The following units can be alternately at-tached to the WMU-1, becoming an integralcomponent of the remote control unit:

    The Wireless Zoom Module (WZM-1) forthe zooms remote control contains thecontrol elements which are already knownfrom the LCS system: a wheel to set zoomspeed, a knob to limit the zoom area, aswell as an ergonomically redesignedzoom lever.

    The Focus Iris Module (FIM-1) to remote-control focus and iris rings. This containstwo operational elements: a rotary knoband a sliding switch with which iris orfocus can be remotely controlled. Also theFocus Iris Module has the operationalelements known from the LCS system: aknob to expand the scale and a knob toset range limits for the rotary knob as wellas a knob to expand the scale for thesliding switch.

    A further technical innovation is the networkcapability of the system. That means thatremote control of each lens ring can be car-ried out from separate Wireless Main Units.

    Modular LCS-System

    WirelessLens ControlSystem

    Technical Data Wireless Main Unit

    Working temperature range: 20 C ...+50 C

    Power supply: 8.4 V snap-onbattery pack

    Operating time with afull battery: 3 h

    Typical range indoors: 30 m

    Typical range outside: 100 m

    Transmission process: 2.4 GHz DirectSequence SpreadSpectrumModulation Process

    Selection switch for frequency band

    RS 232 interface for camera remote control

    Integrated Run knob

    Wireless network capability

    Wireless main unit WMU-1 K2.52052.0

    Wireless zoom unit WZU-1 K2.52054.0

    Wireless focus and iris unit WFU-1 K2.52055.0

    Universal motor controller UMC-1 K2.52040.0

    Controlled lens motor CLM-2 K2.52036.0

  • 10


    L CC

    The LCC (Laptop Camera Controller) is acomputer programme with which the ARRI-FLEX 435 even together with the IVS, the535, 535B or the 16 SR3 can be operatedfrom a laptop computer. The LCC is avail-able for Macintosh and Windows 95 oper-ating systems. An easy-to-use graphic userinterface offers maximum access to all cam-era status information and enables setting ofcamera values, Time-Code and userbits, aswell as processing of the entire film inven-tory and camera report accounting. As anexample, the LCC displays a warning ifthe magazine is not correctly attached orif a pre-set programme is started for whichthere is not longer enough film stock in themagazine.

    An overview of the most important functions:

    Monitoring/Controlling Easy access to camera operating elements

    (RUN-, PHASE-, PGM-key) and settingof parameters such as frame rate, shutterangle, ARRIGLOW and Time-Code.

    All values can be precisely selected inthe main menu. Often used values canbe stored.

    Changing of the frame rate with as manyinterim steps as desired can easily bepre-set and stored. The LCC then auto-matically calculates screen-time, shutterangles and the amount of film needed.


    Also unique is the possibility of windingback and forth for multiple exposures.The desired position can be selected to theexact frame.

    For the ARRIFLEX 535, 535B and 16SR3the LCC enables a running speed of 1 fps.

    Together with the Iris Control Unit (ICU),frame rate programmes with automaticexposure compensation can also be car-ried out with cameras not equipped withan electronic mirror shutter.

    Setting of Time-Code and camera prefe-rences is simplified.

    Accounting The film inventory functions offer a clear

    overview of the amount of exposed andunexposed film.

    Camera reports can be created and filledout automatically or manually. For eachtake, information such as frame rate, shut-ter angle, take length, frame numbers, thetime of day and Time-Code data can beautomatically recorded into the camerareport. This can be printed or exportedas a text file.

    A daily film report lists film stock used perday, sorted according to emulsion number.

    IVS Selection of the IVS-inserter which can

    insert additional information and text intothe video image.

    Windows Version K2.47334.0

    Macintosh Version K2.47119.0

  • 11

    A R R I F L E X 4 3 5 3 - P e r f o r a t i o n

    800 ft q u i c k - c h a n g e c o a x i a l M a g a z i n ef o r A R R I F L E X 1 6 S R C a m e r a s

    The increasing use of wide-screen formats forfeature films as well as the increasing shareof television productions in 16:9 causesmany users to consider the most efficient pos-sible use of the negative area. The calcula-tion is simple: even in Super 35, which fillsthe negative almost from perforation to perfo-ration, a 16:9 image covers less than 3/4 ofthe available height. One obvious approach:change the step of the movement from 4 to3 perforations. Without reducing the imagearea, this enables a saving of 25% of thenegative material. Fewer meters per minutemeans not only savings in stock and lab. Filmmagazines have a considerably longerrunning-time and there are fewer short ends.

    The new 800 ft quick-change coaxial maga-zine offers twice the running time of thestandard magazine for all ARRIFLEX 16SRcameras. The likelihood of catching thatdecisive animal shot is higher, the numberof disturbing magazine changes duringinterviews lower. And on feature films, thelonger running time increases efficiency withfewer short-ends.

    Particular emphasis was placed on the ergo-nomics of the magazine: despite the highercapacity, it weighs only about a kilo morethan the standard magazine. Its shape alsosupports safe carrying and handling.

    The magazine is designed for the standardfrequency range up to 75fps. Robust, low-maintenance mechanical drive elements guar-antee trouble-free operation and enable theuse of the magazine on the SRI and SRIIcameras as well. Through the specially de-signed noise insulation, the camera pack-age remains as quiet as with the standardmagazine.

    The magazine is optionally available withthe recording unit for SMPTE Time-Code.

    Ident-No.: K2.47335.0

    Post-production today offers good conditionsfor processing the so-called 3-perf step.Whether telecines or software of editingsystems: many different manufacturers arealready able to process 3-perf film with nogreater effort than normal film.

    ARRI now also offers the ARRIFLEX 435 ina 3-perf version. The camera is completelyadapted to the shorter step so that the userretains the complete performance range ofthe camera with the same user comfort. The

    modified movement and film gate are alsoavailable in a conversion kit together withthe altered drive elements. Thus existingcameras can also be converted to 3-perf atARRI service centres.

    A 3-perf version for the ARRIFLEX 535B iscurrently also in preparation and will offer thesame advantages for sync sound productions.

    ARRIFLEX 435 3 Perforation K0.59997.0

  • 12

    Scanner cube with projection lens. 35 mm film gate with integrated sensor technology.

    A R R I

  • 13

    L A S E RThe new Standard in Film Recording


    The new ARRILASER bridges the gap between digital film production and

    analog film projection. It is the first cine film recorder to use three solid state

    lasers as light source, setting a new standard in productivity and reliability,

    significantly reducing the cost of recording digital images onto film.

    With this film recorder ARRI enters a newmarket and introduces the first product ina line of digital systems. At the same time,the ARRILASER is a continuation of thecompany tradition of developing excellentproducts for cine film production. at a surprisingly low price.

    For recording services, digital labs andmastering facilities that need to increasetheir productivity while reducing theiroperating costs the ARRILASER offers:

    the highest digital recording throughput large 2000 ft magazines hardware acceleration for image proces-

    sing on the fly peace-of-mind reliability and robustness ARRI service to dramatically reduce the cost per frame.

    up, quick and easy film loading andhandling

    job management and image processingcapabilities

    quick installation and easy operation

    ARR I L ASER ApplicationsFor Post Production Facilities that want toexpand their scope of digital recordingpossibilities, the ARRILASER offers:

    exceptional picture quality film transport features including auto-feed,

    fast forward and reverse shuttle modes,separate magazines for supply and take-

  • 14

    ARR I L ASER FeaturesSuperior ProductivityOne of the major reasons to invest in a laserrecorder is the high productivity. The record-ing speed of the ARRILASER gives you thehighest throughput: 5 seconds for a highresolution 4 K image, and an unbeatable3.3 seconds for the lower resolution 2 Kimage. This exceptional productivity com-bined with the built-in reliability of an ARRIproduct, gives you the lowest cost per frame.

    Exceptional Picture QualityLaser recorders have set a new standard inthe quality of digitally produced images onfilm. The ARRILASER offers unsurpassed res-olution, dynamic range, and colour fidelity on intermediate stock. Finest detail, saturatedcolours, high contrast, and solid imagesteadiness are the trademarks of the ARRI-LASER.

    Solid ARRI EngineeringLasers as light source deliver precision,power and colour fidelity in a completelynew dimension. The ARRILASER is drivenby three solid state lasers. The advantageof these lasers is performance stability, longlifetime, low heat dissipation. And theselasers are the basis for low operating costand a robust design.

