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A R R I S C A N

A R R I F L E X D - 2 0

A R R I X 2 5 0 C E R A M I C

A R R I F L E X 2 3 5

A R R I L A S E R H D

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

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C o n t e n t s

Camera

ARRI Master Pr imes 04

ARRIFLEX 235 08

- 235 Hi t s the Scene 10

- 235 Deve lopment 12

- 235 Tor ture Tes t 14

ARRIFLEX D-20 16

Universa l Motor Contro l ler UMC-3 20

Wire less Remote & ARRICAM Supremacy 21

ARRICAM Twin Adapter 21

Hydrof lex Underwater Hous ing 22

New Basep la te 23

Heated Eyecup HE-4 23

ARRICAM Book & DVD 23

Digital Systems

SP I D E R -MA N 2 – F i r s t Major Feature F i lm in 4K 24

Dig i ta l In termediate – Past , Present and Future 28

ARRILASER HD 30

ARRISCAN Wor ldwide on Tour 32

ARRISCAN User Tra in ing 33

Shoot ing AD M I S S I O N S on Super 16 34

Lighting

New ARRI X Ceramic 250 36

ARRISUN 12 Event -L ights a t BMW 38

ARRI Dayl ight in Ch inese Theaters 39

Examin ing a Powerfu l L ight Source 40

New ARRI EB 575/1200 A.L .F. 43

New ARRI EB 200 EVENT NINE 43

Worldwide

Ready to Ro l l 44

Bei j ing In ternat iona l Rad io , TV & F i lm Equipment

Exhib i t ion August 2004 44

The ARRI L ight ing Academy 45

BI CH E O N MO O – ARRI L ights up the Sky 46

Tornado Dig i ta l H igh-Speed Sys tem Whips up

a S torm in the UK 47

ARRIFLEX 435 Conquers Everes t 48

SPA RTA C U S 50

A Commerc ia l under the Water 53

KI N G ART H U R – An a l l -ARRI Show 54

AVP AL I E N V E R S U S PR E D AT O R 58

TH E LA Z A R U S CH I L D 60

HE I M AT 3 64

DE R UN T E R G A N G 66

SH A D O W S O F T I M E 68

Of Bears and Groundhogs 70

Fe l l in i Exh ib i t ion in Munich 72

Services

A Se lec t ion of Current ly Ser v i ced Produc t ions 73

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Market Development inChina and South-East Asia

Effective August 1st, Mr. Reinhard Kulterer is now additionally responsible for the market development inChina and South-East Asia. For more than eight years he was in charge of R & D for ARRI Lighting. There healready gained vast experience, especially in the Chinesemarket. His in-depth knowledge has qualified him as anideal partner for our customers in his next position asproduct manager. In his new position he will be reportingdirectly to the Board of Directors. This new, highly qualifiedand direct communication channel highlights the impor-tance ARRI attaches to this position. Mr. Kulterer will beresponsible for all products: camera, lighting and digitalequipment. Of course he retains his usual marketingresponsibilities and will remain a competent partner in all questions involved.

0 3E d i t o r i a l

Dear Friends of Film„Quo vadis, film?“, a question that is as justified as „Quo vadis, digital?“. One thing is certain: there is a lot more to this discussion than a simple matter of standards. In all areas of the film and television industry, the issues havegrown more complex – and not without reason. In no other field has the much-cited concept of globalization becomeso much part of everyday reality. It is hard to conceive of more mobile world citizens that the members of the film and television communities. To this day, they are the ones who bring the remotest corners of the globe closer to us, in space and even in time.

For us at ARRI, a global market share of around 80% in professional film cameras brings with it the obligation to provide the industry with coherent concepts – not only in the technical but also in an economical sense. Film, be it onthe big or on the small screen, is a commercial commodity, often even a cultural asset and should not be dependenton a specific platform. Today as in the past – be it 70 years ago, when the first professional camera with a mirrorreflex viewing system was introduced or 50 years ago, when the ARRIFLEX 16 supplied television with moving imagesor 40 years ago, when productions moved from studios to locations and light, compact, noise-reduced cameras likethe 35 BL provided new freedom of movement – it is the innovative concept that allows the industry to move forwards.On the basis of today’s cutting edge technology we move towards the world of tomorrow, striving to remain up frontas we make the transition from analog to digital. The resources that ARRI can call upon are unique in the industry: not only as a manufacturer of camera and lighting equipment but also as a service provider and – arising from all of this – a supplier of key digital technologies for the intermediate process, we are in a position to contribute to theconvergence of the yet disparate worlds of analog and digital technology in an unparalleled fashion.

Even if the manufacturers of fully electronic imaging systems try hard to ignore the fact, film has a head-start of overhalf a century as far as technical development is concerned. From this point of view, film is much more than just “oldanalog technology” – it is an economically viable storage medium with a truly worldwide standard. This was certainlyone of the main reasons behind China’s recent decision to depart from its original plan to implement a fully digitalproduction chain in a single step and to choose a hybrid solution. Here as in other major markets, digital intermediateis establishing itself as a sensible transitional concept.

But the road continues beyond that: at ibc and cinec we will be exhibiting a pre-production version of the ARRIFLEX D-20,already incorporating the potential for future applications. Modular components, a robust design and compatibility tothe ARRI system of accessories and lenses: we understand what you need and how you work.

The intermediate stage also stands to be perfected: the ARRISCAN offers a ground-breaking approach to scanning.Today’s standard of 2K scanning is rapidly moving towards 4K. Still, resolution is not everything. With its innovativetechnology the ARRISCAN provides the highest possible dynamic range coupled with a more efficient production concept.

Price, size and weight were the themes that accompanied the development of our new “grab”-camera, the ARRIFLEX 235,a camera that brings out the best and most innovative in our 35 mm tradition. In versatility, it is only surpassed in itsclass by the ARRIFLEX 435 Xtreme, which can provide the most progressive features to match the needs of the mostadvanced productions. Also making its debut is the Master Prime series of lenses, representing a new level of performanceand precision at an economically viable price level. The ARRISCAN leads the way to higher quality and at the sametime more economical film scanning while the D-20 offers the most versatile, modular (and thus future-proof) access todigital image acquisition – without compromising the time-tested qualities of professional film equipment.

New paths require solid foundations, not only with respect to technical concepts. It is a great pleasure for ARRI toannounce the expansion of our Executive Board: as of May 1st, Klaus Feix was appointed to the Board. With his broadinternational background in marketing and manufacturing, he will ideally complement Franz Kraus. Holding a degreein engineering and business administration, Mr. Feix is responsible for ARRI’s financial, administrative, sales and manufacturing departments.

As always, we look forward to fruitful discussions with you – at ibc, cinec or wherever we may meet…

Sincerely,

Klaus A. Feix Franz Kraus

Klaus A. Feix Franz Kraus

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ARRI MASTER PRIMESA class above the Rest

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At the cinec 2004 trade show ARRI and Zeiss are introducing the ARRI Master Primes, a revolu-tionary new generation of prime lenses. Rapid progress in lens design and manufacturing technol-ogy has finally realized a cinematographers dream: lenses that are fast (T 1.3) while at the sametime exhibiting an outstanding optical performance.

Whenever and wherever you want to shoot, the ARRI Master Primes open up new creative oppor-tunities, making shots possible that before were impossible. The ARRI Master Primes are equippedwith an extended iris range (T1.3 to T22), show virtually no breathing and consist of a completeset of 12 lenses (16 mm, 18 mm, 21 mm, 25 mm, 27 mm, 32 mm, 35 mm, 40 mm, 50 mm, 65mm, 75 mm and 100 mm). Careful market research and close attention to detail have resulted inmany other improvements, including better handling on the set and in the rental house.

16 mm 18 mm 21 mm 25 mm

27 mm 32 mm 35 mm 40 mm

50 mm 65 mm 75 mm 100 mm

Optical PerformanceCreating a fast lens with excellent opticalperformance, a previously unattainablegoal, was made possible through the use of specialized glass materials, newdesign technologies, refined manufac-turing techniques and an increase in the barreldiameter. One of the major enabling tech-nologies is the use of aspherical glass surfaces, a technique requiring high precisionand a complex holographic measuringprocess developed specifically for theselenses.

All these advances, combined with animproved T* coating, result in lenses withunprecedented high resolution, high con-trast and low veiling glare. Even in thedarkest corner at night the Master Primescan capture details other lenses simplycannot see.

Another set of features that was previous-ly considered contradictory are reducedbreathing and good close focus perform-ance. Breathing (an unwanted change inimage size caused by a change in focus)could be reduced in the past through afloating element in the lens. However, any improvement in breathing would beaccompanied by a decrease in closefocus performance and vice versa, so lensdesigners always had to compromise. By using a new technique involving DualFloating Elements™, Zeiss virtually elimi-nated breathing in the Master Primeswhile at the same time keeping the excel-lent close focus performance they hadalready established with the Ultra Primes.This is a unique combination of features,which allows new angles and focus pullsthat would have been impossible before.It opens up new ways to block a sceneand new image sequences for cinematog-raphers to explore.

