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A R R I L A S E R V F R

A R R I C A M L A U N C H

D I G I TA L L A B – D I G I TA L P R O D U C T I O N

A M É L I E F R O M M O N T M A R T R E

A B E A U T I F U L M I N D

A R R I L I G H T I N G S E M I N A R S I N C H I N A

T H E L O R D O F T H E R I N G S

12*345`6*34

0 4 A r t M e e t s Te c h n o l o g yThe ARRICAM Experience

0 5 O p e n H o u s e a t A R R I

0 6 A R R I L A S E R V F R The Newest Member of the ARRILASER Family

0 7 D u A r t F i l m & V i d e o

0 8 A m é l i e f r o m M o n t m a r t r e

1 2 R o l l o v e r Wa t z m a n n

1 5 T h e F u t u r e o f F i l m P r o d u c t i o n sKodak Seminar at ARRI

1 6 A B e a u t i f u l M i n d

1 8 T h e L o r d o f t h e R i n g s

2 0 P r e m i e r e f o r t h e A R R I C A M S y s t e m

2 1 B l a c k H a w k D o w n

C O N T E N T S

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2 2 A S o n g f o r M a r t i nwith 3-perf and the ARRILASER

2 4 T h e E x t r e m i s t s High Tension in Ice and Snow

2 6 M o n d s c h e i n t a r i fat ARRI Digital Film

2 8 S u p e r 3 5 f o r C o m m e r c i a l sor: The Right Choice of Lenses

2 9 O n t h e R o a d a g a i n

I l l u m i n a t i o n D y n a m i c s , I n c .

3 0 A R R I C a n a d aR e l i c H u n t e r

3 2 A r e n a d i Ve r o n a

3 3 C h i n a a n d Ta i w a n L i g h t i n g / B a l l a s t S e m i n a r s

3 4 N A C J a p a n

3 5 J a p a n e s e C h e r r y B l o s s o m s

3 6 A R R I G B s a y s a L o n g G o o d b y e a s P o p u l a r M D r e t i r e s

3 7 A S e l e c t i o n o f C u r r e n t P r o d u c t i o n s

Amongst the artwork masterpieces, were the‘old masters’ of camera design – a wall sizedearly 1917 photograph of ARRI founders,August Arnold and Robert Richter. Incomingguests received a personal VIP badge withARRICAM shaped lapel pin and confirmedtheir pre-scheduled flight time on the LondonEye in one of two dedicated ARRI capsules.

Additional attractions had been carefullyplaced in glass cases on plinths to mirror thestyling of the main gallery exhibits for theultimate in viewing continuity. These includeda rare Carl Zeiss Planar f 4.5 50 mm lens,designed in 1890 by Paul Rudolph and alsothe 180mm fl.7 Sonnar Ultra Prime from Zeiss,and the Kinarri 35, the very first camerafrom Dr.August Arnold. Another centrepieceattraction of the day were two Oscarsawarded to Dr. August Arnold and ErichKästner in1982 for the design and concept

of the spinning mirror reflex shutter in the1930’s. This was accompanied by the ARRIFLEX of 1937, the first camera sold tocarry the name ARRIFLEX. A keen eye couldalso see ARRICAM prints mounted on thewalls between the famous prints of Picasso.

The large gathering and networking of somany key industry members provided theambience of excitement and anticipation. Ascrowds interspersed between the rooms, detailed technical discussions and positivedebate took place amongst leading BSCmembers, DoP’s, cameramen, focus pullers,rental houses, ARRI customers and otherguests.

Guests could relax in the ‘Lighting Room’where centrepieces included a showcaseselection of ARRI lampheads, and of coursethe ARRI bar! In the afternoon, the ARRICAM

cake was cut by Alfred Schopf, CEO/President of ARRI who had flown in thatmorning from Munich and Renos Louka,Managing Director of ARRI GB.

Precision scheduling enabled all four hundredguests to take a flight in two of the dedicatedcapsules on the London Eye, the world’shighest observation wheel. A steady climbto the top of the wheel allowed guests to usethe viewfinder of the ARRICAM Lite andARRICAM Studio to pan across the Thamesto Big Ben and the Houses of Parliamentfrom up to 450 feet above the ground.

A truly spectacular venue to convey ARRI’slatest ‘works of art’ and technological masterpieces, the ARRICAM experience iscertainly an event the industry will remember.

Elizabeth Ballantyne and Judith Petty

Over four hundred guests arrived at the Dali Universe art gallery on the south bank of the river Thames in London

in July for the UK ARRICAM launch. The launch event was designed to convey the synonymous values of the new

ARRICAM with other world masterpieces of art by Dali and Picasso, combined with the exciting experience of the

London Eye. Guests had flown in from all over the world, Japan, South Africa, America, Spain and France for the

opportunity to attend the launch and to get to know the new additions to the ARRI product line. The surreal sculptures

of Salvador Dali set the scene as guests were escorted through the main gallery and down the stairs into the three

ARRI Rooms. The ARRICAM experience then truly began …

ARTTECHNOLOGY T h e A R R I C A M E x p e r i e n c e

M E E T S

Gabriel Bauer, Franz Kraus, Renos Louka, Alfred Schopf (f.l.t.r.)

Art and Technology at the museumHouses of Parliament from above

Unusual camera testing The London Eye

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In mid July guests crowded at the entranceto the ARRI cinema for the open house party, to exchange experiences and seenew products – for example the ARRICAMsystem – live, and immediately available to rent out through ARRI Camera Rentals in Munich.

The mild summer evening offered visitorsthe choice of waiting for the star of the evening in the lavishly decorated innercourtyard or in the cinema foyer. But this time the star wasn’t flesh and blood, butthe ARRICAM system. You may think:anyone can beat a drum to promote that –but to beat a ladder takes more imagination.A stimulating percussion group arrived to accompany one of the highlights of the evening on their unusual instruments (werethey symbolic of the steps to success?) ARRI’s managing director Franz Kraus greeted guests inside the cinema in appro-priate style before making way for AlfredSchopf, chairman and CEO of ARRI AG,to say a few words. In his short speech hetold attendees that ARRI has become a public company as of late June, taking animportant step towards the future with thisnew company form.

He then presented the ARRICAM system together with Fritz Gabriel Bauer. A demofilm shows how robust the combined German-Austrian effort is – camera “torture” in the extreme: the ARRICAMsystem, mounted on the outside of a jeep, is chased across a military exercise areaand rocked about – in March at 3°Coutside temperature. In 24-hour time-lapseshots, the high recording stability is demonstrated. - 40°C in the climatic chamber is no problem, and the cameraskept calm even with Steadicam operatorsrunning about. Okay – it can get harder:an acceleration test on the roller-coaster at the Vienna Prater showgrounds, thenfast flash pans in a motor-controlled 3-Dhead: the cameraman is more likely tohave trouble than the camera. Should more of these shots have been shown inthe demo film? In the interests of the ensuing buffet, the answer was no: thenew ARRICAM system was greeted withapplause and the celebrations continued until the early hours of the morning in theARRI studio.

MM

Open House at ARRIMunich is one of the film capitals in Germany: not only the final result, the

finished film, is at home here with its distributors, TV channels and dealers

of film rights, but also the necessary equipment-technology – camera, lighting

and digital technology – and of course the famous Bavarian party feeling.

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01 02 03

04

05

06

01 Erich Kästner (left) and Robert Arnold 02 Gabriel Bauer 03 Eric Moss, Viola Jäger 04 Alfred Schopf, Prof. Slansky05 Harry Kügler, Thomas Loher, Angela Reedwisch

06 Gloria Burkert (left), Uli Hauff (right)07 Paul Ivan (left) and Dr. Michael Neubauer08 Horst Bergmann, Hiroshi Ueki, Bärbel Bergmann,

Kenichi Ueki (f.l.t.r.) 09 Mrs. Roll, Harry Kügler, Molly von Fürstenberg,

Gernot Roll (f.l.t.r.)

08 07

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ARR I LASER VFR –The Newest Member of the ARRILASER Family

Recording digital data onto film is multi-facetted: from single scenes loaded with special

effects to entire feature films. The data is scanned from film or originates from computer

animations. Some are shot on film and scanned as video. Now there are also HD-scans

and material which was filmed on digital HD cameras.

It’s no surprise that this multitude of dataand video formats, the variety of monitorcalibrations, the various possibilities ofcolour-timing on video monitor, computermonitor or in the lab sometimes tend toconfuse filmmakers, or even drive them todespair rather than to help them. The finalproduct is still a film destined to be shownin the cinema. For the spectator the mainthing is a good story – however quality, price and efficiency of post-productionwork can also have a dramatic effect on the visual experience.

With the experience gained at the serviceoperations at ARRI Digital Film and in theARRI lab, and of course based on the dialogue with ARRILASER customers, anew member of the ARRILASER family hasbeen developed: the Video Film Recorder.

Once the job is finished, the ARRILASERVFR sends an email to the operator, if necessary to his private email telling him toremove the film and reload – 540 m filmcan be recorded this way daily.

And to make sure that at the end there’s noargument about whether there could be asetting error somewhere: on the videotape,the VFR or in the lab – the VFR adds a fewARRI test frames to the start of every roll.Focus, contrast, density, colour, LAD, greyscale. The whole lot. So the colour-timer inthe lab knows which timing lights to adjust:every time. Always the same.

By the way: the VFR can be combined withall other ARRILASER versions and options.Regardless of which variety you initiallychoose.

Dr. Johannes Steurer /Thomas Popp

The aim was to create an easy-to-use machinedesigned for recording video material. Itshould be possible to carry out the manyrepeated data processing steps involved invideo-to-film transfer without much operativeeffort and especially without ”specializedknowledge” on the part of the user.

The result looks good, and can be seen atthe IBC in Amsterdam from 14. –18.9.2001:the ARRILASER Video Film Recorder (VFR).Operating the VFR Film Recorder is easierthan ever before:• insert the video tape (into a VTR with SDI

or an HD-SDI-output)• enter timecode for start and end on the

VFR host computer• check the frame format graphically, and

if necessary adjust to the cinema format(e.g. 1:1.85 format)

• press the start button

The ARRILASER VFR rewinds the tape, startsthe transfer from videotape to the integratedreal-time disk system with 25 minutes’ storagecapacity (HD-video). The image data is loaded frame by frame from the disk, pro-cessed and recorded onto the film. In laserquality. At laser speed. In the right format,focus-enhanced, colour-timed, at 3.2 secondsper frame. Optionally additional frame parameters can be set, such as: sharpening,de-interlace, recording onto intermediate positive, blow-up to Cinemascope.

The graphical user interface of the ARRILASER VFR

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DuArt Fi lm & VideoDuArt Film & Video, located in midtown Manhattan, acquired their first ARRILASER 4K in spring 2000 and just

recently added the ARRILASER 2K with HD capability to their inventory. Twenty two feature length film projects

later and more currently scheduled for the ARRILASER-to-35 mm output for fall 2001, DuArt has acquired

a wealth of experience and knowledge in the emerging post-production arena of “digital features”.

together on the color-timing of both film andvideo within one project.

The very first feature length project from DuArt’sARRILASER output, the cinéma-vérité-stylefilm LISA PICARD IS FAMOUS by directorGriffin Dunne, premiered at the Cannes FilmFestival (section ”UN CERTAIN REGARD”). Itwas one of four digital films exhibited atCannes 2000, heralding major changes forthe filmmaking and post-production industries.Since then a number of production compa-nies have specialized in putting out what isnow termed ”digital features”, InDigEnt,GreeneStreet and Open City in New Yorkamong them. Many started at DuArt andfrom there had successful releases in theatresand at festivals, including SERIES 7 (dir. DanMinahan) at Sundance and in theatrical release nationwide, PIE IN THE SKY (dir. Vincent and Shelly Fremont) at the BerlinFilm Festival and released in New York andLos Angeles, ART OF AMALIA (dir. Bruno DeAlmeida) in New York, the up-comingLion’s Gate releases of TAPE (dir. Richard Linklater, starring Uma Thurman, Ethan Hawke and Robert Sean Leonard) and CHELSEA WALLS (directorial debut in Cannes2001 for actor Ethan Hawke).

With these and other recent releases ofvideo origination projects such as thedogme film THE KING IS ALIVE (dir. KristianLevering; via ARRILASER at Hokus Bogus,Denmark) and THINGS BEHIND THE SUN(Alison Anders; via ARRILASER at E-Film,Los Angeles), the rising importance of thecurrent move towards digital production is evident.

Ulla Zwicker / Lloyd Forcellini

The Academy of Motion Picture Arts andSciences twice honored DuArt; first in 1979with a Technical Achievement Award, andagain in 2001 with an Oscar© to chairmanIrwin W.Young for the 15th Gordon E. SawyerAward, ”To an individual in the motion pictureindustry whose technological contributionshave brought credit to the industry.”

Laura Kirk, Nat DeWolf and Daniel London (f.l.t.r.)

FAMOUS

Recently termed the ”Independent’s DigitalFilm Lab”, DuArt has always worked withstudio and independent filmmakers utilizingthe newest technologies. Servicing film pro-ductions since 1922, DuArt has become arespected innovator and leader in the post-production industry by combining newly integrated systems of video finishing and digital transfers with its traditional, full-service film laboratory (color as well asblack and white).

