I s s u e 0 9 / 2 0 0 2

M A Y B A C H

A R R I M O T I O N

3 - P E R F

E M M Y A W A R D

A R R I C O M PA C T 1 2 , 0 0 0 W

A R R I 3 - P E R F M O V E M E N T

A R R I U LT R A P R I M E S

N E W S

A R R I C A M

0 4 A R R I M O T I O N

0 6 A R R I C A M 3 - P e r f M o v e m e n t

A R R I C A M L i t e U n i v e r s a l V i e w f i n d e r

To p L o a d A d a p t e r 2

0 7 A R R I C A M S t u d i o L D B A d a p t e r

L e n s D a t a D i s p l a y F P

F E M - 2 f o r A R R I F L E X 4 3 5 A d v a n c e d

0 8 I n - C a m e r a S l a t e R e a d e r

T i m i n g S h i f t B o x

0 9 N e w A R R I U LT R A P R I M E S L e n s e s

1 0 L o s A n g e l e s d e b u t s t h e A R R I C A M

1 1 C l a i r m o n t C a m e r a o r d e r s 2 0 A R R I C A M S

1 2 A R R I C A M L a u n c h e s i n A s i a

H o n g K o n g , B e i j i n g , S e o u l , S i n g a p o r e

1 4 A R R I C A M P r e s e n t a t i o n s

I t a l y – M e x i c o – H u n g a r y

1 6 A R R I S K Y PA N E L

1 7 A R R I S T U D I O - C O O L

1 8 A R R I C O M PA C T 1 2 , 0 0 0 W

1 9 S m a l l e s t 6 k W / 2 3 0 V E l e c t r o n i c B a l l a s t

w i t h A c t i v e L i n e F i l t e r ( A L F )

2 0 C a r l Z e i s s C i n e L e n s e s

2 4 O n t h e m o v e : 3 - P e r f

2 6 M a y b a c h

C o m e b a c k o f a L e g e n d

2 8 T h e M o v i e b e f o r e t h e M o v i e

3 0 A n a t o m y 2

3 1 A R R I F i l m & T V S e r v i c e s M u n i c h

a n d A R R I R e n t a l G e r m a n y

3 2 U K A R R I G r o u p

e x p a n s i o n l e a d s t o p r e s t i g i o u s n e w o f f i c e s

3 3 M a k i n g t h e R i g h t M o v e

3 4 T h e A m e r i c a n E m b a s s y

3 6 U n d e r w a t e r C a m e r a S p e c i a l i s t u p g r a d e s w i t h a n A R R I F L E X 4 3 5 f o r B o n d

B r i g h t L i g h t s a t t h e R o y a l O p e r a H o u s e

3 7 To p Ta i w a n S t u d i o c h o o s e s A R R I L i g h t i n g

3 8 T h e b r i g h t s i d e o f t h e F o r c e :

A R R I L A S E R D i g i t a l F i l m R e c o r d e r e n t e r s t h e H o l l y w o o d “ WA R S ”

4 0 T H E 2 5 T H H O U R

A n e w S p i k e L e e P r o j e c t f i l m e d w i t h t h e A R R I C A M

4 2 Tu r n i n g o n t h e L i g h t s

a t t h e S a l t L a k e C i t y O l y m p i c s

4 4 A R R I C A M a n d C l a u d e L e l o u c h

4 5 A R R I i n t h e R a c e w i t h Vo d a f o n e a n d F e r r a r i

4 6 FA C I N G T H E T R U T H

D a n i s h P r o d u c t i o n i n B l a c k a n d W h i t e

4 8 A S e l e c t i o n o f C u r r e n t l y S e r v i c e d P r o d u c t i o n s

2

C O N T E N T S

Dearest ARRI Fr iends,

We couldn’t have asked for better timing: right on schedule for the ibc and cinec, the Academyof Television Arts & Sciences has chosen to honor ARRI with a “Primetime EMMY Award”for “outstanding achievement in engineering development of ARRI and ARRIFLEX Cameras”.We are particularly pleased to receive this award since it comes from a completely newdirection – the television industry.

This completes (at least for now) a circle that was begun at “Satis 2001” in Paris with a doubleSatisfecit for the ARRICAM and the ARRILASER. In March 2002 the Academy of MotionPicture Arts and Sciences, which also awards the OSCARs®, followed up with a “Scientificand Engineering Award” for the ARRILASER, and shortly afterwards both products – ARRI-CAM and ARRILASER – received a “Red Dot Award” for excellent design. The ARRICAMeven captured a place in the top class, the “Best of the Best”. We at ARRI are extremely proudof these awards, as they show how well recognized and appreciated our products are in theindustry and with our customers.

Just how close we are to our customers is also shown by the interest in our latest product, theARRICAM family. Despite the at times extremely difficult economic situation in the film andmedia industry, this year’s production was already sold out in July.

With the interchangeable 3-perf kits for the ARRICAM, ARRI caters to the considerablystrengthened trend towards cost-saving 3-perf productions. The highest priority for us is to sec-ure our customers’ investment: the kit is considerably less expensive than the conversion ofan entire camera, as was necessary in the past. In addition, it is now possible to convert backand forth between both formats as required. All components and features of the ARRICAMsystem can also be fully utilized for 3-perf. Both the ARRILASER and the LOCPRO 35 ofcourse support full 3-perf functionality.

In the main facility in Munich, ARRI caters to customers’ wishes for service from a one-stopshop, by consolidating the divisions lab, sound, TV post-production and digital film in theARRI Film&TV Services GmbH, a constellation which is unique in the world. The rental parkorganization was also consolidated for the first time in the company ARRI Rental Deutsch-land GmbH.

For you as an ARRI customer this means considerably fewer contact persons, fewer time-consuming intermediate steps and improved access to the entire service spectrum.

A lot has changed at ARRI. And new ideas are still waiting to be put into practice – togetherwith you, our customers and partners.

What do you think of that?

I look forward to exciting discussions with you: at the ibc, the cinec, or wherever we havethe opportunity.

Best Regards from Munich,Your

Alfred Schopf

Alfred Schopf

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4

Complex effects shots are traditionally doneby a special effects crew with heavy motioncontrol equipment, and simpler shots by thefirst unit with small record/repeat systems,so called “memory heads”. In the last yearsthough, more and more special effects shotsof increasing complexity are shot by the firstunit, often on location. Unfortunately, neitherexisting motion control systems nor memoryheads properly address the needs of first unitspecial effect shots. Traditional motion con-trol systems are too complex and costly, andmemory heads do not have sufficient features.This is where ARRIMOTION steps in, offe-ring quick setup, easy operation and power-ful features for feature films and commercials.

The basic ARRIMOTION system is small andportable and can be operated by the cam-era assistant, especially since the system seam-lessly integrates with most modern ARRI cam-eras and uses other familiar components, likethe ARRIHEAD and the ARRI Lens ControlSystem. Moves can be created by operatingthe camera, ARRIHEAD and Lens ControlSystem in the normal fashion, while the ARRI-MOTION system records all actions. Playingmoves back is as easy as pushing the PLAYbutton on a video recorder. The producer willbe pleased because standard ARRI compo-nents are used and fewer specialty items haveto be rented.

The basic setup consists of the main control-ler, which is attached to the ARRIHEAD, two

small motors that are placed between theARRIHEAD and the ARRIHEAD hand wheelsand the Jogbox, which is used to record andplayback moves. For most record/repeatmoves the ARRIFLEX 16SR3, 435, 535 andARRICAM cameras can be used. Frame accu-rate effects such as time lapse or go motioncan be accomplished with the 435Advanced(435 Advanced & LDS support available atthe end of the year).

Here some example applications:• Record time lapse camera moves.• Record at different camera speeds for

foreground and background.• Assist on tricky camera moves, for

instance difficult focus in extreme close-ups (table top).

• Remote control the ARRIHEAD.• Create multiple layers.• Shoot clean plates/background plates.• Capture camera position and lens (LDS)

information for post-production.

In addition to being easy to use, the ARRI-MOTION system excels through its greatfeatures and expandability. The system has arecording capacity measured in hours ratherthan seconds, and with the integrated digitalstorage, moves can be recorded and calledup later. If more items beyond camera, headand lens need to be controlled, the maincontroller can be expanded with additionalmodules, allowing up to 48 axes. For theultimate in expandability, multiple main con-

trollers can be networked together for anunlimited number of axis. Other accessoriesavailable include a servo motor module, aBloop Light and the GPI Trigger Box, whichallows the ARRIMOTION system to triggeror be triggered by other devices. The ARRI-MOTION system can also control a Beta-cam video deck.

The ARRIMOTION system is a complete sys-tem that tightly integrates with existing ARRIgear and gives the production crew unprece-dented simplicity and control when shootingspecial effects. It is ideal for productions thatneed precise camera control but do not havethe need, time or budget for a full motioncontrol system.

ARRIMOTION Compatible Cameras• ARRICAM Studio, Lite• ARRIFLEX 435ES, 435 Advanced• ARRIFLEX 535A, 535B• ARRIFLEX 16SR 3, 16SR3 HS, 16SR3

Advanced, 16SR3 HS Advanced

ARRIMOTION ComponentsThe ARRIMOTION system consists of threecore components – the main controller, theControlled Head Motors and the Jogbox.

The Main Controller The main controller consists of at least onemodule, the Camera Control Box (CCB-1).

ARRIMOTIONThe ARRIMOTION system gives productions a simple and user

friendly alternative to complex and expensive motion control

rigs. Just add a couple of small, lightweight components to an

ARRIHEAD, and suddenly camera moves, lens operations, fps

changes and shutter changes can be recorded and played

back without any loss of production time.

The complete ARRIMOTION System

5

It’s functions can be expanded by addingother modules to control head motors, lensmotors and other equipment. A typical MainController consist of:

The Camera Control Box (CCB-1) stores movesand governs communication between allcomponents. It connects the ARRIMOTIONsystem to:• the camera,• the ARRIMOTION controllers

(Jogbox or Laptop),• the Bloop Light and GPI Trigger Box• and the Lens Control System hand units

ZMU-1, ZMU-2 or WHA-2 (with WZU-1and/or WFU-1).

The Motor Control Box (MCB-1) controls upto 3 Controlled Head Motors (CHM-1) andreads the signals from the ARRIHEAD-2 withEncoders.

The Lens Control Box (LCB-1) controls up to

3 Controlled Lens Motors (CLM-2) and canprocess Lens Data System (LDS) information.

Controlled Head MotorsTwo Controlled Head Motors (CHM-1), onefor pan and one for tilt, attach between theARRIHEAD and the ARRIHEAD hand wheels.Operating an ARRIHEAD with the ControlledHead Motors feels exactly like operating itwithout the motors, thanks to the adjustablefluid drag. While the ARRIHEAD is operated,the main controller records all pan and tiltmovements. When the move is played back,these motors will precisely repeat the pan andtilt movements of the operator.

The JogboxThe Jogbox is used to setup the ARRIMOTIONsystem, and to record and play back moves.When equipped with the Jogbox CableAdapter JCA-1, it connects with a cable to themain controller. Optionally it can also slideinto the Jogbox Hand Wheel Controller.

Other ARRIMOTION Components• The Auxiliary Control Box (ACB-1)

The ACB-1 controls up to 3 external servomotors (model movers, dolly drives, etc.)

• Bloop Light (BLT-1)The Bloop Light exposes sync marks on film

• GPI Trigger Box (GPI-1)The GPI Trigger Box is used to trigger ex-ternal events from the ARRIMOTION sys-tem, or to have the ARRIMOTION systembe triggered by external events. It is possi-ble to connect up to four GPI Trigger Box-es to the CCB-1.

• The Jogbox Hand Wheel Controller (JHC-1)JHC-1 is a stand that mounts onto a flat tripod base and connects to the CCB-1. It has two adjustable arms to acceptARRIHEAD hand wheels, a receptacle toaccept the Jogbox, and a platform for avideo monitor.

For Setup, Recordand Playback the Jogbox is used

The ARRI-MOTION MainController

PPM F I LMPRODUKT ION, V IENNA

The Controlled HeadMotors attach between the HandWheels and the ARRIHEAD

MICAN WERBEF I LMPRODUKT ION, V IENNA

6

a high quality 35mm film master that can betransferred to any future video format ifneeded. Currently, all modern telecines caneasily accommodate film shot at 3 perfor-ations per frame.

With the advent of the Digital Lab and thefast rising popularity of the ARRILASER, twodevelopments that are closely related, manyproducers are also looking at the option ofshooting 3-perf for theatrical release. Nowit is possible to scan the complete 3-perf ne-gative into a digital intermediate format, per-form all post-production steps in the digitalrealm, and then use the ARRILASER to recordthe images back onto 4-perf Internegative (IN)or Interpositive (IP) to create standard 4-perf

In addition to the standard 4-perf movement a3-perf movement that fits in either the ARRI-CAM Studio or the ARRICAM Lite is now avail-able.

Many aperture formats do not use all the ver-tical space provided by a 4-perf movement,and can instead fit within 3 perforations.Shooting 3-perf results in savings of about25 % in film stock and processing costs, withno reduction in image quality: it simply doesaway with the space that was unused beforeon 4-perf film.

So far, shooting 3-perf has been a popularchoice for television sitcoms. It allows them toreduce production costs while still retaining

release prints. Not only does this save moneyfor productions that already opt for the digi-tal post, it also facilitates further distributionoptions like DVDs etc.

The 3-perf conversion kit K2.54165.0 consistsof the 3-perf movement as well as a 3-perffilm gate, format mask and filter holder.

ARRICAM 3-Perf Movement

The new Lite Universal Viewfinder featuresan anamorphic element in the viewfinderarm that allows switching between sphericaland anamorphic viewing. Since it can beattached to both the Lite and Studio camera,this viewfinder is a must-have item for anyanamorphic ARRICAM production.

With the superior optical quality that is themark of ARRI viewfinders, the Lite UniversalViewfinder is still small and lightweightenough for handheld work on the Studio orLite cameras. All standard ARRI viewfinderfeatures have been incorporated, includingcamera left or right viewing, automatic ormanual image rotation adjustment and aswing-in ND 6 contrast filter. In response tocustomer requests, the viewfinder arm teles-copes to move the eyepiece away from thecamera. This allows a more comfortableviewing position or left eye viewing.

A new spherical Lite viewfinder based onthe Lite Universal Finder design is also inpreparation. Both viewfinders share the samesuperior optical quality and use the Studioextension and may use the Studio eyepiece.By exchanging their viewfinder arms, a LiteUniversal Viewfinder can be converted tospherical-only viewing and vice versa, usinga system that is familiar from the 435/535Bviewfinders.

Lite Universal Viewfinder Ident No. K2.54099.0

The Top Load Adapter 2 allows Studio maga-zines to be mounted on the ARRICAM Studioin top load or in an angled back load posi-tion. Magazines can be switched betweenthe two positions without having to switchadapters.

The top-load position of the new adapter is nodifferent from the original Top Load Adapter.

When mounted in the back load position, themagazine is at a 30° angle. In this positioneven a 1000’ magazine will clear the top ofthe bridge plate as well as the geared head.

Top Load Adapter 2 Ident No. K2.54139.0

ARRICAM Lite Universal V iewfinder

Top Load Adapter 2

The Lens Data Display for the focus puller(LDD-FP) is a new milestone in the develop-ment of the ARRI Lens Data System. Madepossible by the LDS lenses, which communi-cate with the camera, the LDD-FP is a smalland lightweight display that shows criticallens information and camera status.

Because of its small size it can be mountedin a number of ways. Most importantly, itcan be attached to the matte box where theassistant can see precise lens and camerainformation while keeping an eye on theaction. Of course, the LDD-FP also mountson any of the accessory shoes on the cam-

era – a useful option if the assistant mustoperate on the camera right side.

The screen of the LDD-FP is a high contrastAdvanced TFT color screen with adjustablebrightness that can be viewed not only indoors but also on location in bright sun-light. The display can be configured toshow the lens focus scale, zoom scale, irisscale and/or camera information in anycombination. Thus the assistant can set theLDD-FP to show just the information needed.

LDD-FP Ident No. K2.54163.0

The Functional Expansion Module FEM-2extends the capabilities of the 435Advanced,making it the perfect high speed MOS com-panion for the ARRICAM cameras. Both theARRIFLEX 435 Advanced and the ARRICAMSystem can now use the modern featuresdesigned to make work faster and moreefficient, from Lens Data System to WirelessLens and Camera Control. Accessories suchas the Lens Data Display for the Focus Puller(LDD-FP), or the Wireless Lens Control System

can now be used for both 435 Advancedand ARRICAMs.

The FEM-2 provides full Lens Data Systemfeatures. The information from LDS lenses isprocessed in the FEM-2 and forwarded to theLens Data Display (LDD or LDD-FP), which canbe connected to the FEM-2. The Lens DataDisplay allows the camera assistant to quicklydetermine lens status, camera status anddepth of field.

FEM-2 Ident No. K2.52226.0

•The Studio LDB plate is equipped with three3/8“ threaded holes, two on the backsideand one on the front.

•The Dovetail Shoe (K2.52225.0) can beattached to one of the 3/8" threaded holesof the Studio LDB Adapter. The Studio LDBAdapter can then be mounted to any otherARRI part with a dovetail, for instance:– the Dovetail Rod Clamp,

(19mm: K2.54148.0, 15mm:K4.52563.0)which mounts directly to rods,

– the Dovetail 3/8" Clamp (K2.52082.0),which screws into any 3/8" threaded hole,

– the WHA-2 Rod Bracket (K2.52150.0),an adjustable arm that mounts to 19 mmsupport rods, and

– the WHA-2 Rosette Bracket (K2.52153.0),which mounts to the ARRIHEAD rosette. Studio LDB Adapter Ident No. K2.54144.0

Under some circumstances, most notablywhen using the ARRICAM Studio on a Steadi-cam, it is preferable to mount the Lens DataBox removed from the camera body. TheStudio LDB Adapter can be used to mount theLens Data Box above the camera or directlyon the Steadicam.

The Studio LDB Adapter consists of two platesand a cable. The Studio Body Plate mountsonto the ARRICAM Studio. The Studio LensData Box is attached to the Studio LDB Plate.The LDB Adapter cable (1 meter/3 feet) con-nects the two plates.

Aside from a quick Velcro-mount, there arevarious other mounting options, providinggreat flexibility:

FEM-2 for ARRIFLEX 435 Advanced

ARRICAM Studio LDB Adapter

Lens Data Display FP

8

In-Camera Slate Reader

The Timing Shift Box adjusts the phase rela-tionship of the mirror shutter to the movement.The result is that the film is exposed while be-ing transported, which creates a streakingeffect. Though strictly speaking an image de-fect, this is an effect that has become verypopular in the past years.