Another optical advantage is an extremelyeven illumination of the whole Super 35frame all the way out to the corners aswell as high resolution all the way fromthe center to the edges. Most other primelenses show their best optical perform-ance in the center of the image, whenfocused at infinity and stopped down by2 or 3 stops. The Master Primes retaintheir optical quality consistently over theentire frame, through the whole focusrange. Because they are optimized for awide-open aperture, they deliver outstand-ing image quality and evenness of fieldeven at close focus distances with T1.3.

The Master Primes also improve theimage for special effects. Greatly mini-mized chromatic aberration leads to better chroma keys. Since they have no

visible optical distortion it will be easier to match computer generated imagerywith the shots taken by the Master Primes.

The Master Primes are Super ColorMatched to each other, so the cine-matographer is able to concentrate oncreative color timing rather than matchinglenses in post. Additionally, the iris ofeach Master Prime has at least nineleaves, resulting in symmetrical, roundand natural looking out-of-focus high-lights.

Better Handling on the SetAll 12 lenses have the Lens Data Systembuilt in. The Lens Data System is a mod-ern feature introduced with the ARRICAMthat provides real time lens status anddepth of field information, which can be

and engraved with large, easy to readfluorescent yellow markings. Torque (theamount of strength needed to move a lensring) has been temperature stabilized andcarefully set for the best combination ofeasy movement while still giving a securefeel, a subject that is dear to the heart ofassistants.

To allow the assistant to work quickly andcomfortably with the Master Primes, theshape of the lens housing has been opti-mized for the greatest number of lensmotor combinations. All Master Primesuse internal focusing, so no matter whatthe focus is set at, they all have exactlythe same length (205 mm/8 inches). Theyall have the same front diameter of 114mm/4.5 inches and the focus and irisrings are all at exactly the same position.A rubber ring ensures that a Master Primecan quickly and safely be handed fromsecond to first assistant, even with sweatyhands.

Better Handling in RentalDiscussions with rental houses have led to further improvements. The focus ring of the Master Primes, for example, canbe removed and reversed in less than aminute to switch between meters and feet.This not only means that rental houses caneasily supply lenses in either unit of meas-urement, but it also simplifies manufacturing,service and stocking procedures. To getthe lenses back into the field in case of adent, various service procedures can beperformed without an optical re-adjust-ment, including exchanging the front ring,exchanging iris and focus rings andadjusting or exchanging LDS components.

0 6 C a m e r a

displayed on the video assist or on a ded-icated Lens Data Display. The Lens DataSystem gives assistants an extra edge towork faster and more securely. The MasterPrimes can be used on cameras that havebuilt-in LDS contacts (ARRICAM Studio,ARRICAM Lite, 435 Xtreme), and throughan optional external connector the MasterPrimes can also provide Lens Data Systemfeatures on cameras without the LDS con-tacts. In fact, when used with the ARRIUniversal Motor Controller box UMC-3and the Lens Data Display for the FocusPuller (LDD-FP), the Master Primes canoffer the advantages of the Lens DataSystem on any camera with a standard PL mount.

Camera assistants will appreciate the camdriven optics that provide an extendedfocus scale with more space betweenfocus marks for far distances. In addition,all focus scales are individually calibrated

Conventional lens Master Primes

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Name Type Aperture Length Front diameter Weight(lens mount to front)

Master Prime T1.3/16 mm Distagon T* T1.3 to T22 205mm / 8" 114mm / 4.5" 2.2kg / 4.8lbsMaster Prime T1.3/18 mm Distagon T* T1.3 to T22 205mm / 8" 114mm / 4.5" 2.2kg / 4.8lbsMaster Prime T1.3/21 mm Distagon T* T1.3 to T22 205mm / 8" 114mm / 4.5" 2.2kg / 4.8lbsMaster Prime T1.3/25 mm Distagon T* T1.3 to T22 205mm / 8" 114mm / 4.5" 2.3kg / 5.1lbsMaster Prime T1.3/27 mm Distagon T* T1.3 to T22 205mm / 8" 114mm / 4.5" 2.2kg / 4.8lbsMaster Prime T1.3/32 mm Distagon T* T1.3 to T22 205mm / 8" 114mm / 4.5" 2.2kg / 4.8lbsMaster Prime T1.3/35 mm Distagon T* T1.3 to T22 205mm / 8" 114mm / 4.5" 2.2kg / 4.8lbsMaster Prime T1.3/40 mm Distagon T* T1.3 to T22 205mm / 8" 114mm / 4.5" 2.3kg / 5.1lbsMaster Prime T1.3/50 mm Planar T* T1.3 to T22 205mm / 8" 114mm / 4.5" 2.6kg / 5.7lbsMaster Prime T1.3/65 mm Planar T* T1.3 to T22 205mm / 8" 114mm / 4.5" 2.6kg / 5.7lbsMaster Prime T1.3/75 mm Sonnar T* T1.3 to T22 205mm / 8" 114mm / 4.5" 2.6kg / 5.7lbsMaster Prime T1.3/100 mm Sonnar T* T1.3 to T22 205mm / 8" 114mm / 4.5" 2.7kg / 5.9lbs

To avoid unsightly scratches, the surfaceof the gears, which usually get the mostabuse, is specially hardened with a surfacetreatment called Permadur™, making themten times harder.

Feedback from the FieldThe proof, of course, is in the pudding,or in this case, on film. The results fromthe first couple of test shoots are in, andthe cinematographers are enthusiastic.Bill Bennett, ASC, who tested the ARRIMaster Primes prototypes put it like this:"These are spectacular lenses, especiallyconsidering how fast they are. You guyshave done the impossible; you have madethem faster and at the same time improvedthe optical quality! People are going tobe shocked because of how good andfast these lenses are. In my tests theylooked optically better at T1.3 than otherprimes at T2!"

Marc Shipman-Mueller

08 C a m e r a

After two years of intense research and development work we are proudly

unveiling our latest film camera, the ARRIFLEX 235. It is a small and light-

weight 35 mm MOS camera designed for hand held and remote applications

where size and weight are crucial. The 235 is designed for Steadicam

use, car rigs, motorcycle rigs, bicycle rigs, underwater applications, crash

housings, aerial photography, or as a ‘C’ camera for feature films.

The 235 has a speed range of 1 to 60 fps forward and 25 fps in reverse. Its mirror shut-ter angle can be adjusted manually from 45to 180 degrees. A bright and ergonomic opticalviewfinder can be freely rotated and extendedjust like the ARRICAM or 435 viewfinders.This and two optional eyepiece extensions allow for comfortable viewing in any cameraposition. The viewfinder is accompanied by a video assist of the same image quality andwith the same features as the highly praisedARRICAM and 435 video assist. A new andunique optical design makes viewfinder andvideo assist independent of each other, so aswitch from hand held to Steadicam mode isfast and there is no need for a 100% videotop.

The ARRIFLEX 235 is from the ground up designed for modern production techniqueslike Super 35, 3 perforation shooting andspeed ramps: Techniques that save time andgive the filmmaker more creative options. Evenbetter, there is almost no learning curve, sincemany tried and true elements from other ARRIcameras have been incorporated. For instance,the 235 control panel, video assist controlsand threading method resemble their counterparts on the 435.Since the 235 works with the existing 60m/200' and 120m/400' magazines, it can easilyshare magazines with the 435 or 35 III.

The three main features of the 235 are its size, price and weight. To give you a generalidea: the 235 is roughly half the size of anARRIFLEX 435, half the weight of the 435 andbody and viewfinder are also roughly half theprice.

Despite its compact exterior, the 235 is athoroughly modern motion picture camera,equipped with all the features cinematogra-phers, producers and crews have come to expect, including

• a 435 style optical viewfinder,• Super 35,• a 3 perforation option,• a high quality video assist and• compatibility with 435 120m/400'

magazines, 35 III 120m/400' magazinesand 35-IIC 60m/200' magazines.