As a vital part of the American IndependentFilm Production scene, DuArt has deliveredmany excellent optical blow-ups from 16mm/S-16 mm to 35 mm for productions thatcould not afford to film in 35mm. Artisticallyand commercially successful films like ULEE’SGOLD (dir. Victor Nunez), LOOKING FORRICHARD (dir. Al Pacino), and CAUGHT (dir.Robert Young) are just a few on the long list.

Some independent producers have startedfilming in different video formats to save onproductions costs, however, problems arosewhen these films had to meet the demandsof festivals and distributors for release in35 mm. DuArt offered a viable solution forthese productions by first acquiring the ARRILASER system, then developing proprietary software for video-to-film inter-polation and installing these within the video- and film-finishing facility, therebycreating a unique situation: no other facilityhas video finishing (off- and on-line), video-to-film transfer and film developing andprinting all under one roof with one team of collaborating technicians, who can work

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AMÉLIE FROM MONTMARTRE is the most successful film of

the year in France. In its first four weeks this poetic urban

fairy tale booked five million spectators.

Amélie from Montmartre

The film produced and directed by JeanPierre Jeunet, was shot by DoP Bruno Delbonnel on the ARRIFLEX 535. In post-production the entire film was processeddigitally and recorded on the ARRILASERby Duboi. A film therefore, which uses ARRIproducts from start to finish. Techni-Ciné-Phot (TCP) spoke to DoP Bruno Delbonneland to Antoine Simkine, managing directorof Duboi.

is because of J.P. Jeunet’s working style.He feels that an average of 13 to 14 realtakes a day is a good working rhythm. So for a two hour film that makes 20 weeks’shooting. To stick within financial and timeconstraints you of course have to compro-mise, in the choice of set, complexity of theset, number of studio shots, etc.. J.P. Jeunetconstantly adapted his film, made everydecision himself and in so doing kept control of his film.

The technical working conditions were verypleasant. I was given a great deal of freedomto act and I had an excellent relationshipwith the production manager Jean MarcDeschamps. We had a clear basis: “I canlet you do that ...”, “no, I haven’t got themoney for that ...”. For my night shots forexample I had total freedom. In the Bassinde la Villette with the Stalingrad metro stationin the background I was able to use craneswith 300 – 400 kg of lighting equipmentand generators. That made working veryenjoyable. J.P. Jeunet is a person who lovesimages and he demands a great deal.

TCP How was the working climate duringshooting? Were there any problems?

Bruno Delbonnel (B.D.):TCP How do you explain the great successof the film?

B.D. Nobody, not even J.P. Jeunet, couldpredict this crowd. One can only guess at the reasons for its success. The film appeals to a public from 7 to 77, a bit likeTINTIN. Everyone finds something in itwhich moves him: the teenagers like thelove story, the adults are very moved byAmélie, the kids find it moving when actorMaurice Benichou opens up a box andfinds all the things from his childhood …At the same time it’s a funny film which mixes different emotions. Since these daysFrench films are often melancholy and critical of society, AMÉLIE adds a breath of fresh air and emotion.

TCP What was the budget, and how longdid filming last?

B.D. About 72 – 73 million FF. There wasno budget overrun, by the way. Filmingtook about 20 weeks, plus a 3-month preparation phase – so in total about 30weeks, which is a pretty long time. That

Bruno Delbonnel

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B.D. J.P. Jeunet creates a very pleasantworking climate. It was my first featurefilm with him. We have known each othersince the 80s as we started out in the profession at the same time. I assisted and did the lighting on his first short filmLE BUNKER ET LA DERNIÈRE RAFALE. J.P. Jeunet knows exactly what he wants, amonth beforehand. When he arrives in the morning the set for him to shoot thatday is already exactly defined. He is afairly static director. He often checks myadjustments again with the ARRI director’sviewfinder to which the little Sony camerais mounted. At the same time I can preparethe lighting accordingly.

TCP You chose ARRIFLEX cameras for theshoot. Could you tell us why?

B.D. We shot mainly on the ARRIFLEX 535.We used the ARRIFLEX 435ES for a fewparticular shots. J.P. Jeunet doesn’t like toshoot with different cameras. He constantlymoves from one setting to the next, so asecond camera would often be a waste of time. Regarding the choice of camera, I do admit that I originally wanted to shootwith Panavision in order to use the Primos,because I like these lenses very much. Darius Khondji had used them in 1997 on ALIEN RESURRECTION and Jeunet hadalso already used them. LA CITÉ DES ENFANTSPERDUS was filmed on ARRIFLEX with Cookes,and Darius was also very satisfied withthese lenses.

At Technovision, who have always supportedJ.P. Jeunet, we thoroughly tested the lenses.On the collimator I then saw some clearadvantages of the Ultra Primes which havea better resolution and an excellent colourrendition. The distortions were also minima-lized. So I chose the Ultra Primes, andtherefore the ARRIFLEX although at the timethe 28 mm and 40 mm lenses were not yetavailable. So we also used a Variable PrimeVP1. A very interesting lens which fascinatedJeunet because it enabled him for exampleto work with 18.5 mm, a focal length notavailable in the classical range. We alsoused the VP1 for interior shots wherever spacewas tight or for difficult tracking shots.

I must add that the resolution of the UltraPrimes seemed indispensable to us due to the Duboi Color process as we weren’tsure of the quality we would get after thetransfer process. But in this respect we werecompletely satisfied.

TCP This film went through the “DigitalLab”. Why, and who made the decision?

B.D. J.P. Jeunet decided on it. He talked to A. Simkine and Pitoff because for ALIENall the effects (e. g. 3-D effects) had beendone at Duboi. Pitoff and J.P. Jeunet wentto Los Angeles for six months to check itout. A. Simkine had recognised that theData Spirit HD and the ARRILASER at Duboi Color could perfectly complete theprocess chain. With it feature films can be completely digitally processed. This

remains the best basis for filming, and forthat the DoP is indispensable. Filming digitally, i.e. 24p, is still fraught with diffi-culties. The system is still in its early days.The electronics additionally increase someproblems, for example on black-and-whitecontrasts , the tolerances are still very critical,forcing us to brighten the set with variouslighting sources. If you really want imagequality, you need the DoP.

process enabled J.P. Jeunet to play veryselectively with his personal colour chemistry,where the gold and the green harmonisewith the range of the other colours. That is outside the range of traditional colourchemistry.

TCP As for digital post-production: whatdo you think of this new technology? Isn’tthere a danger of reducing the responsi-bility of the importance of the DoP?

B.D. In general I find digital post-productiongood. It extends the possibilities of imagecomposition and simplifies the inclusion ofanimations and special effects. And digitalprocessing is very fast. There is no changeto the responsibility of the DoP, on the contrary. As he must constantly be awareof the digital post-production while shooting,his presence is indispensable. Digital”producing” is however a different topic!Allen Daviau, one of the patrons of the ASC,told me that some Hollywood producersthought they could do without the DoP ifthey shoot digital. That is quite a differentdiscussion. Daviau who shot EMPIRE OFTHE SUN, THE COLOR PURPLE and E.T. bySpielberg doesn’t feel this way at all. TheCoen brothers who I met at the Cannesfilm festival and who also shot O BROTHER,WHERE ART THOU? with a “digital lab”,don’t either. We all believe that 35 mm

TCP Before we thank you for this interview,we’d like to ask you about your next project.

B.D. After this I am going to Russia to workwith a brilliant Russian director, AlexandreSokurov. In Cannes he won the prize forbest script for MOLOCK in 1999, and in2001 he again entered the competitionwith his film TAURUS, about Lenin’s lastdays. I have already met him twice at theCannes film festival and I very much lookforward to seeing him again. I find it inter-esting that he works against the currenttechnological trend. He is a real artist,who – if he needs it – will have a lens specially built. Sokurov does everythingwhile he is filming, i. e. everything you seein projection was created during filming.Nothing is created in post-production except for the classical standards. A totalcontrast to the technology that was usedon AMÉLIE. On his latest film he used up to seven filters at once. That would be impossible here, but it’s quite normal on a Russian film production where they stillwork with methods from the former SovietUnion. I will however shoot on an ARRI -FLEX, probably a 535, because the pro-duction is a German-Russian cooperation.However I don’t yet know which lenseswe’ll be using. It is a completely differentworld from our own, and I look forwardto this job very much.

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A.S. When Duboi began to make digitalspecial effects in 1989, there were no sensible solutions on the market to digitiseand transfer film. So we had to make someof our tools ourselves. We developed ourknow-how in the area of digital reproductionof motion pictures. Mastering the digitisationchain and transfer always seemed to us tohave great market potential. We wantedto offer the best quality effects possibleand to avoid talking to our customers “like

plumbers and electricians”. We are respon-sible for producing a decent picture. Ourcustomers give us a negative and we givethem back a negative. That seems to usthe only possible way of working. Over theyears the evolution of various technologiesled to the fact that today we have the fifthgeneration of imagers and the third genera-tion of scanners. Duboi Color is a productwhich combines all these technologiesand enables real-time colour-timing withdigital projection.

In 1996 we processed an entire featurefilm digitally for the first time as a sort of prototype, and we had enormous diffi-culties. We didn’t have enough storagecapacity, it took a long time and it was difficult to transfer the frames from one“world” to the other. The ARRILASER isone of the most important instruments as it enables you to carry out the digitisationprocess even for entire films. With the ARRILASER we were able to reduce the time for one frame from 30 seconds to 3seconds. This 10-fold acceleration is thekey to the system. Duboi Color is basicallythe synthesis of various machines: DataSpirit, DLP projector, Specter, ARRILASER,MEGADEF. Also our logistics progresshas enabled us to combine everything until such time as the technology of digi-talised images is really stable. The use ofDuboi Color on AMÉLIE FROM MONTMATREwas in planning even before the DuboiColor system was fully ready. We had already spoken about it with J.P. Jeunet although we hadn’t yet set up the pro-cessing chain. That was not top priority at the time. We simply promised eachother that one would use the system andthe other would create it.

J.P. Jeunet thus used a new, or nearly newsystem, because before his project we hadonly processed two films. Together withBruno Delbonnel he designed the imagesfor his film so that they would fit the processto a certain extent: i. e. to create the poeticworld of the film, the images were to be invery lively and rich colours, pure green orred, bright strong colours, and the wholething against a very warm background. Withthe conventional lab process it wouldn’thave been possible like this.

On LE PACTE DES LOUPS there were otherreasons for using the Duboi Color process.This film wasn’t conceived for it from thestart. But since Duboi Color happened tobe ready there was another good reasonfor deciding to use it: LE PACTE DES LOUPShad 2,600 shots which had been editedinto one huge negative, making it very hardto transfer. It contained over 350 opticaleffects such as fade-ins, slow motion, flashbacks, reversal effects etc. To produceall of this with conventional technologywould have been very expensive and time-consuming, quite apart from the issue ofgetting decent quality. The new freedomdue to digital technology was really alucky chance, being ready at exactly theright moment to be used for this film. It wasalso very useful for some location shotswhich had been created under difficultconditions and over a long period of time.The process enabled us to match the shotsexactly to each other. I am for examplethinking of battle scenes shot in sunshine,rain, snow and even in fog. Now it looks as if these shots had been filmed in one go.Producing the whole thing traditionally wouldhave been very difficult, if not impossible.This way we were not only able to improve

Antoine Simkine (A.S.):TCP In the last issue of ARRI NEWSwe quoted your colleague Rip O’Neil on the Duboi Color process as used onthe film LE PACTE DES LOUPS. Could youtoday tell us more about Duboi Color,particularly on its use on the film AMÉLIEFROM MONTMATRE?

Antoine Simkine

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the quality of the film, but also to stay withinthe allocated timeframe. As we only receivedthe film four weeks before it was releasedfor the cinemas we didn’t have much time toget it finished. In AMÉLIE FROM MONTMATREthe reasons for using it were more creative:it was to get this special look which J.P.Jeunet has been able to get on video – forexample for his commercials – and wantedto get on film.

TCP How do you see the future of post-production for 35 mm feature films? Willdigital processing become a standard?

A.S. I believe that digital processing will help film to a new lease on life. This medium has received completely newpossibilities due to digitisation. You couldsay: if you want to process digital, youshould shoot digital, but that’s incorrect.The initial material (16 mm, 35 mm, 24p) is no longer the main criterion for digitalpost-production. Far more important are thenew possibilities which can be exploitedafterwards. The Duboi Color process isopen for all filming formats. We changedisks, edit the film on the computer andgenerate edit decision lists, produce videosetc.; it ‘s only logical to want a “colourprint-out” for the cinema. And that is Duboi Color.

TCP You have two ARRILASERs at DuboiColor today. Will this be sufficient in future?

A.S. We already work in shifts. Every daytests and short sequences are run throughthe machines, and at the same time we record about 600 m of film daily. Withoutour two ARRILASERs we couldn’t guar-antee all these transfers. Maintaining suffi-

cient capacity also means ensuring the filmis delivered on time, or even earlier. Manycustomers order an original intermediatenegative as well as an original intermediatepositive these days, and sometimes evenseveral copies. For LE PACTE DES LOUPS wewere asked for three intermediate negativesand an intermediate positive, i. e. 49 rollsof 600 m.

In time we will certainly need additionalmachines. Since the start of the year wehave recorded over two million images

on our ARRILASERs. That is a great deal.I assume that we will record a further150,000 m of film from now until the endof the year.

TCP Our thanks to Bruno Delbonnel andAntoine Simkine for this interview.