    With the advent of high-performance laserrecorders the volume of output materialincreases. Film transport, magazines anduser interface of the ARRILASER are de-signed and manufactured by ARRI. Thisgives you the reliability and superior perfor-mance that is built into every ARRI product.

    Turn-Key System ConceptAt the throughput speed of the ARRILASERthe communication between host computerand recorder is of the utmost importance.Therefore, the ARRILASER is sold completewith host computer, image processing soft-ware and hardware, and an optical linkbetween host and recorder specifically de-signed for optimum performance of theARRILASER.

    ARRILASER TechnologyThree solid state lasers produce monochro-matic light beams in the colours red, greenand blue. The ARRILASER is the first filmrecorder that does not employ gas lasers.The advantages for the user are immense:longer life-time, greater beam stability, lowernoise level, less power consumption and heatdissipation all resulting in improved relia-bility at reduced operating and maintenancecosts.

    Each laser beam is guided through a systemof lenses, mirrors and pinholes where beamshaping takes place. These optical elementswere designed for space research projectswhere precision and robustness are all impor-tant. These are the characteristics that arealso designed into the optical path of theARRILASER.

    The acousto-optical modulator is another keyelement in the optical path. The data foreach colour channel and pixel is fed to theacousto-optical modulator as a light intensityvalue according to which the beam intensityis controlled.

    2000 ft magazine with auto-feedand auto-cut-off mechanisms for quickand easy handling.

  • 1515

    After passing through the modulators, thethree beams are combined and then directedonto the scanner. The scanner deflects thelaser beam via a single facet mirror spin-ning at high speed. The required speed isachieved by employing a dynamic air bear-ing motor which has no mechanical frictionduring operation. The spinning mirror cre-ates a line of laser light which is focussedonto the film plane through a unique set ofoptics designed by Rodenstock, Germany.When an image is recorded, the film ismoved across this line by four perforations pin registered. Thereby the image is writtenline by line onto the film.

    Several sensors and actuators are designedinto the optical path to create the closed-loop auto calibration system (ACS) that isunique to the ARRILASER. Thereby the lightintensity of each beam, the focus and beamshape, the beam convergence and theposition of the combined beam is checkedperiodically and automatically adjustedbetween frames.

    The film transport is designed and manu-factured by ARRI. The result is a precisionmechanical system with built-in reliabilityand a number of user-friendly features that noother recorder can offer: optional 2000 ftmagazines for high-volume production, fastforward and reverse shuttle modes for higherefficiency (frame line accurate), auto-feedand auto-cut-off mechanisms for quick andeasy film handling, and separate supply andtake-up magazines for increased flexibility.When recording a 4 K image the actual re-cording time is just over three seconds, undertwo seconds for 2 K. About two seconds arethen needed to bring the stage back intoposition, check the calibration parametersand complete the recording cycle.

    The recorder is driven from a host computerwhich also offers several unique features.Examples are the graphical user interfacewith job management and image processing

    functions, hardware acceleration for high-performance image processing on the fly,as well as an optical fibre link to the recorderthat guarantees the required data transferrates.

    ARRILASER Specifications

    frame size 35 mm full aperture, 4 perf.

    nominal spot size 6.0 m m (4 K resolution) 12.0 m m (2 K resolution)

    image format 4096 x 3112 pixels(4 K resolution)2048 x 1556 pixels(2 K resolution)

    dynamic range 2.046 status M density aboveDmin on EXR 5244 stock

    MTF 40 % @ 40 lp/mmhorizontal and vertical

    recording time 5.2 seconds per 4 K frame3.3 seconds per 2 K frame

    film transport 1000 ft and 2000 ftmagazinessupply and take-up separate

    shuttle mode > 5 frames per second

    host computer Windows NT platformhardware accelerated imageprocessing

    user interface command line and graphicalincluding calibration functionjob managementstock management

    network interfaceto SGI environment Fast Ethernet, Fiber Channel

    physical dimensions

    size 115 x 115 x 65 cmweight approx. 285 kg

    electrical requirements

    input voltage 240 Vpower consumption < 800 W incl. host computerfrequency 50 Hz, 60 Hz

    operating environment

    room temperature 15 28 Celsiusrel. humidity 20 75 % non condensingaltitude 0 10.000 ft

    warranty 12 monthsall inclusive

    Ident-No: D1.11350.0

    Contact at ARRI:

    Kristian Willandphone: +49 89 3809 1038fax: +49 89 3809 1432email: [email protected]

  • 16

    The new ARRILUX 21/50 MINISUN is the smaller brother of the ARRILUX 125 pocket-par.It is the smallest dual wattage daylight luminaire that ARRI has developed to date.

    As introduced for the first time world widewith the ARRISUN 40/25, two daylightlamps of differing lamp intensity can be used.Both the 21 Watt lamp and the 50 Wattlamp can be operated from every DC powersource from 12 V DC to 30 V DC (e.g. bat-tery belt, car battery). Lamp exchange isquick and easy due to the bayonet lock.

    With the specifically designed Power Pack,the ARRILUX 21/50 MINISUN can beoperated from the mains, also a 5Ah bat-tery can be charged. Also simultaneousoperation of the lamphead and chargingof the battery is possible.

    When the smallest possible light source isneeded, the lamphead can be separatedfrom the housing with the integrated elec-tronic ballast via an extender. To utilize thesmallest possible space, the connecting

    A R R I L U X 2 1 / 5 0


    cable can be attached to the lampheadeither from the rear or from the side. Theprofile technology utilized in this luminaireoffers in addition a universal mountingversatility.

    The optical system design, together with anewly developed 50 mm lens set and afacetted cold light glass reflector guaranteesoptimum light output. For easy identificationthe SNAP ON lenses are colour coded.

    As with the ARRILUX 125 pocket-par awide range of accessories are availablefor the ARRILUX 21/50 MINISUN.

  • 17


    Combined mains and battery charger Power Pack

    Battery belt 5 Ah

    Cable with alligator clips for car battery

    Battery monitor for car battery

    Conversion filter

    Auxiliary lenses

    Technical Data

    Output: 21 Watt and 50 Watt

    Colour temperature: 5500 K

    Lamp socket: ARRI TP 24

    Dimensions: 64 mm x 95 mm

    Dimensions incl.

    electronic ballast: 66 mm x 66 mm x 200 mm

    Weight: approx. 0.2 kg

    Weight incl.electronic ballast: approx. 0.65 kg

    Stopping down: attachable barndoors

    Mount: stirrup with socket 16 mm, handgrip

    Lighting Data

    21 Watt 50 WattDistance 3 m Distance 3 m

    Super Spot 4200 lux at 6 6500 lux at 7

    Narrow Flood 2000 lux at 10 3400 lux at 9

    Flood 700 lux at 21 1100 lux at 21

    Super Flood 150 lux at 51 240 lux at 52

    Frosted Fresnel 200 lux at 32 320 lux at 32

    M I N I S U N

    ARR I LUX 21/50 M IN ISUN with 50 Watt bulb.

    A R R I L U X 2 1 / 5 0 M I N I S U N with accessories.

    ARRILUX 21 MINISUN lamp head,21 Watt bulb included L1.72850.0

    ARRILUX 50 MINISUN lamp head,50 Watt bulb included L1.72910.0

    EBB 21/50 W L2.72925.0

  • 18

    ARRI Theatre-Lumina i re

    A R R I C O M P A C T 6 0 0 0 TDimensions in mm: 685 (H) x 579 (W)

    x 595 (L)

    Weight without accessories: 30 kg

    Lens diameter: 420 mm

    Barndoor slide: 550 mm

    Filter slide: 535 mm

    Lamp socket: ARRI G 38

    A R R I C O M P A C T 1 2 0 0 TDimensions in mm: 403 (H) x 330 (W)

    x 326 (L)

    Weight without accessories: 10 kg

    Lens diameter: 175 mm

    Barndoor slide: 249 mm

    Filter slide: 226 - 234 mm

    Lamp socket: ARRI G 38

    Light Output (lux)

    Throw: 10 m 15 m 20 m

    Spot: 42 500 18 890 10 625

    Flood: 2650 1178 663

    6 58

    Light Output (lux)

    Throw: 4 m 6 m 8 m

    Spot: 46 880 20 800 11 700

    Flood: 3125 1390 780

    6 58

    The range of theatre luminaires has beenexpanded in the daylight and tungstenarea with five further models. Now the ARRICompact 1200T and 6000T (daylight)are also available in theatre versions, aswell as the ARRI Studio 1000T, 2000Tand 5000T (tungsten). The reflection-freehousing in theatrical grey is common to allthese luminaires as well as of course abso-lute freedom from stray light.