ARRIFLEX 235

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ARRIFLEX 235 Specif icat ionsFps 1 to 60 fps forward, 25 fps reverseShutter Manually adjustable to: 45°, 60°, 75°, 90°, 105°, 120°, 135°, 144°,

150°, 172.8°, 180°Film format 35 mm DIN 15 501Film gate ANSI Super 35 (24.9 x 18.7 mm/0.98" x 0.74", same as ARRICAM

ANSI Super 35 Silent 1.33 format mask)Lens mount 54 mm stainless steel PL mountFlange focal distance 51.98 mm -0.01Movement Single pull down claw with two prongs, single registration pin, regist-

ration pin in optical printer position (like 435), camera available with3 or 4 perforation movements

Ground Glass The ARRIFLEX 235 uses 435 ground glassesWeight Camera body + viewfinder + eyepiece: approximately 3.5 kg/7.7 lbsPower input 24V DC nominal, accepts 21 to 35V DC Accessory power outputs 1x MINI MONITOR socket

1x REMOTE accessory socket2x RS (Remote Start) sockets

Temperature range –20°C to +50°C (+4°F to +122°F)Compatible Magazines 235 60m/200' Shoulder magazine

235 120m/400' Steadicam magazine235 120m/400' Shoulder magazine35 III/IIC 60m/200' Single compartment magazine35 III/IIC 120m/400' Single compartment magazine435 120m/400' Single compartment magazine435 120m/400' Steadicam magazine

Not compatible with 35 III and 435 300m/1000' magazines.

For hand held use a new 60m/200' and a new120m/400’ shoulder magazine have beendesigned that are both perfectly balanced,ergonomic and lightweight. To allow rental houses and crews to work withthe existing and familiar inventory of equip-ment, the 235 is compatible with the vast majority of 35 mm production gear, includingall PL mount lenses, the ARRI Remote ControlUnit (RCU), Wireless Remote Control (WRC),Iris Control Unit (ICU), Electronic SynchronizationUnit (ESU) and the ARRI Wireless Remote System. For simplicity’s sake the 235 uses435 ground glasses.

Since the 235 has been designed in closecollaboration with prominent industry profes-sionals, it offers many features and clever details to make life on the film set easier. Theseinclude extra attachment points for rigging,operating buttons with an adjustable back-light, fixed gap technology in the film gate for utter simplicity in maintenance, automatic ormanual image orientation in the viewfinder,super light magazine construction, a reversi-ble camera handle for well balanced lowtracking shots, an extra low mode handle and of course the reliable operation and robustconstruction ARRI cameras are famous for.

More details on the 235 can be found at theARRI web site.

Marc Shipman-Mueller

1 0 C a m e r a

After the presentation the cinematogra-phers had some hands-on time with thenew camera. Three cameras were built indifferent configurations, and tried in vari-ous hand held modes. Questions on tech-nical details were answered by WalterTrauninger, Head of the ARRI camerabusiness unit, and Marc Shipman-Mueller,Technical Camera Marketing, who hadboth flown in from Germany for this eventand the following Cine Gear Expo.

The camera was very well received, anddiscussions started about all the diversesituations on the set this camera wouldbe useful for. Woody Omens, ASC, com-mented with a smile that "…this is thesexiest camera I have ever seen! Well, Iguess I should say the most ergonomicallyelegant camera…"

Others were equally enthusiastic, and

someone was heard saying that EASYRIDER would have been much easier ifLazlo Kovacs had a camera like this back then. The question heard most often was "when can I shoot with it?" Theanswer is that the camera should startshipping towards the end of this year, butthe prototypes will make surprise appear-ances on various productions until then.

A couple of days later, at the Cine GearExpo on the Universal Studios back lot,the ARRIFLEX 235 had its official worldpremiere. The 235 was one of the mosttalked about new items at the show, andthe ARRI booth was continuously filledwith curious customers. The three 235prototypes were each shown in a differentconfiguration, one for Steadicam use with video only and the Low Mode Handle,one for hand held with the new 200feet/60m magazine and one with the

ARRIFLEX 435 400 foot/120 m maga-zine. Customers praised the low weight,small size and ergonomic design of the235. Together with the 235, ARRI alsoshowed the ARRICAM, the new WirelessRemote System and the ARRIMOTIONsystem.

The official world premiere of the 235 wasa great success. One customer remarked"This is great for two reasons: first the 235is a super camera, and second ARRI isshowing that film is alive and kicking.Many of my colleagues prefer to shootfilm, and in these times the introduction ofa new film camera is a welcome sign."

Right after the Cine Gear Expo the threeprototypes went on their first productions,where they were immediately put to usehand held and in small spaces, exactlywhat the camera was designed for. Here

Curtis Clark, ASC, mentioned how comfortablethe 235 was to cradle

Richard Crudo looks onas Ueli Steiger tries the235 on his shoulder

Now that the main development work on the ARRIFLEX 235 camera system is completed, three

prototypes are being used to introduce the camera to the market and for various beta test shoots.

Following a time honored tradition, ARRI first showed the 235 to the members of the American

Society of Cinematographers prior to the official premiere. On June 8, 2004, a number of highly

acclaimed cinematographers gathered at the ASC Clubhouse in a relaxed atmosphere, while

ARRI Inc. Vice President Bill Russell introduced the ARRIFLEX 235, supported by the ARRI Inc.

Burbank Manager of Technical Services, Stephan Ukas-Bradley.

Marc Shipman-Muellerdemonstrates the advantages of the ARRIWireless Remote System

ARRIFLEX 235 HITS THE

Marc Shipman-Mueller, Bill Russell, Stephan Ukas-Bradley and Walter Trauninger

Woody Omens, ASC,with the ARRIFLEX 235

in hand held mode

1 1C a m e r a

some notes from the first productions thattested the 235.

The honor of the very first real productionwith the 235 went to Jon Fauer, who wasshooting a commercial. Jon said: "The 235is so great on the shoulder that we startedusing it for most shots after a while. It justallowed us to work so much faster." Jonparticularly liked the balance of the 235with the new 200 feet/60 m magazine.

Then came the feature film THE CAVE,which was being shot by cinematographerRoss Emery in Rumania. The first of thesecond assistants, Ionut Lupulescu, recountshow they used the 235: "The movie isabout some young people who encountermonsters underground. When we got the235, we were working on a hand heldshot in a small cave. The set was tight,dark and dripping with water, and the235 was perfect for this. The camera isso very light and maneuverable, andthose 200 foot magazine fit the shoulderso well, you could practically shoot awhole movie hand held."

TEAM AMERICA, a film by the creators ofSOUTH PARK, is being shot by Bill Pope,ASC, who also shot SPIDERMAN 2 andthe MATRIX trilogy. Bill was able to test

Jon Fauer during thefirst professional use ofthe ARRIFLEX 235

Cinematographer Ross Emery with the

ARRIFLEX 235

Walter Trauninger shows that the 235 can accept400 foot/120 m magazines from the 435

the 235 for three days in June. His firstassistant, Greg Luntzel, spoke with us during a break in production. "Since themarionettes are only 2 feet tall, it issometimes difficult to get to their eyeheight with a camera," Greg notes. "The235 on the other hand has much less dis-tance between the bottom of the cameraand the lens axis, so it is perfect for thisjob. Our sets are pretty small and wecould put the 235 into places where wecould not put the other cameras. Weloved the luxury of having a moderncamera that is so small. We also likedthe 235 200-foot magazine, as it is solow profile that it does not stick outabove our set pieces. For some shots wehave a small remote head that can carryonly up to 35 lbs, and since the 235 isso lightweight, it was perfect for that."

When asked about the other features ofthe 235, he said: "The operator foundthe viewfinder to be nice and sharp, andthe 235 video tap is just like the 435video tap. The 435 IVS is the best videotap around, so it is amazing that the 235IVS, which is so much smaller, is as sharpand bright. We use five 435 camerashere, and the fact that the 235 can usethe 435 magazines and many of theother 435 accessories helped a lot in

simplifying my job. We shoot at 48 fps,so the speed range of the 235 was perfect. The 235 is the perfect ‘B’ or ‘C’camera. I love the Low Mode Handle ofthe 235, in fact, I had previously built asimilar handle for our 435. With the 235Low Mode Handle, we were able tomount the 235 in low mode under aTechnocrane and skim low over theground. For this kind of show it is veryimportant that the lens can go so low."

Curtis Clark, ASC, was shooting a Kiacommercial on the Universal back lotwhen he was offered to try the 235.Stephan Ukas-Bradley, the Manager ofTechnical Services from the ARRI Inc.Burbank office, visited Curtis on the set.Stephan reports that the 235 was used a lot in hand held mode, and that Curtisand his crew loved the compact size andthe video tap. For the hand held shotsCurtis remarked how well balanced thecamera is, and that it is the perfect com-panion for the 435. Curtis also said thatthe 235 is the best camera for shootinghand held inside cars, as it can get intothe smallest spaces.