With the TSB the timing shift effect can be ad-justed from very faint to very strong. A timingshift can be done while the camera is running(a timing shift ramp), or the effect can belocked in to remain constant.

The TSB hardware is based on the MCB hard-ware. To ensure that the TSB is not confusedwith the MCB, the TSB front cover is red.

The TSB can be mounted on the ARRICAMStudio in place of the MCB, connected to STor Lite camera with a cable and the MCBCable Adapter.

The TSB, MCB and SCB can be used simul-taneously.

Timing Shift Box Ident No. K2.54171.0

Timing Shift Box

A revolutionary system has been further improved: So far, the ARRICAM’s in-cameraslate system was used just like a time-codeslate. All information on the film is clearlyreadable and can be used in post productionwherever it is needed – avoiding the disad-vantages of conventional clapper boards,such as poorly readable hand writing, not up-dated information, slates outside the imagearea or out of focus. Now the in-camera slatereader recognizes the data automatically toimprove comfort, reliability and throughputdramatically. The ICS reader can be usedwhile the images are loaded into the editingsystem or immediately at the telecine. A newsoftware grabs the individual in-camera slateimages from the video signal, reads the dataand writes these into a file.The sound can nowalso be syncronized directly in the telecineprocess to create immediate video rushes.Subclips can be created automatically in the edit-ing systems and sound can be synchronizedhere as well.

For editing systems like AVID, the film is trans-fered in the telecine without any additionalefforts to log the in-camera slate data: a de-cisive advantage for telecine operators. Thefootage is loaded into the editing system. Atthe same time it is sent to the in-camera slatereader. A list of all in-camera slate informationis created during this process, such as nameof production, director, DoP, take number,scene number and film time code. Within theediting software, the footage can be split upinto sub clips automatically. Manual sub clipp-ing is not needed anymore. In the next step,image and sound can be automatically syn-chronized using the time code information.

With the ICS reader used on the telecine, cre-ating video rushes is considerably speededup and simplified, avoiding the up to now ne-cessary process to load the material into theediting system first. The in-camera slate rea-der supports not only the logging of the in-camera slate data during the scanning pro-

cess, but also the direct sound synchroni-sation. Prior to scanning, the sound is trans-fered into audio systems with an immediateaccess, such as SADIE or In-Draw. Addition-ally a log file of in-camera slate events isgenerated. This file can be used in furtherpost production.

In-Camera Slate Reader Ident No. K2.47436.0

9

Carl Zeiss Distagon 1.9/12 mm

• Super wide angle lens with a viewing angle of103° (diagonal)

• Coverage of Super 35 format (max. imagediameter 32.4 mm)

• Fifteen individual lens elements in twelve lensgroups, one consisting of UD (ultra low dis-persion) with deviating partial dispersion tocorrect transverse chromatic aberration

• Iris settings from T2 to T22• Shortest focus distance 0.3 m/1 ft• Outstanding image quality covering the full

focusing range from infinity to close-focus• Internal focus with floating elements• Iris aperture consisting of 9 blades• Uniform position of scales and gears guarantee

easy lens change• Easy change of focus scales – optional as

meter or feet scale • Front diameter 156 mm, length of lens

140 mm (from PL-mount)• Weight 2 kg

Carl Zeiss Sonnar 1.8/180 mm

• Extremly high speed tele lens• Coverage of Super 35 format (max. image

diameter 32.4 mm)• Nine individual lens elements in seven lens

groups, three consisting of UD (ultra low dispersion) glass with deviating partial dispersion to correct the longitudinal chromatic aberration (secondary spectrum)

• Iris settings from T2 to T22• Shortest focus distance 2.6 m/8 ft• Outstanding image quality covering the full

focusing range from infinity to close-focus• Internal focus (floating of elements) ensures

that mechanical, overall length of lens(166 mm) remains constant throughout the entire focusing range

• Iris aperture consisting of eleven blades• Uniform position of scales and gears guarantee

easy lens change• Easy change of focus scale

– optional as meter or feet scale –• Front diameter 114 mm,

length of lens 166 mm (from pl mount)• Weight 2.5 kg

New ARRI ULTRA PRIME LensesThe ULTRA PRIME lens range now consists of a total of fifteen different focal length lenses.

With the Carl Zeiss Distagon 1.9/12 mm and the Carl Zeiss Sonnar 1.8/180 mm, the range of ULTRA PRIME

lenses has been further extended and now offers the most extensive set of lenses on the market.

180 mm ULTRA PRIMEK2.47381.0 mK2.47382.0 feet – immediately available180 mm ULTRA PRIME LDSK2.52202.0 mK2.52203.0 feet – immediately available

12 mm ULTRA PRIMEK2.47378.0 mK2.47380.0 feet – immediately available12 mm ULTRA PRIME LDSK2.52198.0 mK2.52199.0 feet – available end of 2002

10

Over 400 people attended the presentation,including cinematographers, directors, pro-ducers, camera operators and press. Theevening unfolded with a walk down the redcarpet to the theatre, just across from Brown-stone Street. A few ARRICAMs, lit by ARRIlights, peppered the area for people to takea look through the lens. After a champagnewelcome reception, the crowd was usheredinto the theatre where key personnel gavean overview of the products and history.

Alfred Schopf, ARRI’s CEO, began the eve-ning with a comparison of ARRI to WarnerBrothers, and the longevity that both compa-nies have enjoyed. “It is a pleasure to standbefore you in this beautiful theatre on a studiolot with such a rich tradition. As you know,the Warner Brothers started as a partner-ship of two. This history is not dissimilar toour own and just slightly shorter. By the looksof things, they seem to have done pretty

well,” said Schopf. He gave the crowd anoverview of ARRI’s history and its products.“ARRI has been a part of the film industryfor over eighty-five years, providing tools forartists, and at the same time supplying andsupporting industry-related service busines-ses around the world,” said Schopf. “In mycapacity as CEO it is my challenge andopportunity to guide the company during thisexciting period and the merging of analogand digital technologies. To that end, wepresent to you a range of products that areall designed with special consideration towards today’s production demands in thedigital age of film.”

Charlie Davidson, Vice President LightingDivision, ARRI Inc., was next, detailing theimmense reach that ARRI lighting has world-wide, including the most recent job of light-ing the winter Olympics in Salt Lake City. “Weare convinced that our growth will come

from both our worldwide reach and the increasing diversity of ARRI lighting products,”he explained.

“ARRI is of course still best known for cam-eras, movie cameras to be specific,” conti-nued Volker Bahnemann, President, ARRIInc. “A combined design and engineeringteam from our two camera product groups,ARRI and Moviecam, was formed to createthe new ARRICAM system.” Fritz GabrielBauer presented a look at the precision and engineering of the ARRICAM system.“When Moviecam became part of the ARRIGroup of companies, we thought about howto merge talent, abilities, style, vision andexperience from both companies: ARRI´sbackground of engineering and manufactur-ing high-tech, high-end equipment for the filmindustry and my thoughts about user-friendlyand modular cameras, and that’s how wedecided to design the ARRICAMs,” said Bauer.

Los Angeles debuts the ARRICAMIt was a red carpet premiere for the debut of the ARRICAM in Los Angeles on February 28 at Warner Brothers

Studios. Held on the backlot, “ARRI in the Digital Age of Film” was the theme emblazoned on the Stephen J. Ross

Theatre marquee as guests were shuttled from gate 2 to the theatre.

Some of the notables who attended the event included:

Steven Poster, ASC, president of the American Society of Cinematogra-phers, George Spiro Dibie, ASC, president of the International Cinemato-graphers Guild, Georgia Packard, president of the Society of OperatingCameramen, Steve Papazian, Executive VP, Feature Production, WarnerBros., Ronald Silveir, COO, The Post Group, Mark Murphy, Vice President,Fujifilm, Joel Marshall, Atomic Film Company, Al Mayer, Sr. Vice President,R&D, Panavision, Jim McCullaugh, Executive Director, ASC, Dash Morri-son, Deluxe, Otto Nemenz, Pete Romano, President, Hydroflex, RichardAgostinelli, COO, NeTune Comunications, Rufus Burnham, The CameraHouse, Terry and Denny Clairmont, Clairmont Camera, Michael Cooper,ILM, Ray Feeney, President, RFX, Robert Keslow, Keslow Camera and Walter Schonfeld, President, Technicolor.

Cinematographers who attended included:

Jerzy Zielinski, ASC, John Toll, ASC, Russell Carpenter, ASC, Daryn Okada, Suki Medencevic, Amelia Vincent, ASC, Victor Goss, MichaelHofstein, Victor Kemper, ASC, Russ Alsobrook, ASC, Affonso Beato, Kristian Bernier, Adam Biddle, Jerry Callaway, James Chressanthis, CurtisClarke, ASC, Ericson Core, Richard Crudo, ASC, Eagle Egilsson, Paul Elliot, Steven Fierberg, Isadore Mankofsky, ASC, Teresa Medina, RobertMehnert, Bruce Merwin, Doug Milsome, BSC, Kramer Morgenthau, DavidMullen, John Newby, Sam Nicholson, Vernon Nobles, Woody Omens,ASC and Bob Primes, ASC.

Fred Goodich, cinematographer,Bob Hoffman, Technique, Steve Pizzello, Editor, American Cinematographer (f. l. t. r.)

Sarah Levy, cinematographer, Steven Poster, President, ASC,Manny Treeson, Lighting Designer

Cinematographers Amelia Vincent,ASC, and Kramer Morgenthau

Terry Clairmont, Otto Nemenz,Fritz Gabriel Bauer (f. l. t. r.)

Visitors of the presentation show great interest in the new ARRICAM

“But we did not do so to make just anotherfine camera, we did it because we are con-vinced of the superior quality of film as theleading medium for the foreseeable future.”

Addressing the digital products that ARRI hasbrought to the market, Bahnemann added“our digital technologies allow us to releasemuch of the still untapped quality potentialin film, especially when dealing with the pro-cess that is rapidly gaining in importance,the digital intermediate.” Treated to a lookat the most recent trailer for STAR WARS:EPISODE II ‘ATTACK OF THE CLONES’ Bahne-mann announced that LucasFilm is utilizingthe ARRILASER to output the entire featureto film. Johannes Steurer, head of digitalsystems, and Franz Kraus, Managing Direc-tor, both of whom received a Scientific andTechnical Academy Award from the Academyof Motion Picture Arts and Sciences on March2, proceeded to enlighten the audience onthe ARRILASER. Kraus also showed a sampleof HD versus film comparisons from the project CIRCLE OF LOVE.

“Motion picture production is a complexprocess involving many decisions regar-ding economics, artistry and technology,”concluded Bahnemann. “We realize thereare many options available. But somewherein the process you are likely to encounterone of our products or technologies be it inacquisition, production or post-production.ARRI intends to remain involved in all aspectsof filmmaking.”

Suzanne Lezotte

“Then they incorporated a lot of new things,”said Denny Clairmont, President, ClairmontCameras. Terry Clairmont, CEO, ClairmontCameras, emphasized that “the initial orderof cameras is twenty … we ordered 12 Stu-dios and eight Lites, which we think is theright balance. Again, this is an initial order,to carry us through the end of the year.”

Cinematographer Bojan Bazelli used an ARRICAM package for over four months ofproduction on the Dreamworks feature THERING. „We have put theses cameras throughsome pretty demanding weather conditions,working in extreme temperature changes,from very cold to very warm”, summarizesBazelli after returning the equipment. Cine-matographer Jacek Laskus, ASC, who usedthe Studio ARRICAM on THE GUARDIAN,praised the new technology. “The viewingsystem is superb. The ability to read out allthe information from the lenses is also agreat help. I think it is a great marriagebetween the design of the Moviecam andthe ARRI technology. I’m looking forward tomany millions of feet of film to run through it.”

Clairmont Camera has been in business since1980, and for over 20 years they have ren-ted ARRI cameras. Their rental inventory hasover 300,000 items, and Clairmont has themost motion picture cameras in the worldwith the exception of Panavision. They cur-rently reside in a 32,000 square foot custom

built building in North Hollywood, California.They also have a facility in Vancouver, BritishColumbia, and are in the process of openingan office in Toronto, Canada.

The Clairmont brothers began working infilms when they were children as extras andstand-ins. Their father, Leonard Clairmont,was a director of photography and, due tohis contacts, the Clairmont kids worked onover 100 movies between them. After highschool, both of them began working at Birns& Sawyer in Hollywood, until Terry left towork as a cameraman in television com-mercials. In 1972, the Clairmonts made anagreement to purchase two of the then-newARRIFLEX 35BL cameras and put them intoBirns & Sawyers’ rental inventory. It quicklybecame the place to rent the ARRIFLEX35BL cameras. After leaving Birns & Sawyerin 1976, the Clairmonts partnered with Edward Engel and his wife, creating a cam-era rental house called Clairmont-Engel. By1980, the Clairmonts had set up shop ontheir own with seven employees. Clairmonthas several types and brands of cameraswhich allow for greater choices. As DennyClairmont has always said, “Pick the righttool for the right job.”

Suzanne Lezotte

www.clairmont.com

Clairmont Camera orders20 ARRICAMS

Clairmont Camera of Los Angeles, one of the leading rental facilities

for ARRI cameras, has ordered 20 ARRICAM units. For Clairmont, this

investment was logical because, “They took the best features of the

ARRIFLEX cameras and the best features of the Moviecam cameras, and

came up with a camera combining the best of both.”

Terry (left) and Denny Clairmont In Clairmont Camera’s premises

The presenters gather beneath the marquee –Volker Bahnemann, Dr. Johannes Steurer,Franz Kraus, Alfred Schopf, Charlie Davidson,Fritz Gabriel Bauer (f. l. t. r.)

11

12

The program in each city started with Mr.Schopf giving an overview of the ARRIGroup. Mr. Schopf described the history ofARRI’s achievements and showed a numberof milestone products, followed by currentARRI products and services. He introducedthe new ARRI corporate structure, whichconsists of five divisions (Camera, Light,Digital, Rental, Film & TV Services) in threelegal entities (Hardware, Rental, Postproduc-tion). This was followed by the ARRI vision,emphasizing that ARRI strongly believes infilm as the premier acquisition medium, andstating ARRI’s goal and passion to provide“The Best Image On Screen” for the customers.

The first stop of the tour was Hong Kongwhere the ARRICAM was presented in frontof an enthusiastic audience. ARRI’s partnerin Hong Kong and China, Jebsen & Co Ltd,represented by Mr. Jimmy Yeung, DivisionDirector of the Photo, Imaging & OpticalDivision, did a fantastic job of organizingthe ARRICAM launch, gathering many localindustry professionals. As was the case withthe other launches, each participant receiveda thick folder containing ARRICAM infor-

mation such as the System Guide and theQuick Guides, with translations into thelocal languages where necessary.

After Hong Kong followed Beijing, wherethe cameras were first presented at a mili-tary studio. This was somewhat of an honor,as few Western people have been grantedaccess to this facility before. On the next daythe gracious hosts, Pearl Guo, Grace Wangand June Fung of Jebsen & Co Ltd. had ar-ranged for a presentation at the BeijingFilm Studios. The cameras were presentedin front of a large audience of curious locals.Especially the hands-on session followingthe presentations was appreciated, as itallowed direct contact with the equipmentthat the cameramen and assistants hope tobe working with in the future.

Following Mr. Schopf, Mr. Bergmann talkedabout the success of the ARRICAM system.He explained that ARRI has so far sold over80 ARRICAM systems and over 50 sets ofLDS Ultra Primes, and that new orders arecoming in at a strong rate. Mr. Bergmannalso showed images of famous DPs like Russell

Carpenter, Jon Fauer, Jamie Anderson andothers who have used the ARRICAM, andpresented glowing quotes from these DPs whowere enthusiastic about the features, weight,size and noise level of the ARRICAMs. Mr.Bergmann ended with a size and weightcomparison of the ARRICAMs versus thecompetitors, which was very positively re-ceived. Especially seeing how small even theARRICAM Studio is in contrast to the com-petition‘s smallest camera elicited surprisedgasps from the audiences.

In Seoul, Korea, the show was presented infront of more than 100 people in the beauti-ful ballroom of the Hyatt hotel. The audiencewas treated to a festive dinner, and fromthe ice sculpture containing the ARRICAMLite poster to the large projection screeneverything was top notch. A large stage gavethe ARRICAM ample room and to greatapplause, Mr. Schopf and the local represen-tative, Mr Kiwhan Inn, President of SAMAElectronics Corp. unveiled the ARRICAMs.A lively question and answer session wasfollowed by some hands-on, during whichmany were surprised by how well balanced

ARRICAM Launches in AsiaRight after the NAB trade show, ARRI sent top personnel

on a grand ARRICAM tour through Asia. Alfred Schopf,

CEO of the ARRI Group, Horst Bergmann, Director of Sales

and Marketing, and Marc Shipman-Mueller, Technical

Camera Marketing, spent two weeks literally traveling

around the world, presenting the ARRICAM in Hong Kong

(China), Beijing (China), Seoul (Korea) and Singapore.

Hong Kong-Bei j ing

Horst Bergmann talking about thesuccess of the ARRICAM system

Grace Wang, Business Development Manager Jebsen, Alfred Schopf, CEO ARRI,Marc Shipman-Müller, Technical Camera Marketing ARRI, Horst Bergmann, Marketing Director ARRI, Francis Lau,Director, Jebsen (f. l. t. r.)

The ARRICAM workshop with Marc Shipman-Müller

… during the ARRICAM presentation in Korea

Kiwhan Inn, President, SAMA and Alfred Schopf

The ARRICAMposter in ice

13

and light the ARRICAM Lite is. After theofficial launch two more days of seminarswere conducted for local DPs, assistants andthe employees of SAMA Electronics Corp.

Following a 10 minute video, which gavean overview of the ARRICAM components,Mr. Shipman-Mueller demonstrated the fea-tures of the ARRICAM system on stage. Hedescribed the differences and commonalitiesbetween the Studio and Lite cameras, andexplained the different ARRICAM magazines.Then he showed how easy the viewfinderscan be exchanged between cameras andexplained the many functions of the electronicremote controls, including the fact that theycan not only be quickly snapped onto to thecameras, but also operated up to 200 feetaway from the cameras, connected with acable. Following a detailed discussion ofthe features of the Lens Data System, Mr.Shipman-Mueller explained the In-cameraSlate System and demonstrated the innova-tive Shoulder Set.