    The built-in infrared-transparent, sphericalcold light glass reflector reflects only visiblelight and this increases the service life ofthe filters used by reducing the heat radiatedfrom the fixture. The only heat is the infra-red portion which is emitted directly by thebulb. An effective circulation of air is guar-anteed for this range in every position byoptimized convection cooling.

  • 19

    A R R I S T U D I O 1 0 0 0 TDimensions in mm: 285 (H)

    x 380 (W)x 295 (L)

    Weight without accessories: 7 kg

    Lens diameter: 175 mm

    Barndoor slide: 249 mm

    Filter slide: 226 234 mm

    Lamp socket: ARRI G 38

    A R R I S T U D I O 2 0 0 0 TDimensions in mm: 370 (H)

    x 466 (W)x 362 (L)

    Weight without accessories: 14 kg

    Lens diameter: 250 mm

    Barndoor slide: 345 mm

    Filter slide: 323331mm

    Lamp socket: ARRI G 38

    A R R I S T U D I O 5 0 0 0 TDimensions in mm: 485 (H)

    x 562 (W)x 417 (L)

    Weight without accessories: 21kg

    Lens diameter: 300 mm

    Barndoor slide: 414 mm

    Filter slide: 392400 mm

    Lamp socket: ARRI G 38

    Light Output (lux) at 1 kW

    Throw: 3 m 4 m 5 m

    Spot: 13 600 7 650 4 900

    Flood: 1 950 1 090 700

    11 69

    Light Output (lux) at 2 kW

    Throw: 5 m 7 m 9 m

    Spot: 14 200 7 240 4 383

    Flood: 2 000 1 020 617

    11 56

    Light Output (lux) at 5 kW

    Throw: 8 m 10 m 12 m

    Spot: 8 600 5 500 3 800

    Flood: 1 560 1 000 690

    13 60

    Accessories such as barndoors, filter frames,snoots and scrims are fully compatible withthe production range luminaire types. Onthe daylight luminaires conventional bal-lasts with a DMX-capable switching boxare available. This enables switching theluminaire on and off by remote control viathe lighting consoles DMX-log.

  • 20


    A R R I X Range

    Distance 2 m 3 m 4 m Beam-Angle

    200 Watt 1230 550 300 120

    Distance 3 m 5 m 7 m Beam-Angle

    575 Watt 1250 450 230 120

    Distance 5 m 10 m 15 m Beam-Angle

    6000 Watt 4000 1000 440 120

    X 5

    Lighting large areas with even daylighthas now been made even easier with thelaunch of three new lampheads in 200 Watt,575 Watt and 6000 Watt to round off theARRI X Series.

    With the ARRI X 12 which was releasedlast spring, a total of five high output day-light floods are now available.

    This new generation of lampheads was firstintroduced a year ago with the dual watt-age ARRI X 40/25 which proved to be asuccess with applications as diverse as film,television, photography, theatre and eventslighting.

    The half beam angle of the ARRI X lamp-heads is approx. 130 , which exceeds thatof conventional lampheads by almost half.The reflector, equipped with quick fasteners,allows flexible handling and can be replacedwithout tools. All ARRI X housings are madeof sturdy aluminium panels and extrusions,making them particularly hard wearing inuse.

    X 60

    Technical Data

    ARRI X 2 ARRI X 5 ARRI X 60

    Bulb: 200 W SE 575 W SE 6000 W SE

    Colour temperature: 5600 K 5600 K 5600 K

    Lamp socket: GZY 9.5 ARRI G 22 ARRI G 38

    Weight: 2.5 kg 4.0 kg 28.0 kg

    Ident-No: L1.82050.B L1.82200.B L1.82650.B

    X 2


  • 21

    ARRI Daylight 18/12 Babywith electronic

    ballast 12/18 kW.

    ARRI Day l ight 18/12 Baby

    The ARRI Daylight 18/12 kW Baby pre-sents itself with smaller size and consider-ably reduced weight. The reductions wereattained by consistent use of the newestmaterials and by optimizing the convectionventilation. Using the same optical charac-teristics as the previous version, the lumi-naire sets new standards in its class interms of performance, volume and weight.This satisfies the requirement for a moreeasily manageable and mobile luminaire.

    The ARRI Daylight can be equipped alter-nately with 18 kW or 12 kW bulbs. This con-version possibility saves money and set-uptime in areas of changing lighting needs.With the largest fresnel diameter of its class,the ARRI Daylight luminaire achieves aparticularly even light with high intensity.

    The new, one-sided stirrup lock is easy andsafe to operate. The stirrup with adjustablebalance ensures easy operation for allaccessory combinations. The lamp holderis spring-loaded to almost totally preventbulb breakage in operation.

    Technical Data

    Dimensions in mm: 880 (H) x 935 (W) x 750 (L)

    Weight withoutaccessories: 65 kg

    Lens diameter: 625 mm

    Barndoor slide: 755 mm

    Filter slide: 740 mm

    Lamp holder: ARRI S 30

  • 22

    ARRI 6/12 kW EB Universal

    ARR I Day l i gh t C o n v e n t i o n a l B a l l a s t s

    Technical Data

    Dimensions L x W x H in mm: 506 x 260 x 498

    Weight: 42 kg

    Max. ambient temperature: 50 C

    Input voltage range: 12 kW operation: 180 250 V AC 6 kW operation: 90 125 V AC / 180 250 V AC

    Input current: 12 kW operation: 73 53 A 6 kW operation: 77 55 A / 38 28 A (eff.)

    Power Factor (cos j ): approx. 0.98

    Ident-No.: L2.76171.0

    Technical Data

    Daylight 575 W Daylight 1.2 kW Daylight 2.5 kW

    Dimensions L x W x H in mm: 235 x 175 x 398 254 x 175 x 398 293 x 175 x 398

    Weight: 14.5 kg 20 kg 28 kg

    Input voltage: 220 V 50/60 Hz 220 V 50/60 Hz 220 V 50/60 Hz240 V 50 Hz 240 V 50 Hz 240 V 50 Hz

    Input voltage tolerance: 10 % 10 % 10 %

    Input current: 3.5 A 7.5 A 15 A

    Power Factor (cos j ) at 220 V 50 Hz: 0.95 0.95 0.90

    Ident-No.: L2.75010.E L2.75012.E L2.75014.E

    On the new ARRI conventional ballastsDaylight 575 W, Daylight 1.2 kW andDaylight 2.5 kW particular attention hasbeen paid to safe operation, also at highambient temperatures. The ballasts functionreliably in temperatures from 20 to +50Celsius.

    The housing, made of stainless steel mate-rial, is particularly robust and guaranteesa long operating life. Through the specialdesign the equipment is protected from rainand spray. This enables trouble-free oper-ation outdoors.

    The new electronic ballast is even smallerand lighter than the previous model. Togetherwith the ARRISUN 120, the most compactand highest output 12 kW daylight systemwith an active line filter has been created.

    The considerably smaller size and lighterweight are the most prominent features ofthis new design. Handling has become moreuser-friendly and space-saving. Higher mobil-ity and a wider range of use are therebyguaranteed.

    Automatic switching from 6 kW to 12 kW,integrated protection from voltage overloadand overheating, and low noise switchingare obvious features of the new model aswell as the proven durability for use in thefield.

    All switch and plug elements are clearlyarranged on the front plate and simplify use.Input voltage can also be adjusted externally.

    In addition to the 200 V /240 V versions,120 V and 100 V versions are available.On request DMX-512 controlled equipmentcan also be supplied.

  • 23




    ER R





    To u r o n To u r

    Jan Ullrich didnt quite make it to first placethis year, but since his victory last year a veri-table bike-boom has hit Germany. Accompa-nying the Tour de France in 1998, DeutscheTelekom and ARD (First German Televisionchannel) presented the TOUR ON TOURMegashow. 100 000 visitors in nine Germancities were able to experience live a first-ratesport and entertainment programme on arolling stage and two screens, each withan area of 17 square meters. As well asdirect transmissions, there were behind-the-scenes reports, expert-talks, star appear-ances and a large general programmeof events.