Marc Shipman-Mueller

Curtis Clark, ASC, with the ARRIFLEX 235 on his shoulder

SCENE

“When we were approached by our sub-sidiaries with the wish for a small andlightweight camera,” says Marc Shipman-Mueller, Technical Marketing Camera,“we saw that it would fit very nicely intoour existing product palette. After wedrew up first designs, we organized focusgroups with cinematographers, assistantsand rental houses to discuss what key features such a camera should have. Wealso worked closely with the ARRI rentalhouses and our subsidiaries, utilizing their

combined experience andknow-how. The positive feed-back from these meetings con-vinced us that we were on theright track, and the meetingsfurther revealed that there werethree main factors consideredvital for the success of this cam-era: size, price and weight.Cinematographers liked the

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The ARRIFLEX 235 blazes new ground in terms of the size, price and

weight for a modern 35 mm film camera – achievements that would not

have been possible without a carefully planned and controlled development

process. We caught up with some members of the 235 development team

to learn more about the birth of the 235.

235 project managerKlemens Kehrer infront of the climatechamber that containsa 235 movement andshutter which ran millions of frames offilm at varying tem-perature and humidityconditions.

idea of a ‘grab camera’, a small camerathat could easily be deployed, but theyinsisted that it had to be as small as pos-sible, maybe even smaller. In fact, theywanted a 35mm camera the size of anA-Minima! The price was also identifiedas an important factor. Given that it wasto be a camera for hand held, weightwas the third most important considera-tion.”

Klemens Kehrer, 235 Project Manager,rolls his eyes: “When we looked at thetarget specifications resulting from thosemeetings, we realized that this would notbe possible unless we also took a seriouslook at the way we develop and manu-facture this camera. The only way, forinstance, that we could reach the pricepoint was to re-use a number of alreadydeveloped parts from existing cameras.Luckily, we had designed a lot of our

SIZE PRICE WEIGHT

Developing the ARRIFLEX 235

The very first concept drawing of the 235.Note the viewfinder, which at this stage wasstill attached to the camera door

3- and 4-perforation movementsfor the ARRIFLEX 235 duringprototype development

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recent projects in a modular fashion, sowe were able to adapt existing compo-nents. The 235 processor, for instance, isthe same as in the 435 FEM-2, so wewere already intimately familiar with itsfunctions. And the 235 software is ascaled down version of the 435 FEM-2software, which of course works greatwith the 235 display, which is very similarto the 435 display. All this brought uscloser to meeting our price point.”

As luck would have it, the abandonedwork on a previous camera had resultedin a usable movement design. “When welooked at those movement specs,” adsWalter Trauninger, head of the businessunit camera “we realized that the move-ment would be perfect for the 235. Withsome modifications and a lot of testing,this movement turned out to be perfect for the 235. This of course meant that wedid not have to develop a movementfrom scratch.”

Marc Shipman-Mueller points to someearly design drawings: “The design processwas really interesting. Everything we dois first constructed in a state of the art 3DCAD environment, so if we had an ideaduring a meeting in the morning, a halfhour later one of Klemens’ guys wouldshow up with a realistic 3D rendering.For the focus groups and some meetingslater we had plastic models built, usingrapid prototyping techniques. It reallymakes a difference when you can hold

an item in your hand instead of staring ata piece of paper. The basic design thatwas decided on, dubbed the ‘dolphin’,was rendered at three different stages inplastic.”

At the same time as the shape of thecamera went through various designchanges, a functional model was built totest mirror shutter and movement. “Onemajor factor that helped us work moreefficiently,” ads Walter Trauninger, “wasthat we simultaneously researched thespecifications and user interface throughthe focus groups, the design throughdrawings and plastic models, and thetechnology through tests with the func-tional model. This gave us the flexibilityto make major changes to any of these

All through the development process acareful eye was kept on camera size and

magazine compatibility

The dolphin design takes shape. Note the viewfinder, which is now mounted on top of the camera body

three areas for a long time. Only when wefelt satisfied that we had everything naileddown did we build prototypes. Once youare in the prototype stage, you do notwant to make major changes anymorebecause it costs a lot more time andmoney then.”

Looking over the old design drawingsspread out on the table Klemens Kehrerreminisces: “This was a fun project, sincewe had a clear goal and were able tocheck in with cinematographers andassistants whenever we had questions. I hope our customers have as much funusing the camera as we had building it.”

Marc Shipman-Mueller

Cinematographer Mike Schult hand holds the 235 while Claus Richter makes sure he is safe

1 4 C a m e r a

To be able to demonstrate the advan-

tages of and differences between the

ARRIFLEX 235 and 435 Xtreme in a

visually appealing manner, a torture

test was staged in August on a Munich

Go-kart racetrack. The nominal goal

was to shoot a commercial for the race-

track, and the 235 and 435 Xtreme

cameras were put through their paces,

each according to its strengths.

Because of its small size and light weight,the 235 was used to grab hand held shots.In addition, it was strapped to one of theGo-karts. Claus Richter, a member of theARRI Technical Marketing team who mas-terminded this shoot said, "the 235 is solittle, it was easy to attach to these smallGo-karts. With a heavier camera wewould have taken a lot longer for rigging,but with the 235 we could work very fast.We only had one night to pull this off, andhaving such a small camera proved cru-cial." Cinematographer Mike Schult ads:"The 235 was love at first sight. I am very

The ARRIFLEX 235/435 TORTURE

435 GenealogyFeature 435 435ES 435 Advanced 435 XtremeFaster & smoother ramps •Ramps from 0.1 to 150 fps •Lens Data System •Integrated lens motor electronics •Integrated modular wireless radio (no cables) •ARRIMOTION frame accurate ramps •ARRIMOTION stop & go motion •Speed Range 0.1 to 150 fps • •Motion Control Interface • •Slow ramp up for Steadicam & cranes • •Electronic mirror shutter • • •Spherical or anamorphic viewfinder • • • •Integrated Video System • • • •4 or 3 perforation movement • • • •Compatible with Single Frame System • • • •

Cinematographer Mike Schult studying theimage in the 435 Xtreme viewfinder

The 235 securely strapped to a Go-kart

1 5C a m e r a

much looking forward to using this cameraon my next projects."

The 435 Xtreme was used to run rampsand time lapse footage while the kartswere zipping by. To give the commercial a snappy look, different ramps were used,including long ramps from 0.7 to 150 fps,fast ramps and depth of field ramps. The435 Xtreme was also run for a while at0.1 fps to grab some time lapse footage.Cinematographer Mike Schult remarkedthat "the 435 Xtreme is the ideal camerafor commercials. Especially the fast rampsare invaluable. This is my favorite 435model yet."

First Camera Assistant Stefan Baur ads:"The 435 Xtreme has the great advantagethat features that used to be a luxury, likewireless focus, are now simply integrated.This means a smaller envelope and there isno big cable mess. Since it is very robustand reliable, the 435 Xtreme is the idealcamera for difficult to reach locations. It is sim-ply the golden standard for MOS cameras."

The footage from this shoot will be used insample DVDs and during trade shows.

Marc Shipman-Mueller

TESTComparison ARRIFLEX 235 and 435 Xtreme:

ARRIFLEX 435 Xtreme ARRIFLEX 235Price (body & viewfinder) 72,200 Euro about half of 435 XtremeSpeed 0.1 to 150 fps 1 to 60 fpsShutter range 11.2° to 180° 45° to 180°Weight (body & viewfinder) 7 kg/15.4 lbs 3.5 kg/7.7 lbs Lens mount 54 mm PL mount with LDS contacts 54 mm PL mountSuper 35 yes yes3 Perforation yes yesErgonomic, flexible & yes, about one stop yesbright viewfinder brighter than 235Registration dual pin, in optical printer position single pinCompatible yes, RCU, WRC, ICU, ESU, RU, yes, RCU, WRC, ICU, ESU, with modern accessories Wireless Remote System, Wireless Remote System

Single Frame System,Motion Control Adapter,integrated motor controller,integrated radio modem,Lens Data Display, 100% Video Top,ARRIMOTION frame accuraterewind & double exposure,ARRIMOTION speed ramping

Speed ramps yes, 0.1 to 150 fps with shutter yes, 1 to 60 fps; and/or iris compensation, with iris compensationfast & wide range ramps; RCU or WRC neededramp control built-in

Electronic shutter yes —Lens Data System yes —Motion control compatible yes —Aperture format masks & gel filter holder yes —Timecode yes —

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After the very successful showing of the D-20 functional models at the ibc in 2003 and the NAB

in 2004, ARRI will introduce ARRIFLEX D-20 pre-production units at this year’s ibc. In the Fall of

2004, six D-20 cameras will be rented through the ARRI rental houses to selected productions

that are willing to experiment with innovative workflows. The ARRI rental house in London,

ARRI Media, has already a lot of experience with the challenges presented by digital video

cameras. They have experience in supplying the F900 and the Viper, and are keen to ad

the D-20 pre-production unit to their rental fleet. The D-20 pre-production units will also be

available from ARRI Rental Germany in Europe and Camera Service Center in the US.