The last stop of the tour was Singapore, whereARRI dealer Cine Equipment Pte. Ltd. went

all out to show off the cameras. In front ofmore than 100 people the cameras were un-veiled accompanied by fanfares, smoke ma-chines and flashing lights. To top it off, Mr.Schopf received a commemorative plaquefrom Tng Siew Moi, Managing Director ofCine Equipment Singapore. During the Q & Asession the ARRI representatives were ableto answer many concerns, and at the sametime learned a lot about the requirements ofcustomers from all over Southeast Asia. Mostoften the differences between the Studio andLite cameras were discussed in detail, sincemany rental houses were pondering the ques-tion which camera to purchase. Results dif-fered: where Steadicam and hand held workwas prevalent, the Lite camera was favored,but where a super silent all-round camera wasneeded, the Studio was the top pick. Oftenthe local rental houses came to the conclusionthat they really wanted to have both cam-eras in the long run. An in depth trainingcourse was given to the Cine Equipment crewand some customers the next day.

Apart from the official launches, the ARRIteam also partook in many local customs,

ranging from dining and dancing in a beergarden in Beijing and Karaoke in Korea, tothe digestion of live sea cucumbers andpickled duck eggs in Hong Kong. The HongKong harbor view at night, the Great Wallof China and the beautiful landscape ofSingapore were sights to remember. Mostinteresting were the lively discussions withlocal film professionals before and after theofficial presentations. Many of the discussionscentered on hot topics like the Digital Inter-mediate, the ARRILASER or Film vs. HD,and often impromptu presentations of NABmaterials were added to the official launches.In summary, the tour was a great success,and the ARRI team is looking forward tovisiting their partners in Asia again.

Marc Shipman-Müller

Hong Kong: jinkyngai@mail.jebsen.com.hk

Beijing: guodongmei@bj.jebsen.com

Korea: samari@shinbiro.com

Singapore: cineqmt@mbox3.singnet.com.sg

Singapore

Kiwhan Inn, President, SAMA, and Alfred Schopfunveil the ARRICAM

Tng Siew Moi, Executive Director Cine Equipment,and Alfred Schopf

Visitors at the ARRICAM Launchin Singapore

Alfred Schopf with the ARRICAM Lite

The ARRICAM Launch Team Jackson Lee, General Manager, Cine Equipment and Alfred Schopf

Alfred Schopf during the opening speech

Korea

14

PresentationsARRICAM

In June ARRI Italia officially launched the new ARRICAM system

at their premises in Rome.

Alfredo Betro, Camera Operator, Marc Shipman-Müller, Technical Camera Marketing, Antonio Cazzaniga, Vice President, ARRI Italia (f.l.t.r.)

Camera Operator Vitoria Tempo

I talyThe ARRICAMs had already had their debutin Italy last year when Fred Schuler used themon his film GERMANIKUS. At the time, ARRIItalia celebrated the camera’s premiere withbusiness partners on the set in Cinecittà.

Now, one year later, there is every reason tobe happy about the successful market pre-sence of the ARRICAM system: all large Italianrental houses have already worked with theARRICAM ST and LT – the innovative featuresof the new system are convincing. DoPs, cam-era operators, rental house owners and busi-ness partners crowded into ARRI Italia’s prem-ises to view the complete camera system. TheARRI launch also offered visitors the welcomeopportunity to pose questions to ARRI repre-

sentatives from Munich and Italy and to dis-cuss suggestions together.

The system was described in all its aspects.Among others, Alfred Rösli, president ofARRI Italia, and Antonio Cazzaniga, vicepresident of ARRI Italia, discussed the futureprospects of the ARRI group. There followeda detailed technical presentation of the ARRI-CAM system. Between the various sessionsthe cameras were available for ‘hands-on’demonstrations. The fact that the ARRICAMwas the main subject of interest, despite theexcellent Italian buffet, speaks for itself…

Antonio Cazzaniga

15

CINETEC, ARRI’s exclusive agent in Mexicosuccessfully carried out the first ARRICAMpresentation in Latin America.

After the opening speech by Thomas Bruenger,General Manager of CINETEC, Claus Collin,ARRI’s Area Sales Manager for Latin Ameri-ca, introduced the system, followed by Power-point presentations and a detailed demon-stration of the ARRICAM system. Günther Zoeh,Camera Product Manager at ARRI, demon-strated the complete range of accessories onboth ARRICAM cameras. After this he gavean impressive showing of the short time ittakes to set up the ARRICAMs ready for shoot-ing. However, the highlight was the ensuing‘hands-on’ session, enabling everybody togain the best impression for themselves. Atthe end some participants had to be separ-ated almost by force from the cameras – thenew ARRICAMs were just too interestingfor them.

Ulrich Brünger, president of CINETEC, be-gan the general presentation in the eveningwith a summary of ARRI’s history: From thebeginnings of the company through to thenew ARRICAM system and the worldwidepresence of the ARRI Group. Ulrich Brüngerparticularly thanked María de Jesús Garcia,

owner of the rental house CTT Exp. & Rentalswho had kindly provided the ARRICAM LITEcamera. Thanks also went to FernandoHernández, owner of the rental house Revo-lution 435 D&C who had made available adolly and accessories for the Mexican ARRI-CAM launch. Afterwards a slimmed downversion of the workshops was presented fol-lowed by a social gathering around the cam-eras with tequilas and cuba libres whichrounded off the evening.

By the end of the year there will be at leastthree ARRICAM LITE cameras available inMexico: One at CTT Exp. & Rentals, and twomore which have been ordered by the rentalhouses Equipment & Film Design (GeorginaTeran) and Renta Imagen (Juan García;Alonso García; Cuco Villerías).

For CINETEC the ARRICAM launch was agreat success which was characterised by thehigh standard of technical knowledge andinterest of the Mexican cameramen. For ourpart, we will be interested to see what ideaswill be turned into successful films with thesenew cameras.

Thomas Bruengercinetecmex@compuserve.com.mx

Ulrich Bruenger, President of Cinetec,and Fernando Hernandez, Owner ofRental House Revolution 435 D&C

Jaime Langarica, General Manager, CityProductions, Thomas Bruenger, General Manager, Cinetec, and Susana Velazquez,Operations Manager, City Productions

Maria de Jesus Garcia, Owner of CTTExp. & Rentals and Arq. Balthazar Arroyo,General Manager, CTT Exp. & Rentals

Georgina Teran, Owner of Equipment &Film Design/Alpha Star

Tibor Vagyóczky, HSC and president ofIMAGO, invited HSC members, representa-tives of IMAGO and the association of regio-nal broadcasters to the annual meeting. DoPVilmos Zsigmond, taking a break from the pre-parations for his new film JERSEY GIRL withdirector Kevin Smith in Philadelphia, was among the participants.

The ARRICAM system was presented byClaus Collin, Area Sales Manager from

ARRI Munich and Frédéric Kaczek, TechnicalSupport, from ARRI Austria. After the presen-tation visitors had the opportunity to see forthemselves the features of the ARRICAM STand LT.

Claus Collin

Hungary

Claus Collin, Area Sales Manager ARRI, TiborVagyóczky, HSC, DoP Vilmos Zsigmond (f. l. t. r.)

In May two ARRICAM workshops were held for DoPs and

camera operators in Mexico-City as well as a general

presentation for rental houses and production companies.Mexico

The Hungarian Society of Cinematographers, HSC, demonstrated the ARRICAM

system in the premises of the Magyar Filmlaboratórium in Budapest.

16

The ARRI SKY PANEL works in tight spacesand up against set walls. Each module is440mm ∞ 360mm (approx. 17"∞ 14") – butis only 50mm (2") deep! The fibre glass rein-forced plastic housing ensures durability andlight weight and the SKY PANEL’s intelligentdocking system allows quick set-up in multipleconfigurations.

One complete system – three modules – in-cludes power supply, 5 m supply cable withintegrated dimmer and stirrup. For safe andconvenient transport all parts are packed incustom designed cases.

Despite perfect daylight characteristics nomercury is used and therefore no hazardouswaste!

• Modular Expansion– up to six single lighting modules – 21"

diagonal panel – can be combined eitherend to end or side to side to create a po-werful true daylight soft source in a widevariety of configurations.

– Quick release locks make set up and operation easy.

– Barndoors, eggcrates, filter frames andintensifiers are easily mounted for additio-nal control.

• Instant Light – No warm up required– The ARRI SKY PANEL starts at full intensity

and true daylight color as soon as it isswitched on.

• No Color Temperature Shift– No shift in color temperature at any tilting

angle or in any given dimming position.

• High Operating Temperature Range– Unlike fluorescents the light output is not

related to ambient temperature (– 4° F to 122° F/– 20° C to 50° C)

• Extremely long Lamp Life– Several 10.000 hours lamp life is antici-

pated

• Dimming– Linear dimming range down to 4 %

• Remote Control via DMX optional

R e v o l u t i o n a r y D a y l i g h t S o f t S o u r c e

ARRI SKY PANEL ARRI has developed a new soft virtually shadow-free light, based on

OSRAM´s flat Planon source. By computer simulation ARRI

engineers together with OSRAM have optimised this new lighting source

to match true daylight on film. No colour correction is required.

Three ARRI SKY PANELs invertical configuration

Rear view with swivel spigotSingle ARRI SKY PANEL

Technical Data

Supply voltage range: 20 – 30 V DCSupply current: 140 W each module Operating frequency: 40 – 80 kHzAmbient temperature range: – 20° C to 50° C; (– 4° F to 122° F)Colour Rendering: > Ra 92 Colour Temperature: 5600 KWeight: approx.12 kg (26 lb); three module systemPower Factor: 0.9 at 230 V, full loadAccessory Power Supply (for 3 module and 6 module systems)Supply voltage range: 100 V – 240 V ACOperating frequency: 47 Hz – 63 HzOutput voltage: 28 V DCOutput power: 500 W for three modules

1000 W for six modulesDimensions: 410 mm (L) x 250 mm (W) x 140 mm (H)Weight: approx. 5.3 kg (11.7 lb)

17

With the STUDIO COOL Series ARRI introduces the most flexible

studio fluorescent lighting available. The design utilizes the latest lamp and

reflector technology.

Technical Data

Dimensions in mm: 596 (L) x 314 (W) x 152 (H)Supply voltage range: 230 V 50/60 Hz

120 V 50/60 HzOutput frequency: 40 kHz (full load)Power Factor: 0.98Ambient temperature range: 20°C – 50°C (68° – 122° F)Color Rendering: Ra > 90Color Temperature: 3200 K or 5400 KLight Output at 3 m: 540 luxWeight (4 tubes): approx. 5 kg (11 lb)

A single ARRI STUDIO COOL lampheadwill accomodate standard 55 W tubes andis prepared for the new 80 W tubes whichincrease light output by 30%. In addition, thereflectors are interchangeable. Designers canselect either the wide, soft 140° beam anglereflector or when more punch is requiredthe tighter 90° beam angle reflector can beinstalled quickly and easily.

The rugged aluminum extrusion housing fea-tures a detachable ballast/electronics modulefor ease of service and maintenance.

The ARRI STUDIO COOL Series is available in 3 Models• 2 Tube TC-L 55 W• 4 Tube TC-L 55 W• 8 Tube TC-L 55 W

Control Options • Dimming via DMX Control• Two Step Switching • Phase Control Dimming

Accessories include:• Barndoors• Intensifiers• Egg Crates/Louvers• Filter Frame

A R R I G o e s C o o l

ARRI STUDIO COOL

4-tube version Rear view with detachable electronic control box

4-tube version with hinged accessory holder

4-tube version with egg crate

18

New design principles and consistent use ofnewest materials technology make it possibleto reduce weight without compromising per-formance and reliability. The ARRI COMPACT12,000 W Fresnel satisfies location require-ments for an easily managed lampheadwithout sacrificing ARRI’s traditional perfor-mance and durability.

The 500 mm lens gives an enormous punchof light, delivering over 80,000 lux/6°halfbeam angle at 10 meters in full spot.Flood is a full 5,500 lux/50° halfbeamangle.

A single stirrup lock is easy and safe to oper-ate and the moveable stirrup points perfectlybalance any accessory combination. Thelamp holder is spring-loaded and an additio-nal secondary bulb-shaft lock prevents bulbbreakage in operation.

The new COMPACT 12,000 W replaces thedouble ended ARRI AD 12 kW Daylightlamphead. Existing Electronic Ballasts12/18 kW EB or 6/12 kW EB can be used.

Technical Data

Dimensions in mm: 740 (L) x 750 (W) x 690 (H)Weight: approx. 45 kgLens Diameter: 500 mmBarndoor Insert Size: 530 mmFilter Insert Size: 530 mmLamp Holder: ARRI G 38 Fast LockLamp: 12 kW Single Ended

ARRI COMPACT 12,000 W

High light output, a very even field and low

weight are the main advantages of the new ARRI

COMPACT 12,000 W single ended daylight

luminaire. The complete COMPACT series now

comprises eight lampheads from 125 W up

to 12,000 W.

19

With the best power semiconductors availableused in a new electronic design with ReducedSwitching Losses (RSL), the new ARRI 6 kWCompact Electronic Ballast saves space andset up time. Crews will appreciate this newlightweight package, no larger than a2,5/4kW ballast.

Active Line Filtering (ALF) with Power FactorCorrection fulfils the latest strict Electro-Magnetic Compatibility (EMC) regulationsof the European Community.

With ALF, Power Factor is corrected to unityand additionally, all harmonics and currentpeaks are reduced to very low values, meet-ing the strictest international standards.

Smallest

6 kW/230 V Electronic Bal lastwith Act ive Line Fi l ter (ALF)

ARRI introduces the smallest and lightest 6 kW/230 volt Electronic Ballast:

utilising the latest technology and taking advantage of advances in electronic development,

the ballast is about 30 % smaller and 20 % lighter than existing models.

Technical Data

Dimensions in mm: 358 (L) x 243 (W) x 450 (H)Weight: 25 kg (55 lb)Max. ambient temperature: 50° C (122° F)Line voltage range: 180 – 250 V ACFrequency: 50/60 HzInput connector wiring: 1; N; PE (single phase)Input current: 38 – 27 A (eff.)Apparent power: 6800 VA (max.)Power factor (cos ϕ): approx. 0.98Efficiency: approx. 0.90Ident No.: L2.76193.0

20

LORD OF THE RINGS in postcard size on themovie screen? That won’t make you a star.Cine lenses are developed for images forwhich ‘size matters’, to quote T ITANIC filmdirector James Cameron. Magnificationfactors of up to 1,000 x are attained innormal cinema projections.

Cine lenses are a major factor in the qualityof the final film, an investment which mustearn its return, in constant use and with plentyof wear and tear – often under conditionswhich you normally would like to protect pre-cision instruments from: heat, cold, vibra-tions, shocks, sand, rain, snow, dust, smoke,oil dust…

Cine lenses are rental goods which have toperform over years and decades, remainingrobust and reliable, without much downtime,

in order to fulfil the economic expectationsof the rental houses. How are such precisionitems created, and what are the requirements?

Special operating conditions – special handlingUnlike consumer lenses, cine lenses are focusednot only before the shot, but also while thecamera is running. Any play, every so-calledbacklash movement in the focus drive wouldbe a considerable disturbance, as well ascausing lateral or rotational image shift. Themechanics of cine lenses must therefore bedesigned and manufactured in an extremelyprecise fashion, to ensure a long lifetime.

The focus puller must be able to rely totally onthe focus scale. It is his tool, which he needsto guarantee image sharpness. Good cinelenses therefore have absolutely correct, indi-vidually calibrated scales. A scale engravedfor the nominal focal length 50 mm wouldnot be exact if the actual focal length of oneparticular lens was for example 50.18 mm.Carl Zeiss therefore equips all its film lenseswith individually calibrated scales.

Color matching is also important – not onlyfor the individual lens, but also across theentire range. The tiniest difference can addtime in post-production. For this reason, CarlZeiss calculates and manufactures its cinelenses as “super-color-matched” sets so thatno color shift will occur when switching focallengths. However, these are just a few of the

particular requirements for which Carl Zeisshas developed optimum solutions duringtheir over one and a half centuries of com-pany history and experience.

Carl Zeiss: What’s in a Name?In 1846 Carl Zeiss founded his mechanicalfactories for the manufacture of precisioninstruments for the university in Jena. CarlZeiss was the first to develop optical instru-ments using scientific methods and he wasextremely successful with his idea. Many ofthe most important innovations in appliedoptics technology come from the companyhe founded: apochromatic lenses, anti-reflec-tive coating of lens surfaces, the projectionplanetarium, the most highspeed photogra-phic lens of all time (the Planar1:0.7/50 forphotographing the dark side of the moon),the stereooperation microscope for surgery,

Cine LensesCarl Zeiss

Computerised processing of lens element surfaces in oneof the most modern glass manufacturing plants in the world

Phot

os:

Car

l Zei

ss,

Har

ald

Frey

, H

ans-

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e Fu

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the highest resolution photolithographic lensesfor semi-conductor manufacture (over 5.000line pairs per millimeter), and many more.

Today Carl Zeiss employs 13.000 peopleat over 20 locations and produces severalthousand optical and mechanical precisioninstruments for medical and industrial appli-cations, photography and film, vision correc-tion as well as leisure activities. Traditionallythe police, the military and government organ-isations have also a high demand for topclass instruments for viewing and recognitionpurposes, ranging from telescopes to micro-scopes and distance meters, night visiondevices, aerial cameras and submarineperiscopes.

The company’s size allows Carl Zeiss to keepthe relatively low volume business with cine

21

lenses afloat and thereby to achieve highdelivery capability. A small, exclusive manu-facturer of cine lenses would have a consider-able disadvantage in terms of delivery timesand costs with regards suppliers becauseof its unattractively low quantities for opticalglass (Carl Zeiss keeps over 100 tons instock!), precision parts, metal alloys, paint,test tools etc.

Since 1907 Carl Zeiss has been supplyinghigh-speed lenses of the Tessar type for cine-matographic purposes. The Tessar which wasinvented and patented by Carl Zeiss in 1902later became the “eagle eye of your came-ra”, the most frequently built lens type of alltime. Today the Carl Zeiss range comprisesover 40 different lenses, including complexhigh-speed types as well as lenses with vari-able focal lengths.

Manufacturing LensesIn 1998 Carl Zeiss set up the most modernmanufacturing facility for lenses in the world,in its plant in the southern German town ofOberkochen. It is equipped with computerisedmilling, grinding and polishing machines,MRF-aspheric technology, high precision inter-ferometers for quality control, ultrasonic clean-ing devices for lens surfaces, high vacuumcoating machines to multi-coat the lens ele-ments, equipment developed in-house whichequip the lenses of the same set with ‘super-color-matched’ technology, etc…

Here Carl Zeiss produces the lens elementsfor the cine lenses: every surface is madeindividually, with the greatest care and con-tinuous checking of mechanical and opticalaccuracy. The precision equals that of opticsfor scientific instruments, thereby that of glasselements for consumer lenses by a factor often – and it is one hundred times higher thanwhat is usually defined in the industry as pre-cision mechanics.