    Excitement and entertainmentduring the Megashow.

    ARRI delivered as main contractor the entiretechnical background. In seven 40t articu-lated lorries over 100kW of HMI light and300 kW of tungsten light were transportedtogether with the complete grip material.Hubertus von Hohenzollern, manager of theARRI lighting rental park: On TOUR ONTOUR many varied and complex lightingatmospheres had to be created. So weequipped over half the HMI luminaires withmotorized stirrups, and at the same time thenew 2.5 kW theatre luminaires were used.ARRI Super Silent generators with a totaloutput of one megawatt guaranteed power

    for the entire technical set-up. Several kilo-meters of power and control cables had tobe laid, and the generators consumed over11 000 l of fuel. In terms of logistics an in-credible task which our 20-man strong light-ing and grip crew had to carry out, espe-cially when you consider the extremelymobile situation in nine cities.

    The visitors enthusiasm for the show wasenormous, and next year we expect furthercommitment by the organizers. And maybeJan Ullrich will be back at the top of the steps.

    On the road again

  • 24

    Am I beau t i f u l?

    After ME AND HIM, AM I BEAUTIFUL? is nowthe second feature film of Doris Drries tobe produced by Bernd Eichinger. ConstantinFilm which has lately produced mainly com-edies has now undertaken a very ambitiousproject in the difficult genre of episodic films.

    All the episodes share a certain wistfulnesswith which they are told, a wistfulness whichhowever never slips into mere sentimentality.Doris Drrie understands the limitations of themain characters she had created but nevercomplains about them or defames them.Rather she admires the bravery with whichthey conquer for themselves a piece of hap-piness: like Charlotte (Nina Petri) who in theend manages, even if only for a moment, towiggle her hips the way her husband (JoachimKrl) has admired it in Caribbean women.

    The film describes modern people, butbehind the slimmed-down body, the perfectlycorrected teeth, there is always that yearn-ing for that little bit of happiness which weneed so badly and which is so fleeting. DorisDrries credo is clear: It doesnt really mat-ter whether its pain or great love in theend you get both. And if youre scared ofgoing for it, you get nothing at all.

    AM I BEAUTIFUL? is also an actors filmand has a star cast, even the small roles.The list is almost a Whos Who of Germancinema. It seems almost unfair to name indi-viduals among the many wonderful actorsperhaps because they are so seldom seen:Dietmar Schnherr as Juan, who has justlost his beloved wife, or Gisela Schneebergerwith her short but very touching tragi-comic

    Anica Dobra displaysspirited feelings.

    In her latest film, Doris Drrie explores a question as commonplace as it is profound.

    The structure was provided by 17 short stories which she wrote herself (published by

    Diogenes in 1994 under the same title). All of them are about love: from first falling

    in love, to marriage crises, to the old, literally forgotten love and to the love which

    continues to exist after death. The various episodes are loosely, almost coincidentally

    connected to each other and are never forced into a plot structure but rather create

    a kaleidoscope or a dance of love.

  • 25

    Doris Drrie

    appearance as an ageing hippie. AM IBEAUTIFUL? makes you want to see bothmore often in German films.

    AM I BEAUTIFUL? was shot in autumn 1997over a total of 12 weeks. DoP Theo Bierkensused the tried and tested ARRIFLEX 535Band the 435ES. Only for the flashbacks which were conceived as amateur films itwas decided after thorough tests to useSuper 8 material. This grainy and restless filmstock alone was able to create the desiredtouch of intimacy and authenticity.

    The film was nowhere near finished after film-ing. Seventeen different episodes had to beedited to a whole. Editor Inez von Rgnierwho after NOBODY LOVES ME has nowdone her second film with Doris Drrie, editedAM I BEAUTIFUL? conventionally on aSteenbeck. Doris Drrie and she wanted todo without fades in image and sound asmuch as possible and to edit the film withhard edges. There is in fact only one fadein the film. It establishes the first transitionto the Super 8 material, which was blownup for this purpose and stands for the frag-mented memories of the various main char-acters. An ambitious task for sound mixerMax Rammler-Rogall from ARRI too, whomixed the film in Dolby digital 6-channel. Hismusical experience helped him with the task.Particularly in the scenes during the SemanaSanta, the famous Easter parades in Seville,an overwhelming sound background wascreated.

    You hardly notice it in the finished film, butthere are also over five minutes of digitallyprocessed material in it. Alex Lemke workedon the Cineon system for it. Behind a subse-quently so natural looking scene a clouddrifts in Franka Potentes hand is consider-

    able effort. Firstly the conventionally filmedmaterial was scanned, then the hand wasisolated in the Cineon and combined with thenew background image of the cloud. By theway, this image was made by a normalphotographic camera, and the software cal-culated the movement in the image.

    The closing scene was also created by similarmeans. Franka Potente and Steffen Winkare lying in the fields and he blows soapbubbles into the air. Here the camerasmovement was extended and the amount ofsoap bubbles increased. Alex Lemke: Weselected our hero bubble and stabilised itsmotion. So it doesnt fly around hecticallybut rather creates this quiet, almost chanceeffect. The result may seem unspectacular

    in comparison with loud space epics or disas-ter films. But without digital animation tech-niques, this little poetic closing scene wouldhardly have been possible.

    AM I BEAUTIFUL? will be shown in Venice(not in competition) and will be screening incinemas from 17 September.

    With AM I BEAUTIFUL? Constantin has onceagain joined forces with ARRI. The collabo-ration has proved reliable and is currentlycontinuing with the comedy series, DIEKRAUSES. By the way, this is the first comedyseries to be shot on 16 mm film stock. Wecan look forward to the result.

    Norbert Jochmann

    Iris Berben (above),Heike Makatsch, Senta Berger,Gottfried John (below, from left)

  • 26

    Grey concrete and faceless buildings,

    trees for decoration only, nature only

    in miniature people today spend

    more and more of their time in the city

    and try to get by as well as possible.

    Its understandable that the longing

    for untamed nature and its sometimes

    exotic secrets is constantly increasing.

    Documentary filmmaker Gogol Lob-

    mayr chose exactly this subject for his

    latest project, MYSTERY OF NATURE.

    A film series which attempts to bring

    us closer to impressive living spaces

    and their mysteries, with unique and

    magnificent images. In the coming

    four years a 12-part television series,

    a Cinemascope film and a Making

    Of documentary will be made. For

    his mammoth project, Lobmayr has a

    budget of 12 million DM.

    M y s t e r y


    The first episode, MYSTERY OF SANDSTO-NES, is about the mythology of the Hopi andNavajo Indian tribes in Americas southwest. The film was already finished last yearand will soon be shown in ORF-Universum.

    MYSTERY OF ISLANDS is the title of the nextepisode which will be about the most variedislands of the earth. For it Lobmayr is firstshooting in Iceland. Five weeks were plannedfor the expedition. The crew started out fromReykjavik with two four-wheel drive vehiclesin order to explore this cold beauty. Withthem was the ARRIFLEX 435ES equippedwith an IVS (Integrated Video System), con-

    Sascha Seitzand Gogol Lobmayr


  • 27

    O f N a t u r everted to Super 35. Nature is just incrediblypowerful. In order to bring it as close to theviewers as possible I need a wide, impressiveformat: Super 35 enables us to also shootwith a ratio of 1:2.35 without heavy anamor-phic lenses, Lobmayr says. For the opticshe decided on the Variable Prime VP-1 witha focal length of 1630 mm untypical fora documentary film. With just one lens Ihave the same possibilities for which I wouldotherwise have to carry around five differentfocal length lenses - without even mentioninglens changing when you have to do thingsfast. Additionally he worked with a 25250 mm HR Angnieux zoom with extender,

    a 60 mm macro and the Century 9.8 mm forextreme wide-angle shots.

    The first rule of documentary film-makingis to save space and weight, Lobmayrexplains. For this reason he does without all

    transport cases for the camera when outand about. Instead he had Big Pack ruck-sacks with special inserts made by theMunich company Marstaller. Only then wasit possible to get through to ice-caves androck faces with heavy luggage and a large

    Gogol Lobmayr

  • 28

    cinema format. Also for reasons of spaceand weight they made do with three 120 mmagazines, one of them a Steadicammagazine.