ARR IF LEX D -20A

RR

ILF

EX

D-2

0

17C a m e r a

Besides a new rugged housing, the D-20has seen many changes. To make theD-20 viable for sync sound production,they have been outfitted with a quietmirror shutter borrowed from the ARRI-CAM. In addition, a Peltier coolingelement has been attached to the backof the CMOS sensor. This avoids not onlythe troublesome noise of a fan, but thecooling improves the signal to noise ratio of the sensor. The sensor itself hasbeen sealed with a optical low pass filterthat has an antistatic and antireflectivesurface, repelling unwanted dust andstray light.

Electronically a lot has been learnedfrom the D-20 functional model, andthe sensor timing signals have beengreatly improved. Furthermore, a continuousblack level resetting, called correlateddouble sampling (CDS), ensures thatthere is no noise in the dark parts of theimage. In CDS, the sensor is reset whileit is covered by the mirror shutter, andthe value of each pixel, representingcomplete black, is then subtracted fromthe subsequent image. This happens foreach frame, thus creating a noise freeblack level.

The D-20 can accommodate differentshooting requirements through two different modes: Video and Film Mode.In Video Mode, the data from the sensoris processed life in the camera. A sophisticated on-board color manage-ment system is used to optimize the

camera's performance for differentlighting situations including blue andgreen screen work. In Video Mode the D-20can supply a variety of standard HD videosignals, including HDCAM SR. In FilmMode, the unprocessed data from thesensor is fed directly to the recorder. Similarto a film negative, this data must first be"developed" in an off-line process beforeit is usable or even viewable. The advantageis that all the image information capturedby the sensor is retained, and being ableto use more processing power in postproduction results in higher image quality.

All these changes make the D-20 readyfor the real world, and we will be carefullymonitoring the experiences of the productionsshot with the D-20, to continue the develop-ment of this product in close collaborationwith our customers.

Marc Shipman-Mueller

ARRIFLEX D-20 Overview

The D-20 is a cine-style digital camerafor TV-oriented applications. Since thesingle 6 Megapixel CMOS sensor atthe heart of the D-20 has the same size as a Super 35 mm film aperture,the D-20 uses the same lenses as 35 mmfilm cameras. The resulting images havethe same depth of field as 35 mm film,giving film makers the ability to directthe viewer's attention to a specific partof the image, a crucial tool in visualstorytelling. An optical viewfinder,compatibility with most ARRI accessoriesand variable frame rate provide filmstyle handling, functionality and thesame creative options. The backendconsists of a high-speed data bus thatcan accept any number of output cards.Thus the camera is modular, and caneasily be changed to output differenttypes of digital and video formats.The output of the camera in Video Mode is 1920 by 1080 pixels, withexcellent image quality and color rendition. Since in addition to the modular output boards the camera'ssensor can also be upgraded whennew and improved sensors areavailable, the D-20 is an economicallyviable investment.

18 C a m e r a

Award winning Cinematographer Gernot Roll and Production Designer Götz Weidner have recently collaborated

with the ARRI Research & Development team on a test shoot of the D-20. The goal of the test was to see how

the ARRIFLEX D-20 performs in different lighting situations. This test will be re-created at the booth of the ibc

trade show in Amsterdam and at the cinec trade show in Munich, both in September of 2004.

State of the Ar tGernot Roll Tests ARRIFLEX D-20

Gernot Roll is an experienced cinematogra-pher who received his second German FilmAward in Gold for his work on the Oscarwinning NOWHERE IN AFRICA. He is versed in big feature films as well as in televisionwork. He has already worked with ARRI in 1999 on the short film CIRCLE OF LOVE, a test film that was shot simultaneously with65 mm film, 35 mm film, 16 mm film andHDCAM to evaluate the respective imagerecording formats. For the ARRIFLEX D-20test his task was to create different lightingmoods typical for a high-end television series.

Because the test needed to include a com-plex variety of textures, shades and detail,Production Designer Götz Weidner was invited to create the set. Mr. Weidner hasworked in Set Design, Art Direction and

Special Effects on numerous feature films including DAS BOOT, THE NEVERENDING STORY

and U-571 as well as on many TV films andseries. He created a design capable of easilybeing transported from Munich to ibc inAmsterdam and back, and, more importantly,one rich in textures and detail: a mediaevalchamber with a painter sitting in front of aneasel, surrounded by an extensive varietyof mediaeval props. A map behind thepainter shows fine detail, flowers in the foreground provide color, and a metalcandle holder and crystal vase on the tableshow specular highlights. In addition, various other props in the foreground andbackground allow the evaluation of imageparameters, and the set was deep enoughto show the shallow depth of field that the ARRIFLEX D-20 shares with 35 mm filmcameras.

To test the D-20 in different lighting situations,Gernot Roll created three lighting moods.First was a high key daylight mood, withbright HMI light coming in through the win-dow to the left of the painter. Second was

a low key candle light mood with warmlighting created by low wattage candle-shaped light bulbs. Additionally the engineers also experimented with a worstcase lighting scenario to test the technical limits of the D-20. This worst case scenariowas based on mixed light sources includinglight from fluorescent tubes.

On the day of the test the D-20 developmentteam assembled at the Bavaria studios andworked with Gernot Roll and his team tocapture the different lighting setups. The D-20 raw data was recorded onto a harddisk array for later processing, and copiousnotes were taken to ensure an exact repli-cation at the two trade shows. Gernot Rollcommented positively on the fact that the D-20 looks and behaves like a regular ARRI film camera, and that he was able touse the same lenses as he would with a film camera.

Marc Shipman-Mueller

Phot

o: Jo

chen

Thi

eser

19C a m e r a

Cinematographer Gernot RollSet Design Götz WeidnerCamera Operator Michael PraunFirst Camera Assistant Michael RathgeberLighting Ulli Napp

Martin Lippert Color timing consultant Birgit StefanDigital Image Technician Oliver TemmlerAssistant Director Alexander VollstädtColor Management Engineer Ole Gonschorek

Crew

D-20 and Vittorio Storaroin Naples

On June 26th, Walter Trauninger, head of thebusiness unit camera, and Marc Shipman-Mu-eller, Technical Marketing Camera, presentedthe D-20 camera project at the "Digital Cine-matography Forum 2004" in Naples, Italy.This was the second such forum held by theItalian section of the SMPTE, this time as partof the Napoli Film Festival. A number of repre-sentatives from every area of digital produc-tion were able to illuminate the status of digitalcinematography this year. After Marc Ship-man-Mueller presented the technology of theD-20, there was some time for hands-on. Vitto-rio Storaro was present and discussed the ca-mera's design with the ARRI representatives.He emphasized the importance of the cinema-tographer’s ability to determine the aspect ra-tio and to retain control over the images. Mr.Storaro said: "The D-20 is an important stepinto the digital future, and I am happy that thecamera has an optical viewfinder."

Cinematographer Gernot Roll talked withus about the difference of using a film or atraditional video camera on a production: "There is a careful choreography betweencamera and actor, and if there is too muchtechnology between the two, this relations-hip does not work. A film camera is like apartner to the actors, they have learnedhow to interact with it and how to act wit-hin certain working procedures. Designersshould keep this in mind when creatingnew cameras. Any big changes in the waythe camera and the recording procedureswork will wreck havoc with this actor/ca-mera relationship. Actors work very diffe-rent in front of video cameras. As long asthe camera looks and behaves like a filmcamera, they will behave like they do on afilm set. "

Vittorio Storaro in discussion about the D-20with Marc Shipman-Mueller

„

2 0 C a m e r a

Up to three CLM-1 or CLM-2 lens motorscan be attached to the UMC-3, while itcommunicates either with the WirelessMain Unit WMU-2 or WMU-3. Optionallythe WHA-2, WHA-3 or any ZMU can beused for cabled operation.

Once a Lens Data Display for Focus Puller(LDD-FP) and CLM-1 or CLM-2 motors areconnected to the UMC-3, it is possible touse the Lens Data Archive (LDA) for basicLens Data System functions on any camerawith any lens. Lens tables for many Zeisslenses are already pre-programmed in theLDD-FP, and tables for other lenses can beinput in the rental house. Lens Data Archivefunctions include a remote display of thelens rings and a dynamic depth of fieldbar graph, as well as setting and manag-ing of electronic focus marks.

Additional UMC-3 features include:

• The external connector of the CookeS4i lenses can be connected to theUMC-3, and the Lens Data Display forFocus Puller (LDD-FP) can display lensrings, a depth of field bar graph andelectronic focus marks.• The UMC-3 can connect to selectedvideo cameras to start them, and it canconnect to selected video lenses andcontrol them directly. This opens up thewhole ARRI Wireless Remote System forvideo productions.• New software improves rampingperformance when the UMC-3 is usedwith WRC-1 and the ARRIFLEX 235,535A, 535B, 435, 435ES, 435Advanced or any model of 16SR3.