Optical Lens ElementsToday, nearly 250 different glasses and crys-tal substances with various optical characte-ristics are available to the lens manufacturer.Some of them are almost as heavy as iron,others more expensive than gold. Some canwithstand thousands of years, others are

Comprehensive optical precision measuring device in operation

The Carl Zeiss Plant in Oberkochen

22

relatively fragile in chemical or thermalterms and may not last a year without specialprotection. Many provide color neutrality,others may have slight or even marked colordeviations. For their cine lenses, Carl Zeissuses a well considered selection of approx.110 types of glass, mainly supplied by theleading manufacturer of optical glasses, theCarl Zeiss subsidiary SCHOTT Glas, locatedin Mainz.

Only through the skillful combination ofdifferent types of glass in lenses of differentforms is the optical designer able to minimisethe lens aberrations to the extent that the imageperformance of the lenses attains a very highlevel and the conditions for a lens withoutcolor shifts are achieved.

High Precision Mechanics, Careful Assembly and TestingThe mechanics of cine lenses also demandprecision within the micrometer range. This isat the limit of what can reliably by producedin series manufacturing with metals – some-times actually surpassing the limit. The manu-facture of such high quality lenses cannot be

compared with industrial mass production.Highly qualified precision opticians and pre-cision mechanics with special dedication totheir job, and using the most exact measuringequipment and special tools, align the indi-vidual lens elements with each other until theentire product reaches a quality level whichcould never be achieved on an assembly line.

Each individual lens is adjusted directly on theCarl Zeiss K-8 MTF-testing machine duringmanufacture to achieve maximum optical per-formance. Lenses are not simply produced,with the good ones being identified in thefinal quality control process.

Every completed and adjusted lens is meas-ured for its exact focal length and receives anindividually calibrated distance scale whichshows the exact distance values for this par-

ticular lens. Of course this procedure is alsoadhered to when for example exchanging thelens ring on the ULTRA PRIMES. Throughthis complex manufacturing process CarlZeiss achieves an extraordinary consistencyin series production.

Carl Zeiss Measuring Equipment“You can’t manufacture more precisely thanyou can measure” is a truism from the manu-facturing industry. That means that the avail-able measuring technology must be 5 to 10times more exact than the required manufac-turing precision. For this reason, Carl Zeisshas always developed its own highest preci-sion measuring apparatus, thereby ensuringa market advantage. These optical measuringdevices are used worldwide by quality-con-scious optics manufacturers, as well as bystandards and testing institutions, measuringlabs and test magazines, and by camera ren-tal houses with high quality demands.

Strict Testing of PrototypesCarl Zeiss has, as a manufacturer of scientificoptics for aeronautical use and optical sys-tems for border control and national defence,its own unique idea of ‘adverse conditionsof use’: in comprehensive test labs, barbaricheat, oppressive humidity, arctic cold, dripping

Lens elements are prepared for anti-reflex coating.

Optical glass in various sales forms: blocks (rear), bars and plates (centre), pressings (front)

Trained eyes examineprecision lens elementsfor surface quality

Phot

os: C

arl Z

eiss

, Har

ald

Frey

, Han

s-U

we

Furt

wän

gler

23

moisture, shaking, vibrations, dropping ontoconcrete, bumps, shocks, cyclical temperatureand humidity changes, supersonic low-levelflights, rocket launches, cross-country driving ina tank, saltwater mist, lorry transport on gravelroads and other such things are simulated –even the extreme pressure and temperatureconditions of outer space. Every lens proto-type is subjected to a well thought out mixtureof these adversities and then analysed in orderto find further possibilities for improvementand to integrate these before the start of seriesproduction. The current ULTRA PRIME lensesowe their low servicing requirements partiallyto this strict prototype testing process.

ARRI and Carl ZeissCarlZeiss has been supplying Arnold&Richterwith high-speed cine lenses since1937.Todaya large range of film lenses is developed andmanufactured exclusively for and togetherwith ARRI. CarlZeiss and ARRI are in constantcontact to discuss new optical product ideasand to examine them in terms of technical andeconomic feasibility.The modern ULTRAPRIMEset with, as it now stands,15 different focallengths, and the set of ULTRA PRIME LDS lens-es which was adapted from it for the new

ARRICAM, are the most impressive results ofthis collaboration to date. But as always:further ideas are already in discussion …we hope that they will be just as successfulas the already established, award-winninglens ranges.

Recognition from the IndustryThe ULTRA PRIME lenses are presently themost widely used new high performancelenses in the film industry: nearly 500 setsare available worldwide. Important filmshave been made with these lenses, includingsuch spectacular productions as the trilogyLORD OF THE RINGS.

Their predecessors were also very successful:among others, the wide range of SuperspeedT 1.3 lenses or the VARIABLE PRIME lenseswhich, while being variable focal lengthlenses, offer the speed and image quality offixed focal length lenses. For both lens ranges,the Academy of Motion Picture Arts andSciences has awarded ARRI and Carl Zeissa Scientific and Engineering Award®.

Kornelius Müller/Markus Wiederspahn

The front optical sub-assembly is inserted into an ULTRA PRIME lens mount

ULTRA PRIME lenses for ARRI in production at Carl Zeiss

Fine processing of surfaces during assembly

Fine-tuning of mechanical lens components

ULTRA PRIME lens in the climatic test at – 40° F

24

“For our production NACKT, we decided toshoot in Super 35 for a conversion to Cinema-scope”, explains Norbert Preuss. “We wantedto do something optically dramatic. Also,Scope is especially good for a film empha-sizing an actors’ ensemble. I’d often heardof Super 35 shot in 3-perf and that this methodoffers a 25 % saving in material with no lossof quality whatsoever. But it was totally newto use traditional post methods, cutting the3-perf negative – totally conservative, asthough High Definition didn’t exist. In pre-vious 3-perf productions, such as TATTOO, theHigh Definition method was always used andthe post-production was completely digital;once the material was online the negativewas never touched. That was exactly what wedidn’t want, since there are so few effects inthis film. We simply went through the entireprocess with the people in the film lab, thesound department, the video scanning andthe visual effects. It became obvious thatthis process was working out just fine.”

Another reason to shoot in 3-perf was theability to do extremely long takes. DoP FrankGriebe: “We wanted to shoot a 12-minutedialogue scene with Steadicam, completein one take. That’s not possible with 4-perf,because even with the large magazine, youcan barely shoot 10 minutes of film. With3-perf you can use a large magazine andshoot 13 minutes. You simply have 25 %more material at your disposal. The actorshave much more freedom and no limitations.”

“As a producer you’re not so nervous whenyou’re shooting 3-perf and foot after foot offilm runs through the camera. At the begin-

On the move: - Per f3ARRI is currently the only European facility worldwide

that offers the complete 3-perf chain, from 3-perf cameras,

the LOCPRO 3-perf location projector through the entire

digital and analog post-production to 3-perf projection in

the ARRI cinema. Fanes Film shot their new feature film

NACKT (Doris Dörrie, Director) in 3-perf, and for the first

time used the conventional analog method to complete

the post-production for a 3-perf film. This process is only

available at ARRI in Munich. Producer Norbert Preuss

from Fanes Film, DoP Frank Griebe, Sepp Reidinger, head

of ARRI Feature and TV-Drama, and Andreas Kern, from

Motion Picture Tools, describe their experiences with this

project and 3-perf technology.

ning we were shooting around 6000 feet aday. Doing 4-perf this would have translatedinto around 8000 feet. This saved us 850euros per day in material costs alone. Ulti-mately, we only shot approximately 120,000feet of film, which would have been 160,000feet with 4-perf. In addition to reduced rawstock costs, you save 25 % in developingand further handling costs: you save on thefirst and second answer prints, and also onthe interpositive, because we didn’t switchto 4-perf until we went from spherical toanamorphic on the internegative. Altogetherwe saved over 50,000 Euro by shooting3-perf – without any loss in image quality,”concludes producer Norbert Preuss.

DoP Frank Griebe adds: “Some producersdon’t want to risk shooting in 3-perf. They

believe the money they save on materialwill only be spent later in expensive digitalpost-production, but that’s not true.“ 20 yearsago there were already efforts to shoot in3-perf, before that even in 2-perf. SergioLeone shot on 2-perf and copied to 4-perf.ARRI revived this idea and began about 3years ago to manufacture more cameraswith a 3-perf movement. This again set theprocess in motion.

ARRI’s managing director Franz Kraus ex-plains: “We want to offer alternatives, digitalas well as traditional. It should be possibleto apply the optimal process to each indivi-dual project. The client should see the moneythey’ve spent on technical services directlyreflected on the monitor or projection screen,or hear it over the speakers.”

whether or not the negative cutting wouldwork as well with 3- as with 4-perf. Thanksto the new software, it worked out just fine.”

“With the software I wrote, it is possible toregister 3-perf 35 mm materical preciselydown to the individual perforation. Thisallows exact coordination with the Avid cutlist,” says Andreas Kern. ARRI is the onlypost-production facility with this software.Until now Keycode registration of 4-perffilms was done on an Excalibur. This doesnot allow for Keycode registration of 3-perfmaterial. But in order to cut the negativelater there must be a comprehensive cut listcovering the translation from the digital off-line cut and the analogue negative cut. Thisis where Andreas Kern, longtime consultantat ARRI and expert troubleshooter, steps in.For ARRI, he developed a unique softwarewhich closes this gap. Andreas Kern explainsthe principle: “The Keycode appears in 4-perf every 16 frames, i. e., 4 ∞ 16 = 64,meaning that from one Keycode to the nextare 64 perforations. For 3-perf this meansthat there is no even number of frames withinthe 64 perforations.” (4-perf: 16-16-16-16= 64; 3-perf: 21-21-22 = 64) NACKT wasthe first film to utilize this software, and itfunctioned beautifully.

“The next big worry was, how will the opticalhandling function? Opticals normally donewith an Oxberry weren’t possible. There wasno Oxberry that could print 3-perf. Thenyou either go the digital route, which is whatwe did, or do an A/B process,” remembersNorbert Preuss. At that time optical printingwas the gap in the 3-perf chain in Germany.Sepp Reidinger: “At the time we did the post-production for NACKT there was no Oxberryin Germany which could print 3-perf material.That’s why ARRI has now modified theirOxberry printer to accomodate 3-perf, closingthe gap in the chain.”

“Briefly: everything worked fantastically. I’mtotally satisfied. 3-perf proved successful. Iwould shoot every Super 35 film for conver-sion into Scope in 3-perf again,” summarizesNorbert Preuss.

Jochen Hähnel

“Unlike some other companies, which regardthe digital age as a threat to the entire filmindustry, ARRI recognized the writing on thewall and acted accordingly.”

“We recently merged our two divisions filmlab and ARRI TV, the analogue and digitalpost-production processes, in order to be

able to offer our clients the ‘best of bothworlds’. Together with the close exchangeand feedback from the camera-manufacturing,new synergies come into being. In this tran-sition phase, we want to offer our customersthe advantages of analogue film technologyas long as possible."

“With ARRI’s 3-perf filming technology, ana-logue as well as digital post-production areoffered a tool to make 35 mm filming easierand more inexpensive.”

“Another, almost more important prerequisitefor the 3-perf method was that modernTelecines were available which at the touchof a button could scan in either 3- or 4-perf –and that editing is done on the Avid, as withNACKT. The great thing is that it’s now poss-ible to utilize all the processing forms with3-perf – traditional film lab processing andediting, but also innovative digital processing,meaning the digital intermediate process, inwhich the negative is scanned and the imagesremain in digital form until they are recordedout on the ARRILASER.”

With NACKT, one sees the first 3-perf featurefilm completed with the classic, analoguepost-production methods. Sepp Reidingerrecalls the post-production: “The DoP ordirector came by to view the rushes. The ARRICinema is equipped to project in 3-perf,which enabled us to evaluate the color gra-ding on a large cinema screen.” The high-light: the projection of the 3-perf first trialcomposite print in the cinema was – for thefirst time – coupled electronically with theaudio from the Avid DAT. Sepp Reidingerfurther: “The film was cut electronically onAvid and converted to KDL (Keycode DecisionList) using software developed by AndreasKern especially for this process. The negativecutting followed. All effects, lap dissolves,and titles were done digitally and recordedon the ARRILASER in 3-perf, because theseinternegatives had to be cut into the original3-perf negative.”

“That all sounds very good, nevertheless,I was sometimes a little nervous,” admitsNorbert Preuss. “The big question was

The picture shows the 25 % savings in negativematerial gained with 3-perf in all stages of production (from shooting to intermed positive),and the final step to 4-perf

DoP Frank GriebeProducer Norbert Preuss,background: chief recordist Chris PriceDirector Doris Dörrie gives instructions

The picture shows, in a comparison of 3-perf with 4-perf, the 25 % gain in the number of frames using the same amount of film material

26

M AY B A C H

In the Coloneum in Cologne, the largest studioin Europe, a 1: 2 scale model of Rome'sPantheon was built – the perfect stage for aperfect car. The Pantheon becomes the ‘womb’for the Maybach. We first see the automo-bile as an indirectly lit silhouette within theorganic interior of the Pantheon. A brilliantbeam of light falls upon the vehicle from above,awakening it to life. The film continues withfour transparent monitor screens that floatin the Pantheon and display the differentMaybach-Worlds: freedom, tradition, crafts-manship, and individuality: the Maybach is,as it were, “charged” with the impressionsof these worlds. In the monitors we see, forexample, flights of birds through clouds,zeppelin-airships, whose motors were built

With the introduction of two high-end luxury models one of the most exclusive brands

of automobiles in the world comes back to life after an absence of over sixty years:

Maybach. This name looks back at a long tradition. As early as the 1930’s the name

Maybach stood for exclusivity as well as technically innovative luxury automobiles.

This myth is revived with the introduction of the new models – supported by an

impressive film by Radical Images Film Production in Cologne which lives up to the

truly classical standards set by its subject: THE SPIR IT OF LEADERSHIP

by Maybach, craftsmen working with lovingdetail on wooden instrument panels, leatherseats and trim, and, finally, a series of faceswhich in their diversity represent the indivi-duality of every Maybach automobile.

“It was a challenge to install the completetechnology – light and camera equipment –in this 360-degree domed structure in a waywhich allowed the cameras to be movedfreely on the set,” explains co-director andproducer Alexander Paul of Radical Images,Cologne. The construction from which thePantheon dome had to be hung from theceiling in order to relieve the underpinningsweighed almost fifty tons. “Car photographyis one of the most difficult tasks,” agrees

Comeback of a Legendco-director and director of photographyJacques Steyn in the accompanying “MakingOf” which was produced alongside thefilm. Precise and, above all, flexible techno-logy was required: a number of ARRIFLEX435’s, a variety of lenses, including revolvingoptics came from ARRI Rental, in additionto the T-Rex system. “Unlike other automobileprojects, we – of course – couldn’t just cutout part of the body or remove the roof fora better lighting”, explains Jacques Steyn –a horrifying thought, considering all the intricate and loving details he impressivelybrings to the screen.

“Many of the images were first put togetherin the post-production. That way we couldoptimally present the car with all its reflections.The background was lit and filmed separ-ately,” explains Alexander Paul. “The lay-outof the film, together with all the technical

solutions needed to ensure a perfect execu-tion were thought out and planned in detailbefore production began. We saw this asthe greatest challenge. In that respect youcould say that ‘all’ that was left was theshooting – which we did in five days“.

A concept that would have also surely im-pressed Karl Maybach, founder of the luxurybrand: In 1919 he had the idea to constructa technically perfect automobile for the‘upper 10,000’. By 1946, 1800 differentversions of the Maybach had been built –including the forerunner of today’s model,the Maybach DS 8 Zeppelin. Karl Maybachconcentrated on the design of motors andchassis. The exclusive clientel contractedcoachbuilders to finish the body – each accor-ding to their individual tastes. Thus no historicMaybach is identical to another – every caris unique. DaimlerChrysler preserves this

tradition of individuality with the new May-bach – at least in the interior design. Who-ever orders a Maybach is spoilt for choice,having to select from an almost infinitenumber of paints, leather types, textiles andwooden trim. The goal is to fulfill every customer’s wish.

Jochen Thieser

www.radicalimages.com

MAYBACH – THE SP IR IT OF LEADERSHIP

Concept / Production Radical Images® Filmproductions GmbH, CologneDirector/ Executive Producer Alexander PaulDirector/ DoP Jacques Steyn1st AD Arndt WiegeringProducer Claudia BauerUnit Manager Markus HoockSteadycam Klaus LiebertzSecond Unit Operator Ergun Cankaya1st Camera Assistant Ansgar KrajewskiGaffers Alex Tolocyki and Werner WieseKey Grip Helge FelgendreherGrip Jens KaschubCameras ARRI Rental, CologneFormat 35 mmLength 04:45 Minutes

Jacques Steyn, Alexander Paul (f. l. t. r.)

complete support and flexibility, and whoare willing to take on and complete unusualand difficult projects.”

The Munich production company Claussen& Wöbke is also convinced of the impor-tance of title design. Jakob Claussen: “Theopening credits are like a wink of the film’seye; they offer the chance to create moodsand expectations, to show the audiencewhat is coming in a very emotional fashion.They’re a type of teaser or trailer and createthe moods awaiting the viewer during thefilm.” Thomas Wöbke: “It always makessense to involve a creative outsider, a titledesign artist who has a new and fresh per-spective of the film and can advise and supportyou accordingly.” Claussen & Wöbke, ARRIclients since NACH FÜNF IM URWALD (1995):“We strongly recommend planning the titlesas a substantial part of every film’s budget andto work with specialists.”

Director Tom Tykwer is well known for histitles. He explains: “In the titles it’s possibleto prepare the climate and mood, and some-times also the film’s rhythm. Through theprecision of the title design, the audience alsosees how much care the film will dedicate toits characters and plot. Titles which appear

to be simple can also have a cunning effecton the audience, subconsciously setting arhythm and developing graphic beauty.Titles have enjoyed a kind of boom in recent years, which is nice to see, becauseafter all, titles are a part of the film and notjust an appendix. However, I sometimes seethe danger that the titles, instead of beingdesigned within the context of the film, aredesigned to create a spectacular effect fortheir own sake. In this respect I’ve had goodresults at ARRI, because the people thereare not only technically competent, but arealso aware of content, and you can workwith them to reach aesthetic decisions aswell as planning the technical steps. Some-times you’re still looking for the best solutionduring post-production, and the team fromARRI has proven to be curious and creativein their efforts to help me find such solutions.”