Y. Clanet / J.L. Deriaz

R O L L O V E R

It is well known that ARRI

makes cameras. But not that

ARRI also produces short

films. On the occasion of

a planned camera comparison

test, ARRI’s managing

director Franz Kraus decided

to commission a short motion

picture instead of the usual

test films. Thomas Letocha

wrote the script for CIRCLE

OF LOVE, Ernst Kalff’s

REMTeam led production,

Gernot Roll was director/

DoP and brought practically

his entire crew along.

The heartrending story of love and death isset in the Bavarian Berchtesgaden area, onand above the Königsee at the foot ofMt Watzmann. Half a village made up theextras and the courageous young men fromthe mountain rescue service did the stunts.For five days and nights the team draggeda load of equipment including up to five cameras (ARRIFLEX 16SR, 535, 765, ARRICAM LT, Sony24pHDW F900) as wellas accessories up and down the mountains,in great spirits and in great weather. Even ARRI GB sent their video specialist BillLovell as an observer to the set.

CIRCLE OF LOVE will be in the cinemas inearly October. We don’t want to give awaytoo much, but as you can expect from ARRI,the result should be very impressive.

?: Mr Roll, you are very sought after in theindustry. One of your last projects as DoPwas the magnificent three-part TV seriesDER LADEN. What captured your interest inthe short film CIRCLE OF LOVE?

GR: First of all the comparison of two systemsin the film. The one-time chance to test a24p digital recording system in real, in thiscase quite difficult shooting conditions. Allthe tests I had heard of so far were alwayscarried out in favourable circumstances: thepracticability of the entire apparatus hadnever been tried out. So I was fascinated

If you’re going to make films,then make them as good as possible

above: Michael Praun (System Manager Camera)

below: DoP Gernot Roll

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by the idea of shooting proper cinematicscenes with a real storyboard, high upsomewhere in the mountains, with actorsand everything that goes with it.

I found the story somewhat confusing, butstill interesting. So I thought, okay, whatcould it be, a parable about life and death.In the meantime I have interpreted it as partof another motion picture, maybe a dreamsequence.

?: What were the working conditions likein this impressive but also rough area?

GR: It was quite simply hard work. Goingup mountains dragging four systems and aload of technical gear is pretty extreme. Although more for my colleagues than formyself. Transporting this load of equipmentand always having the right thing ready atthe right moment was the achievement ofmy colleague Michael Praun. He masteredall difficulties wonderfully. I don’t use the somewhat disdainful term camera assistantfor him, as it somehow sounds like a cheaphelper; I call him “camera system-manager”.And he really was: his constant coordinationof 35 mm, 16 mm, 65 mm and 24p wasquiet simply a marvellous feat.

Anyway, I have a strange personal affectionfor the Königsee. Every two or three years I go there myself, mainly in autumn, I do aboat trip and I have to keep looking at thismelancholy and mysterious lake which sofascinates me. Shooting a film at the König-see had been a dream of mine for a long time. The lake really is unbelievable and it’sjust waiting for a dramaturgically great film.

?: Even after 18 hours of shooting, you always seem alert and precise, you noticeevery little detail, every mistake. How doyou manage to keep so concentrated?

GR: I don’t find it anything special, for meit’s normal and part of the business. I havebeen in this profession for 47 years, this isthe way I got to know it, for me it’s like thatevery day and I don’t feel in any way over-worked. I don’t have to make a great effort,it happens by itself. As a contrast, any daywhen I’m not filming I’m totally lazy andcan’t manage to do anything much.

?: It gave me an almost reverent feelingwatching every single person in the team at work; everything was fast, concentrated, friendly and respectful. The entire crew seemed to be totally enthusiastic about it.

GR: They really were all motivated, highlymotivated in fact, because they all recognisedthe uniqueness of the project. It was a once-only thing and so everyone put in all theyhad. This extravagance was of such highquality, so much more than you’re used toon a normal cinema production: my greatestcompliment in this respect. By the way; ARRIdidn’t restrict us in anything, on the contrary.The special job and ARRI’s generosity werethe reasons that the film was such a lot offun for everyone. I would also like to praisethe production team who provided excellentorganisation. Production manager KlausSchünemann and his team did a fantasticjob, ARRI’s conditions were amazing, andso we were able to give a good impressionto the outside world. That’s always a bigproblem, that our image while filming isusually so terrible. I find it sad, it really hurtswhen a filmcrew is silly or rude or stupid orridiculous or vulgar. And all these wordsapply, I often experience it. Whenever Ican influence it myself when I’m choosingcolleagues, I try to have an idea in my mindof the image which will make us acceptableto the rest of society. Because we are continually coming to people and wanting

something from them, and then we behavelike wild animals, and that’s not acceptable.I find it unreasonable. And all this film talk,this stupid way of talking to supposedly present oneself as something special, I findthat disgusting too.

?: What is important to you: in life and infilms?

GR: I can’t think of anything in life rightnow, and in film all I can say is: film is notas important to me as it is suggested in theindustry. But if you have devoted yourself tofilm as a profession or a passion, then youshould try to do the job as well as possible –whatever it looks like. In general I like quitedifferent genres, even though I always seemto belong in the genre of heavy and melan-choly films, and I am very happy to do something else now and then. But a filmshould of course be made “well”, there’sjust too much money at stake to do a sloppyjob. You need to have the same standardsfor films as you do for all other productsand activities and do them as properly andwell as possible.

?: You have already made very many films – will you stop one day, retire, haveno more ideas and lose the desire to makefilms? Or have you still got big plans, wishesand goals?

GR: I certainly won’t stop. I feel too young,even if I am nearly at retiring age. I still have the feeling that I’m just starting. That’svery strange. But I haven’t got high-flying

DoP Gernot Roll

W A T Z M A N N

14

plans, I’d like to film a great script everynow and then. I don’t necessarily have tobe the first man on the set, it’s a wonderfuljob, a real experience for example to workas DoP for Jo Baier. I am still keen on goodscripts and big projects which earn the name “œuvre”.

?: This film is really about – apart from asmall story about love and death – a large-scale camera comparison. Even if you wouldn’t describe yourself as a greattechnician, what did you find technicallyparticularly good about it?

GR: ARRI took a big risk economically. Todeliver a simple comparison they could haveproduced the whole thing a lot more cheaply.That made it a lot more beneficial to us, tohave a real opportunity for comparing thesystems, experiencing all the conditions under which they have to prove themselves.That was excellent. We are so familiar withthe film cameras that we don’t need to talkabout each one individually. It turned outthat they are probably just right the waythey are – even if I moan about minor details.

Despite this a film industry, futurologist shouldreally see for himself for at least 8 weeksthe amount of prehistoric machinery whichis still being used. Our dollies alone, whichcost DM 150,000 and can only drive upand down some 80 cm, they are so heavythat they have to be carried by four people.There should be some real thought put intobasic film equipment rather than just playingaround with some machines which at bestare at home in pioneering times, but not atthe turn of the century.

On using the 24p camera I can say the following: at the moment it’s not suited,which is not to say that the digital system iswrong. The camera is currently a pure news-gathering-camera for hand-held work, butwith its unsatisfactory viewfinder you can atmost see the four frame edges and nothingelse. That would never be sufficient to makehigh quality, expensive and exact film shots.The equipment is not suited for that at all.Please note that I am only referring to theuse of the camera. A new innovative pieceof equipment should be built, and I hope thatARRI does that. That would be very desirablebecause in future it won’t be possible toavoid making digital films. As much as I believe in the storage quality of 35 mm film,I think in 16mm things will progressively godigital, and then we need a camera whichis better to use.

?: While filming you laughingly made acomment about changing a set due to a windchange: “We make use of every chance occurrence.” Is that sort of your motto?

GR: Well not really, but you have to be ableto react spontaneously. I think you need awell thought-out concept, but you also needto leave yourself a door open at any timefor spontaneity. That’s why I don’t really likestoryboards. At the preparation stage ascenic concept is absolutely necessary,from a psychological point of view and sothat everyone clearly understands what isgoing to happen on the set. But you alwaysneed to allow for good spontaneous ideas.You must be able to overturn the concept.

After all, we’re not computers and can’t justdownload everything, thank goodness!

Many thanks for the interview.

ARRI would at this point like to thank theBundesministerium für Bildung und Forschung(German Federal Ministry of Education and Scientific Research) which sponsored50 % of the filming costs in the interests ofgenerating reference material on electroniccinema.

Our thanks go also to the Fraunhofer Institutin Erlangen, which sent two scientists to theset who are carrying out the evaluation ofthe camera tests together with the HeinrichHertz Institut. The results of their work willbe published in the next ARRI NEWS.

Dodo Lazarowicz/Robert Kandleinsberger

ARRIFLEX cameras and 24p camera in comparison

The programme was top class, as were the guests: film producers, directors, DoP, representatives from TV networks and postproduction companies from the entire German-speaking area crowded into theoverflowing ARRI cinema for two days inJuly. The new possibilities opened up by digital technology were discussed in depth.The comparison between production on filmand on 24p-HDCAM was a central point.Visitors had the opportunity to get to knowand compare both worlds side by side onthe screen.

DoP Thomas Repp, BVK and Elena Alvarez(script-writer and director) had produced theshort film THE EYETRAP (DIE AUGENFALLE)simultaneously on both 24p and 35 mmfilm. The 35 mm version was shot on theARRIFLEX 435 with Kodak Vision 250Dand 200T, while the 24p version was filmedon the Sony Digital Camcorder HDW F-900.Technical aspects such as completely differentviewfinder systems, the option of varyingrunning speeds, different light sensitivity,gamma and colour reproduction, of coursealso subjective impressions were discussedat length. Thomas Repp concludes: film stockappeals more to the human eye while video-film still seems more synthetic.

“The origination-format determines to a largeextent what return you can get from your investment.” Hans Henneke, head of productservice and planning at the Kodak Enter-tainment Imaging Division, had explainedearlier in his speech: “The choice of the rightmaterial determines not only the individualand typical look of each system, but alsothe scope in post-production and programmesales in highly demanding international

markets – film still is the universal mediumwith the highest data-storage capacity, thebest archiving capability and the broadestdistribution possibilities.”

Digital Intermediate – the Link to Digital CinemaThe current digital intermediate technologyshows how closely the analogue and digitalworlds have grown together. At the startand end of the chain is the traditional film,but the phase in between is digital. MichaelSchneider from Thomson and Hans Hennekepresented the Thomson Specter VirtualDataCine together with Ken Robinson fromShortCut a/s.

“To put it simply, it’s digital mastering in filmquality”, Hans Henneke explained. “Thegoal is to combine the best of both worldsin the optimum form. The film is completelytransferred into the digital world. Enormouscreative freedoms in designing, colour-timingetc ... have been opened up for filmmakers.As a result a digital intermediate has beenmade available from which release prints forthe cinema, as well as DVDs and a numberof other media, can easily be created.”

Using the example of THE EYETRAP (DIE AU-GENFALLE), live creative colour correctionswere demonstrated on the Thomson SpecterVirtual DataCine and projected live ontothe cinema screen by the Barco Cinestar.An important interface to the digital inter-mediate is a high-capacity scanner system,which Thomson presented with their SpiritDataCine high-end filmscanning system. Acombined project to create an updated modelis already underway. Michael Schneiderfrom Thomson Multimedia says: “We want

to offer faster solutions. Scanning in 2K resolution in real time and data backup at10 fps in 2K.” Thomson developed theSpecter DataCine for the creative side of digital post-production. It offers completefreedoms in colour-timing for editing andchanging the look of a scene.

ARRILASER – High Quality RecordingDr. Johannes Steurer, Technical Manager of Digital Systems at ARRI, described theadvantages of the ARRILASER in the typicalworkflow of the hybrid production process.The ARRILASER is today regarded as thestandard for digital film recording. Usingexamples from films, he showed that the hybrid method offers quality which is clearlysuperior to the traditional post-productionprocess, quite apart from the increasedcreative possibilities.

A further highlight was the projection ofscenes from the film O BROTHER, WHEREART THOU? in split-screen technique, createdin the Kodak Cinesite studios. It was shownexactly how Roger Deakins and the Coenbrothers processed the material in order togive their work the desired look and charm.Clear proof of the performance capabilitiesof hybrid film productions.

Gerd Böhm

Kodak Seminar at ARRI

The future of feature film productions was the subject of a seminar

held by Kodak in the Munich ARRI cinema, supported by Thomson and

in cooperation with ARRI, Barco Digital Cinema and Mediarent.

Dr. Johannes Steurer at the Kodak Seminar

The Future of Fi lm Productions

12*345`6

16

While the main camera package was pro-vided by Otto Nemenz International in LosAngeles, second unit camera gear as well as lighting and grip packages came from Camera Service Center in New York – bothequipment houses that Deakins was familiarwith from past shoots.