    Filming was done on Fuji film stock. Lobmayrused mainly the 64D. Only in the evening,or in bleak fog atmospheres, did he go forthe 250D which he exposed up to one stopricher. Fuji 500 tungsten film stock is usedfor shots inside the caves. The lightingpackage consisting of various tungsten lightsources is then powered by a portablegenerator, which was at the same time theonly power supply from which the camerabatteries could be charged. After all, theywere working in Iceland far away from anykind of civilisation, where you have to driveto a settlement to get provisions or petrol -pure nature with all its roughness spendingthe night in a tent, even at temperatures be-low zero, is the order of the day.

    Apart from Gogol Lobmayr, the six-mancrew is made up of Gnter Lenz as expe-dition and travel photographer, ChristianKurth, a trail driver specializing in off-roadvehicles who also operates the crane anddolly, Sascha Seitz, an intern at ARRI, aswell as Thomas Kunz, a travel and naturephotographer, working as second grip andcamera assistant.

    Last but not least also the ultralight pilot PeterSchhle was on the expedition, becauseLobmayr was obsessed with the intriguingidea of taking an aeroplane along in orderto quickly and flexibly be able to take aerialshots. Totally disassembled for transport, theplane came to Iceland in a specially madecrate. There it was partially re-assembledand could then be transported on a trailer.The ultralight was to always be available atvery short notice. Lobmayr developed thehanging camera mount for the 435 togetherwith Manfred Eibel and his company Impuls,which manufactures hang-gliders andaccessories.

    But it wasnt quite as easy as they hadinitially imagined to prepare the aerial shotsfrom the ultralight: in order to save weight,the entire viewfinder was removed from the435. Then they attached the camera andthe two 30 V batteries as a counterweightto the hanging mount. Finally the wholething was balanced with additional watersacks, and head, camera and optic weresecured with cable-ties a light but verystrong construction.

    For the aerial shots the VP-1 proved to bevery advantageous as it can be used in somany situations. But during flight strong windcurrents affected the camera, and it had to be

    permanently held and secured by a secondperson. That was made easier by the carry-ing system of the 435, because the carryinghandle could also be screwed in vertically.This way it was possible to wedge ones armbetween the pan-handle and the carryinghandle and thus guide the camera smoothlyover a longer period of time.

    Peter Schhle was the pilot for these difficulttasks. Due to diverse stunt flights he alreadyhad the necessary film know-how. For himthe aerial shots of Iceland were a specialchallenge. The heating lava creates a verystrong updraft. In addition this constantheating up and cooling off causes a peculiarphenomenon on some volcanoes: they geta ring of clouds around their crater peak.From far away it looks like a crown or abonnet. Thats why many Icelanders refer totheir volcanoes as kings or queens.

    A further phenomenon in Iceland is theweather which can change within minutes.These climatic caprices have already drivensome film crews to despair. Two years agoa Canadian film crew had to go back homeafter two months stay without any usablematerial. The glaciers also seem to playa large role in the quick weather changes.Peter Schhle had his own personal opinionabout that: This Vatnajkull eats up little



  • 29

    aircrafts. Im quite sure of that! Luckily hisplane was unharmed. But he couldnt getaround one problem: there were of coursehardly any runways in the wilderness. Theonly emergency solution remaining wasto block off the few existing roads at shortnotice to enable the ultralight to take offand land.

    It was an exciting trip despite the dailystrain, the 270 000 flies per square meterin Myvatn with your hands in a changingbag, head injuries by being attacked bybrooding coastal terns, extreme climbing toreach kingfishers, or digging out a jeepcaught in the mud for five hours during ice-cold rain just with your bare hands. Thecrew withstood every challenge and cameback from Iceland at the end of July ingood health.

    Sascha Seitz







    A S


    ; LA


    A M



    , M






    The 435 on the camera mount of the ultralight (top),on the lightweight crane (centre), and during shootingin the ice cave (below).

    Camera operation on the lightweight crane.

  • 30

    I w o n d e r An I n t e r v i ew w i t h Jo sh Jo s imov i c

    During shooting for theVittel-Buitoni Clip.

    Josh Josimovic, 35, is one of the most successful advertising film-makers inGermany. A native of Vienna, he began his career as a photographer.Before the age of 20, he had his first exhibitions as a serious photographicartist but, as he puts it, the market in Austria was far too small to be ableto make a living out of it. You really have to be one of the internationalTop Twenty in order to live well from it.

    At just 17 he started helping out on filmproductions on the side, then shot industrialand advertising films as DoP. A creative co-operation also came about with the inter-nationally known music video film-makersDolezal and Rossacher. In various pro-ductions (Gianna Nannini, Bruce Spring-steen, Falco, Age Block etc.) and in the un-usual prize-winning city portrait 1000Images of Vienna, Josimovic unmistakablesignature is recognizable.

    After his first international prizes and awardsas DoP, Austria became too small for him.In 1991 he went to Hamburg, filmed spotswith well-known foreign directors and thenbegan working as a director-DoP. Two yearsago he finally came to Munich, a city whichhe had always avoided, presumably be-cause its so close to Vienna.

    In 1998 he decided to work exclusively inGermany for the Munich film productioncompany Input. His latest projects were alsocreated with Input and at ARRI: films forRenault and Qantas, for Vittel and Buitoni(with Jan Ullrich) as well as for German BA.Meinhard Prill spoke with him:

    ?: Was it difficult to move from camera workto directing?Josh Josimovic: Although initially it waspretty much a double-load of work, it wasa logical step. I already had a reputation asa very creative DoP. Directors normally ex-pected me to present them with suitablevisual concepts. I had gotten around a lot

    in the world, earned a lot and worked withthe best directors. After that I was looking fora new challenge and wanted to create some-thing of my own.

    ?: What was your trademark as a DoP?Josh Josimovic: I used image aestheticsfrom photography and music videos in mycommercial work, e.g. double exposures,out-of-focus shots, flash-frames and aboveall extreme camera movements. That wasnew at the time in German language adver-tising films. Then at some point everyone didit, and I thought to myself: absolutely nomore moving camera, back to static, classicaltakes or to a smooth camera tracking shot.The dynamics are created by for exampleediting or out-of-focus parts but that hasalso been done to death these days, andI wonder what well think of next.

    ?: You made a pretty remarkable film forDeutsche BA with a fairly smooth camera.That cant be too much ahead of its time?Josh Josimovic: Deutsche BA wanted afilm which could be used for two years. Thatonly works if you do what is otherwise notfeasible in our area do without fashion-able effects! We had to choose a form witha classical quality. That meant in this casefinding images which people would stillenjoy looking at in two years time.

    ?: You used particularly interesting imageassociations in this film.Josh Josimovic: The film was a specialcase in every way. It is a film with prejudices

  • 31

    w h a t w e l l t h i n k o f n e x t . . .as its theme. It constantly makes statementswhich it then contradicts (Flying is only fora select few). That isnt very common inadvertising.

    Then we worked a lot on the lettering. Iwanted an original, classical type of letter-ing which we had created by a Viennesegraphic artist. And finally we were able toget Otto Sander as the speaker. His voiceis extremely important for the film because itis not an advertising voice. We said: thefilm is unconventional, the images are uncon-ventional, so the speaker has to be uncon-ventional, too. Otto felt the same way. I thinkits the only time he has ever done the voiceon an advertising clip.

    ?: And the client accepted it all?Josh Josimovic: The film is for me a per-fect example that something great canhappen when courageous clients and a goodagency get together. And thats not the rule,because of course theyre all nervous. TheGerman market is by now the largest inEurope, but its also the toughest becausemost clients only think of the marketing as-pects and dont often allow for artistic inter-pretations too much head, too little heart.With Deutsche BA it was different.

    ?: But hasnt advertising improved on thewhole?Josh Josimovic: In terms of camera workthe films have improved greatly over the last

    two or three years. But the ideas are mostlyas bad as they always were and cant justbe masked by exceptional images. Peoplehave simply gotten used to that, so againit is obvious that the stories havent reallyimproved. But exactly that is of course theconflict the agencies have with conservativeclients. And we film-makers stand betweenthe two.