Note that the ARRICAM Studio and theARRICAM Lite do not need a UMC-3,as they have the same functions builtinto their respective Lens Data Boxes.The ARRIFLEX 435 Xtreme has themotor driver built into the FEM-2, butstill needs to be equipped with a URMradio modem to communicate wirelessly.

Ident Number:Universal Motor Controller 3 (UMC-3) K2.65000.0

Universal Motor Controller Some ARRI cameras (ARRICAM, ARRIFLEX 435 Xtreme, 435 Advanced with

FEM-2) have the necessary electronics for wireless lens or camera remote

control already built-in. Others, including the new ARRIFLEX 235, need to be

equipped with an external box to connect lens motors and to house the

radio: the new Universal Motor Controller UMC-3. The UMC-3 replaces both

the UMC-1, which was responsible for lens motor connection, and the radio

modules URM-1, URM-2 or URM-3.

UMC-3

2 1C a m e r a

ARRICAM Twin AdapterThe ARRICAM Twin Adapter is the latestin a series of enhancements to the system.The Twin Adapter allows ARRICAM Studiomagazines to be switched from the topmounted position to a straight back mountposition on an ARRICAM Studio veryrapidly, thus making the switch betweentripod operation and hand held or Steadi-cam even faster.

In markets where customers prefer themagazine on top of the ARRICAM Studiowhile on a tripod, and in the straightback position for hand held and Steadi-cam, this is the ideal adapter. In marketswhere customers also want to use themagazines in the back position on atripod, the Dual Port Adapter is moresuited, since it allows balancing of theARRICAM Studio with a Studio 300/1000magazine on a tripod.

Ident Number:ARRICAM Twin Adapter K2.54125.0

One of the first films to use the brand new ARRI Wireless Remote

System was THE BOURNE SUPREMACY, which was shot with ARRICAM

cameras by cinematographer Oliver Wood. We visited him and his

crew recently during pickups in Berlin.

Klemens Becker, A-camera operator,chimes in: "We have shot about 90days now, and we have had no significant problems. The ARRICAMsare fantastic, far ahead of other camera systems out there. For THE

BOURNE SUPREMACY we wanted a quick paced and intense look, almostdocumentary style, which is why wechose two ARRICAM Lites. For handheld and fast working, there simply is nothing better."

Johnny Feurer, B-camera 1st assistant, lifts the Wireless Focus he has danglingaround his neck and says: "We shotabout 90% of all shots with the ARRI lenscontrol system, and during the pick upswe had the new smaller Wireless RemoteSystem (WMU-3 and assorted acces-sories), which worked great." He pointsto the ARRICAM Lite, and remarks "I likethe modularity of the ARRICAM. If I don'tneed a feature, I simply don't get thatbox. So I can put together a simple cam-era, or a very sophisticated camera,whichever I need."

Klemens Becker rides up with the ARRICAM Lite

Klemens Becker on camera andJohnny Feurer on wireless focus detail

Wireless Remote & ARRICAM Supremacy

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Deep Water Housing for the ARRIFLEX 435 now available from ARRI Rental Germany

The viewfinder has been specially designedto allow the cinematographer to workcomfortably despite regulator and goggles.A custom-made eyepiece offers a largeand bright viewfinder image. Additionallyit is possible to work with an on boardmonitor and simultaneously transmit avideo image to land. All important lensand camera functions including adjustablefocus and shutter angle, and all RCU functions, such as ramping, remain opera-tional while the camera is incased in the deep water housing. Speedy film changesare no problem, because the camera

remains inside the housing. Special com-pact onboard batteries provide enoughpower for several magazines. The hous-ing can be outfitted with either a dome or flat glass lens port. Additionally, anunderwater lighting package will soon be available from ARRI Rental.

Hydroflex underwater housings are alsoavailable from Camera Service CenterFlorida, ARRI’s rental house in FortLauderdale.

Andrea Rosenwirth/Sascha Mieke

The Hydroflex ® 435 Deep Water Housing is designed for the ARRIFLEX 435

with attached IVS, extended viewfinder and 120 Meter / 400 feet magazine.

It accommodates such popular lens systems as the Zeiss HS and Zeiss T2

systems – including the Zeiss T2 10mm – Zeiss Ultra Primes from 14 mm on,

Cooke S4 and Hawk lenses. With the improved 435 underwater housing,

shooting at depths of up to 150 feet is now possible.

After having followed and docu-mented ARRICAM productions for abouta year now, Jon Fauer has completedthe ARRICAM DVD. This DVD containshands-on instructions regarding theoperation of the ARRICAM system,making-off footage from many ARRI-CAM productions and interviews withprominent cinematographers andindustry personalities. The how-toportion contains detailed chapters onloading ARRICAM magazines, settingthe ARRICAM Lite up for Steadicam or using the ARRI Wireless RemoteControl system. More general techni-cal chapters deal with ‘Camera Set up Step by Step’ or ‘Checking Lenses’.Subjects such as ‘The History of theARRICAM’ and ‘The Digital Age ofFilm’ are also discussed, making thisDVD not only a useful reference foroperating the ARRICAM, but also afascinating record of the current state-of-the-art in cinematography.Simultaneously Jon Fauer has revisedthe ARRICAM Book. Both ARRICAMDVD and ARRICAM Book will beavailable for sale by the end ofSeptember 2004 from the AmericanSociety of Cinematographers web site(www.theasc.com).

To contact Jon Fauer: www.fauer.com

ARRICAM DVD &Book Available

2 3C a m e r a

In our continued effort to provide the highest quality products for film making,we sometimes come across old items thatcould use an update. This time we lookedcarefully at the baseplate part of thebridgeplate system, the very mundanepart of the camera system that sitsbetween camera and tripod. The newbaseplate is sturdier than the old one andincludes the ergonomic safety release button that was introduced with the ARRICAM system. The shape of the out-side edge has been modified so it fits into an O'Connor head, eliminating the

HE-3 and HE-4 cable chart:Camera Type Camera Connector HE-3/HE-4 Connector Cable Name Cable Ident NumberARRICAM LEMO Mini-coax Fischer 4 pin KC-63-S K4.54460.0ARRIFLEX 435 & 235 Fischer 3 pin (RS) Fischer 4 pin KC-42-SP-S K4.47473.0ARRIFLEX 535 & 16SR3 Fischer 2 pin Fischer 4 pin KC-27-SP-S K4.44549.0

New Baseplate

Heated Eyecup HE-4

Ident Numbers:Heated Eyecup HE-4 (includes ARRICAM cable) K2.54196.0Heated Eyecup HE-4 (includes ARRIFLEX 435, 235 cable) K2.47527.0Heated Eyecup HE-4 (includes ARRIFLEX 535, 16SR3 cable) K2.42210.0

O'Connor release plate and thus elimi-nating one more item that could comeloose.

Ident Number:New Baseplate (spare part) K4.54362.0

Complete Bridgeplate systems, see table below:Part Camera Rod Diameter Notes Indent NumberPower Bridgeplate system ARRICAM 19 mm includes new Baseplate K2.54011.0Bridgeplate system BP-5 535 19 mm includes new Baseplate K2.42537.0Bridgeplate system BP-3 535 15 mm includes new Baseplate K2.35900.ABridgeplate system BP-8 435 19 mm includes new Baseplate K2.47090.0Bridgeplate system BP-9 435 15 mm includes new Baseplate K2.47091.0Bridgeplate system BP-6 16SR 19 mm includes new Baseplate K2.42572.0Bridgeplate system BP-7 16SR 15 mm includes new Baseplate K2.41010.0

A new and improved heated eyecup isnow available. The HE-4 fits on all ARRI-FLEX and ARRICAM cameras. Completelyredesigned electronics and a new heatingelement make this a much more robustunit than its predecessor. In addition, theconnector housing can now be rotated,which allows the HE-4 to be easily mountedon all cameras in all positions.

Popular features of the HE-3 have beenkept, though: the HE-4 can be set to twopower settings (OFF = heating off, HI =constant heating with maximum power,LO = constant heating with reduced

power) and it still uses the same Fischer 4 pin connector, so all existing cables can be used.

2 4 D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

>>>

When the original SPIDER-MAN came out and smashed box office records

worldwide, the response was certainly gratifying for the effects team at Sony

Pictures Imageworks, but it wasn’t long before that success turned into the

enormous challenge of building effects for the sequel. Within months of the release, Imageworks

began preparations for SPIDER-MAN 2, which was naturally expected to outdo the first in every

way. As if it wasn’t enough that the effects house would be expected to raise the bar again, and

to create nearly twice as many shots as it had for SPIDER-MAN, the company was also faced with a

tighter deadline. Fortunately, the effects team, lead by Visual Effects Supervisor Scott Stokdyk, had

developed a very efficient workflow to take each shot from development, all the way to the film-out

stage on one of Imageworks’ ARRILASERs.