Based in part on the book of the same nameby Sylvia Nasar, A BEAUTIFUL MIND was inspired by events in the life of John ForbesNash, Jr. A mathematical genius, Nash liveda painful and harrowing journey of self-dis-covery and schizophrenia, finally triumphingover tragedy and winning a Nobel Prize latein life. A BEAUTIFUL MIND was certainly notthe first time Deakins has photographed sucha character-driven story. With diverse picturessuch as 1984, SID & NANCY, THE SECRETGARDEN and KUNDUN to his credit, Deakinslong ago proved his ability to work with anysubject or story. His 1994 and 2001 Oscarnominations for THE SHAWSHANK REDEMPTIONand O BROTHER, WHERE ART THOU? as well asfour ASC Award nominations (THE SHAWSHANK

One of the hallmarks of the movie industry has always been the way

success begets more success. This is true in the way that winning teams

combine for more movies, as well as in the way that camera people

continue to work with people and equipment that has proved dependable

in the past. For DoP Roger Deakins, ASC, BSC, this has also been the

foundation of an award-winning career. Deakins wrapped shooting on

the Universal feature A BEAUTIFUL MIND in June of 2001. The film

combined four of the most in-demand talents in Hollywood: producer

Brian Grazer, director Ron Howard, screenwriter Akiva Goldsman

and Roger Deakins – a dream team by any Hollywood standard. For

equipment, Deakins chose ARRIFLEX 535B and 435ES cameras with

Cooke and Zeiss primes along with ARRI HMI fresnel and PAR lights.

: A Beautiful Mind Christopher Plummer and Russell Crowe

1+4pÝ

17

REDEMPTION, FARGO, KUNDUN and OBROTHER, WHERE ART THOU?) testify to hissuccess at crafting new looks for new films,but it is a naturalistic style that is most oftenidentified with his name. As ‘94 ASC Awardwinner for THE SHAWSHANK REDEMPTION,Deakins dislikes showy camera techniques,believing that anything that “brings attentionto the surface of the film” detracts from thestory. “After all,” he says, “it is the actors whoare really bringing the characters alive foran audience and the more a DoP can givethem freedom to do their work the better forthe film as a whole.” Deakins prefers to givethe actors room to breathe and this tendency,grounded in his still photo and documentarybackground, helps create a naturalistic feel.

Deakins says that the story and the director arekeys that inform him on how to photograph agiven film. He points to his work with the Coenbrothers on BARTON FINK, THE HUDSUCKERPROXY, and O BROTHER, WHERE ART THOU?for instances where the story dictated anapproach that was more stylized. For ABEAUTIFUL MIND, the script itself called forsimple and direct technique. Director Howardand some unconventional schedulingaccentuated this approach. Deakins calledthe shooting schedule the “greatest challenge”in making the film. “It was very importantfor the actors to shoot in sequence, so thismade it especially hard on the crew in termsof returning to the same locations two or three times and having them ready to shoot atany time.” Working from the cold days oflate March to some very hot days at theend of June, the crew packed dozens of movesand re-moves into more than 70 shooting days.

The decision to shoot on real locations in andaround New York City and Princeton, NJ, wasanother key choice. The use of many small

spaces “presented a particular challengewhen it came to lighting or creating cameramovement,” said Deakins. He also added “thecompactness of ARRI equipment certainlywas an advantage when shooting in smallrooms and hallways.”

A personal preference for primes over zoomshelped keep Deakins’ camera package small.“I used the Cooke (S4) lenses as I have usedthese lenses from their first introduction. How-ever, they still do not constitute a completeset – so I augmented the Cookes with the traditional Zeiss lenses; the 65mm, the 35mmand the 28 mm – which are three of my favorite focal lengths.”

Simplicity was again a guiding principle whenlighting A BEAUTIFUL MIND. “This has involvedmuch lighting with large daylight soft bouncerigs,” said the DoP. “For this I have exclusivelybeen using the ARRI 18K HMIs supplementedby the PAR lights; 6Ks, 4Ks and particularlythe 1.2K PARS.” Camera Service Center’slocation on West 54th Street in New Yorkcame in handy during the hectic productionschedule. Deakins appreciated the work ofthe CSC staff, saying ”…considering thescheduling difficulties we have had, whichhave led to last minute orders for large num-bers of lights, I can only congratulate CSCfor keeping up with our needs and supplyingus with the best equipment at all times.”

It seems that once again a winning team hasput together a winning film. Deakins’ fans willsurely look forward to A BEAUTIFUL MIND andits scheduled December 2001 release. At thesame time, they will be looking forward tohis future collaborations – as of this writinghe is already at work on another feature.

J. Thieser / Joe Sheehan

DoP Roger Deakins

– – – – –

Russell Crowe, Ron Howard, Brian Grazer

Bill O’Leary (Gaffer) and Roger Deakins

F I L M C R E D I T S

ANOTHER TIME 1983

1984 1984

DEFENCE OF THE REALM 1985

SID & NANCY 1986

THE KITCHEN TOTO 1987

PERSONAL SERVICES 1987

WHITE MISCHIEF 1988

STORMY MONDAY 1988

PASACALI’S ISLAND 1988

MOUNTAINS OF THE MOON 1990

BARTON FINK 1991

HOMICIDE 1991

PASSION FISH 1992

THE SECRET GARDEN 1993

THE HUDSUCKER PROXY 1994

THE SHAWSHANK REDEMPTION 1994

COURAGE UNDER FIRE 1996

DEAD MAN WALKING 1995

FARGO 1996

THE BIG LEBOWSKI 1998

KUNDUN 1998

ANYWHERE BUT HERE 1999

THE SIEGE 1998

THE HURRICANE 1999

O BROTHER, WHERE ART THOU? 2000

DINNER WITH FRIENDS 2001

A BEAUTIFUL MIND 2001

THE MAN WHO WASN’T THERE 2001

18

“The project was shot entirely in New Zealand and based out of Wellington. We decided on camera equipment from ARRIRental Munich: I knew I could rely on theequipment being in excellent condition andgetting reliable technical support. NewZealand camera personnel have grown upwith ARRI technology, and the live actionmotion control rigs designed, built and operated by key grip Harry Harrison wereset up for ARRI cameras. Peter Fleming ofCameraTech Ltd., a highly experienced camera technician, was responsible for service on location. In pre-production, Peterflew to Germany to check the gear before

it was sent, and to set up the most up-to-dateservice capability.”

“Manfred Jahn of ARRI Rental accompaniedthe equipment from Munich. He stayed forseveral weeks and helped the focus pullersto sort out what seemed like an aircraft hangar sized amount of gear! Our fleetcomprised of 535Bs, 435s and Moviecam SLcameras. The miniatures department – headed by Alex Funke and Chuck Schuman –also used some Mitchells. In addition anARRIFLEX 35 III and a 2C were used ascrash cameras – all modified for Super 35.All groundglasses were marked for the 2:35

ratio only. Considering the capabilities ofmodern telecines, it is a lot cleaner for allconcerned to concentrate on one format during the shoot.”

Lesnie was ably assisted by NZ cinemato-graphers Allen Guildford, John Cavill, Richard Bluck, Alun Bollinger, Simon Rabyand Nigel Bluck. “Their enthusiasm wasmatched only by their stamina.”

“We used Kodak 5245, 5293, 5279 andSO214 VFX camera stocks, and the projectwas workprinted on Fuji, as is the intentionfor the release prints. We generally rated

T H E L O R D O F T H E R I N G S

15 months of shooting, 21 cameras and over 4 million feet of exposed film – a project of superlatives:

the three films of one of the greatest novels of the 20 th century were to be shot back-to-back, with several

units shooting simultaneously. To film J.R.R. Tolkien’s mighty epic, director Peter Jackson chose Australian

cinematographer Andrew Lesnie A.C.S.

one-third to two-thirds over the recommendedrating, helping to deliver a healthy negative.The printer lights stayed the same for theentire shoot. If you’re viewing dailies for upto five hours some nights, it certainly helpsto clarify issues, especially when you mayhave up to nine units operating!”

“We made great use of three ARRI Locpro35 projectors: one for the miniatures shootand the others accompanied any unit thatwas on location. With so many dailies thiswas the only way to keep an overview or to high-speed through landscape tiling orplate work. I particularly liked the fact thatbrightness and colour temperature remainedconsistent. With this equipment it was easierfor me to judge sharpness than on the cinemaprojectors back in Wellington.”

“It was very enjoyable working with PeterJackson. He has a commitment to strongperformances, runs an energetic andhumorous set, and I was constantly amazedat his ability to keep a solid focus on somany aspects of his project at any one time.”

“The project clearly shows Peter Jackson’sdynamic signature and of course that of NewZealand. The scenery is some of the mostdramatic I’ve ever seen – it is in a way oneof our stars, but not always the easiest. Thefilming schedule was very ambitious, andbecause the weather can be quite turbulent,Peter, producer Barrie Osborne and I initiateda custom-built digital post-production facility,or a ‘Digital Lab’ for colour timing. We wereable to continue shooting in almost anyweather and in post-production could pro-duce the desired mood in the landscape.Peter Doyle of PostHouse AG set up the facility which works in conjunction with theFilm Unit lab and Weta Digital, the principalvisual effects house, home to an ARRILASERfilm recorder.”

“Quite apart from the technical dimensionsof such a project, I believe that the particularstrengths of our three films are the scriptsand performances. Scriptwriters Fran Walsh,Philippa Boyens, and Peter Jackson remainedvery true to the book and a wonderful

ensemble cast was assembled including SirIan Holm, Sir Ian McKellen, Elijah Wood,Viggo Mortensen, Cate Blanchett, Sean Bean, Bernard Hill, Liv Tyler, Sean Astin,John Rhys-Davies, Orlando Bloom, BillyBoyd, Dominic Monaghan, Hugo Weaving,Andy Serkis, John Noble, Christopher Lee, Brad Dourif, Miranda Otto and DavidWenham.”

“Shooting ‘THE LORD OF THE RINGS’ wasan enormous challenge for all concernedbut also a happy experience. We eagerlyawait the release of the first of the threefilms, ‘THE FELLOWSHIP OF THE RING’, atthe end of 2001.”

JT

by DoP Andrew Lesnie A.C.S.

Director Peter Jackson

DoP Andrew Lesnie (left) and Director Peter Jackson (right)

19

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Premiere for the ARRICAM System

Fred Schuler is shooting GERMANIKUS from early July until late August

in the Cinecitta Studios in Rome – this is the feature film premiere for

the new ARRICAM system. The new LDS Ultra Primes are of course

also on hand.

DoP Fred Schuler with actor Gerhard Polt

DoP Fred Schuler

Fred Schuler: “The ARRICAM system enables direct contact to the camera in all important areas and extends my crea-tive possibilities. It is more compact, lighter and as a result better to handle.The LDS lenses offer great advantages in focusing. You can work much more precisely and quickly because you canread all the relevant values at a glance. In total a comprehensive and completesystem which covers all areas of use.”

Under the direction of Hanns ChristianMüller, the successful German comic duoGerhard Polt and Gisela Schneebergerare filming the story of the Bavarian GERMANIKUS, a gladiator in ancient Rome who is made emperor against hiswill. The film will open in the cinemas inearly 2002.

After nearly four months, shooting for Black

Hawk Down has been completed in Morocco.

Alexander Witt (Director/DoP 2nd unit),Ridley Scott, Branko Lustig

DoP Slavomir Idziak and Director Ridley Scott

above: Ridley Scottbelow: Branko Lustig

B l a c kH a w kD o w nARRI Munich equipped the production withcameras, lighting and grip equipment com-pletely. Director Ridley Scott again used theLOCPRO as a mobile film projector, as onhis previous films Hannibal and Gladiator.Branko Lustig, executive producer, expressedhis satisfaction with the technical aspects ofthe shoot not only in words but also in actions:he intends to shoot his next films with ARRIMunich too. Black Hawk Down will be re-leased in the Summer of 2002.

MM

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A Song for Mart inwith 3-per f and the ARRILASER

A SONG FOR MARTIN portrays the passionatemarriage between two forceful, dynamicpersonalities – and what happens when oneof them becomes afflicted with Alzheimer’s.Bille August wrote the screenplay based onthe novel by Ulla Isaksson. The film was shotin nine weeks, mainly in Gothenburg in thewest of Sweden, with ten days’ additionalfilming in Morocco and Spain. It stars SvenWollter, Viveka Seldahl, Reine Brynoolfsson,Linda Källgren, Lisa Werlinder, Peter Engman,Klas Ahlstedt, Lo Wahl and Kristina Törnqvist.

The ProductionBille August planned to shoot the film in cinemascope1:2.35. Due to the larger rangeof focal lengths and the lighter weight ofthe equipment, it made sense to decide onsuper-35. “Bille August likes to work with a relatively high shooting ratio. To enablethis, and at the same time to use the filmstock as efficiently as possible, we had theidea of simply shooting in 3-perf”, explainsproducer Lars Kolvig. “Luckily Björn Blixt ofBlixt Kamera, a rental house in Copenhagen,was willing to support us by buying a 3-perfmovement for the ARRIFLEX 535B.

At this stage it was already clear that wewould be using the ‘Digital Lab’ to create anew anamorphic negative – without having

to work with an optical printer and an inter-mediate. The film also includes a number ofspecial effects which were suitable for digitaltechniques”, explains Lars Kolvig. Short Cutand Ankerstjerne Lab took on the entire digital post-production work – and did anexcellent job.

“The ‘Digital Lab’ is fantastic”, says Lars Kolvig:“You can do all effects, colour corrections,fades, texts etc and you get a completely newnegative with very slight losses in comparedto the original. And you avoid the entire negative editing process. Bille August and Iare very satisfied with the results, and so isthe DoP Jörgen Persson.”

“Our experiences with 3-perf and digital post-production have been extremely positive:we didn’t have a single problem. From a financial viewpoint we did have to spendwhat we saved on film stock for digital pro-cessing, which at present is more expensive.But I am already working with Bille Auguston a new film project and we are even thinking about working with 2-perf.”