    ?: What films do you like particularly atthe moment?Josh Josimovic: The new campaigns byLufthansa, Audi and Ltta. All three genresare innovative and original. Audi for exampleexcels through brilliant post-production de-sign. You can hardly do anything these

    above: Renault-Laguna, below: Vittel-Buitoni

  • 32

    Renau l t - LagunaAvid Offline: Peter KirschbaumInferno: Christian SingerFlame: Markus Gratl

    Vi t t e l -Bu i ton iTelecine: Birgit Klier

    Avid Offline: Peter KirschbaumHenry: Christian Singer/Stephanie Thon


    days in advertising without the matchingpost-production. The standard has becomevery high. That has an effect on the position ofDoP. A new generation of people is cominginto the advertising industry, knows whatcolour correction on the Telecine can doand which additional look a Flame artist,a Henry artist or an Inferno artist can pro-duce. Of course it would sometimes be moresensible to shoot the material the way youwant to have it later, but then the job on setis more complex. And these days with bud-gets no longer growing, you have to compro-mise and rely on post-production fixing it.Of course that weakens the position of theDoP and strengthens that of the director.

    ?: What other developments can you seecoming?Josh Josimovic: I believe that the marketwill split into modest, conventional commer-cials - for nappies, washing powder, sanitarynapkins and whatever else and an elitistadvertising which will continue to get moreexpensive and will be fought for by the toppeople. In Germany the problem arises thatalready today the best films are given toforeign directors. They have already workedfor bigger clients and can present an impres-sive portfolio. The agencies presumably wantto stay on safe ground. That is a difficult sit-uation for local talent which no doubt exists.

    ?: But you cant seriously complain?Josh Josimovic: No, but I cant close myeyes to that sort of development. It cant beright that Germany is considered a develop-ing country in terms of advertising at Cannes,whose most interesting entries are normallylow-budget or even no-budget films. Qualityhas its price, but in the meantime goodpeople almost have to excuse themselvesfor the fees they demand for a good film.A US director has his agent speak for him,and he manages to get breath-taking feespaid. Today if you see a good spot and wantto know who shot it, you sometimes need

    a lot of time to find out. It is somehow funnythat German advertising film-makers cantadvertise for themselves. That means thatagencies and productions are bad at sellingtheir creative talent.I have solved the problem for myself byworking exclusively for a German film pro-duction, Input. I expect them to place mesuitably in the market. Lets see if it works.

    ?: And you arent drawn to the USA?Josh Josimovic: I was never particularlydrawn to it. I just like Europe. And I likeMunich. Since Ive been here, I do most ofmy projects at ARRI. There are these twobig studios in the middle of town. I havemade films on which I went days withoutleaving the complex. The overall concept isright. Other places there is a post-productionplace somewhere, and then somewhere elsethere are studios and a camera and lightingrental park somewhere, and you keep driving

    through the city. Standing in the studio here,if you think you may need another 100 mmlens, the assistant goes over to the rentalpark and gets it. Or you ask the post-pro-duction supervisor to come over briefly tothe set to solve a difficult problem. You havethe feeling of being self-sufficient from thelab to post-production, everything is underone roof, respectively in good hands whatmore could you want?

    Meinhard Prill

  • 33

    Camera assistantStig Olssonwith ice-covered 35 III.

    The ice hotelin Jukkasjrvi.

    T h e F i r s t E m p e r o rDirector Chen Kaige

    It is already regarded as Asias cineasticmasterpiece of the century and as a mile-stone in the history of Chinese films: THEFIRST EMPEROR. Under the direction of ChenKaige (FAREWELL MY CONCUBINE) this his-torical drama came into being after eightyears of preparation in China. With epicimages, the film tells the story of the seven

    kingdoms Qi, Yan, Chu, Han, Zhao, Weiand Qin of rivalling rulers, hopeless strug-gles right up to the merging into a unifiedChina for the first time in its history. THEFIRST EMPEROR was filmed over sevenmonths by DoP Zhao Fei (RAISE THE REDLANTERN) with the ARRIFLEX 535 inChinas vast expanses.


    TO: N

    .D.F. IN


    That really was very cold, remembersproducer Nicola During. The shooting fora Van Halen video took place last winter at44 F (42 C) below zero. The story takesplace in a hotel which is built out of pureice every year in the Swedish town of Jukkas-jrvi a unique sight, and of course notexactly a well-tempered film set. An ARRI-FLEX 435ES and a 35 III defied the temper-atures, as did the ARRI HMIs which wereused.

    22 F (30 C) below zero is quite normalin northern Sweden but 44 F (42 C)below For shooting a film you would prefermilder weather. For director Paul Andresen,DoP Carolyn Chen and gaffer Eric Foster,the extreme negative temperatures werehowever no hindrance. They worked forthree days with the equipment in the bitingcold. Whether the crew with the cameraswas shooting for five hours outdoors on aslow motion take (1 frame every 15 sec) or

    was controlling ramping by RCU, every-thing went fine. Only the ballasts had to beheated up in the mornings with an AirHeatable Gun, to enable use of the ON/OFF switch again. But of course that wasunderstandable at these temperatures.

    V e r y f r e e e e e z i n g

  • 34

    DirectorCarlo Rola

    J e r u s a l e m o r a J o u r n e y t o D e a t h

    R o s a R o t hPolice inspector Rosa Roth is ready for a break. The invitation to a wedding in Israel is just

    the thing she needs. A group of German tourists is staying at the same Hilton Hotel as she is.

    The pensioner Walter Bannert, one of the group members, is found dead the next night. His

    wife believes it was murder. Rosa Roth gets involved despite her holiday. Is the answer to the

    mystery in Bannerts past?

    Carlo Rola (left) with producerOliver Berben.

    Travelling in Israel:Carlo Rola, Iris Berben, Oliver Berben.

    The Moovie Entertainment Film GmbH shota new episode of the successful televisionseries Rosa Roth in April and May for theZDF. Producer Oliver Berben relied on thecollaboration with Intervision Cine Rent andARRI Contrast, having had excellent expe-riences in the past.

    For Oliver Berben and director Carlo Rola,Israel is like a second home, so they werewell prepared for the problems of a regionshaken by crises and with a multi-religiousculture. In order to create an economicallyattractive high quality product withoutblowing the budget of a television produc-tion, they decided on a German-Israelicrew and on collaboration with the Cinema-factory Ltd.

    Oliver Berben: In Israel almost all domesticfilms are currently being made on Beta.Thanks to the national television channelsthere is a well developed infrastructure. Butthere are very few equipment rental housesto equip film productions, and the onesthere are could not nearly satisfy our needs.American productions who shoot their filmsin Israel generally travel with their own equip-ment. The situation in the labs is similar.Everything shot in Israel is normally sent toEngland to be developed.

    Intervision Cine Rent agreed with MoovieEntertainment Film on a complete deal forthe entire technical side. The Berlin companyhandled not only the function of a classicalcamera and equipment rental house, but

  • 35

    Break for man and animal.

    was also responsible for transport andsupport on location. In Berlin a fleet of vehi-cles for camera, lighting and grip as well asgenerators was put together. The convoythen drove by road to Italy and from therecontinued by ship via Greece and Cyprusto Israel.

    A special challenge was getting around in acity like Jerusalem with a crew of 50 people.Oliver Berben: Director Carlo Rola madea virtue out of necessity and worked, asalready on the action-loaded ninety-minutefilm Rosa Roth Going Nowhere, entirelywith Steadicam, for which Jrg Widmer wasresponsible. This enabled not only a drasticreduction in the originally discussed 32 daysshooting, but also the creative realisationprofited enormously. So thanks to the Steadi-cam it was possible to go unnoticed at holysites like The Wailing Wall or to discretelyapproach a sensitive location like the Holo-caust memorial Yad Vashem.

    An artistically flourishing compromise, saysdirector Rola, especially for material which,unlike for example SEVEN FIRES OF DEATH(RTL) didnt exactly seem predestined forsuch a filming method. It means workingeven more intensively, but the easy-go-luckyfeeling of some crews has never been mycredo. As an aside: SEVEN FIRES OF DEATHwas awarded with the Finalist Award forDirection, Production and Film at this yearsNew York Film Festival.