Christine Rothe, Production Supervisor atConstantin Film: “The type of title designnaturally depends upon the individual film.When simple, traditional titles fit best, then I advise using traditional methods, simplyfor budget reasons. But as soon as you needspecial colors or effects, you should do themdigitally – today that’s simply the most up-to-date way to go.”

28

Since the introduction of high-resolution digi-tal film production at ARRI in 1994, Germanfilm production companies such as Claussen& Wöbke, Constantin Film, Fanes Film, Hager Moss Film, and X-Filme, to mention afew, have come here for the design andproduction of their titles and credits. The closecommunication between director and designer plays an important role in creatingfilm titles.

Director Peter Sehr, one of the first to utilizethe new possibilities in digital title technologyoffered by ARRI, talks about what titles meanin film: “For me, the titles are the entranceto the film, because the first 1– 2 minutes givethe audience an idea of what they can expect.They attempt to decode all the symbols givento them. The audience is extremely attentiveat the beginning, that’s why you must bevery careful not to create the wrong impressionat the start. For this reason the titles mustbe very precise. The titles draw the audienceinto the film. Since KASPAR HAUSER andOBSESSION, my titles have become moreelaborate with every film. The technologyalso offers progressively more, and you ofcourse want to take advantage of that. Aswith every other aspect of ARRI, in titledesign you meet the best people who offer

The Movie before the MovieTitles as a Teaser for the Film

It all began with Bond: for the JAMES BOND films titles were and remain

a trademark. With the advent of digital film production, titles have enjoyed

a significant increase in importance, and today approach the status of an

art form. Director David Fincher set the tone and ushered in a new era with

the title designs for SEVEN and PANIC ROOM.

29

A Selection of Titles designed at ARRI Film & TV Services

ANATOMY 2 Claussen & Wöbke Stefan RuzowitzkyBOOKIES Cologne Film Mark IllsleyNACKT Fanes Film Doris DörrieHERZ IM KOPF Claussen & Wöbke Michael GutmannGAUGUIN - PARADISE FOUND Zen Productions Mario AndreacchioTATTOO Lounge Entertainment Robert SchwentkeANANSI Avista Film Fritz Baumann101 REYKJAVIK The Icelandic Film Corp. Baltasar KormäkurWAS TUN WENN’S BRENNT Claussen & Wöbke Gregor SchnitzlerHEAVEN X-Filme Tom TykwerALL THE QUEEN'S MEN Atlantic Streamline Stefan RuzowitzkyLOVE THE HARD WAY TiMe Film Peter SehrDER KRIEGER UND DIE KAISERIN X-Filme Tom TykwerMONDSCHEINTARIF Hager Moss Film Ralf HüttnerWIE FEUER UND FLAMME X-Filme Connie WaltherHARTE JUNGS Constantin Film Marc Rothemund23 Claussen & Wöbke Hans-Christian SchmidSWIMMINGPOOL Calypso Film Boris von SychowskiUND DAS IST ERST DER ANFANG Schlemmer Film Pierre FranckhDER GROSSE BAGAROZY Constantin Film Bernd EichingerOBSESSION Multimedia Peter Sehr

Kirsten Hager from the Munich productioncompany Hager Moss: “Sometimes ideasfor the titles come during shooting, but oftenthey come later, when the film is finishedand you have developed a feeling for the film.Depending on the type of film, the titles areeither classic and simple – a clear font – orthey could be opulent and costly, with a lotof animation.” Eric Moss: “With digital tech-nology we now have previously unknownpossibilities to produce expressive titles. Youcan give your imagination free reign. Every-thing is possible.”

Austrian director and screen writer StefanRuzowitzky (A L L THE QUEEN’S MEN,

ANATOMY, ANATOMY 2) also swears bywell thought through, stylized title designs:“I see the titles as part of the story I tell. Thedesign must be conceptualized to fit accor-dingly. Most of the time I have a relativelyexact idea and rely on title artists to make iteven better. In the cinema it is a real pity ifthe titles don’t work, because they are a sortof calling card for the film.”

Juergen Schopper, creative director at ARRIFilm & TV Services, gets straight to the point:“Title design manages the difficult aesthetictask of putting static elements like graphics andprint into rhythm and timeflow, merging themwith moving images and thus telling a story.”

Lutz Lemke plays one of the “title roles” atARRI in Munich. He can look back on over14 years of experience in optical title pro-duction. He came to ARRI in 1996, wherehe has since worked as a film compositor andtitle designer. He has designed and producedthe titles for well over 100 films: “You canalready begin thinking and developing ideasand suggestions for the title design duringthe script phase. I think people should go tothe cinema, see the opening credits and bedrawn into the right mood to watch the film.The titles create the mood! If the titles are

really great, half the battle has already beenwon,” explains Lutz Lemke.

Apart from the fact that many things justaren’t possible with conventional optical tech-niques, digital title design offers almost infi-nite possibilities. Lutz Lemke: “It becomes verycostly as soon as you start working withdissolves, shadows, colors, and movement.There’s no longer any reason to work usingthe analog i.e optical process. What you canachieve only with lots of effort optically – andwhat can be evaluated only when the productis finished, is much simpler and easier to dodigitally. Framing, corrections, spacing, blow-ups and reductions can be easily changed or

animated at the touch of a button on the com-puter. The results are visible immediately. Allthese things are complicated, time-consuming,and therefore more expensive when producedwith optical-analog techniques.”

more creative, and with significantly morepossibilities to choose from.”

Jochen Hähnel

Angela Reedwisch, head of ARRI Film & TVServices since its inception in 1994 and nowkey account manager for inter-departmentalprojects at ARRI, no longer sees cost as adrawback in doing titles digitally. “The inter-activity in digital title production saves bothtime and money. The dialogue betweendirector and designer is not only very important but also more readily possible inthe digital process. Quick and efficient interimtest viewings are possible even over greatdistances through the exchange of Quick-time-movies via e-mail or video playout. Weall know that films need titles, and for thesame money you used to pay for analog titlesyou can now produce titles digitally- faster,

30

For the digital post-production, the producersand director embarked on a search for apartner who could assume creative respon-sibility and found one in ARRI. The decisionwas based not least upon the successful cooperation all parties had enjoyed workingon previous projects. It had already been pre-viously decided to shoot with ARRI equip-ment and complete the post-production atARRI in Munich.

In this film, ARRI’s VFX people joined theproject shortly before shooting began. Thestory revolves around – among other things –artificial muscles externally controlled bycomputer. This was the concept of StefanRuzowitzky, who described all the effects inminute detail in the script. The only problemwas that such software didn’t yet exist. Thecreative team at ARRI went to work anddeveloped the required software in an exten-sive pre-production effort. “According to thedirector’s ideas and sketches, the programcreates a 3-D representation on the monitorof which muscles are active or inactive in agiven moment. In addition, there are rowsof numbers and columns of graphics runningthrough the image. By pressing a key, cer-tain values can be influenced,” explains LutzLemke, film compositor and title designer atARRI Film & TV Services, who was respon-sible for the design of the program.

Markus Drayss, 3-D graphics artist, did theprogramming and finally created a ‘click-able’ software program. Various layouts werepresented until the director‘s requirements

were met. Stefan Ruzowitzky: “Before webegan shooting I told them what I wanted.You press a button and certain things shouldhappen. The team at ARRI far exceeded myexpectations. With all the data and anima-tion seen on the notebook, everything reallylooks very stylish and absolutely authentic.Apart from that: over and above what werequested, the program actually works!”

As in the first ANATOMY, a medical advisorwas on hand: Axel Weusten. He workedwith the team to make the numerical dataand sequences look as medically authenticas possible. Altogether the notebook soft-ware appears in around 10 sequences inthe film.

“With this program, all the functions actuallyworked. That means the actors weren’t limitedto moving within a predetermined timing,but were able to move as they wanted. Theresult doesn’t look staged but real.” Thisopinion is shared by Stefan Ruzowitzky andLutz Lemke. Incidentally, Sony supplied thenotebooks as product placement for the film.

Naturally the ARRI team was also present tosupport the production on location, not leastbecause of various other effects and 3-Dscenes that were later to be created at ARRIin post-production.

ANATOMY 2 is distributed by Columbia andwill appear in the cinemas in Spring, 2003.

Jochen Hähnel

Muscles can be controlled at a ‘click’ with ARRI’s software program

With over 2 million viewers, ANATOMY was the most

successful German film of 2000. It was only reasonable

to produce a sequel to this medical-horror-thriller:

ANATOMY 2. As with the original, the new film was

produced by Columbia Tristar and Claussen & Woebke.

The screenplay was again written by Stefan Ruzowitzky,

who also directed.

ANATOMY 2

Contacts:

Key Account: Angela Reedwisch

phone ++49-89-3809 1574, fax–1773, email areedwisch@arri.deOverall contact for national and international ARRI Film & TV Servicesprojects

Feature and TV Drama:

Josef Reidinger

phone ++49-89-3809 1339, fax-1446, email jreidinger@arri.deResponsible for lab services, TV features & series, scanning & recording, HD-scanning

Commercials and Visual Effects:

Michel Schütz

phone ++49-89-3809 1527, fax –1549, email mschuetz@arri.deResponsible for post-production forcommercials, music videos, imagefilms and 2D/3D effects processing

Sound: Max Rammler

phone ++49-89-3809 1628, fax –1520, email mrammler@arri.deResponsible for the entire sound processing for cinema, TV and commercials

ARRI Rental Deutschland GmbH:

Thomas Loher, Managing Directorphone ++49-89-3809 1440, fax –1773, email tloher@arri.deResponsible for camera and lightingrental in Munich, Cologne, Berlin and Leipzig as well as the film and TV studio in Munich

Film & TV Services Sales Germany

and German speaking countries:

We are happy to be able to welcomeback Walter Brus to our Sales Team as of 1 September 2002. phone ++49-89-3809 1772, fax –1773, email wbrus@arri.de

Branch office Los Angeles:

Thomas Nickel, former lab sales manager, has taken over managementof the newly created contact and salesoffice in Los Angeles as of 1 July 2002.He will in close collaboration with Angela Reedwisch act as contact for American customersplanning to do their projects in Europe.Contact: 7900 Woodrow Wilson Drive, Los Angeles,CA, 90046, phone: ++1-323-650 39 67 fax: ++1-323-650 39 83, email: thomasnickel@online.de

ARRI Fi lm & TV Services Munich and ARRI Rental GermanyOne Stop Shop for the Film Industry’s Highest Expectations

“You come to us with a script and leave witha finished film or tape,” Franz Kraus, mana-ging director of ARRI AG, briefly describesthe service departments’ Full Service Philo-sophy: perfection of the whole, but also com-petence and consultation in all aspects ofservice, always focusing on results – that’sARRI’s strength.

On 1 July 2002, the activities of ARRI TVProduktionsservice GmbH and the Laboratoriescombined to form one company operatingunder the name ARRI Film & TV Services. TheARRI Rental area has become a separatebusiness unit. These changes aim to makeARRI service available to customers moreefficiently and directly. At the same time, thestructures and responsibilities within the com-pany have been re-organised.

Equipment:

ARRI Rental Germany

• 10 ARRICAM systems• 50 ARRIFLEX 435 and 535 cameras• 11 Moviecam Compact and SL units with Ultra

Prime, Cooke S4 Prime lenses and the brand newAngenieux 24-290 T2.8 zoom lenses

• the complete Chapman and Fisher dolly range• 3D remote heads with cranes up to 15 meter height• 4 LOCPRO 35 for viewing dailies on location• 10 mega watts of lighting equipment and generators

with in total 2,3 mega watts including all necessarylogistics solutions

ARRI Studio

• Fully airconditioned film and TV studio with over2000 square feet of space, original sound capa-bility, complete, computer-controlled lighting. Videoand sound control room. Extra dressing and make-up rooms as well as production offices.

ARRI Cinema

Suitable for events such as press screenings,award ceremonies, lectures, etc. Equipped with10 x 4, 16 m screen, 11 x 6 x 1,10 m stage, 361seats. All standard sound formats are possible.State-of-the-art 35mm cinema and video largescreen projectors. Foyer with bar.

ARRI Feature and TV Drama

• Full lab service for TV and cinema features and com-mercials shot on 35mm, S35mm, 16mm, S16mm

• Quality Control for Film and Video Material• Telecine 35mm, S35mm, 16mm, S16mm with wet-

gate option on Rank Cintel Ursa Diamond and UrsaGold with Pogle PiXi color corrector and Platinumcontroller, tape to tape color correction on PoglePlatinum and DaVinci Renaissance

• Offline and online editing (Avid, Symphony, AccomAxial, Sony DVS 8000 etc.)

• DVD Full Service• HD- and video transfer of any standard format

(HD-D5, HD-Cam, D1, DB etc.)

• Digital Lab on Spirit High Definition Data Cinefor film transfers to PAL, NTSC or HDTV (24, 25 or30 fr/sec, 1920x1080)

• Scanning services on Kodak Genesis 35 digital filmscanner for up to 4K film scanning

• Recording services on 2 ARRILASER film recordersfor film recording on 35mm intermediate negative/positive

ARRI Commercials and Visual Effects

• Full service for highend post productionfor commercials, musicvideos, image films

• Visual effects for cinema and TV

• Telecine 35mm,S35mm, 16mm, S16mm on Spirit High DefinitionData Cine for PAL, NTSC and HD Telecine andRank Cintel Ursa Diamond with Pogle PiXi color corrector and Platinum controller, tape to tape colorcorrection on Pogle PiXi and Platinum controller

• Offline and online editing on Avid• HD- and Video transfer of any standard format

(HD-D5, HD-Cam, D1, DB etc.) • 2D online and compositing (Discreet Logic Inferno

and Flame, Quantel Infinity, Kodak Cineon, Shake,After Effects)

• 3D Animation (Maya, XSI, Softimage, 3D-S-Max)• DVD Full Service

ARRI Sound

• Full service for audiopost production in all formats. Dolby SR*D,DTS and Sony SDDSon Harrison Series10/Series 12 digital

• Dubbing for TV andDVD in mono, stereo, Dolby surround and 5.1 onHarrison Series 12

• High end effect tools, big sound effects archive

32

The long awaited move has been necessitatedby steady and consistent growth over the last19 years and can be seen as an endorsementof the group’s confidence in the UK film andtelevision industry. The Group is made up ofARRI (GB), sales and service of cameras andlighting products, together with ARRI Media& ARRI Lighting Rental, both equipment ren-tal houses.

“The decision to buy our own property under-lines our determination to continue to growand emphasizes the confidence we have inour ability to keep on providing the serviceour customers deserve. The ARRI name standsfor quality, reliability and innovation and thiswill be reflected in the facilities we will beproviding for our clients,” states Renos Louka,managing director of ARRI GB.

The philosophy behind the new building’s de-sign is to offer filmmakers and technicians theultimate facilities for preparing, testing andplanning their projects, whilst continuing to

optimise the efficiencies that ensure ARRIremains competitive within the market place.

The new 4 acre Highbridge HQ site will con-sist of three buildings totalling 75,000 sq ft,containing warehousing and offices, as wellas carefully planned show rooms, test rooms,meeting rooms, a consumable shop and evenan equipment museum. The increased spacewill be of particular importance to the Rentalcompanies who have aspirations to take oneven more ambitious and prestigious projectsin the future.

Careful consideration was given to the choiceof location with Uxbridge which was finallyselected due to its excellent transport links andclose proximity to Central London, HeathrowAirport, the M40, M25 and M4 motorwaysas well as the major studios at Pinewood,Shepperton, Twickenham, Ealing and Bray.

ARRI (GB) Group are already heavily involv-ed within their new community. For example

they were approached by the HillingdonArts Association to sponsor a sculpture thatwas unveiled by Her Majesty Queen Elizabeth II as part of her Golden Jubileecelebrations on 25 th June 2002.

The relocation to Uxbridge is due to takeplace in Autumn of 2002 in three phases.

ARRI (GB)Group and all its staff welcome youall to our new premises and look forward toseeing you at our forthcoming launch party,date to be confirmed.

Renos Louka

ARRI GB LTD2 Highbridge, Oxford RoadUxbridge, Middlesex, UB8 1LXphone +44 1 895 457 000fax +44 1 895 457 001

www.arri.com

UK ARRI Group expansion leads to prest igious new off ices

ARRI (GB) group are proud to announce the finalisation

of plans to move to a new state of the art Headquarters in Uxbridge.

ARRI GB’s new headquarter in Uxbridge

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THE CHESS P LAYER was shot on locationat the 18 th century Hooe Barton Farm inPlymouth on 35 mm format, using an ARRI-FLEX 535B.

The students were fortunate to find the locationof a17.5 ft darkly lit barn, which was supple-mented by a 17 ft-boxing ring previouslyorganised by the team. With the two weather-ed, Eastern European chess players as thecentral characters, the crew tried to introducean element of colour to Guinness’ traditionalmonochromatic film, and used a lot of cam-era motion; but they shot deliberately withoutcamera filtration and made a conscious de-cision not to use the camera FX, preferring toachieve this later in post-production throughthe use of digital technology. Producer Carrie Williams knew that the team had to becavalier in their requests to stretch the £1.000budget allocated by the College to the maxi-mum. Kodak provided all the film stock.Denham Productions provided their on – andoff – line Avid suites during the eveningsandweekends. Tape-to-tape grading was done atFrameStore.

The production team first came together whenworking on a shoot the previous year thatwon the local Royal Television Society Award.They regrouped this year, calling a meetingin which their roles were defined: CarrieWilliams as Producer, Mark Carson as Direc-tor, Chris Walmsley as Cinematographer, andBen Luria as Editor. Last year ARRI supportedthe college with ARRIFLEX SR2 16 mm cam-era kits. But this year the team requested thesuperior 35mm format to achieve a higherproduction value and capture the intensity

of mood – with clever use of shadowy lightingin the dark, smoke-filled barn. The productionteam also sensed that in addition to superiorquality, it would facilitate an easier postpro-duction transfer to the Avid suite.

“I have known Plymouth College for a numberof years and know the quality of work thatcomes out is pretty good,“ explains Allan Fyfe,ARRI GB’s Senior Client Contact. During thecourse of the year, he visits many schools andcolleges discussing filming techniques andequipment. “It was great to see this groupexperience the 35mm format,” he adds.

AlthoughAllan plays down his role on location– stating that the students were so resourcefulthat he was able to take himself off teachingin the college – Chris Walmsley disagrees.“Allan was a tremendous asset,” he admits.“Although we managed quite well with theequipment, Allan gave us good advice withsome of the macro work and made subtle,but constructive comments. Also, we hadn’tworked with the grip equipment before, thetracking shots were difficult to achieve butAllan’s advice proved invaluable.”