The Shoot – 3-perf with the ARRIFLEX 535B“I thought it would be interesting to test 3-perf and the 1:2.35 format”, reports DoPJörgen Persson: “Previously I had only made

one film with 3-perf – AIDA with director ClausFellbom and the opera company Folkoperan.

“For the scope format 1:2.35 we had thechoice between filming with anamorphiclenses and using Super-35, for which you thenneed to produce a post-production scopenegative. I had found anamorphic lenses tooheavy as we had planned over 70 % of theshots for Steadicam”, explained Persson.“Scope lenses also require more lighting asyou normally have to keep the aperture down.But we wanted to use as little light as possible,so we had many reasons for deciding to useSuper-35. By using 3-perf we were also ableto save money in shooting.”

Bille August’s latest film – A SONG FOR MARTIN – was produced with a mixture of technology that is currently still

unusual, but very interesting: Super-35 with 3-perf for filming, and subsequently an entirely digital post-production

with recording on the ARRILASER. Hans Hansson, FSF, spoke to the producer, Lars Kolvig, the DoP Jörgen Persson,

Björn Blixt, DFF and Ivan Schmidt, post-production manager at Short Cut/Ankerstjerne in Copenhagen.

Director Bille August

For low-light situations Jörgen Persson decided to use Kodak Vision 800T film stock.For the daylight scenes he used EXR 100T.Wherever possible he used the existing“natural” light sources. He often even usednormal street lighting in preference to thelarge 12 kW HMI lights for night scenes.And he didn’t feel that the shop windowsseem disturbingly overexposed.

“Mike Tivenius was my Steadicam operator”,said Jörgen Persson, “and he also operatedthe camera when we had it on a tripod. Mike is very clever at composing goodshots quickly, a skill which he of course perfected during his many years as a Steadicam operator.” We only shot from atripod for close-ups and particularly wideangle shots. To save time, they sometimeseven left the camera on the Steadicam andjust fastened it with clamps to a c-stand. The535B worked fantastically well and it wasquick and easy to change the magazine –which is important when you’re workingwith Steadicam and a 400ft magazine”,explains Jörgen Persson.

“We viewed the rushes via a Betacam SP”,continues Jörgen Persson. “And it far exceededmy expectations: I used to be sceptical ofwatching rushes on video, but this time theylooked seductively good. It seems as thoughvideo gives some shots better illuminationthan what you see from film on screen. Butthat can be misleading.”

Post-Production – “Digital Lab” with theARRILASERFor the telecine transfer of the film to digital2K at Short Cut, Peter Diemar worked astelecine operator and colour-timer. “The bigadvantage of digital scanning is that youhave much greater possibilities to adjust light,contrast and colour than with conventionallab processes”, explains Jörgen Persson.

Ivan Schmidt of Short Cut in Copenhagen wasresponsible for the entire post-productionand collaboration with the filmlab Anker-stjerne. Both companies are subsidiaries ofNordic Film A/S.

“I knew when Lars Kolvig called that ourPhilips Spirit telecine could be adjusted to3-perf. But I had to check whether the AatonKeylink system and the programme Excaliburcould also handle 3-perf. Aaton’s Keylinkfor reading keycode and ARRI timecodecould easily be upgraded to process 3-perf,but despite what it says in the manual,Excalibur couldn’t. From my time workingat Ankerstjerne I knew that EFC – TomasDyfvermans’ excellent logging system –

could handle 3-perf negatives. Film Teknikin Stockholm uses EFC, so I solved our pro-blem by sending the negative to Film Teknikfor logging.”

Ivan Schmidt explains the post-productionprocess: “After developing, selected takeswere compiled and transferred to Betacam SPas video rushes. The sound was synchronisedat the same time. A cassette went directly tothe editor Janus Billeskov-Jansen. After Avidediting the negative was cut according tothe EDL and transferred to the Spirit telecineat 2K and a rate of 6 fps with 20 frames athead and tail. At the same time every scenewas colour-timed. Telecine operator PeterDiemar worked with DoP Jörgen Persson onthis. Online auto-conforming was carriedout according to the EDL in the Discreet Logic System Inferno, where all the effectsand titles were generated. “Once every-thing was ready”, explains Ivan Schmidt,“we transferred the film as a digital file to aDTF2 cassette from which the companyCFC Hokus Bogus in Copenhagen exposeda new film negative with the ARRILASER.For this we used Kodak’s new intermediatenegative, which is a bit sharper than its predecessor. After tests we all agreed thatthe film on Kodak’s Premiere print film lookedthe best. Additionally we made a down-conversion to PAL video using pan andscan directly in Inferno.”

The Future is 3-PerfBlixt Kamera is the name of the Copenhagenrental house run by cinematographer Björn

DoP Jörgen Persson, Operator Mike Tiverius, Focus Puller Sören Bertheim, Clapper Loader Andrew Gant Christensen, Assistent Anders August

DoP Jörg Persson (right) with actor Sven Wolter

Blixt, DFF. Asked by Lars Kolvig and BilleAugust about 3-perf equipment, discussionbegan with regards to the most suitable system. “It was important for the Steadicamshots that the camera be not only lightweight,but also as quiet as possible to enable us to shoot close-up dialogues too. My choicewas the ARRIFLEX 535B”, explains BjörnBlixt: “The advantage of ARRI’s movementis that you can easily change it from 4-perfto 3-perf film – in just a few hours. Addition-ally there is a Steadicam magazine and aspecial video viewfinder, making the systemparticularly lightweight. Together with the‘Digital Lab’ I see only advantages in using3-perf”, concludes Björn Blixt.

Hans Hansson, FSF/ JT

PHO

TOS

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LF K

ON

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The name in no way promises too much: this action film set

against the Tyrolean Alps shows how close a wonderful glacier

idyll can be to a deadly inferno. This had not quite been the

plan of an American advertising filmteam: While trying to film

a spectacular avalanche sequence, the group ends up in

an isolated area of the Austrian alps. Here they come across

a Serbian war criminal believed to be dead, and his terrorist

group. Out of this undesirable encounter – for both parties –

a dramatic chase ensues during which the advertising

specialist Ian and his team are not only trying to flee but are

also exposed to the unpredictable dangers of nature.

The film shots with breath-taking stunts for their top-class

advertising clients faint in comparison to the ultimate

struggle to survive.

The production team of Moshe Diamantand Jan Fantl have an international cast ofstars for their new film: Devon Sawa (FINALDESTINATION), Bridgette Wilson Sampras (I KNOW WHAT YOU DID LAST SUMMER), Rufus Sewell (A KNIGHT´S TALE), Joe Absolom(TOUCHING EVIL), Rupert Graves (THEMADNESS OF KING GEORGE), Heino Ferch(COMEDIAN HARMONISTS), Klaus Löwitsch(WAS TUN, WENN´S BRENNT, PETER STROHM)and Jana Pallaske (ALASKA.DE).

Director and action specialist Christian Duguay (THE ART OF WAR) and DoP HannesHubach (EMIL UND DIE DETEKTIVE) magicallycreate quite unbelievable shots with an un-leashed camera using Steadicam, remoteheads and several crane shots. The camerais thrown at breath-taking speed from onemotorbike rider to the other, sent plummetingto the depths with skydivers, only to be caughtby a wild-water rafter steering towards the

Reckless useof the camera

Steadicam use at shooting with the ski-rig

„the eXtremists“ High Tension in Ice and Snow

The same set – early morning, evening and night-time, and the whole lot withoutrearranging things if possible. Interestinglyenough, artificial snow changes the colourtemperature of the lamps during a day’sshooting, so “polishing our glasses” wasexactly what we had to do.

The challenges for the grip department were also unusual. As we were shooting onvarious mountains, we used two cranes. Wefilmed with one crane at a time while therigging crew was setting up the other one.So on the day of the shot we only had to install the remote head. Initially we had been worried a bit about the wind sensitivityof giraffes and scorpio cranes, but it wasn’ta problem. Before a crane like that takesoff, the actors will have flown away, eventhough all the cameras were equipped withrain deflectors.

To define the look of the film, thorough testswere filmed “on location” beforehand. Especially at this stage perfect collaborationbetween the DoP and the lab is extremelyimportant. For me this was a great advantagebecause at ARRI everything is in one place –my thanks also to Sepp Reidinger of the ARRI-lab and telecine-operator Manfred Turek.

Clemens Danzer

rapids of a raging waterfall. US$ 26.5 milliontotal budget was made available to the executive production company The CarouselPicture Company for these spectacular stunts, shooting at original locations withhelicopters, snowmobiles and everything else that can be utilized for a 35 mm featurefilm production.

All the lighting, grip and camera equipmentwas supplied by ARRI Rental in Munich. Agreat challenge for both the bookings andtechnical departments. DoP Hannes Hubachreports: “never say it’s impossible” is howI’d describe working with ARRI. Since wewere using so many cameras it was im-portant to me that all the lenses should beoptimally matched to each other. I chosethe ARRI Ultra Primes and Variable Primesbecause they are perfectly colour-matchedthroughout the focal range. The high qualitythroughout the complete picture area wasimportant to me too because many imageswere intentionally de-centred, i.e. actorsare seen at the edge of the frame even onblow-up shots. This is impossible with somelenses, particularly if shooting at almost full aperture. Under these extreme filmingconditions, night-time at 2,500 m above the ground and at temperatures as low as -15°C, I would like to stress that we didn’thave a single breakdown, not a scratch, nofilm jams. And the equipment wasn’t reallylooked after. Due to the compatibility of thecamera systems it was like a bazaar on theset. Just about anything could be swappedwith everything else. That was a great advantage on a multi-camera production.

Since at night we lit up entire mountainchains, I had honestly expected somelighting breakdowns. This can be a hugeproblem when 140 crew-members have towait for lights in the Alps. But even in thestrongest snowstorms all the lights keptgoing. Every now and then an electronicballast was sent to be “warmed up”. Since I definitely didn’t want to mix Day for Nightwith original night scenes, all the night scenes were shot as originals. This was ahuge challenge for my gaffer RonnySchwarz who managed it wonderfully. Wewere filming in remote areas where thereare no roads or even paths. The trucks arein the valley, miles away from the set. Theballoon light which we used at the start often had to be pulled in when storms cameup suddenly as it was threatening to breakaway, but that was the only thing.

In the studio block in Berlin we had quitedifferent problems: huge “ice locations”had to be set up in various lighting moods.

Director Christian Duguay (left) and DoP Hannes Hubach

FACTS:

Locations, filming duration: Austria, Berlin (studio),Canada, 85 days’ filming in totalBudget: US$ 26.5 millionTeam: approx. 140Filming format: 1:2.35 Super 35filmstocks used: Kodak 5285 Reversal,Kodak5245, Kodak 5246, Kodak Expression 5284Cameras: 2 ARRIFLEX 435, 2 ARRIFLEX 535 B,1 Moviecam SL, 1 ARRIFLEX 35 III, 1 ARRIFLEX 35 IIcLenses: ARRI Ultra Primes, ARRI Variable Primes, Angenieux 17 – 102 mm,Angenieux 25 – 250 mm HRGrip: Chapman Dolly, Magnum Dolly, GiraffeCrane, Scorpio Crane, 3-axis remote systemLighting: ARRI Daylight ranging from Pocket Parto 18 kW, Aurasofts, Balloonlight

CREW:

Producer: Moshe Diamant, Jan FantlProduction: The Carousel Picture CompanyExecutive Producer: Frank HübnerService Producer: Romain SchroederLine Producer: Michael ScheelDirector: Christian DuguayDirector of Photography: Hannes Hubach1st Assistant Camera: Mark Hoffmann, Bernhard Wagner2nd Assistant Camera: Helmut van der Wielen, Holger JoosProduction Designer: Philip HarrisonGaffer: Ronnie SchwarzGrip: Klaus Niemeier, Harald PeterSound Mixer: Ed CantuSpecial Effects Supervisor: Uli NefzerStunt Coordinator: Tom Delmare, Xin Xin XiongVisual Effects Supervisor: Stephane LandryLab: ARRI MünchenRental: ARRI München Lights, Grip, Camera

Using a helicopter in the alps and the studio

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The process for the digital lab is as easy as its possibilities are fascinatingly varied: after Avid editing a scanlist is generatedbased on the edit decision list (EDL). Thenegative is then selectively scanned in1920 ∞1080 resolution and “parked” un-compressed on an HD-disc recorder untilthe colour-timer brings the frames into thedesired aesthetic form. The final colour-timed film is transferred to a second disc recorder and recorded back scene-by-scenevia the ARRILASER onto the practicallygrainless 35 mm Kodak intermediate stock5244 – in the desired format 1:1.85 or Cinemascope. Then only slight adjustmentsare necessary in the lab. The digital datafrom the finished film is stored on HD-D5or HD-Cam and can be downloaded at anytime into different TV-formats (PAL; NTSC,4:3, 16:9 PAL+, 16:9 Letterbox …) or exposed onto further 35 mm negatives asrequired.

Before shooting MONDSCHEINTARIF AndreasSchneppe, Hager Moss Film’s line producer,ARRI Digital Film and lab line producerSepp Reidinger thoroughly discussed theprocess. They very quickly settled on the

MONDSCHEINTARIFat ARRI Digital Film

The pioneering spirit has taken

hold of production company Hager

Moss: the renowned Munich film

production is trying out the digital

lab for the first time with their film

MONDSCHEINTARIF. This is already

the fourth feature film since autumn

2000 to be completely processed

this way at ARRI Digital Film, the

others being WIE FEUER UND FLAMME

(X-Filme), BE.ANGELED (@lounge)

and ALL THE QUEEN’S MEN

(Streamline).