Sony Pictures Imageworks

SPIDER-MAN 2

Tobey Maguire starsas Peter Parker/SPIDER-MAN inColumbia Pictures’SPIDER-MAN®2

Phot

o by

Mel

issa

Mos

eley

First Major Feature Film in 4K

2 5D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

to simulate parts of actor Tobey Maguire’sface behind his SPIDER-MAN mask, therereally wasn’t any attempt by the effectsteam to create believable skin; both heroand villain (the Green Goblin, played byWillem Dafoe) were essentially coveredhead-to-toe in costumes for most effectsshots. And for good reason: “Everybodyknows what skin looks like in real life,”says Stokdyk. Where liberties could betaken with the exact look of the costumesworn by Spider-Man and the GreenGoblin, he says, the texture of skin andthe way it reflects light are deeplyengrained in everybody in the audience.“You stare at peoples’ faces all day andany artistic choices we make can give theviewer a trigger that something’s wrong.”

But in SPIDER-MAN 2, the villain, Dr. OttoOctavious AKA Doc Ock (Alfred Molina)does not wear a mask. Many shots wouldhave to combine elements of Molina, his mechanical tentacles, operated by puppeteers and CGI work compositedtogether to create the illusion. This requireda great deal of photo-realistic skin, whichrequired groundbreaking techniques bothin terms of artistry and the computing during the final rendering stage.

Photography is the basisNaturally, a key to selling such effectscomes from the ability to seamlessly composite the effect to the actual first unit film photography. Stokdyk credits cinematographer Bill Pope, ASC, for his contributions to the power of the film’smany effects shots. “He’d just come off

the Matrix movies,” Stokdyk says of Pope,“so he was very intimate with visualeffects and their needs on set. Stage workcan be over lit or poorly lit so it jumps outat you. Our work still has to match thelighting so good lighting on set willalways help the realism of an effect just as the problems of bad lighting can becompounded at the effects stage. Becauseof Bill Pope’s great lighting, we didn’thave to push our CG backgrounds in aweird way to match the stage photo-graphy.”

Stokdyk’s team pushed boundaries in thearea of compositing the many layers ofCGI and plates. Images created digitallyhave a different feel from those capturedphotochemically. They can appear sharpbut lifeless. Shots created inthe digital domain have traditionally suffered forhaving less dynamicrange (especially in thehighlights) than today’sfilm stocks offer.Stokdyk’s team addedartifacts to their CGIwork suggestive ofthe more organiclook of film.

As was the case on SPIDER-MAN, the concepts and approaches for all effectsoriginated with Visual Effects DesignerJohn Dykstra and Stokdyk oversaw theirrealization at Imageworks. Stokdyk recallsthat nobody on his team approached thesecond film’s work simply by reproducingthe quality of the original. “Everybody,”he recalls, “started out with a list of shotsthat they didn’t think were 100% perfecton the first movie. This was across theboard – animation, compositing, lightingand especially CG skin lighting – and weall tried to come up with ways to raise thestandard on SPIDER-MAN 2.”

The creation of believable human skin is always one of the most significant challenges in CGI-heavy movies, which is why it was kept to a minimum on SPIDER-MAN. With the exception of a fewcomputer-generated shots designed

(l to r) Producer Avi Arad, Tobey Maguireand Director Sam Raimi

(l to r – front) Alfred Molina and DirectorSam Raimi

Photo courtesy of Sony Pictures

Phot

o by

Mel

issa

Mos

eley

Photo by Melissa Moseley

The process would start when they would scan a series of frames from a particular locked-off shot of a particularset-up and then use algorithms to capturea digital image devoid of the effects ofgrain and gate weave. By doing abefore/after comparison of the shot, theycould isolate the precise effects caused by those particularly filmic artifacts andthen re-apply just those elements to theircomputer-generated work.

That process, Stokdyk says, is standardpractice today. But his team took thiswork further, also quantifying other char-acteristics of film on a microscopic levelto really isolate what happens during thephotochemical process. “You get bands ofexposure and hue variation that go acrossevery image,” he notes. “These are verysubtle changes from frame to frame thatyou wouldn’t notice. But when they're not present in a shot, it feels less like theother images so if we had shots that hadCG elements, we would apply what welearned from the lock off tests to give it amore photographic quality. The net result

is very subtle. It just gives the viewer afeeling. Hopefully a more ‘photographic’feeling.”

His staff at Imageworks also increased the dynamic range available in the CGIworld. This, he says, “allowed us toachieve more detail in the brights we rendered. This really helped to accommo-date bright sunlight hits and reflections inwindows that made the CGI look morelike it came from a film camera.”

Push the limit – 4KThough EFilm, across town, was re-sponsible for the final film out 4K digital intermediate work [see sidebar],Imageworks still had to record an enormous amount of 35mm film on site.As work progressed, shots would befilmed out and projected onto a bigscreen for study, often in side-by-side comparisons with the output of the sameframes from a 1K digital projector. All finals had to be submitted in 35mmprint form for approval and the studioalso requested film back-up versions for

all the effects Imageworks delivered digitally to EFilm.

The constant output of film kept Image-works’ ARRILASERs busy constantly. Thiswas additionally challenging becauseImageworks’ film-outs had to matchEFilms’, which were rendered at theextremely high resolution of 4K. (Non-effects shots were scanned, color corrected and recorded at EFilm at 4Kresolutions throughout, while effects work was created at 2K and up-resed to 4K as a final step.)

2 6 D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

2 7D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

Visual Effects Supervisor Scott Stokdyk atSony Pictures Imageworks

Tobey Maguire (Peter Parker/SPIDER-MAN) andAlfred Molina (Dr. Otto Octavius/“Doc Ock”) Photo by Melissa Moseley

resolution 4K

at

Most digital intermediates today scannegative, apply all the digital color timingand then record the results back to film at2K, or sometimes at even lower resolutions.4K is optimal in terms of getting the mostdetail in each frame. However, theamount of work, processing power,throughput and storage that a facilityneeds to create a digital intermediate ofan entire feature film at 4K is enormous.

The reason is that while a 2K frame contains about 3.5 million pixels worth of picture information, its 4K equivalent will have closer to 12 million. Or, to put it another way, an entire feature film,complete with color information, takes upabout 2.5 terabytes of storage, while at4K it's more like 10 terabytes. Until veryrecently it would have been impossible tocreate SPIDER-MAN 2's digital intermediateat 4K in anything resembling their schedule,but because of advances in EFilm's tech-nology, and the speed of the ARRILASERrecorders, EFilm was able to complete the mammoth all 4K task.

Most audiences further enjoyed a benefitof digital intermediate technology for SPIDER-MAN 2 because they were watching release prints struck directly

from inter-negatives recorded out onARRILASERs. Normally, digital intermediatesare recorded out as an internegative fromwhich an interpositive and then multipleinternegatives are struck and printedusing the traditional optical process. Evenwith today's extremely high quality inter-mediate stocks, it is still impossible to preserve all the detail when goingthrough this interpos/interneg process.

But for SPIDER-MAN 2, the studio requestedthat EFilm output nine digital negatives sothat release prints could be struck directly,without going through the IP stage at all.Recording one such negative is a delicateand time-consuming task, but to do ninein that short window before the release,with no technical snags, is truly remarkable.

“Sony Pictures was so pleased by theresults,” says EFilm President, Joe Matza,“that they made 10,000 of these ‘firstgeneration’ prints from the digital negatives. We couldn’t have deliverednine digital negatives (in the requiredtimeframe) if we didn’t have thirteenARRILASERs – which worked flawlessly by the way – on the job.”

Jon Silberg

The elaborately detailed, photorealisticimages speak for themselves onscreen,but the difference between 2K and 4Kcan increase the magnitude of workthat goes into a shot by at least a factor of four. “It takes up four times asmuch disc space, four times as muchprocessing power, four times as muchrendering and I/O,” he elaborates.“And the paint and roto work mighteven be more than four times as hardbecause there is so much more detailinvolved.”

As for the film recording, Stokdykreports that Imageworks’ ARRILASERswere up to the challenge. “We passedso many frames through the facility,”he says, “we had to use laser recorders,in fact, we needed a couple of them.In terms of the speed, I don’t think wecould have recorded out so much filmany other way.”

Jon Silberg

For their part, EFilm pushed digital intermediate technology

to the next level with its work on SPIDER-MAN 2, which was

scanned from negative, digitally timed and recorded out

on the ARRILASER at 4K resolution.