ARRI MEDIA, the rental company of ARRI(GB) supports students by lending equipmentand sponsoring various competitions andaward ceremonies.

Cameras, facilities and grip equipment areoffered to student organisations and indepen-dent filmmakers who meet the criteria laiddown by ARRI MEDIA’s Client Contact, SallyInman. Sally explained “I review the appli-cations which will contain a script, synopsis

and treatment, a full list of crew and personnelCV’s as well as a camera wish list, preferredshooting dates and an outline of the budget– as well as any pre-production paperwork.We don’t have a ‘student package’ as such,because each student shoot will be different.We would routinely supply a 16 mm kit butI was happy to sanction the upgrade becauseAllan Fyfe would be supervising. We willcontinue to invest in the future in this specialis-ed industry and it’s imperative that we assistand nurture tomorrow’s emerging filmmakers.”And Allan adds “The entire film industry, fromthe top level down, is about overcoming prob-lems, and ARRI’s role is really about initiatingthese students into the ‘club’.”

Judith Petty

Director Mark Carson, Producer Carrie Williams and DoP Chris Walmsley (f. l. t. r.)

Plymouth College of Art & Design students

and THE CHESS PLAYER

Making the Right MoveARRI’s commitment to educational support was

exemplified when a production team from Plymouth

College Art & Design – operating as Jalapeno

Pictures – set out to shoot a 40-second Guinness-

style commercial and a short film in their quest

for a BA (Hons) degree in Photo Media & Design

Communication.

“The Chess Player“

34

By day, Emmy Brody, a Midwest girl is thrustinto the non-stop pulse of London whereshe serves as a life raft for American travelersin need of help. By night, her personaladventures include a complicated love trianglebetween a CIA Courier and a Royal.

One of the first productions to be filmed usingthe new ARRICAM, it was Director of Pho-tography, Andy Collins who chose both theST studio camera and LT lightweight camerafor this 3 months production shot in EalingStudios and various locations in and aroundLondon. The show will be broadcast on Britishtelevision in Autumn 2002. Cameras andgrip were supplied through ARRI MEDIA.

“I approached ARRI MEDIA quite simplybecause of the quality of the gear they sup-ply, but I particularly wanted to try out thenew ARRICAM,” explains DoP Andy Collins.According to Focus Puller Alex Howe, “Ittook us a day to get our heads around thecamera and how it worked. They’ve takenthe best features from the Moviecam andARRIFLEX cameras, and built them into one camera. It looks a bit frightening at firstbecause there are so many more buttonsand flashing lights, but once you start play-ing with it, they are just the same acces-sories that you are used to, except they are

clipped onto the side of the camera. Any-one who has worked with these other cam-eras, has worked with these devices before,whether it be remote control focus, speedramp, iris pulls, or the sync phase video sys-tem to shoot TV monitors. Previously you hadto hire those items separately, now they’re allbuilt in the camera, but they’re detachable.If you want to go lightweight, you just pullthem off.”

He added,” we did shutter angle changeswith speed ramps, and often there were lotsof monitors and TV screens in frame, so wecould phase out the bars easily and quickly.If you had to go handheld, you just strippedall that stuff off, and within a couple of minutes,your camera would be ready: plonk it on theoperator’s shoulder and off he’d go.”

“The hand-held system has a shoe on the bot-tom so that you can click it straight onto atripod. Rather than put the camera on the floor,or have a grip hold it all the time, you takeit straight off the operator’s shoulder and clickit on a tripod to rest. You can run the cam-era in that configuration and use the handheld bars as an extra handle on your head to operate a conventional shot, and then popit off the camera for the next shot, and offyou go handheld.”

Alex explained in more detail, “The view-finder system on the ST is incredibly bright,which pleased all the operators. Electroni-cally, everything worked fine and the cam-era performed perfectly throughout the entireshoot, so that kept us (assistants) happy.There is one unique feature that these newcameras have called the ‘Lens Data System’.The lenses have electronic contacts inside.On the display attached to the camera youcan check all technical information, not onlywhat the voltage is, what the shutter angleis, what speed the camera is running at, howmuch footage you shot on the last take orhow much footage is left in the magazine butnow also what lens you are using, whatstop you are on, and what the focus setting is.From this last information the system calcu-lates your depth of field for you. While it’strue that it gives you a bit more confidencein terms of focus splits between two charac-ters when they are walking, and the cam-era is tracking with them, on long lenses, itreaffirms that you have no depth of field atall. You realize you are moving around wideopen with absolutely zero depth of fieldand that can be frightening.”

The crew worked a 5-day week, but Ameri-can hours, i.e. very long hours. Andy Collinscommented, “AMER ICAN EMBASSY was

AMERICAN EMBASSY with the

New television series from 20th Century Fox

cameras and grip supplied by ARRI MEDIA

The ARRICAMS and the crew

The producers of ERIN BROCKOVICH bring a modern coming-of-age story to television: starring

Arija Bareikis, Jonathan Adams and Dave Cubitt the series revolves around the personal and

professional travails of a young Vice-Consul in London's AMERICAN EMBASSY. DoP Andy Collins

35

tough. Our leading lady was in every dayhaving only had 5 hours sleep and we hadto make her look beautiful. We had to shootan episode, one American TV hour, which is54 minutes, in 8 days, with about 60% loca-tion work to 40% studio work. Days werelong; our call sheets averaged 7- 8 pagesper day. When it is aired, nobody is awareof how long it has taken or how quickly weworked; all they judge is what it looks likeon their TV screen. Each episode was lit asfast as I could do it, and often I wished I hadthe chance to just do that one little thing,but on television there isn’t the time.”

“I thought these new ARRICAM cameras werevery good. The ST has everything built intoit; I don’t know what more you could need.We used the data lenses with the packageas well as Cooke zooms. We did a few shotswith subtle rampings in them, and it was quickand simple to use. You press 3 buttons andoff you go. They have really worked it out nowso that the camera is pretty user friendly”,Andy concluded.

AMERICAN EMBASSY was shot on Super35mm using a full frame and 16:9 gate. Itwill be broadcast in the UK later this year.

Focus Puller, Alex Howe on location

Emmy Brody actress Arija Bareikis and the crewwith DoP Andy Collins

ARRICAM

36

For over 20 years Mike has been revealingto audiences the hidden beauty of the under-water world as a director and DoP. Havingworked on over 50 features, he insists thatdemands made on camera equipment whenused on an ordinary set more than doublewhen taken into the alien environment of theunderwater world.

Recently, Mike wanted to update all his cam-era equipment. He bought not only an ARRI-FLEX 435, but also a set of ARRI Zeiss UltraPrimes – from the new 12 mm through to the85 mm. “Their sharpness and continuity ofcolor I found to be incredible,” he qualified.“Recently, I have been shooting scenes ofPierce Brosnan and Halle Berry underwateron the new James Bond film DIE ANOTHER DAY

as well as Jackie Chan in his new filmSHANGHAI KNIGHTS. Using the new camerasystem, I have achieved shots underwaterusing the RCU ramping system combined withthe LCS remote focus system that I could nothave achieved any other way.

Mike Valentine is only too aware of theimportance of service and backup for anycamera system. “And having worked withall the current camera equipment I find thatARRI GB’s service and backup is second tonone. I have had a state of the art under-water housing built for the system and I amconvinced that the substantial investmentthat I have made has been well worthwhile.”

Siobhan Daly

Underwater Camera Special ist upgrades with an ARRIFLEX 435 for Bond“For me the choice was obvious,” says Mike Valentine. “There is, in my

opinion, only one 35 mm camera system which can satisfy all

the demands of modern film making and that is the ARRIFLEX 435ES.”

The new lights comprise two fully automated4kW Compact ARRI HMI fresnels and afurther three automated 5kW tungsten ARRIfresnels to add to the nine units already sup-plied last year.

The three ARRI 5kW Theatre luminaires, inthis case incorporating dichroic reflectors, arebuilt into a moving yoke with scroller, whilethe ARRI Compact 4kW HMI’s have a dim-mer shutter and scroller incorporated into themoving yoke.

The issue with the Junior 5kW’s was one ofsize as David Harvey, the theatre’s co-lightingmanager explained. “We chose the Junior5kW’s because we only have 750 mm ofdepth in our lighting battens. Furthermore, thecolors we wanted to put in our scrollers neededto be looked after, and the dichroic filter willgive extended life to the scrolls. Having theunits motorised also cuts down on very tight

rehearsal and changeover schedules, as wellas giving designers more flexibility of multiplepositioning during productions.”

The Royal Opera House specified the 4kWHMI’s to meet the lighting design for a show,LA SONNAMBULA, which was lit by David’sco-lighting manager, John Charlton, andrequired heavy usage of the HMI’s. “A lot ofour decision making had to do with timing,”said David Harvey, explaining that the motor-isation was designed not only to expedite

changeovers, but also the necessary light-ing changes during the show.

The Royal Opera House are now progres-sively specifying ARRI as their first choice inlarge format fresnels. “We opted for ARRIthis time because of its superior light output,and the fact that you can put accessories –scrollers and shutters – on the front. Further-more”, said David Harvey “the Theatre 4kWis virtually leak-proof – there’s absolutely nolight spill from front or back.”

Jerr y Gilber t

Bright Lights at the Royal Opera HouseConfronted with the need to increase their large-format fresnels, the Royal Opera House in Covent Garden

have recently added ARRI high-grade theatre luminaires to their rig in two separate installations.

Mike Valentine

37

The new Leader Asia Pacific CreativityCenter (Lapcc) is now the largest facility inTaiwan – and has been equipped largelywith ARRI lighting.

The studio is situated on nine storeys of office block, of which three floors have beenremoved to allow construction of three largestages – the first phase of a project which willsee two further studios constructed over thenext few years.

Leader placed an order worth in the regionof £ 750,000 to ARRI through Cheng SengTrading Co., Ltd, ARRI’s Taiwanese distributor.Cheng Seng won a competitive tender tosupply their major customer, and was respon-sible for the later stages of visual productionat the studio. They also put together the light-ing specification, in conjunction with a con-sultant, and Leader’s decision to equip largelyfrom the ARRI product catalogue was basedon reputation and the ability to satisfy the pro-duction requirement in Leader’s new studios,which also incorporates the professional MiloMotion Control System.

Each of the three new production stages isequipped with ARRI’s proprietary series, including Daylight, Compact, Arrisun, PocketPar, Minisun, X-Light, Studio and Arrilite.These were supplied with a full range ofaccessories, including ballasts, barndoors,filters, transformers and cables.

The order consisted of multiples of ARRISUNHMI PAR’s, including ARRISUN 120 (12K)lampheads, ARRISUN 2 kits, ARRISUN 60,40/25, 12 plus lampheads – all supplied

with lens kits, ballast and cables. The ARRI X Light series superwide dischargefloodlights, included the ARRI X 2 (200W),X5 (575W) and X 12 (1.2 kW) with barn-doors, ARRI X 40/25, ARRI X 60 (6 kW),with reflectors and frosted UV glass, whilethe ARRI Compact 4kW, 2.5kW and 1.2kWset and Compact 200 W kit have also beeninstalled.

The specification also included ARRILUX21/50 Minisun and ARRILUX 125W Pocket-Par Pro kit (with gobo projection and liquidlight tube and optic), representing the small-est combination daylight luminaire thatARRI has developed to date.

Other luminaires supplied to Leader includeDaylight 12/18 kW Plus, T-24 and T-12manual spots, with barndoor and colourframes, Studio 5 kw, 2 kW and 1 kW, withbarndoor and colour frames as well as Junior650 W and 300 – all with barndoor andcolour frames.

The new development means that Leader cannow deliver complete project planning forfilm production (and postpro), 3D animationand special effects production, professionalset design and external temporary powergeneration, music composition, sound editingand broadcast recording.

At the same time the studio will be able tooffer ARRI professional lighting for rentalpurposes.

Alan Morduewww.lapcc.com.tw

Top Taiwan Studio chooses ARRI LightingWhen the Leader Group, Taiwan’s top media post-production company, completed their five-year

planning and construction project to develop a Hollywood-style studio facility,

they insisted on state-of-the-art technology to achieve optimum filming quality – including the lighting.

The Lapcc Studios

38

It’s been a noteworthy year for the ARRI-LASER in Hollywood, garnering a Scientificand Technical Engineering Award from theAcademy of Motion Picture Arts and Sciencesin March and setting a historical milestonewith Industrial Light & Magic’s (ILM) use ofthe ARRILASER to transfer the entire STARWARS: EPISODE II ‘ATTACK OF THE CLONES’feature to film, producing seven completedigital intermediate print masters. ILM’s JosephGoldstone, Associate Digital Scanning Pho-tography Supervisor, Michael Cooper, Direc-tor of Film and Editorial Services, and JohnEllis, Imaging Services Manager, discuss theirinvolvement with the ARRILASER.

ARRI began development on the ARRILASERin conjunction with the Fraunhofer Society inDecember 1996 and two years later intro-duced the finished product. The followingyear, ILM was just beginning to evaluate tech-nology for their scanning and recording de-partment, gearing up for the work that wouldcome to them when the pipeline for STARWARS: EPISODE II ‘ATTACK OF THE CLONES’was in heavy production. Joseph Goldstone,Associate Digital Scanning Photography

Supervisor, was involved in guiding the de-cision to buy the new laser recorder tech-nology. “Before I came here, I was atanother facility that was the firstU.S. beta site for the ARRILASER,so we started talking with ARRIthen. There was a period of maybea year and a half where we didtests on the equipment that ARRIprovided for us. It was a prettycomprehensive type of test, andthe decision was made to get anARRILASER recorder. Having hada very positive experience withthe first one, we decided to geta second one. That‘s where wewere when we were looking forthis particular project.” Gold-stone recommended the ARRI-LASER for all of ILM’s workeven before the system wasconsidered for STAR WARS:EP ISODE I I ‘ATTACK OF THECLONES’. “This is what we were in the business of doingbefore EP ISODE I I , but the factof the matter is that EPISODE I I

was on a huge scale and it pushed the tech-nology into recording out whole rolls of film,”he said.

Michael Cooper, Director of Film and EditorialServices, agreed. “ILM had already acquiredone ARRILASER before I started in my currentposition, and I was pretty adamant that we

The BRIGHT sideof the Force:ARRILASER Digital Film Recorder

enters the Hollywood “WARS”

39

switch over, that all of our film recording beon the ARRILASER. In house, we had halfa dozen CRT-based machines, and eventhough the engineering staff here is superi-or and is able to get very high quality out ofthem, I’m a big fan of the laser, not just thespeed but the image sharpness you can getout of it.”

Approaching the STAR WARS: EPISODE II‘ATTACK OF THE CLONES’ release different-ly, George Lucas was open to the idea ofutilizing the equipment in a groundbreak-ing way by filming out seven digital inter-mediate negatives with the absolute bestquality. “George allows us to do things thatnobody else would. It’s a dream to be ableto give to the public the quality of imagesthat we see in our screening rooms,” saidCooper. “We literally were filming from thehead leader, through the content and thenthe tail leader, so it’s a complete reel,” ex-plained John Ellis, Imaging Services Mana-ger. Goldstone noted, “it’s not so much thatthe technology is new, it’s that we are tryingsomething new with it.”

ILM’s scanning and recording departmentstarted mid - February on the STAR WARS:EPISODE I I ‘ATTACK OF THE CLONES’ pro-ject. By project’s end, they had recordedmore than 1.5 million frames. “It’s just somuch more impressive to talk about framesthan footage. And each one of those frameshas to be perfect. You can’t drop a frame,you can’t overexpose one frame, you can’tunderexpose one frame. Then we filmedout each reel three or four times for evaluationbefore we started our seven negatives, soliterally we are talking about millions offrames that had to be recorded out perfect,”said Ellis.

Before the final decision to film out sevenmasters, ILM tested other options. “We dida big chunk of testing to try and see thedifferences between directly recording the

interneg, or recording interpositive, and thenmaking an interneg from that and making aprint,” said Goldstone. “But the quality on thereally fine detail convinced us that we reallywanted to do this [digital internegative]. Itdoes make a difference. For any place thatdoes have quality projection, people aregoing to sit up in their seats and take noticebecause it looks very good.” The digitalimaging services group at ILM originallybegan with two ARRILASERS, eventuallyusing four machines running constantly. “Weneeded to do seven masters, and that iswhere ARRI really came through for us. Thatis a lot of volume of film to shoot out, andARRI freed up a couple of machines for usin house so we could hit the productionschedule,” said Cooper.

As for the quality, speed and throughput,“of all the recorders we’ve tested, it’s alwaysproven on balance to be the superior pro-duct,” noted Goldstone. “The imagery is verycrisp, the speed at which we can exposeintermediate stock makes production reallyhappy, and the overall throughput runningthese systems 24/7 has really made it possibleto take this step forward with EPISODE II” Ellisagreed. “The name ARRI does mean some-thing to a lot of people, because they havebeen in the motion picture industry for years.So you feel like you can rely on ARRI. Theyare able to put out consistent products, andthat’s what’s really important. It has allowedus and other companies to compete in digitalduplication.”

Cooper cited an example of another film-maker who took advantage of the technologyto enhance his vision. “We had the ARRI-LASER for PEARL HARBOR. I had previouslyworked with Michael Bay on ARMAGEDDON,and I was adamant at that time that themovie – we were utilizing 17 different visualeffects houses – only goes on lasers. Michaelcan definitely see the quality.” To producethese pristine images, using the ARRILASERallowed them to push the quality level.“When creating visual effects, we want tomake sure on the scanning and recording side that we are representing the digitalartist’s work as precisely as we can. TheARRILASERS replicate those colors the best,and with the volume of frames we are put-ting out now, as a company, we just reallyhave to have that speed in our pipeline.”

Cooper believes that the ARRILASER is agreat tool for allowing the filmmaker to

maintain creative control. “Now that DoPsare starting to realize they have a lot ofcreative control with the digital color timingand the ARRILASERS, the lasers can replicatethat work accurately onto intermediate stock.So they are not taking a quality hit by doinga film recording of it, and the system is fastenough that production is not taking the hiton delivery. Because filmmakers still want timeto make their movie.”

Suzanne Lezotte

www.ilm.com

Bruce Vecchitto, Todd Mitchell, George Gambetta,John Ellis (back), Joseph Goldstone, DarrenJones, Michael Cooper (back), Mike Ellis,Richard Gentner (f. l. t. r.)

Joseph Goldstone, Michael Cooper, John Ellis(f. l. t. r.)