Thomson Spirit – a new way of processingmotion pictures: digital colour-timing. SeppReidinger acted as an interface betweentraditional and new techniques. Since thefilm is made up of different layers, a greatdeal of attention was given to colour-timingand design in the early stages.

Angela Reedwisch, manager of ARRIDigital Film, explains: ”If you attempt tocreate a suitable look using conventionallab methods, you very quickly reach the limits of the process. Selective colour-timing iseven impossible using analogue methods.So we had the idea of going the digitalway with the Spirit from the outset.” JürgenSchopper, creative director, continues:”MONDSCHEINTARIF wasn’t intended to looklike one of those sugary German comedies.It was supposed to be cooler, more European,with a slight touch of the French film. Andwe saw great potential in the Spirit – cor-rectly, as it turned out.”

Director Ralf Huettner: ”We are now gettingresults which we couldn’t have shot before –and not only on complex effects and actionscenes. You don’t have to just accept things

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which you couldn’t influence before – tempo,colour, light – everything can be altered.”Huettner (MUSTERKNABEN, UM DIE 30) learnedthe trade of film-making the traditional wayat the Munich HFF filmschool. The newtechnology he knows already from the timehe spent making commercials. He sees notonly enormous possibilities, but also creativedangers: ”The more you can influence theimages, the more responsibility you have forthem. The possibilities are very seductive,but in terms of their aesthetic effect they haveto be used properly. It’s a creative decision.”

The spectrum of digital post-production atARRI extended from retouches (sometimesinvolving the removal of entire people), rotoscoping jobs, image stabilisation andacceleration (including digital motion blur)through greenscreen composites to complexwire removals and elaborate multi-layeringshots. But also graphic effects were calledfor, e.g. five takes with revolving motion, orhatching with a visible feltpen look.

For the digital image processing and designof MONDSCHEINTARIF at ARRI Digital Film,as well as the film compositing software

”Shake” (Nothing Real) and ”Cineon” (Ko-dak), also ”Inferno” by discreet logic wasused. Technical supervisor Holger Spill coordinated the digital lab, a new and important role. Birgit Steffan did the highresolution colour-timing (using HD TelecineSpirit, Digital Colour Processor Pixi fromPandora and DVNR).

In collaboration with DoP Tommy Wildner aquite unique look was chosen and intensivework done with image-masks. For examplea funeral scene in which the main actress isquite literally out in the rain. ”During filmingwe had perfectly blue skies. In the foregroundwe had simulated rain, but the backgroundsky was blue. With traditional digital filmcompositing software it would have beenvery difficult to separate and isolate the raindrops. We only needed a basic moodand we were able to create this very wellon the Spirit by altering the sky to a moregrey tone”, Jürgen Schopper recalls. Thecolour-timing process for the whole projecttook approximately three weeks.

Super-Imposing titles and SFX-shots was doneparallel to the colour-timing. The most spec-tacular and complex effects shot in MOND-SCHEINTARIF: the main actress imagines agrand piano falling out of the fifth floor and crushing her rival. The whole thing istold in the film to make it seem as if it reallyhappens. For an exterior shot in Berlin a streetcafé was recreated. A basic background of just the street café was shot first, then variations, so-called ”layers” or plates withpassers-by looking shocked, and the mainactress. Specialists had prepared two grandpianos which were pulled up from the thirdfloor on safety wires and then sent crashing tothe ground without the safety wires, crushingthe table where in the finished shot the mainactress will be sitting. All these elements werethen combined in the digital composite.Schopper: ”The problem was that shootingtook the entire day. So the light situationschanged constantly and the sun moved180° around the set. For this reason manyelements had to be separated. We then found an additional two single layers withfluffy clouds in our picture archives and setthem over the whole thing.” As an additionaleffect the crash of the piano was so designedas to make the entire image shake. As if theground was shaken so much that even thecamera, or rather the spectator, shakes too.Ralf Huettner: ”We couldn’t have shot thescene like this with conventional means. Itwould have been too complex. But that’sthe great thing about digital work: the tricksare great and not exorbitantly expensive –the things that previously only Spielberg

and the great American directors could afford, we can now too.”

Not only did they reach into their magicbox of tricks for the images, but also for thesound. Mixing was done in 6-channel DolbyDigital. ARRI sound engineer TschangisCharokh worked on the sound for four weekswith Ralf Huettner to get a perfect harmonybetween image and sound.

MONDSCHEINTARIF starts in German cinemasin October. By then a new high resolutionmotion picture will be going through thecolour-timing process on the Spirit at ARRI:TATTOO (director Robert Schwentke, cameraJan Fehse, production @Lounge Entertain-ment).

Jochen Hähnel, Jürgen Schopper, Angela Reedwisch

(f.l.t.r.): Thilo Gottschling, Jürgen Schopper, KlausWuchta, Marian Mavrovich, Steven Stueart, Angela Reedwisch, Christian Zeh and Holger Spill

Creative Director: Jürgen SchopperFilm Compositor: Marian Mavrovic, Christian Zeh, Klaus Wuchta, Michael LanzensbergerTechnical Supervisor Digital Lab: Holger SpillHD-Scanning Coordinator: Andreas KernDigital Light Design: Birgit SteffanARRILASER Film Recording: Thilo GottschlingLine Producer Lab: Josef ReidingerLight Design Lab: Ingrid LingenbergEditing: Horst ReiterSound Engineer: Tschangis Charokh

Super 35 for Commercialsor: The Right Choice of Lenses

Zeiss Ultra Primes. They are wonderfullysharp edge-to-edge, cover the entire Super35 picture area, and display muchless flare than their ancestors.

I have used the Cooke S4 Primes on manyjobs. The first time I tried the Zeiss Ultra Primes was on a Neutrogena commercialin Los Angeles. We needed to film JenniferLove Hewitt handheld all day, so we renteda MoviecamSL package from Otto NemenzInternational. A partial set of Ultra Primeshad just arrived. I was anxious to comparethe two brands. It’s a very tough choice.They are both superb sets of lenses. It wasvery hard to tell the difference in dailies: youcould probably intercut the two togetherwith no sleep lost. Sharpness and contrastare magnificent on both. If you intercutStandards, SuperSpeeds or older Cookes,you’ll notice more flare, blacks that aren’t as rich, and things won’t look as sharp.

What about the differences? The Ultra Primes are somewhat smaller and lighter,and they are less expensive than the Cookes. The Cookes seem mechanicallysmoother, the barrel scales are more expanded and the footage marks are

spaced the same distance on every lens.Other than that, if I were a rental house, I would probably want to carry both. As a cameraman, I’m delighted to have available two wonderful new sets of lensesthat cover Super 35, reduce flare and increase sharpness.

There are a couple of things to keep inmind when shooting Super 35: There are a number of variations on the Super 35 format, and different rental houses haveadopted their own nomenclature from “bigTV” to “little TV” to “full frame super35”.Always shoot a framing chart before thejob, and make sure the lab and telecine facility process that roll first.

Jon Fauer

For years, we’ve shot in TV format withinthe Academy aperture, which anticipatesprojection in a movie theater and leaves aband on the left side of picture area for thesound track. But we don’t need a soundtrack when transferring to tape – so whynot use the entire full aperture?

Well, the reason I delayed shootingcommercials in Super 35 was because oflenses. Our favorite zoom lenses vignetteat the wide end. Sometimes it’s hard to see the vignetting on the groundglass – butif you aim the camera at a white wall orshowcard, the dreaded darkening aroundthe edges is there. The first scene (showntop left) was shot at the wide end of a 5:1 zoom lens, and demonstrates this slightdarkening around the edges. The only zoomlenses for ARRI cameras that I have foundto cover the entire Super 35 picture area so far are the Zeiss T2.2 Variable Primes(16 – 30 mm, 29 – 60 mm, 55 –105 mm)and the Angenieux Optimo 24 – 290 mmT2.8 zoom. Most of the Zeiss Standards andSuperSpeeds cover, but I’m not convincedthe edges are as sharp. The big impetus toshoot Super 35 came, for me, with the in-troduction of the Cooke S4 Primes and the

I was talking to our contact at the lab the other day. I mentioned that

we would be shooting in Super 35 – also known as SuperTV or ‘Full-Frame,

Centered’. He wondered why commercials are still shot in Standard 35.

Since the picture area of Super 35 is about 32 % larger, the image looks sharper

and shows significantly less grain when transferred to tape on a telecine.

Jon Fauer

FOR THE DIGITAL IMAGE. Bill Holshevnikoff:“Creative lighting and the use of filters aretwo extremely important visual elementswhen shooting digitally. In my workshop Idemonstrate the latest lighting equipmentand explain the best ways to use it. The focus is on equipment and techniques forthe digital revolution – from Mini DV to 24p High Definition. The workshop for 30to 40 participants has been on the road since September 2000. By the end of 2001Bill will have visited twelve cities in the US and Canada. In the six-hour seminar allthe key topics are covered: from lightingpeople to location lighting to multi-cameraproductions.

Bill Holshevnikoff is an accomplished DoP,lighting designer and also an industry leader in lighting education in the US. Foralmost a decade he has been travellingaround the US and Canada, training filmand video professionals – and amongothers, he wrote the workshop series THEPOWER OF L IGHTING, and a number ofbooks and publications. So it’s no surprisethat professionals from almost all major US TV networks and cable channels have already taken part in his workshops, wherehe teaches lighting theory and techniques.

The newest variation on this theme is Bill’sseries entitled LIGHTING AND SHOOTING

Carly Barber, Jeff Pentek and Kevin Stolpe,three experts in the field of lighting and power generation, with Christopher Wood-ward as CFO, recently opened their newoperation, Illumination Dynamics. IlluminationDynamics provides lighting and power generation rental equipment and technicalservices to the Motion Picture, Television,Special Event and Sports Broadcast marketsthroughout North America. The company isconveniently located in two prime entertain-ment communities, with its headquarters inLos Angeles, CA and an East coast divisionin Charlotte, NC.

I l lumination Dynamics, Inc.

On the Road againIn his seminars Bill uses various ARRIkits and a variety of Tungsten and HMIlighting to demonstrate the many differenttechniques. He very much likes the range in the ARRI lighting kits – especially thenew Softbank D kit – as they provide theperfect combination for use with digital cameras: “The new, highly light sensitive digital cameras have changed the tech-niques and lighting requirements tremen-dously. ARRI quickly responded to thistrend by introducing wattage-reducedlighting kits which still maintain full lightingcontrol and quality.”

A collaboration beneficial to both sidesgrew out of his enthusiasm: Bill wrote THEARRI LIGHTING HANDBOOK, a valuable reference work for users of ARRI lighting kits.The book contains images and diagramsshowing various creative lighting set-ups.Another of Bill’s educational accomplish-ments is THE POWER OF L IGHTING video series, a six volume video series, which provides comprehensive lighting techniquesand theories that can be applied to all levels of videography and filmmaking.Bill Holshevnikoff’s website is: www.power-of-lighting.com

Margaret Regan-Smith

“Since the three of us left our previous management positions, we have been inun-dated with phone calls offering equipment,support and business opportunities,” saidCarly Barber, Illumination Dynamics President. “We are extraordinarily excitedto form Illumination Dynamics to provide innovative lighting and power solutions tothe entertainment industry.” She added,“our focus will be on first class equipment,with excellent technical service and support.The key to this is choosing the manufacturerswho provide the best, most reliable equip-ment and superior product support. Our

positive experiences and long relationshipswith ARRI made our choice for motion picture lighting equipment easy.”

Given the great experience and expertiseof the founding partners, we are pleasedthat they have chosen ARRI as their princi-pal supplier of location lighting luminaries.

F. Wieser

New Light Shining over L.A.

Christopher Woodward, CFO; Carly Barber, President;

Kevin Stolpe, VP Sales and Marketing

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ARRI Canada is pleased to announce the appointment of David Rosengarten as their new President. In succeeding Duncan Morrisonwho assumes the duties of Chairman, David brings an extensivebackground in executive management in both the industrial andconsumer segments of industry. With his belief in customer service,ARRI Canada will continue to deliver both the products and servicesat the highest level. We welcome David to the ARRI team and lookforward to the continued success of our Canadian organizationunder his guidance. David Rosengarten can be reached at:

Tom Weihmayr was appointed to the position of Director – LightingSales, effective April 2001.

His background includes a solid knowledge of lamps, fixtures andballasts. He has worked for PS Production Services Limited as wellas his own enterprise, Alexavision Canada Inc. TomWeihmayr is nostranger to our industry, having established a good working relation-ship with all of our major customers in his previous endeavours. Inthese capacities, he has represented other fixture manufacturers, aswell as the Koto (now distributed by General Electric) brand of lamps.

It is also good to know that experience in the film industry runs inhis family. Mr. Richard Weihmayr (his uncle) worked as a cameraoperator in Germany on EIN TOTER PACKT DIE KOFFER(1961)and AXEL MUNTHE – DAS BUCH VON SAN MICHELE (1962). Hisgreat uncle, Mr. Franz Weihmayr, was also a camera operatorwhose celebrated career spanned over 3 decades of Germanfilmmaking.