    Oliver Berben continues: Rola placed greatemphasis on doing visual justice to the livelyatmosphere, the heartbeat of Israel. His wayof working was very helpful to the basictheme of the film people being chased bytheir memories. Production manager JensChristian Susa describes his impressions:

    Invisible walls go straight through Jerusalemand lead the visitor from one step to the nextinto completely different cultural milieus.So a long tracking shot means having to dealwith different parties which in my expe-rience costs more than just time. A furtherproblem is the architectural situation in theold town. Susa: Alleys less than a meterwide may be a tranquil sight for the visitor,but for film vehicles they make things impos-sible. At every location we set up as nearas possible a basis station for the truck andcrew facilities. Actor transport was carriedout by minibus or on foot, the equipment withcargo tractors specially designed for theold town.

    Because of the particular light and colourconditions in Israel, DoP Thomas Merkerused Kodak Vision 200 T. Before shootingbegan, tests with extremely high lightingcontrasts were carried out which suggestedthat overexposing the exterior shots in Israel

    would be wise. The film stock was overex-posed by one stop (ISO 100) and devel-oping time was shortened to give a flattergraduation at normal density. A positiveside effect was a very fine-grain negative.The interesting thing about this process isthat material which was exposed underextreme lighting conditions depicts moregrey levels, is easier for post-productionand in colour-matching achieves much bettershadow detail. During shooting the exposedfilm stock went to Berlin to ARRI Contrastfor developing.

    Its no coincidence that Moovie EntertainmentFilm GmbH has worked with the Berlin labfor many years. It is really the lab I trust;right up to mixing you are individuallylooked after, says Carlo Rola who by nowcan look back on 20 entertaining televisionfilms and two feature films. ROSA ROTH JERUSALEM OR JOURNEY TO DEATH canbe seen on 12 December on ZDF.

  • 36

    Wi th t he A R R I F L E X in the Ra in Fo res t s o f Bo rneo





    S K


    A D r e a m b e c o m e s R e a l i t y

    On his first trip as a professional photogra-pher, he had 90 kg of luggage with him 40 kg of which was his photographic equip-ment. He stayed for three months. On hisfourth trip his equipment weighed 1500 kg:but this time he also had a satellite communi-cations system, a hot air balloon and anARRIFLEX camera package with him. Hestayed for 14 months, and unique shots werecreated. Mattias Klum worked with his wifeMonika, the assistants Ola Hgberg, Lars-Magnus Ejdeholm, Pia Thrn and the hotair balloon pilot K.G. Silverstolpe in the rainforest of Borneo. The planning and prepara-tion phase alone took over two years.

    First Time for FilmSound and movement are important for theexperience of a rain forest. After a total of 17months in various rain forests I had a veryclear image of the story I wanted to tell,Mattias Klum begins reporting his experiences.

    We chose film to achieve the highestpossible quality. Film simply gives me morepossibilities to describe my experiences,and it is also more reliable than video. AnARRIFLEX SR, the impressive Super 16format and a Zeiss zoom lens are idealfor my project extremely reliable equip-ment, which you are particularly dependenton during such a long time filming in therain forest. The lens mounts for the longerPentax lenses were converted to ARRI PL. Iused telephoto lenses with focal lengthsfrom 200 mm to 600 mm and a 200 mmmacro lens. Then a Sachtler 35 mm Studio IItripod, because only a heavy, stable tripodguarantees clean telephoto and extremeclose-up shots. The cameras viewfinderextension was also very helpful because itenabled me to sit down behind the camera which is a great relief when you spendlong days in a hiding place where youcant move.

    In 1988 Mattias Klum visited Borneo for the first time. The dream of a longer stay in this

    magnificent region hasnt let go of Mattias Klum since. Although the rain forest only covers

    a total of 7 % of the earth, it is home to 50 % of all living animals on this planet.

    The Swedish filmteamwith Mattias Klumin Borneos rain forests.

  • 37

    The tropical climate is of course not the bestenvironment for camera gear. High temper-atures and extreme humidity are hard onequipment. Sometimes things got mildewon them if the equipment was not kept prop-erly dry. We kept the entire package inclosed cases, some of which were also water-proof, and used bags with moisture-absor-bent silicon crystals which we dried out everysecond evening in front of the campfireto reactivate them. Of course we were ex-tremely careful with the equipment. But myARRIFLEXs performance impressed me any-way: I shot 170 rolls of 16 mm film, andhad not a single scratch. Every second monththe film stock was sent home for developing.Sometimes it also took longer, so you haveto be able to rely on the technical side.

    Mattias Klums wife Monika put in greateffort to record the diverse noises of the rainforest as perfectly as possible. She used aSony TCD 10 Pro II DAT recorder, and bythe end nearly 80 hours of best quality stereosound were available to the production.

    Traditionally you build blinds in order tocapture animals on celluloid. On the groundthats not too difficult. But setting up a suit-able place at 65 to 70 m above the grounddemands far more imaginative talent andabove all hard work. First we shot up a ropewith an arrow to haul up the building ma-terials and construction engineers, Klumrecalls. His personal record at playing hide-and-seek 11 days at one time, 70 metersabove the ground. This entailed a diet ofmainly rice and sardines. I must have spentabout three and a half months in differentblinds with my ARRIFLEX 16SR for com-pany, he reports.

    For a long time I had had the idea of film-ing the rain forest from a hot air balloon practically silent, without disturbing thenatural environment. When we then didthe shots, I was hanging underneath thebasket to get the best possible angle. Itis an indescribable experience swayingsilently just a few meters above the tree-tops.

    No wonder that the project met with greatinterest at home in Sweden: Swedish Broad-casting regularly gave reports, and KingCarl Gustav and Queen Silvia even visitedthe expedition for a jungle holiday duringtheir state visit to Malaysia.

    About the author: 29-year old Mattias Klumdiscovered his love of photography andnature at an early age. At seventeen he wasalready established as a professional photo-grapher. For his fifth book SKOGENS GA FILMEN OM BORNEOS INRE (The ForestsEye Images from Borneos Interior), he wasthis year awarded with the WWF Panda-book. National Geographic Magazineshowed interest in his work, as did SwedishTelevision which showed his first animalworld film MITT I NATUREN FILM.

    Hans Hansson

    Mattias Klum with his ARRIFLEX 70 mabove the ground.

  • 38

    DoP Gunnar Fuss (left)

    was awarded an Oscar the Honorary Foreign Film Award

    for the best student film by the Academy of Motion Picture

    Arts in the Samuel Goldwyn Theater on 14 June. Director

    Thorsten Schmidt has just graduated from the Film Academy

    in Baden-Wrttemberg and received the Oscar for this, his

    final film a high-paced and professionally told story.

    R o c h a d eAntje Stehling, Thorsten Schmidt, Gunnar Fuss,Max Herbrechter, Ralf Wienrich, Annette Mast(from left to right).

    Happy about the Oscar:Claudia Wolscht, Gunnar Fuss, Annette Mast,Thorsten Schmidt, Ralf Wienrich, Antje Stehling(from left to right).


    Richard (Max Herprechter), an alert lawyerand his wife (Sissy Hfferer) have grownapart from each other. He gets intoxicatedby his own success, and if she cant keepup tough luck. Richard is travelling for hisjob and is looking forward to an excitingrendezvous with his lover, the callgirl Chrie(Beate Maes). Unfortunately on the sameevening there is also a carnival party withimportant business partners. How handythat there is Udo (also M. Herprechter), aloser who has just lost his job and his girl-friend. For one evening these two very differ-ent contemporaries decide to swap roles,but of course thats not where it ends. Udois shot and then nearly killed in hospitalby his frustrated wife. But she then seesthrough the game and recognizes herchance

    This lookalike-plot with the doubles is ofcourse not exactly novel, but it is told verywell and with a great deal of comic flair.The script by Annette Mast is fast-moving,does without old jokes and relies insteadon situation comedy and a wonderful cast(including Nele Mueller-Stfen, MichaelHolz and Gottfried Breitfuss). The studentteam under the guidance of Professors NicoHofmann and Lutz Konermann obviouslydidnt make ROCHADE easy for themselves.As well as diverse action scenes and fre-quent changes of location, on account ofHerprechters dual role several scenes werefilmed in the split-screen process.

    Above all it was important for ThorstenSchmidt and producer Antje Stehling to man-age to get a carnival party with 200 guests,as well as the soundtrack by Ralf Wienrichand performed by the Babelsberg Film Or-

  • 39

    W a x w i n g

    Judith Erber (left),Beryl Schennen,Lavinia Wilson (right).

    Lawyer Richard isalways on the go.

    chestra, despite the notoriously tight film-school budget. The result is a charminglytold and technically demanding 36-minutefilm with a surprising happy end.