George Gambetta operating the ARRILASER

40

THE 25TH HOUR –A new Spike Lee Projectfilmed with the ARRICAM

THE 25TH HOUR, starring Edward Norton,Rosario Dawson, and Brian Cox, depicts thelast day of freedom for a young man beforehe begins serving a seven-year jail term fordrug dealing. Walking through the city untildawn with his two best buddies and his girl-friend, he is forced to re-examine his lifeand the situation he is in. With its twisted,disturbing finale, this is sure to be anotherone of Spike Lee's brilliant movies. Lee has

of each day and sometimes before eachshot. This meant we were to be ready for any-thing and to keep an open and flexible mind.Most of the time we would start shootingwithout rehearsal as soon as the actors wereready. Camera operators Criss Norr and JodyWilliams had to constantly improvise, andour focus pullers, Jim Belletier and HeatherNorton, had to rely on their judgment ofdistance as things happened.”

set, in frame, allowing Spike to shoot withtwo or three cameras facing anywhere hedesired without any major relighting. Manytimes, shooting like this meant that the light-ing for one of the cameras was not ideal, butit gave the actors tremendous freedom tooverlap dialogue and improvise. Being such acharacter-driven story, this became a majorasset to the movie, and, although it made mylife difficult, it was well worth it.”

directed a vast number of movies such asCLOCKERS, SUMMER OF SAM, HE GOT GAME,and BAMBOOZLED, working with directors ofphotography such as Malik Hassan Sayeedand Ellen Kuras, ASC. For his new project,Lee approached cinematographer RodrigoPrieto for the visual realization of THE 25TH

HOUR, which was shot with the ARRICAMsystem.

Prieto shares his thoughts about his work withLee on THE 25TH HOUR: “Before we startedthe movie, Spike and I worked on severalcommercials together. It was a great oppor-tunity to get to know each other’s workingmethods. This experience was particularlyimportant since Spike works very fast, whichwas necessary to finish on time given the shortproduction schedule of only seven weeks.For the most part we stuck to our conceptualplan for each segment of the story.”

“In terms of shooting, Spike usually informedme about his specific plan at the beginning

“Spike also likes to have freedom on the setto shoot in every direction with at least twocameras rolling covering opposing angles.The prep time was short, and it included afew days of shooting montage scenes, sodetermining how to pre-light the differentlocations without really knowingspecific angles was a challenge.Robbie Baumgartner, my gaffer,did a great job in helping me figure out ways to have a basiclighting setup pre-rigged in eachset, which would save us anenormous amount of time.”

“I also worked very closely with production designer JamesChinlund incorporating practicallighting sources into the locations.This was especially helpful in theBridge Nightclub (which was anadapted theatre), where the light-ing for the scenes was built into the

“Since the story revolves around a drug dea-ler's (Norton) last 25 hours before going tojail, capturing the right mood for each scenewas crucial. The linear structure is brokenwith a series of flashbacks, and at one point,a look into the possible future. Spike wanted

Rodrigo Prieto (right)and Criss Norr

41

to avoid using narrative techniques to indi-cate a change of time, so we had to comeup with ways to visually communicate it. Wedivided the story in five looks: the prologue(four years before), the body of the story (pre-sent), the flashbacks, the ‘f**k you’ montage,and Utopia (the possible future).”

“For the prologue and Utopia, we bleach-by-passed the original camera negative, enhan-cing contrast and creating a gritty, dirty look.The prologue was shot with Kodak Vision800 (5289), while Utopia was shot with 5274and 5245. The present was shot entirelywith a 90° shutter to enhance the sense oftime running out. Some scenes were shot ina 45° angle. All of the present was shot with5279 pushed one stop at the lab to addcontrast and grain. The flashbacks were shotat 180° shutter with no pushing to subtlyconvey that things seemed a little more incontrol. The ‘f**k you’ montage was shotwith 5285 reversal stock, developed withcross process. Since this scene involves ourhero bitterly complaining about everything inNew York, we shot around the city with a hand-held camera, including various things to loveand hate about the Big Apple, exaggeratingthe colors, contrast and grain with thecross process. Technicolor in New York Citydeveloped the negative and delivered ourdailies. Joey Violante, who timed the dailies,was of great support and a pleasure to workwith.”

“Whenever possible I like the camera to beclose and intimate with the actors and action.As far as cameras go, the ARRICAM systemseems to be the ultimate camera design. Itincorporates the best of the ARRIFLEX andMoviecam, plus some added goodies. I thinkthe ARRICAM is superior to the 535B dueto its size and weight. The ST can run up to60 fps, which comes in very handy. I alsolove the swiveling viewfinder. I often find thebest angles are not easy to operate, so beingable to set the finder wherever you want is abig asset. The cameras are ergonomic andthe viewfinders are very bright. We used both

the ST and LT cameras all the time. Since Ilike lightweight cameras, if the LT could betop mounted, I'd probably use it much morethan the ST. The LT on hand-held mode is myideal setup, but that is just because I love tooperate hand-held shots. THE 25TH HOUR hadvery few hand-held shots, so we used the LTas a regular B camera. Personally, I like tostrip down cameras to the basic needs for eachshot. The ARRICAM system allows you to be assimple or accessorized as you want, dependingon the needs of each scene or project.”

“I used the ARRI/Zeiss Ultra Primelenses for this movie. I find thatwith the Ultra Primes you somehowfeel a very real sense of sharp-ness, contrast and depth. For somereason that I can't describe, theimages shot with Ultra Primes seemalmost three-dimensional. It seemsas if you could reach out and touchthe characters. I used no diffusionon the lenses, which, combinedwith the 90° shutter, created asense of hyper-sharpness. Still, thisdid not result in unflattering close-ups, but it enhanced the mood,particularly in the scenes where thehero sees things for the last timefor seven years.”

“For our lighting set up, I used a lotof Kinoflos as well as a large num-ber of ARRI lights, particularly theARRI 2.5/4K and 12/18K HMIs.One of my favorite ARRI lights isthe T 12 fresnel tungsten light. It isvery powerful, compact and light-weight. You don’t need ten electricians toset it up, but you get a lot of bang for yourbuck. However, we ended up using primarilysmall fixtures, since we were very limited inthe physical placement of the lights as everyscene was being shot with two camerasrunning simultaneously from opposite angles.We often hung the lights from the ceiling orhad to hide them behind columns and setpieces.”

“Camera Service Center (CSC) provided allthe cameras, lights and generators. Every-body at CSC was very accommodating toour needs and ready to assist whenever wehad problems or questions.”

THE 25TH HOUR is scheduled for release inDecember 2002.

Franz Wieser

Rodrigo Prieto (front)and Criss Norr

Rodrigo Prieto was born in Mexico City, Mexico, son of an American mother and Mexican father.His interest in film began at an early age experimenting with Super 8 home movies, until he went on to studyat Centro de Capacitación Cinematográfica (CCC), the premier Mexican film school. His first assignment atthe age of 22, as an assistant and still photographer for a television commercial, launched his career. Hewent on to photograph more than 500 commercials for major corporate clients. Prieto moved into featureswith UN INSTANTE PARA MORIR, building himself a strong reputation for paying scrupulous attention to visual and dramatic detail. He worked on other films such as SOBRENATURAL (ALL OF THEM WITCHES) ,

EDIPO ALCADE, FIBRA OPTICA and UN EMBRUJO (UNDER A SPELL), winning a number of awards inclu-ding the Golden Frog for best cinematography for AMORES PERROS.He now lives in the U.S. and has since shot ORIGINAL SIN for MGM, directed by Michael Christopher andstarring Antonio Banderas and Angelina Jolie. He subsequently teamed up with director Julie Taymor to filmFRIDA in Mexico, with Salma Hayek and Alfred Molina. Curtis Hanson hired Prieto to photograph 8 MILE inDetroit, Michigan, starring Eminem and Kim Basinger. Prieto also shot two documentary projects on digitalvideo with Oliver Stone. The first was shot in Cuba about Fidel Castro, and the second was done in theMiddle East involving the Israeli-Palestinian conflict.

Turning on the Lights

at the Salt Lake CityAt the Salt Lake City Winter Olympics, lighting designers again chose ARRI Lighting Equipment both on

location and in studios. ARRI’s long history of lighting Olympic events dates back 30 years to the 1972 Munich

Summer Olympics. This year more than 900 ARRI Lighting fixtures illuminated everything from outdoor events

such as bobsled/luge, alpine skiing and ski jumping to the indoor venues for ice hockey and curling in addition to

the NBC news and conference centers. ARRI lighting fixtures were supplied by CSC, High Output, Fourth Phase,

Illumination Dynamics and Lighting Design Group.

achieving the optimum athletic experience.“One thing at a Winter Olympics that is amajor factor in choosing the right equipmentis, obviously, the weather,” he said. “Extremetemperatures, moisture and various altitudesput a lot of stress on the equipment,” heexplained. This was a major influence in hisdecision to demand ARRI Lighting whichBrennan described as “the most robust andrugged lighting equipment in the industry,ARRI lighting.”

For the past four years, Brennan had beendesigning, building, and then directing thelighting for the Olympic Organizing Com-mittee, and for NBC’s remote studios and

locations. “All of this, plus the daily routine ofmaintaining the venue lighting which includedhundreds and hundreds of HMIs and tungstenfixtures in studios, booths, hallways, mediamix zones, and indoor and outdoor locations,”he said. Those four years of planning culmi-nated in sixteen days of competition, begin-ning at 5:00 a.m. “Don’t forget, you haveto keep all the venues operating at optimumperformance through all the snow stormsand security problems,” he said, “and whenthe competition is over, you still have all theinterview mix zones for the press and tele-vision, press rooms, broadcast studios, allthe way up to midnight for the ‘LATE NIGHTWITH PAT O’BRIEN’ at the Medals Plaza.”

N B C N e w s a n d A n c h o r S t u d i o s

Steve Brill, President of Lighting DesignGroup, Inc. was contracted once again todesign and supply lighting for the NBCanchor studios. This follows his past work onthe 1992 Olympics in Barcelona, the 1996Olympics in Atlanta and the 2000 Olympicsin Sydney. As Brill explained, “NBC kept theaward-winning team together for Sydney andSalt Lake City.” Comparing the challenge ofSalt Lake City with past Olympics, “Salt Lakewas somewhat easier in that it was domestic,”he said. “The equipment and crews weremore familiar. There were, however, somesignificant scenic changes as this was the

1972 M U N I C H

S p o r t s Ve n u e s a n d R e m o t e B r o a d c a s tF a c i l i t i e s

A team of lighting designers, gaffers, riggersand support crew worked together to ensuresuccess. Bill Brennan, lighting director withJustLighting, was awarded the contract forlighting Olympic venues for broadcasting,as well as being retained by NBC to headthe lighting design and direction for remotestudios and locations. He explained that“working the Olympics means lighting 15world-class events for live television for 16days straight, 12 hours a day, all at the sametime, and with this year’s added securityand logistical problems, it was even more ofa challenge.” As senior lighting designer, hewas involved in all of the ice and snow eventvenues. His goal was to provide film-likelighting quality for the broadcasters while still

43

to maintenance of the lights, Wehner didn’thave any breakage failures. “The companysupport was wonderful. We had a lot ofother equipment out there, and I don’t think Iever ran into anybody from those companies.But ARRI was out there and they made theirpresence known. That’s wonderful in a situ-ation like the Olympics. I remember CharlieDavidson (ARRI VP Lighting) even stoppedby the office before we left. That was great.The service, and the equipment, was justoutstanding.”

Wehner also loves the versatility of the ARRIequipment, as well as its availability. “It’s acompany with a very strong presence in the

first Winter Olympics NBC has covered in a while. As you can imagine, a snow-covered background presents some lightingchallenges.” Since his main focus was tolight the studios for NBC, Brill utilized between750 –1.000 fixtures in Studio 1, Studio 2and the Research Room. “The studios weredesigned to be shot in 360 degrees so therewere a lot of challenges in that. There werea lot of positions, and a lot of attention tovery fine detail. And we were always in astudio, so all of the lighting was tungsten,”he explained.

Brill’s goal was to bring the feeling of SaltLake City to the studios. “Of course, the majorpriority was to make the talent look great,”he said, “and we also tried to achieve a warm,lodge sort of feeling in the studios.” Sincehis main task was the studios and none of thevenues, he focused on a “clean” look in thestudios. “Most of the fixtures were in hiddenpositions. Those that weren’t were on motor-ized pipes that flew in and out as needed. Alot of the backgrounds were white snow. Itwas a challenge to keep that bright, winteroutdoors look without overpowering theon-air talent,” he explained. As for weatherconditions, “we didn’t attempt to mimic exterior weather conditions, but we did mimictime of day.” His decision to choose ARRIlights was based on past experience: “I choseARRI because the quality of the light outputis excellent and consistent, and the equip-ment is very reliable.”

Oliver Wolf Wehner also came onboard withthe team from The Lighting Design Group(LDG), reporting to Brill. As lighting projectmanager, he was largely responsible for thepackaging the budget and the crew. “For10 – 11 months I worked to put the lightingpackage and crew in place, and once thereI provided production and logistical supportfor the LDG lighting designers and crew toensure a smooth operation.” When it came

B A R C E L O N A 1992

2002

Oliver Wolf Wehner, LightingProject Manager NBC Olympics

At the curling in Salt Lake City

The start of the alpine racers

industry, and everybody is familiar with it,”he noted. “It’s also extremely well-constructed,not prone too much to breakdown. It’s exactlywhat it needs to be, without being that muchheavier or that much bigger. I can get a lotmore into a truck. I can go anywhere and getARRI. With ARRI, there’s a familiarity outthere with everybody that you can’t beat.You know what you’re going to get, nomatter where you are.”

Suzanne Lezotte

Olympics

44

On these two days of shooting a short filmwas created surrounding the tragic eventsof September 11 in New York: the Frenchcontribution to an international feature filmproject made up of 11 films by 11 directors.The premiere is scheduled for the annivers-ary of the tragedy – September 11 th 2002.Yves Clanet of Techni Ciné Phot met withClaude Lelouch after filming finished.

TCP: It is impossible to mention ClaudeLelouch without at the same time thinking ofa moving camera: a handheld camera, acamera in the midst of the action, absolutefreedom of movement while shooting… theARRICAM LT seems to have been developedespecially for you.

CL: I expect from a camera the possibility toinvolve the spectator in the story. My favou-rite moment is when I stop being just a spec-

tator and become part of the story. The bestmeans to achieve this is the ‘moving’ camera.With it I can directly involve the spectator inthe whole thing. For me the more mobile acamera is, the more subjective it can be. Sothe ARRICAMLT exactly suits my type of film.

TCP: During shooting you said: ‘It outplayseverything else’. What did you mean by that?

CL: Oh, I meant that the ARRICAM showsvery clearly how superior 35 mm film still isto all current video formats. I don’t know howlong that will be the case, because the count-down is on… but 35mm film – and especiallySuper35 – remains with all its possibilitiesthe most high-performance production formatby far.I have never seen a film camera with so manypossibilities, and then so lightweight too.The ARRICAM, and in particular the LT, is for

me the ideal camera. Nobody can say howlong that will be true, because technology isdeveloping at a very fast rate.

TCP: Do you have any suggestions for im-provement?

CL: Well, as always…it could be a bit quieter,then it really would be perfect.

TCP: You know that the ST is a lot quieter…

CL: Yes, but unfortunately also heavier. Andalso it has quite a different concept. In theideal case of course you would have bothcameras on a shoot. But will the budgetalways allow for that?

TCP: What can you tell us about your shortfilm? Whose idea was it? How did youchoose the actors and who is in it?

ARRICAM and Claude Lelouch

Claude Lelouch with the ARRICAM

TCP (Techni Ciné Phot), ARRI’s French agent, showed the prototypes

of the ARRICAM ST and the LT for the first time in France at the

SATIS 2000. Since then, Claude Lelouch wanted to try out the new

cameras, especially the ARRICAM LT. In mid May he had the

opportunity: TCP and Technovision, a rental house specialising in

ARRI cameras, made an LT available for two days.

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45

By linking the brands Ferrari and Vodafone,J. Shands and N. McNeilage of the Weiden& Kennedy agency in Amsterdam have founda very suggestive way into people’s imagi-nation: director Laurence Dunmore blendedthe strong performance of the legendarycar-maker with the continuity and security ofVodafone’s worldwide network in breath-taking, vivid images full of strong emotions.

DoP John Mathieson used the ARRIFLEX 435as a painter uses his brush – with sensitivityand perfect technique, supported by his cam-era operator Daniele Massaccesi: colors andshades of light convey to the audience thefeeling of driving at high speed, the feel ofcurving into the pit lane and back onto thetrack. Not only is the shivering sensationreproduced, but also the feeling of safety andreliability of the technology.

Strength, continuity and reliability are alsothe technical features of the 435 which DoPMathieson particularly required for this shoot.He went to the limits: rain, humidity and motorvibrations at high speed had no effect at allon the performance of the 435. Our com-pliments go to John Mathieson for havingchosen ARRI technology.

Dr. Pietro La Rosa

CL: It was Alain Brigand’s idea. He workswith the producer of the project, JacquesPerrin. They asked 11 directors from aroundthe world to portray the events of September11th 2001 in their own way. I immediatelysaid ‘yes’ because I liked the idea. Thiscatastrophe has definitely changed our livesin many ways.I thought up my contribution while I was outjogging – that’s when I often have my bestideas. On this day I was running through theBois de Boulogne, and a deaf and dumbcouple crossed my path, in full ‘discussion’.I have always been fascinated by them: animage 100 % free of all sound-related prob-lems. These people are not disturbed by anynoises. I asked myself how deaf and dumb

people would have experienced September11th. And then I thought that it would alsobe right to offer all the victims 11 minutes ofsilence.My two actors are Emmanuelle Laborit andJérôme Horry, her fiancé in real life too. I tellthe story of a deaf and dumb couple whoare intending to split up on this day and forwhom September 11 th has the effect of asmall miracle. I wanted to find somethingpositive in this unbelievable occurrence,because not everything was only negative:just think of the willingness to help shownby so many people. I tried to see what mighthave been positive in these terrible events!

TCP: You worked with DoP Pierre-WilliamGlenn on this film. A large man with greattalent. You have in the past often shot filmswith him and you highly respect him (cf. theinterview in ‘En Lumière: Les directeurs de la

photographie’, published by edition Dujarric).Does he share your opinion on the newARRICAM?

CL: I think he appreciates the LT even morethan me. Pierre-William is an enthusiasticadvocate of the 35mm format, and he is con-vinced that this format still has good yearsahead of it. For him the ARRICAM LT is ahomage to 35 mm film and one of the mostbeautiful cameras that has been designedsince the start of cinematography. In thissense he was even more enthusiastic thanI was. I know that one day we will have tosay goodbye to 35mm film and I am prepa-ring myself for this time.