We would like to welcome Tom to our team and look forward to along and prosperous relationship with him. Tom can be reached at:

ARRI Canada Limited415 Horner Avenue, Unit 11Etobicoke, Ontario M8W 4W3Tel.: 416-255-3335Fax: 416-255-3399otweihmayr@arrican.com

TOM WEIHMAYR

R e l i c H u n t e r

ARRI Canada Limited415 Horner Avenue, Unit 11Etobicoke, Ontario M8W 4W3Tel.: 416-255-3335Fax: 416-255-3399david@arrican.com

DAVID ROSENGARTEN

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Tia Carrere

ARRICanada

Look who’s filming Canada

In this highly-rated, weekly, one-hour action-adventure series,

unorthodox Professor of Ancient Civilizations Sydney Fox (Tia Carrere)

moonlights as an impassioned explorer.

She crosses the globe in pursuit of history’smost fabled treasures and rare stolen arte-facts – from the four-thousand-year-old bowlof Siddhartha to a 1946 baseball glove, whichwas rumoured to have the power to transforman ordinary player into a legendary one.With her vast academic knowledge, SydneyFox brings history to life for her students.But with her passion for adventure and herrelentless pursuit of lost relics, she brings lifeto history for the viewers of this exciting series.

The shows producers decided to film in Toronto“because it has the diversity of environ-ments … needed to create the show … TheUniversity of Toronto became an anchor forthe series. Because of the stonework, it candouble as a castle, a monastery or a college,”says Executive Producer Adam Haight. Inits first two seasons, the show has createdthe illusion of travelling to Nepal, Berlin,Switzerland, Greece and Rome.

The Star – Tia Carrere“Sydney Fox is a maverick,” says Carrereof her character, whose free-spirited natureseems perfectly suited to her own. “She hasmany unconventional and unorthodox waysof reaching her goals, and that’s what makesher interesting and compelling to watch. Andshe not only surprises the audience, she surprises me as an actor.”

“Tia is obviously a renowned beauty, andaction star,” adds Haight, “but the seriesprovides her an opportunity to try new things,and to get into areas of warmth and humourwhich are really going to appeal to viewers.”

The Director of Photography – Alwyn Kumst, CSCAlwyn Kumst was born in Johannesburg,South Africa, and began his career as aphotographer working with his stepfatherbefore serving in the South African Navy.The service took him to 38 different countries,shooting war footage often in less-than-idealconditions – needless to say, quick set-upsbecame his specialty. He prides himself onhis speed, saying that he prefers to set upquickly and then make small adjustmentsduring rehearsals as this gives the actorsand directors more time to become comfort-able with their surroundings.

Alwyn Kumst is no stranger to televisionproduction. It will then not be a surprise thathe is also no stranger to the ARRI product.The versatility and reliability of ARRI fixturesin general, and the nature of this show inparticular are the reasons that Mr. Kumstdecided to rely on our product. Currentlyon set we find 650W, 1K and 2K ARRIPlus, ARRISUN 40/25 and 120 fixtures.

The ARRISUN 120 was fitted with a giantChimera soft box (Kumst’s own), the daywe spoke with Mr. Kumst on a recent visit to the set.

“The challenge of Relic Hunter is that it requires so many different types of lightingto accommodate the various colours andmoods of the sets,” says Kumst. “I prefer touse ARRI fixtures for all studio and locationscenes because a beam angle is one thingbut the useable beam angle is what I ammost concerned with. ARRI fixtures providethe same, consistent useable beam angleregardless of the age of the fixture. That ispeace of mind for a DoP.”

When asked how ARRI fixtures perform inextreme weather conditions, Mr. Kumst said,“I have used ARRI in the jungle and in thedesert, in the summer and in the winter – inmany different countries – all with the samereliable results. During the next few months,the production crew will be shooting in Spainand the UK,” Mr. Kumst said. “ARRI willcertainly be a part of my wish list.”

We certainly hope your wishes come true.

Some of Alwyn Kumst’s previous creditsinclude Peter Benchley’s AMAZON, THEADVENTURES OF SINBAD, MYSTERIOUSISLAND and DERBY. His feature film, THEDIVINE RYANS was nominated for a CanadianGenie Award in 2000. We at ARRI Canadawould like to thank Mr. Kumst, Peter Genrich(Chief Lighting Technician), Aisling Clancy(Publicity) and the entire cast and crew ofRelic Hunter for their time and effort in helpingus put this article together.

Tom Weihmayr

DoP Alwyn Kumst, director Ian Toynton, actor Adrian Paul (f.r.t.l.)

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Mr De Filippi, scenic and technical directorof the Arena, has been working here for 29 years. For refurbishments in the 2001opera season he wanted the best possibleequipment, since one of the biggest technicalchallenges is presented by the distances inside the arena, which is 138 m long.

The season opened with ”Il Trovatore” incommemoration of the 100th anniversary ofGiuseppe Verdi’s death. Franco Zefferelliwas director and responsible for sets. Agood reason to renew the lighting concept.After intensive market research, Mr De Filippicontracted the film engineering companyDecima from Padua to do the lighting. Afterthorough on-site testing with Franco Zefferelliand Paolo Mazzon (lighting designer in thearena) a lamphead was chosen which wasnot specifically designed for use in the theatre:the ARRISUN 40/25 – equipped with col-our scrollers, shutters, spill frames (designedby Randall Miles) and DMX-controlled ballasts. It was too late to completely equipthe arena with ARRISUNs for the 2001season. So to begin with 12 lampheads were installed and the remainder will

Arena di VeronaAnyone who has experienced the magic of an evening opera performance in the Arena di Verona will never

forget it: hundreds of burning candles, lit up in the darkness just before the start of the performance. Then opera

starts and the lights go on – as of this year, ARRI lights.

HISTORY

The Arena di Verona was built in the 1st century AD under the Emperor Augustus. It is 138.77 m long, and the interior oval measures 73.68 ∞ 44.53 m.The auditorium is formed by 45 steps each 45 cm high. On Verdi’s 100th

birthday the opera season opened on10th August 1913 with a performance of ”Aida” in the presence of Giacomo Puccini, Pietro Mascagni, Maxim Gorkiand Franz Kafka. Today the season hosts40 performances drawing approximately600.000 spectators.

The 2001 season is dedicated to GiuseppeVerdi with ”La Traviata”, ”Aida”, ”Nabucco”,”Il Trovatore” and ”Rigoletto”. In 2002Verdi operas are also in the programme,including a new interpretation of ”Aida”by Franco Zefferelli.

be supplied after the season ends. Even now however, the ”visible” success was enthusiastically received by the public.Most satisfied however were the technicians:finally a really powerful light source whichcan also be used easily in a classical theatre.The ARRISUN can still perfectly illuminatethe set from a large distance, without spilllight and even though it was not designedas a profile.

Antonio Cazzaniga

Scenic and technical director De Filippi

The ARRISUN 40/25

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Setting up the scenery at the ARROW Studios

At the Taipei symposium

Hao Zhi Guo (Jebsen), Guo Dongmei (Jebsen), Randall Miles (ARRI GB), Grace Wang Ying (Jebsen),Wilfried Brauckmann (B & S), Alan Mordue (ARRI GB),Reinhard Kulterer (ARRI Munich)

China and Taiwan Lighting/Ballast Seminars

Reinhard Kulterer, Randall Miles and AlanMordue from ARRI Group, and WilfriedBrauckmann from B & S conducted seminarsin Shanghai, Beijing and Taipei, and metwith a vast array of customers to obtain firsthand information for the specific demandsof the Chinese market. The format of theseminars was to offer lighting and ballastproduct information in English with Mandarintranslation.

The first seminar was held at the ShanghaiFilm Studios and was attended by approxi-mately seventy delegates including not onlyall important Film and TV studios from thisregion, but even from far away as fromHunan; Fujian Film Studio and Guongzhoupeople flew in to attend. Staff from rentalhouses and advertising companies also attended.

The second seminar was conducted in Beijing at the Beijing Film Academy, andwas improved upon after all the experiencesand customer feedback from Shanghai.Here ARRI had almost two hundred peopleattend from TV and Film studios, rental houses, production companies, freelancelighting engineers and students from theFilm Academy.

Following each of the seminar sessions, ARRIenjoyed customer visits within the Shanghai,Beijing, Guangzhou and Hong Kong regions,which enabled ARRI to see exactly how therange of lighting and ballast products wereused in these territories and to answer anyspecific customer queries.

Another two hundred customers attended a seminar in Taipei, quite a large numberconsidering the size of the territory.

Alan Mordue, International Lighting Salesrepresentative, concludes that the successof the seminars was based on the close discussions and feedback that took placebetween ARRI and its customers in this region. ”ARRI recognises the need to traincustomers in their own territories due to language and cost constraints associatedwith people visiting Europe. Meeting cus-tomers in their own environments providesARRI with an increased understanding of how we can best serve each specificmarket – both now and in the future.“

The response from the delegates was so positive that the industry has asked for ARRI to arrange similar seminars in Chinaand Taiwan every two years and to includeDoP lighting workshops, camera and ARRILASER workshops and increased technical training.

ARRI would like to thank our hosts for theirsuperb support on the tour – Grace WangYing; Pearl Guo Dongmei, June Fung fromJebsen&Co Ltd; Mr. Luo Baohe ShanghaiFilm Studio, Prof. Zhang Huijun from Beijing Film Academy and David Chioufrom Cheng Seng Trading, Taiwan.

Elizabeth Ballantyne

For many years China has been an important market for ARRI Lighting.

The Jebsen organisation has strengthened its local operations through

a network of nine representative offices located in various cities of

People´s Republic of China to develop this growing market. To support

this growth, ARRI organized a three week lighting and ballast

seminar-tour through the region during May/June 2001.

34

N A C • J A P A NNAC Image Technology was founded in1958 in Tokyo. Since then NAC has sup-plied and participated in major national andinternational events, including the TokyoOlympics (official film, 1964), the OsakaWorld Expo (1970), the Sapporo WinterOlympics (official film, 1972), the TsukubaScientific Expo (real-time film recorder andreal-time film scanner,1985) and the NaganoWinter Olympics (ARRI lighting, 1998).

Kenichi Ueki (40), became the new presidentof NAC Image Technology on February 1st 2001. With his young management teamUeki is leading NAC into the 21st century.He says: “I am very pleased to be able topresent the first ARRICAM in Asia in October. I also intend to expand NAC’s business by getting together the power ofthe younger generation in the company.The NAC FAIR is an important event withwhich we would like to take a step forwardwith our new company system.”

NAC RentalFounded in 1976, NAC Rental this year celebrates its 25th anniversary. The rentalbusiness with ARRIFLEX film cameras hasregistered continuous growth and currentlyhas13 employees and over 60 cameras. InJapan the majority of all films is made withARRI equipment. Over 50 are suppliedeach year, including:GOHATTO (director: Nagisa Oshima, DoP: Toyomichi Kurita)HANABI (director: Takeshi Kitano, DoP: Hideo Yamamoto)BROTHER (director: Takeshi Kitano, DoP: Katsumi Yanagishima)POPPOYA (director: Yasuo Furuhata, DoP: Daisaku Kimura)HOTARU (director: Yasuo Furuhata, DoP: Daisaku Kimura)

Another Aspect of NACThe origins of NAC Image Technology are in feature film technology. Through theelectronics evolution the business area is today considerably more varied: imagetechnology is applied in many other areas.In their factory in Yokohama, NAC manu-factures various systems including a rangeof high-speed cameras. The production sitewas renovated in 1991. Approximately100 employees are involved in the areas ofR&D, manufacturing electro-optical systemsand high-speed video cameras. These products are used worldwide in research,the aerospace and automotive industries, in academic research and studies and insports analysis.

ARRICAM at NAC in JapanNAC has been ARRI’s business partner sincethe early 80s and supplies the Japanesefilm industry with cameras, lights and theARRILASER. Over 80 % of all films madein Japan are filmed with ARRI cameras andlighting equipment. After the ARRICAMpresentations in Europe and the US, NACwill present the new system in October atthe “NAC FAIR”.

In their recently expanded premises, NACwill in future also promote ARRI products intheir rental and sales areas. A new rentaldepartment with the ARRICAM systemswill also be opened in October.

ARRICAM Presentation

Date: 25th and 26th October 2001Location: NAC headquarters

1st floor, 8 – 7 Sanbancho Chiyoda-ku, Tokio 102-0075Tel.: +81-3-5211-7960Fax: +81-3-5211-7975

NAC headoffice in Tokio

NAC Rental Team

35

Born in 1960 in Tokyo, KenichiUeki majored in managementengineering at Tokai University.After graduating in1983 he spent13 years at Marubeni marketingcomputer network systems. In1995 he joined NAC where hewas responsible for marketingphotographic equipment andcompany planning. In February2001 he was appointed presidentof NAC.

Kenichi Ueki

Japanese Cherry Blossoms

Cherry trees by the Nogawa river

People in Japan have two favourites: MountFuji and the cherry tree. Every year, theyhave their world famous celebrations of thelong awaited spring and the cherry blossom.

The premises of ARRI lighting equipmentcustomer ARC Systems are located along atiny river called Nogawa. The banks of thisriver are lined up with hundeds of cherrytrees, so what is more natural to the Japanesesoul than to volunteer to light this beautifulscene for the celebrations. For the past fouryears Mr. Muto, president of ARC Systemshas provided a comprehensive package ofARRI luminaires to light up the cherry treesin the evening for all neighbors, friends andspring lovers to enjoy the cherry tree festival.

This year, he invited all employees, their fam-ilies and customers to a special celebration,and of course to enjoy the peaceful andcontemplative sight. Also for the first timethe local TV stations took the chance toextensively document this event – this wayARRI lighting contributed to a thousandyear old historical Japanese tradition, thecherry blossom festival.