    And speaking of technical: Thorsten Schmidthad already worked with ARRI on earlier

    film-school productions and had very goodexperiences. So it was clear to him that hewould again try to get a sponsorship agree-ment from ARRI for ROCHADE, in order toat least secure the post-production early on.And that was more comprehensive thanusual. As well as lab work and equipment

    rental, the negative stock was scanned forthe film-schools AVID, and later DoP Gun-nar Fuss had shot the film on Super 16 thefinal 35 mm print was made by the directblow-up process.

    The collaboration with Sepp Reidinger of theARRI Labs went as usual without a hitch;Martin Schalow was responsible for soundmixing at ARRI. This is also where the ideawas born to mix the film in Dolby digital6-channel. At short notice a Dolby licencecould be obtained free-of-charge for the stu-dent project. At ARRI Contrast in Berlin, themixing was approved by the GermanDolby representatives. Rochade has alreadybeen shown in SWF 3 as a Debut on Chan-nel Three, and if everything works out itwill also soon be showing in the cinema aspart of the planned film-school cinema series.Hopefully the starting shot for a quick climbup the career ladder with a little helpfrom ARRI.

    Where have you been, where are yougoing a short story by Joyce Carol Oatesformed the basis, but the result is anythingbut the film of the book. WAXWING is asmall, very personal and sensitive film.

    A simple, almost trivial story. A young girl(Lavinia Wilson) at the threshold of woman-hood meets a young man (Michael von Au)and is increasingly seduced by his sugges-tive words, even though he also frightens her.What the talented young director BerylSchennen who already received the Cityof Munich Sponsorship Prize in 1997 forher first film school project, SKIN AND HAIR makes out of the story, is quite remarkable.

    With simple means, but all the more powersof observation, she creates a dense atmo-sphere between hope and fear.

    Lavinia Wilson and Michael von Au, twoexcellent actors, supported the young direc-tor, and Holger Seidel is a cameraman whomodestly subordinates himself to the story.Above all his work on the night takes seemsalmost documentary in its dry style, but laterit highlights with interesting camera perspec-tives and careful lighting changes the increas-ingly threatening atmosphere of the film.

    Shot in 1998 as her first training film for theMunich Film School, the film was only possiblein this form and quality thanks to practicalhelp from outside. Apart from the team mem-bers, the actors also had to be convinced ofits merits in order to forego payment. Still theproducer Judith Erber had to go looking forsponsors in order to realize the film as sheenvisaged it. Thats not easy on a projectwhich relies less on showy effects than onsoft tones. Her first path led her to ARRI,where the producer and the DoP were finallyable to share their enthusiasm: practicallythe entire post-production was taken care of.

    But not only the financial aspect was impor-tant for the young film-makers. It was just asimportant to have the feeling of being ingood hands, to receive support from expe-rienced professionals. Thus they had alsosomething that is extremely unusual for astudent film the opportunity to regularlyview rushes. The film then also had its firstpublic screening in the series Fresh Framesin the ARRI cinema.

    The collaboration with ARRI was verysuccessful. In June 1998 WAXWING wonthe German Film School Prize in gold,awarded for the first time at the GermanFilm Schools Day. In addition the film wasnominated for the German Short Film Prize,and last but not least television is showinggreat interest.

  • 40

    ( A b e n d l a n d )

    Fred Kelemen directs H IDDEN IN THE SHADOW in Germany and Portugal

    H i d d e n i n t h e S h a d o w

    A journey of 38 days and nights shootingtook the team from Schnebeck to the mosteastern city in Germany, Grlitz, and as faras Porto (Portugal), the most western cityin Europe. When the Portuguese productionmanager looked at the rushes from Grlitztogether with the crew, he could not get rid ofthe feeling that they had already done theshoot in Porto before: not only architecture,places and atmospheres were familiar, alsothe problems of the people at the most east-ern point in Germany are very similar tothose of the people at the most western pointof Europe: unemployment in both places.

    Before this backdrop, HIDDEN IN THESHADOW relates 24 hours in the life of Leni(Verena Jasch) and Anton (WolfgangMichael) that bring great changes. Nightrules the screen. Light cuts through darkness,makes faces break out of the shadows, fig-ures move out of blackness and then dis-appear again. Under cover of darkness ofthe abandoned streets and overflowing pubsthe people drift towards their destiny inter-rupted by outbursts in which they attemptto get hold of life by the throat. Finally themorning with its cool blue removes the darkcurtain of the night from sight.

    The very distinctive lighting technique, thecreation of shadows and strong contrastsmakes for a difficult task which was mas-tered fantastically by the three gaffers Chris-toph Demel, Ko Bun Wedemann and StefanFrster. Long cross sequences, precisechoreography of the actors and camerasmovements made it necessary to give eachlocation in its entirety the light and the atmo-sphere of the film. The scenes were simulta-neously shot with a film and a video camera.While the film camera captures the eventsin quietly moving cross sequences, the videocamera shows in hand-held close-ups adocumentary angle. Film and video materialwill then be edited together so that only thecombination or the collision of both materialsand visions create the rhythm and the specialvisual character of the film.

    Through the chronological rendering of thescript, the production could not practicallyavoid completely refurbishing the lightingtruck several times from one day to the next

    overnight. ARRI Intervision Cine Rent provedto have a high standard of flexibility. Alsothe collaboration with our laboratory, ARRIContrast, was very enjoyable. Not only fromprofessional aspects, but also because theenthusiasm we had while shooting trans-ferred itself to the crew in the lab as wedelivered more and more scenes, reportsFred Kelemen. In mid July, final editing onAVID began, and by the end of the yearwe will have finished the mixing and theblow-up from Super 16 and video to 35 mmat ARRI. Then we will begin the next journeywith Pandora and Futura to the festivalsand the cinema.

    Production: Mediopolis GmbH Berlin in co-production

    with Filmes do Tejo, Lisbon, and the WDR

    Producer: Alexander Ris

    Production Manager: Jrg Rothe

    Script/Director/Camera: Fred Kelemen

    Distribution: Pandora

    World-wide Distribution: Futura

  • 41

    A D o g o f F l a n d e r s

    A DOG OF FLANDERS describes the difficultlife of the young artist Nello Daas (JeremyJames Kissner). After losing his mother as ayoung boy, he grows up with his grandfatherJehan (Jack Warden). A dog becomes hisbest friend. Under the guidance of estab-lished artist Michel La Grande (John Voight),Nello takes his first steps in the world ofpainting. La Grande is father figure andteacher in one. He encourages Nellos pas-sion for art and pushes him to follow hisdreams. A deep and emotional film whichlooks very directly and honestly at the themeof art before the background of a society atthe end of the 18th century produced inthe Belgian towns of Veurrne and Genkg byFrank Yablans for Warner Brothers. DirectorKevin Broadie adapted the script from aclassical novel by Quido.

    DoP is Walther van den Ende (THE EIGHTH DAY,FARINELLI) who filmed it on an ARRIFLEX 535and a 535B from the ARRI rental park inMunich, on KODAK T Vision 5279 andKODAK 5277. Actually I would like tocompletely make the film with 5277 stock.It has a higher freedom of exposure andthis pastel-like effect. Still, the 5279 filmstock is more sensitive and offers us higherflexibility, says DoP van den Ende.

    In order to simulate moonlight in the nightscenes, a soft atmospheric light is used,created by four 2.5 kW luminaires through apyramid placed on its tip and covered withsilk. The HMI lamps were corrected by 1/2CTO to imitate the bluish moonlight. Thewindows of a church and the houses wereilluminated with a little tungsten to createthe feeling of warmth and to make clear thecoldness outside. We work with a lot ofbounced light, the Israeli gaffer ShirmonSabah explains. Belgium as a locationreflects the films atmosphere perfectly: thelight is very soft, enabling us to fill the shad-ows mainly with two bounced 4 kW HMIs.

    The weather also adapts itself to the story:the cloudy sky with its slight blue tinge, thecold and even the rain are advantageousfor the scenes which are set at Christmas-time. The crew isnt at all enthusiastic aboutthe picturesque weather though, as they oftenhave to protect the equipment from the longrain spells and the fog. But Aviezier Dasberg,one of the gaffers from the Israeli crew, isconvinced: The ARRI luminaires can handleany weather sn