TCP: Do you think you will use the ARRICAMfor your next films?

CL: One thing is certain, that I will use it formy next film. But I don’t know yet if I will buyit or rent it – I’m sure you wanted to knowthat.

TCP: You have always bought your own cam-eras. Will you do that with the ARRICAMtoo, despite the investment of approximately300,000 Euro?

CL: I like to have my own cameras. On ashoot I like to be able to decide at shortnotice without having to carry out steadinesstests or look around for accessories everytime. Sometimes I like to move fast and soI like to have my cameras available and readyto go around the clock. Right now I don’tknow if I will buy an ARRICAM. I can’t planyet. But if the cinema gods are with us …then yes!

TCP: Thank you for your time and hopefullywe’ll see you soon in the cinema.

CL: Thank you, and as you say: see you inthe cinema.

Yves Clanet

Techni.phot@wanadoo.fr

ARRI in the Race with Fer rar i and Vodafone59 crew members, 17 suppliers,

6 actors and 4 days’ shooting

between Mugello and Rome: those

are the figures for the commercial

FERRARI VODAFONE, produced by

Movie Magic Interna-

tional in Italy. Producer

David Turchi used the

ARRIFLEX 435 in this

film for Ridley Scott &

Associates (London).

Claude Lelouch and Emmanuelle Laborit

DoP Pierre-William Glenn

46

FA C I N G T H E T R U T H

Danish director Nils Malmros first attracted the attention of a broad audience with his 1982 film THE TREE OF

KNOWLEDGE. In 1997 he received first prize at the Scandinavian Film Festival in Trondheim for BARBARA – which

was also nominated for an Oscar®. His latest work, FACING THE TRUTH, is a very personal film, shot in only

48 days in black and white with ARRIFLEX 535 and 435 cameras.

D a n i s h P r o d u c t i o n i n B l a c k a n d W h i t e

DoP Jan Weincke

Although fiction, FACING THE TRUTH drawsheavily on the experiences and personalityof Richard Malmos, the director’s father, apioneer in neurosurgery in Denmark. In thefilm, the 80-year-old protagonist is confrontedwith a series of fatalities caused by a substanceused at the end of World War II to providecontrast in X-ray images. Together with hisson, the neurosurgeon undertakes a trip intothe past. It is the story of a man who tries todo everything right but falls victim to his ownmorals and principles. A film about truth andlies, ambition and principles, but also abouthuman warmth.

The film was shot with the ARRIFLEX 535along with a 435 for the Steadycam shots in 1:2.35 format with anamorphic lenses

from Hawk on Fuji FG 71112 and IlfordHP5 Plus film material. Black and white waschosen not only because of the ‘historical’theme: Malmos wanted to remove the moderncolors from the streets and houses insteadof repainting, and also the blood in the sur-gery scenes would have simply been toooverwhelming in color. In addition, directorNils Malmos and DoP Jan Weincke hadalways wanted to shoot a black and whitefilm together.

The Fuji material used in the exterior sceneswas underexposed one stop at 160 ISOand developed at a gamma of 0.65 byFilmTeknik A/S in Copenhagen. The Ilfordfilm for the interiors, on the other hand, wasexposed at 400 ISO and developed with

47

a gamma of 0.75. This not only resulted ina perfect combination of the different filmstocks, but also created very subtle grayshadings, following the tradition of fineblack and white films. For this reason too,only styrofoam panels, reflectors, and whiteplastic sheets were used to brighten the ex-terior shots. Additional lighting would havebeen much too unnatural.

The interiors were shot almost exclusively inthe studio. Two permanent sets allowed theproduction to have the grips work on which-ever set was not being used, thus savingtime and money.

The primary light sources in the studio wereARRI T12 and T24 luminaires, as well as

Kinoflo elements. The aim was to achievethe most natural-looking lighting possible.The T12 and T24 were primarily placed behind the windows to provide direct andindirect lighting. The Kinoflos were hiddenunder the ceiling to give the entire image a “soft” look. The set itself was thus almostcompletely free of lighting and grip equip-ment.

One main problem was, however, the exa-mination lamp on the surgeon’s forehead.The original from 1940 was naturally tooweak to be of use during the surgical se-quences. A lamp of sufficient strength wasneeded which could produce a spot with amaximum diameter of 3–4 cm. The distancefrom the patient was also critical. Short of

actually performing the operation, the high-est degree of authenticity was sought. Theproblem was solved with the use of an ARRIPocket Par with a Liquid Light. The beamwas narrow enough, and the lamp could beplaced almost 1 meter above the ‘patient’.Stops 5.6, and 8 were ideal for the close-ups of the operations.

We are looking forward to seeing the results – FACING THE TRUTH opens in mid-October in Danish cinemas.

Jan Weincke

DoP Jan Weincke (left) and focus puller Sören Berthelin

Director Nils Malmros (left)With the 535 in the operating room

DoP Jan Weincke (right) and focus puller Sören Berthelin

PHO

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ARRI MediaTitle Production Company DoP Equipment

ARCHER Hat Trick Sean Bobbit 16SR3 Advanced

BENEDICT ARNOLD Dark Eagle Seamus Deasy ARRICAM LT/ST + 435

CALENDER GIRLS Harbour Prods Ashley Rowe BSC ARRICAM LT + 535B

DEAD GORGEOUS Carlton Simon Kossoff BSC 16SR3 Advanced

HAPP INESS I I BBC Entertainment Simon Richards 16SR3 Advanced

INSPECTOR L INLEY BBC TV Chris Seager BSC 16SR3 Advanced

JOHNNY ENGL ISH Working Title Remi Adefarasin BSC ARRICAM LT/ST, 535B + 435

MANCHILD I I BBC TV Matt Gray 16SR3 Advanced

NEVERLAND Miramax Roberto Schaefer ARRICAM ST + Compact

THE I INS IDE CF1 Cyf Martin Langer 535B

SECOND COMING Red Prosds David Odd 16SR3 Advanced

SECOND NATURE Granada Film Vernon Layton BSC MC Compact & SL

SONS & LOVERS Company Pictures Richard Greatrex BSC 16SR3 Advanced

RED CAP Stormy Pictures Gordon Hickie 16SR3 Advanced

THE MOTHER Mother Prods Alwin Kurchler 16SR3 Advanced

48

A Select ion of Cur rently Serviced

ARRI Rental G E R M A N Y

Title Production Company Director DoP Equipment

B IRKENAU P'Artisan Marceline Loridan-Ivens Emmanuel Machuet 16SR3, lighting, grip

DIE TRENKS Bavaria Film Gernot Roll Gernot Roll 535B, 435, lighting

HAIRYTALE New Vision Gene Quintano Maher Maleh 535B, 435, MC SL, grip

HEIMAT 3 Edgar Reitz Filmprod. Edgar Reitz Thomas Mauch 35IIIC, 535, 435, lighting, grip

LEAGUE OF EXTRAORDINARY League Productions Stephen Norrington Dan Laustsen lighting, gripGENTLEMEN

LORD OF THE R INGS 3foot6 Peter Jackson Andrew Lesnie 535, 435, MC SL

LUTHER NFP Neue Filmprod. TV Eric Till Robert Fraisse 535, MC SL, lighting, grip

OCTANE Delux Production Marcus Adams Robin Vidgeon ARRICAM LT/ST, 435, grip

OGOPOGO MBP John Handerson John Ignatius 535, 535B, 435

POL ICEWOMAN Olga Film Thomas Berger Thorsten Breuer 16SR3 Advanced

SNIPER 2 Eurofilm Craig Baxley David Connell ARRICAM LT/ST, Optimo Zoom, lighting, grip

UNDERWORLD Subterranean Prod. Len Wiseman Tony Pierce-Roberts ARRICAM LT/ST, 435,lighting, grip

49

ARRI Lighting Rental L O N D O N

Title Director DoP Gaffer

CALENDAR GIRLS Nigel Cole Ashley Rowe Tony Devlin

COLD MOUNTAIN Anthony Minghella John Seal Mo Flam

GOODBYE MR CHIPS Stewart Orme Martin Fuhrer Larry Prinz

FOOTBALLERS WIVES David Holroyd Nick Dance Darren Harvey

HIDALGO Jo Johnson Shelley Johnson Dave Maddux

INSPECTOR LYNLEY MYSTER IES Richard Spence Chris Seager Stewart King

JEFFREY ARCHER PROJECT Guy Jenkin Sean Bobbit Brian Beaumont

REAL MEN Sallie Aprahamiam Tim Palmer Andrew Hamilton

RED CAP Martin Hutchings Gordon Hickey Keith Woodward

THE SECOND COMING Adrian Shergold David Odd Andrew Taylor

CSC N E W Y O R K

Title Production Company DoP LD / Gaffer Equipment

THE 25TH HOUR 25th Hour Productions Rodrigo Prieto Robbie Baumgartner ARRICAM LT/ST, 535B, lights, grip

BLACK ONYX CT Films Shawn Kim ARRICAM LT, 535B

JESUS, MARY & JOEY Federal Hill Pictures Bernd Heinl ARRICAM LT, 535B

THE CHICKEN CLUB Kori Production Inc. Patrick Cady Lance Phox 16SR3 Adv., 16SR3 HS, lights, grip

NADEZDA Pilgrim Six Corp Harlan Bosmajen 535B

NOLA Hutch Films LLC Horacio Marquinez 535B

MARIA FULL OF GRACE Journeyman Productions Jim Denault MC, 16SR3

MOLLY GUNN MGM Pictures Michael Ballhaus Andrew Day lighting, grip, Locpro 35

SECRET LIVES OF DENTISTS Secret Lives, LLC Florian Ballhaus Andrew Day lighting, grip

IN THE CUT Red Turtle Inc. Dion Beebe John Velez ARRICAM LT/ST, lighting, grip

ED Viacom Mike Slovis ARRICAM LT/ST, 3-Perforation

SEX & THE C ITY Sex & the City, Inc. Terry Stacey & John Thomas Mike Marzovilla 16SR3 Advanced, lights, grip

THE SOPRANOS Soprano Production / HBO Kevin Janicelli lighting

THIRD WATCH Third Watch Production Glen Kershaw Joe Sciretta MC SL, 16SR3, lighting, grip

Product ions

50

GAP Films – Karlsberg E & P – Müller

Project Client

SIXT „NACHBARN, HECKE, LEASING“ embassy of dreams Filmproduktion

BAHLSEN PICK UP „TRAMPOLIN, HUND“ embassy of dreams Filmproduktion

MÜLLER „FROOP“ E & P Commercial

HENKEL „A KISS OF SOFTNESS“ E & P Commercial

MC DONALD´S „SPEISE UM DIE WELT“ E & P Commercial

MEGA RADIO „SUPPE, SPERMA, WAND, Final Touch Filmproduktion

BREAK DANCE“

MIGRO GMB SKAI „FLY“ GAP Films

ONE TO ONE ENERGY „TENNIS, GAP Films

DRINKING MACHINE, CHILDSPLAY“

KARLSBERG „BLONDES“ GAP Films

MC DONALD´S „WM 2002, SPEISE Rapid Eye Movement Filmproduktion

UM DIE WELT – FOOD“

PROVINZIAL-VERSICHERUNG „HEBEBÜHNE“ Wonderboys Film

Title Director Production Service

ANATOMIE 2 Stefan Ruzowitzky Claussen & Wöbke Digital Visual Effects, Title

BOOKIES Marc Illsley Cologne Geminie Digital Visual Effects, Title

CUBA Maurus vom Scheidt Drife Production Digital Visual Effects, Title

MUSTERKNABEN 3 Ralf Hüttner d.i.e. film GmbH Digital Visual Effects

HE IMAT 3 Edgar Reitz Edgar Reitz Filprod. Digital Visual Effects

L IVESCHALTUNG Michael Dreher Kaliber 35 Digital Visual Effects, Title

NACKT Doris Dörrie Fanes Film Digital Visual Effects, Title

PAR IS JE T 'A IME Tom Tykwer X-Filme Digital Visual Effects

TABATAH Klaus Knoesel Olga Film Digital Visual Effects

101 REYKJAVIK Baltasar Kormäkur ICF The Icelandic Film Corporation Title

ARRI Commerc i a l s and V i sua l E f f e c t s

ARRI Feature and TV DramaTitle Director Production

ANATOMIE 2 Stefan Ruzowitzky Claussen & WöbkeBOOKIES Mark Illsley Cologne FIlm GmbHDAS WUNDER VON BERN Sönke Wortmann Little Shark EntertainmentGANZ UND GAR Marco Kreuzpaintner Olga FilmGEORGE AND THE DRAGON Tom Reeve The Carousel Picture CompanyLUTHER Eric Till NFP Neue Filmproduktion TVSOLOALBUM Gregor Schnitzler Goldkind FilmVERSCHWENDE DE INE JUGEND Benjamin Quabeck Claussen & WöbkeWIE D IE KARNICKEL Sven Unterwald jr. Achterbahn AG

AUGUST DER GLÜCKL ICHE Joseph Vilsmeier Post OneDEM GLÜCK SO NAH Matthias Steurer d.i.e. FilmDIE FÄLLE DES PROF. CAPELLAR I Nikolai Müllerschön AllmediaE INE L IEBE IN AFR IKA Xaver Schwarzenberger TeamworxHEIMAT 3 Edgar Reitz Edgar Reitz Filmprod.KL INIK UNTER PALMEN Otto Retzer Post OneMEHR ALS ALLES Richard Engel NDFMUSTERKNABEN Ralf Hüttner d.i.e.POL ICEWOMAN Thomas Berger Olga FilmTATORT Thomas Jauch Der Prügelknabe/MTMUNTER VERDACHT I I Friedemann Fromm Pro GmbHVERLOREN Christoph Hochhäusler Fieber FIlm

51

Feat

ure

TVDr

ama

GAP Films – Migro Gmb Skai GAP Films – One to One Energy embassy of dreams – Bahlsen

ARRI Sound Featuref i lms for theatre releaseTitle Production

ANATOMIE 2 Dt.Columbia

BIRKENAU P’Artisan Filmproduktion

DER ALTE AFFE ANGST Neue Bioskop Film

DER BR IEF DES KOSMONAUTEN Clasart Filmproduktion

E INE L IEBE IN AFR IKA TeamWorx

GERMANIKUS Vision Film

MEN IN BLACK I I PPA Film/Columbia Tristar

STUART L I TT LE I I PPA Film/Columbia Tristar

THE MAN WITHOUT THE PAST Mina Kindl Filmproduktion

WIE D IE KARNICKEL Achterbahn AG

Featuref i lms for TV releaseTitle Production

DAS DUO “DIE SAAT DES GELDES” TV 60 Filmproduktion

DER BESTSELLER Post One

EIN HIMMELRE ICH AUF ERDEN TeamWorx

GEHT NICHT GIBTS NICHT Hager Moss

ICE PLANET H5B5

JESUS V IDEO Rat Pack Filmproduktion

MANN OH MANN Post One

SCHWABENKINDER Filmline

SEKT ION Relevant Film

UNTER VERDACHT TV 60 Filmproduktion

embassy of dreams – Sixt

Rapid Eye Movement – Mc Donald’s

Wonderboys Film – Provinzial Versicherung

Key Contacts

Support CameraGünther Zoeh+49 - (0) 89 - 38 09- 1209gzoeh@arri.de

ARRI Rental DeutschlandThomas Loher+49 - (0) 89 - 38 09 - 1440tloher@arri.de

ARRI Film & TV ServicesKey Account: Angela Reedwisch+49 - (0) 89 - 38 09 - 1574areedwisch@arri.de

ARRI Film & TV ServicesInternational Sales: Thomas Nickel+1 - (0) 323 - 650-3967thomasnickel@online.de

ARRI Film & TV ServicesNational Sales: Walter Brus+49 - (0) 89 - 38 09 - 1772wbrus@arri.de

ARRI Film & TV ServicesFeature & TV Drama:Josef Reidinger+49 - (0) 89 - 38 09 - 1339jreidinger@arri.de

ARRI Film & TV ServicesCommercials & Visual Effects:Michel Schütz+49 - (0) 89 - 38 09 - 1527mschuetz@arri.de

ARRI Film & TV ServicesSound:Max Rammler-Rogall+49 - (0) 89 - 38 09 - 1965mrammler-rogall@arri.de

ARRI GB Ltd.Renos Louka+44 - (0) 1 89 54 57 000rlouka@arri-gb.com

ARRI MediaPhilip Cooper+44 - (0) 1 89 54 57 100pcooper@arrimedia.com

ARRI Lighting RentalTommy Moran+44 - (0) 1 89 54 57 200tmoran@arrirental.com

ARRI Inc.Franz Wieser+1 - (0) 8 45 - 3 53 14 00fwieser@arri.com

CSC Camera Service Center Hardwrick Johnson+1 - (0) 2 12 - 7 57 09 06hjohnson@cameraservice.com

ARRI CanadaDavid Rosengarten+1 - (0) 4 16 - 2 55 33 35david@arrican.com

ARRI ItaliaAntonio Cazzaniga+39 - 02 - 26 22 71 75acazzaniga@arri.it

http://www.arri.com

Arnold & Richter Cine Technik Türkenstraße 89D-80799 Münchenphone +49 - (0) 89 - 38 09 - 0fax +49 - (0) 89 - 38 09 - 1791

Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 München Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita MüllerWith additional text by: Thomas Brünger, Antonio Cazzaniga, Yves Clanet, Claus Collin, Siobhan Daly, Jerry Gilbert, Jochen Hähnel, Renos Louka, Alan Mordue, Kornelius Müller, Marc Shipman-Müller, Suzanne Lezotte, Judith Petty, Jan Weincke, Markus Wiederspahn, Franz WieserArtwork: Uwe Heilig Werbeagentur, München Printed by: rapp-druck GmbH, Flintsbach Litho: EDTZ, Ottobrunn

Technical data are subject to change without notice

Expo Calendar 2002 / 2003

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

2002

September 13 – 17 IBC Amsterdam

September 21 – 23 cinec Munich

October 03 – 05 World Lighting Fair Tokyo

October 18 – 20 LDI Las Vegas

October 22 – 24 Satis Paris

November 20 – 22 Interbee Tokyo

2003

March 05 – 09 ProLight & Sound Frankfurt

March 24 – 28 MIP-TV Cannes

April 05 – 10 NAB Las Vegas

May 07 – 09 SHOWTECH Berlin

May 27 – 30 KOBA Seoul

June 03 – 05 Testing Expo Stuttgart

June 16 – 20 Broadcast Asia Singapore

June 24 – 27 Expo Cine Video Mexico City

July 01 – 04 SMPTE Sidney

September 07 – 10 Plasa London

September 12 – 16 IBC Amsterdam