JT

36

Derrick Ross’s loyalty to the company has beenevident since he first set up ARRI’s UK subsid-iary in 1983. At that time, the German-ownedcompany was looking to develop a marketpresence in lighting and film laboratory equip-ment to complement its highly successful salesof movie cameras. Ross, then Marketing Directorof Rank Strand, was targeted for the job andhe was quick to take up the challenge of com-peting with his old employer for a leadingposition in the market. He took his PA, BarbaraGould, with him and, colleague Paul Wildwas appointed lighting sales director. Alongwith a 15-strong team, the business went fromstrength to strength and within 10 years ARRIGB was outperforming Strand, Desisti and LTM,not to mention a handful of US companies.

Under Derrick’s leadership, turnover grew from£1m in the first year to a current £30m. ARRI GB now has two successful subsidiaries,a world-wide network of over 40 distributorswith operations in the Middle East, EasternEurope and China, and over 150 employeesat its UK head office.

But Barbara Gould remembers their humblerbeginnings back in the early 80’s. “We startedoff in a small office above a stationery shopin Weybridge” she recalls. “Now we’ve got55,000 square feet in a prime business location – and we’re about to relocate againto accommodate further expansion.”

Although Barbara has seen enormous changesover 18 years with ARRI GB, she confirmsthat Derrick is unchanged by achievement,and has been a consistently caring employer,leading from the background as a calm, steadyforce behind the business’s success. Alongwith every member of staff, she found him always approachable.

Long-time colleague Renos Louka admires thebreadth of Derrick’s business knowledge, gainedthrough a background as service manager anddiverse interests from computers to accountancy.“Although mostly self-taught, Derrick valuedhis business education with The Rank Organi-sation. The traditional methods he was trainedto use then still apply today and have madeDerrick the true business allrounder he is. Youdon’t get many people who are as knowledge-

able on all aspects of the day-to-day runningof a company as he is.”

Renos also appreciates the snippets of wisdomDerrick regularly shared. “Derrick led byexample”, explains Renos. “One of his favouritesayings was ’You have to respect the position,if not the person.’ That and other advice hasstayed with me through my career.”

Another characteristic that Renos believescontributed to Derrick’s success was his circum-spection. Never one to give an instant responseto colleagues’ questions, he gave each problemthe same careful consideration before offering asolution. “I may have had to wait for an answerfrom Derrick, but his advice was more valuablefor the time he spent thinking things through.”

Derrick now lives on the Isle of Wight where heindulges in his hobbies of cricket, computersand family history. Although he has not beenactively involved in the day-to-day managementof ARRI GB for the past two years, Derrick’sbusiness methods and practices remain at thecore of the company’s philosophy. He leavesknowing he has built one of the most successfulbusinesses in its field, and that it will continuealong the lines he drew for many years to come.

Renos Louka/Elizabeth Ballantyne

ARRI GB says a Long Goodbye as Popular MD ret i res

It’s now been three years since

Derrick Ross announced his

intention to retire as Chief Executive

of ARRI GB. In characteristic style,

it wasn’t an impulsive decision, nor

as it turned out, a quick departure.

His on-going state of semi-retirement

was only finally made official on

31st May.

Renos Louka

37

ARRI Rental M U N I C H

Title Production Company Director DoP Equipment

DER SCHUH DES MANITU Herb X Michael Herbig Stephan Schuh 535AB, 535B, lighting /gripERKAN + STEFAN II Hofmann & Voges Axel Sand Stephan Schuh 535B, 435ES, ARRICAM LTGERMANIKUS Vision Film Hanns C. Müller Fred Schuler ARRICAM ST, ARRICAM LT, lighting /gripHAUS DER SCHWESTERN Ziegler Film Rolf von Sydow Lothar E. Stickelbrucks 16SR3, lighting /gripH.C. ANDERSEN Hallmark Philip Saville John Kenway 535B, ARRICAM ST, lighting /gripPARADISE FOUND – GAUGUIN Zen Productions Mario Andreacchio Geoffrey Simpson 435ES, Compact, SLUPRISING Studio Koliba Jon Avnet Denis Lenoir 435ES, Compact, SL, lighting /gripWIE DIE KARNICKEL Achterbahn Sven Unterwaldt jun. Klaus Liebertz 535B, Compact

A Selection of Currently Serviced

Productions

ARRI Media L O N D O N

Title DoP Equipment

ABOUT A BOY Remi Adefarasin BSC 535B, SLCHEQUERED PAST Ashley Rowe BSC 535BDOUBLE DOWN Chris Menges BSC Compact, SLMEAN MACHINE Alex Barber Compact, SLTHE ROCKET POST Richard Greatrex BSC CompactREVENGE Sean Bobbitt 16SR3 AdvancedTHE WAY WE LIVE NOW Chris Seager BSC 16SR3 AdvancedTHE SWISS FAMILY ROBINSON Ryszard Lenczewski Compact & SL

CSC N E W Y O R K

Title DoP Equipment

A BEAUTIFUL MIND Roger Deakins 535B, 435, lightingA CHRISTMAS STORY David Tumblety 535B, 435ESASH WEDNESDAY Russell Fine 535B, lightingEMMETT'S MARK Larry Sher 535BHYSTERICAL BLINDNESS Delan Quinn 535BIGBY GOES DOWN Wedigo von Schultzendorff 535B, lightingLEAP YEARS Robert Leacock 435, lightingMONDAY NIGHT MAYHEM Jonathan Freeman 16SR3THE LARAMIE PROJECT Terry Stacey 535B, MC SLWELCOME TO COLLINWOOD John DeBorman,

Lisa Rinzles/Chuck Minsky 535B, MCTEN 13 Glen Mordeci 535B

Erkan + Stefan II

38

ARRI Digital Fi lm CommercialsClient Production Company

Lego “Bob the Builder” Licht-Spiel-Haus FilmproduktionHipp “Babynahrung” Hager Moss CommercialAmnesty International “Schrei” Hager Moss CommercialDaimlerChrysler “Kobe Bryant” MPS Medienproduktion MünchenDaimlerChrysler “Mika Häkkinen / David Coulthard” MPS Medienproduktion MünchenDiebels “Outdoor” embassy of dreams FilmproduktionPolyglott “Londonbus” embassy of dreams FilmproduktionTelekom “T ISDN XXL” E&P Commercial DRS “clinic, hardrock” GAP Films Commercial ProduktionDulux “Löffelchen, Blume, Fische” GAP Films Commercial ProduktionSuva “pro, risk” GAP Films Commercial Produktion

ARRI Lighting Rental L O N D O N

Title Production Company DoP Gaffer

CHEQUERED PAST Working Title Ashley Rowe BSC Larry PrinzDOUBLE DOWN Double Down Ltd Chris Menges BSC Alex ScottJIMMY FIZZ Jimmy Fizz Ltd Duncan Humphreys Roger LoweMIKE BASSETT - ENGLAND MANAGER Hallmark Entertainment Mike Ely Paul MurphyROCKET POST Ultimate Pictures Richard Greatrex BSC Andy LongCRIME AND PUNISHMENT BBC Drama Eigil Bryld Andrew HamiltonOTHELLO LWT Daf Hobson Martin HealeySWEET REVENGE BBC Drama Sean Bobbitt Brian BeaumontTHE WAY WE LIVE NOW Deep Indigo Chris Seager BSC Stuart KingWALKING THE DEAD BBC Drama Nigel Walters / Graham Frake Andrew Taylor

ARRI Sound DubbingTitle Production

ALL THE QUEENS MEN Atlantic Streamline BORAN team WorxDER BRIEF DES KOSMONAUTEN Clasart FilmEPSTEINS NACHT MTM BerlinFAUST UND MEPHISTO Engram PicturesGERMANIKUS Vision FilmIGBY GOES DOWN Atlantic Streamline LOVE THE HARD WAY TiMe Film- und TV-ProduktionNICHTS BEREUEN Filmakademie Baden WürttembergNIRGENDWO IN AFRIKA Medien & Television MünchenPALERMO FLÜSTERT Solofilm Wolf GaudlitzSUCK MY DICK Helkon MediaWAS TUN WENN’S BRENNT Claussen & Wöbke

Foreign DubbingTitle Production

AMELIE Neue Tonfilm MünchenEVOLUTION Columbia TristarFINAL FANTASY Columbia TristarKNIGHTS TALE Columbia Tristar

SUCK MY DICK

“Outdoor”

“pro, risk”

ARRI TV Series and Fi lmsTitle Production

DER FELSEN Medien & Television MünchenDER SCHUH DES MANITU Herb XDIE CAMPER Columbia TriStarDIE VERBRECHEN DES PROFESSOR CAPELLARI Modern MediaDIE WACHE Endemol Entertainment MoovieDIENSTREISE Movie the art of entertainmentERKAN UND STEFAN II Goldkind ProduktionFAUST UND MEPHISTO Engram PicturesHIMMELREICH AUF ERDEN teamWorxIN DER MITTE DES LEBENS TV 60LOVE THE HARD WAY TiMe Film- und TV-ProduktionNIRGENDWO IN AFRIKA Medien & Television MünchenPARADISE FOUND – GAUGUIN Zen ProductionsRITAS WELT Columbia TriStarROSAMUNDE PILCHER Frankfurter FilmproduktionSUCK MY DICK Helkon MediaVERA BRÜHNE Constantin Filmproduktion

ARRI Digital Fi lmTitle Director Production Service

DER BRIEF DES KOSMONAUTEN Vladimir Torbica Clasart Film Digital Visual EffectsEPSTEINS NACHT Urs Egger Medien & Television München Digital Visual EffectsGERMANIKUS Hanns-Christian Müller Vision Film Digital Visual EffectsHEAVEN Tom Tykwer X Filme Creative Pool Digital Visual Effects, Title DesignICE PLANET Rick Kolbe TrailerH5B5 Digital Colour GradingLOVE THE HARD WAY Peter Sehr TiMe Film- und TV-Produktion Title DesignTATTOO Robert Schwentke @Lounge Entertainment Digital Lab, Digital Visual Effects, Title DesignTHERAPIE UND PRAXIS René Heisig Hager Moss Film Digital Visual EffectsWAS TUN WENN’S BRENNT Gregor Schnitzler Claussen & Wöbke Digital Colour Grading / Online

ICE PLANET

TATTOO

VERA BRÜHNE

HEAVEN

LOVE THE HARD WAY

Key Contacts

Support CameraGünther ZoehD - 89 - 38 09- 1209gzoeh@arri.de

Camera Rental, MunichClemens DanzerD - 89 - 38 09 - 1240cdanzer@arri.de

Lighting Rental, MunichHubertus Prinz von HohenzollernD - 89 - 38 09 - 1345hhohenzollern@arri.de

ARRI DigitalfilmAngela ReedwischD - 89 - 38 09 - 1574areedwisch@arri.de

ARRI SoundMax Rammler-RogallD - 89 - 38 09 - 1628mrammler-rogall@arri.de

LaboratoryJosef ReidingerD - 89 - 38 09 - 1339jreidinger@arri.de

ARRI GB Ltd.Renos LoukaGB - 2 08 - 8 48 88 81rlouka@arri-gb.com

ARRI MediaPhilip CooperGB - 2 08 - 5 73 22 55pcooper@arrimedia.com

ARRI Lighting RentalTim RossGB - 2 08 - 5 61 67 00tross@arrirental.com

ARRI Inc.Franz WieserUSA - 8 45 - 3 53 14 00fwieser@arri.com

CSC Camera Service Center Hardwrick JohnsonUSA - 2 12 - 7 57 09 06hjohnson@cameraservice.com

ARRI CanadaDavid RosengartenCDN - 4 16 - 2 55 33 35david@arrican.com

ARRI ItaliaAntonio CazzanigaI - 2 - 26 22 71 75acazzaniga@arri.it

http://www.arri.com

Arnold & Richter Cine Technik Türkenstraße 89D-80799 MünchenTel. D - 89 - 38 09 - 0Fax D - 89 - 38 09 - 1791

Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 München Editor, editorial office, text: Jochen Thieser (Ltg.), Marita MüllerWith additional text by: Elizabeth Ballantyne, Gerd Böhm, Antonio Cazzaniga, Y. Clanet, Clemens Danzer, J.L. Deriaz, Jon Fauer, Lloyd Forcellini, Jochen Hähnel, Hans Hansson, Robert Kandleinsberger, Dodo Lazarowicz, Renos Louka, Judith Petty, Thomas Popp, Angela Reedwisch, Margaret Regan-Smith, Jürgen Schopper, Joe Sheehan,Dr. Johannes Steurer, Tom Weihmayr, Ulla ZwickerArtwork: Heilig, Schmid/Beisenherz, München Printed by: rapp-druck GmbH, Flintsbach Litho: EDTZ, Ottobrunn

Technical data are subject to change without notice

Expo Calendar

These are the most important exhibitions where you can find out aboutARRI products and services:

2001

September 14 – 18 IBC Amsterdam

October 04 – 08 IBTS Mailand

October 10 – 13 LLB Stockholm

October 23 – 26 Satis Paris

November 01 – 03 Broadcast India Mumbai

November 02 – 04 LDI Orlando

November 14 – 16 Interbee Tokyo

2002

March 13 – 17 Prolight + Sound Frankfurt

March 24 – 27 SIB Rimini

April 08 – 11 NAB Las Vegas