2 8 D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

It all started six years ago. We hadinstalled the data interface for the Spiritsome months earlier and had used it forseveral 2K commercials and sections of aVFX heavy feature. One fine day we werecontacted by a Danish DoP who wasabout to start shooting the Swedish fea-ture “ZINGO”. The problem he was facingwas that the director wanted to use twocameras for most of the acting sequences.The budget would only allow this if S16was used instead of 35mm. After previousgrueling experiences with an opticalblow-up he had sworn newer to shoot16mm again. He asked us to make acomparative test and this caused the birthof the Digital Intermediate. At that time

the amount of data involved was insane(36GB disks had just been introduced)but somehow we managed. Luckily theschedule was not tight as CRT recordingthen took 4 weeks. The lab had big diffi-culties understanding that the reels shouldonly be printed on one printer light whichmade us introduce a calibration method for“densitometric printing” and after a while it did dawn on them that this materialshould be treated just as a graded IN.

It took a while for the film community tograsp this new concept but then it tookoff. As new systems were introduced moreadvanced tools were suddenly availablein high resolution and the DoP’s did nothesitate to push the envelope. One of thebest examples of “extreme DI” is UNDER-WORLD (see pictures). Shot warm and neutral it was twisted into a deep blue,almost monochrome, gothic tale. Out ofthe 3000 shots I do not think there was a single one without atleast a couple of sec-ondaries and windows.An example of how

content and look come together perfectly isthe Macedonian production THE GREAT

WATER, directed by Ivo Trajkov andshot by Croatian/American DoP SukiMedencevic. There is an article and stillson the web page: www.digitalfilmlab.com.Expect to hear more about this amazingfeature as it hits the festivals.

The arrival of the ARRILASER enhancedthe precision and also very importantlyspeeded up the re-recording by a factorof five to six. This also made recording ofmultiple negatives for 1st generation print-ing possible. Digital “blow-up’s” to Cine-mascope have become very popular witha dual framing system that can spare thefilmmakers from the horrors of pan-scan.Now 60 features down the line from ourhands alone and hundreds from other fine DI facilities the process has becomestandard.

Digital Intermediate

Past Present and

State of the ArtSo what is the status today? We see thata period where a number of shows havewandered into the realm of digital acqui-sition, and there is a very strong pushtowards the best of both worlds – analogueacquisition with digital post. The arrival of new types of fine grain & high latitudestocks has greatly improved especially16mm and the use of 3-perforation camerasmade 35mm more viable.

On the digital post side a number of newtechniques and systems have both liftedquality and speeded up the process thusmaking it more economical. One new routewe have introduced recently is dailies to thenew Sony HDSR 4:4:4 format with a precisetechnical grade done by a experiencedcolorist. The show is conformed from thetapes into a disk to disk grading systemand this eliminates the need of negativecutting. The negative, however, might haveto be revisited for some single shots thatrequire en extreme grade.

Another route which is very much “underconstruction” is to use a pin registeredscanner with fast shuttle, like the newARRISCAN, and a flash to flash pulled neg-ative. By retaining the flat, over sampled,16bit scan that holds the entire latitude ofthe neg. throughout the subsequent gradingand VFX systems, this method, althoughmore costly than the previously mentioned,will appeal to high budget, no compro-mise, productions.

Another spin-off from the DI developmentis the ability to use the systems for advanceddigital restorations. We have now finished10 long form and around 20 short formtitles dating back as far as 1910 that werenot salvageable using optical processes.This has also led to a digital tint and toneprocess that is very precise. Currently, incooperation with DaVinci we are refiningthe Revival system in order to solve a specific problem. It is a 1955, severelyfaded and scratched original colour cam-era negative of an epic Mizoguchi

classic. This negative is the only materialthat exists. It is quite a challenge but firsttests look very promising indeed.

All in all DI is going through a rapid evo-lution providing more tools, higher control,quality and at the same time is becomingmore and more economic. In addition, aslow price, 4K digital projectors are on thehorizon for cinema use, optical post willcease to exist if the foreseeable future.

Kris Kolodziejski,

Digital Film Lab, Copenhagen

2 9D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

Future>>>

The ARRILASER HD comprises the follow-ing key features:• Concentrate on camera negative film

stocks like Kodak 5245, Kodak Vision2100, Fuji 64 and Fuji 125.

• Easy operation for productions, whichhad been post produced in HD orVideo and like to offer now film recording as well.

• Emerging markets with high productivityand efficiency demands.

The ARRILASER HD achieves identicalresults as all the other ARRILASER versions,if operated in HD format and on cameranegative. But it is tailored for exactly this

3 0 D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

In the past this commitment has led tocontinuous improvements of the productquality and productivity, such as i.e. various speed enhancements, ColorManagement solutions for the monitor to film calibration, new software for easier operation etc.

The latest development has the goal tooffer the known ARRILASER quality to cost sensitive applications.

Over the past 5 years the ARRILASER has proven

to be the industry standard in digital film recording.

Our customers utilize it for applications in a variety

of formats. Ranging from video resolution to 4k

10bit-log data, all common image formats are

supported. In all applications, ARRI is committed

to deliver the best possible image quality at the

highest possible throughput.ARRILASER

HD

Shooting on camera negative or in intermediate?Intermediate for Digital Intermediate production Camera negative for HD production+ high dynamic range + sufficient dynamic range for HD

acquisition and/or HD postproduction+ very low grain structure + moderate film grain structure generates

a “filmic” look+ available on acetate base + available on acetate base suited for

low print volume+ available on polyester base for high print volume + attractive price+ suited for Intermed posititve recording + pleasant color reproduction for HD

by built in inter-image effect+ suited for “dens” Intermed negative recording + perfect color reproduction for HD

by means of CMS+ neutral color response for DI work+ perfect color reproduction for HD by means of CMS

3 1D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

application. Due to the limited exposuredemands of camera negative comparedto intermediate film stocks, lasers withreduced power output can be used, leading to lower manufacturing costs atthe same quality level. The complexity ofsome other components has been reducedwhile maintaining identical specificationsfor quality and speed for this specificapplication in the demanding HD productionenvironment.

The ARRILASER HD will meet the require-ments of price sensitive markets andenable the use of laser recording wherethis was hardly possible up to now. It

meets the highest expectations for imagequality and speed and is a real memberof the ARRILASER family. In order to makeyour start in the digital era of film as easyas possible, the ARRILASER HD comeswith CMS, Alice and the HD module, aswell as a one week application support togive you a hand with the integration inyour workflow. Once your expectations in resolution increase or you want to offerIntermediate recording, we will offerattractive exchange or upgrade programsup to the ARRILASER speed performance.

Dr. Johannes Steurer, Sibylle Maier

It is your choice, which ARRILASER is the best version to exactly serve your needs.

ARRILASER… …HD …Speed Two K …Speed

PerformanceCamera Film stock Yes Optional Optional

Kodak Vision 2 100, 5245, Fuji 64, Fuji 125

Intermediate film stock No Yes YesResolution HD, 2k, 2k,

2K optional HD 4k optional HDSpeed performancein [s/frame]Video Resup 1,7 1,7 1,7HD 1,9 1,9 1,92k Fullap 2.2 2,2 2,22k on IP/IN NA 2,2 2,24k 1:1.85 NA NA 2,94k fullap NA NA 3,8

ARRISCAN in Japan: JSMPTE show(02.06.04 – 04.06.04)More than 20.000 visitors attended theJSMPTE show in Tokyo, well knowing thatthey will see state of the art equipmentand technologies. Together with NACARRI showcased the ARRISCAN and theARRI Color Management to demonstratethe ARRI solution for a seamless DigitalIntermediate workflow. In a side-by-sideprojection from film vs. digital projection(with a BARCO DP30) visitors were ableto see the power of ARRI preview 3Dlook-up tables. The ARRISCAN was scanning in specification speed andimpressed visitors with the resulting imagequality (shown on a 4K display). The resolution and color reproduction wasimpressive and – as many visitors under-lined – is unparalleled in the industry.

ARRISCAN in Los Angeles: SIGGRAPH(08.08-12.08.04)Even though Siggraph is mainly a 3D production and postproduction softwareexhibition, ARRI received a huge amountof feedback on the showcased products:the ARRISCAN and the ARRILASER. Visitorsappreciated ARRI’s comprehensive sup-port for the digital intermediate workflowand were asking specific questions abouthow to plan a production with the ARRIequipment.

The ARRISCAN convinced visitors with it’sscanning speed of 1 fps in 2K resolution.Especially in digital intermediate produc-tions time is money and thus decidesabout getting a full feature film scannedin time with the high quality that is neededfor DI purposes.

ARRISCAN in China: Beijing/ BirTV(25.08-28.08.94)BirTV is the major show in China for TVand Film applications therefore many visitors went directly to the ARRI booth to get the latest information. Again theARRISCAN was one center of the interest.No other product in the market combinesthe key values like image quality, reliability,flexibility like the ARRISCAN does.

For the ARRI and Jebsen team BirTV wasa great and successful experience and theshow-cased products were well acceptedas the crowds of people visiting the boothhave proven.

Elfi Bernt

3 2 D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

ARRISCAN Worldwide

on TourThe new ARRISCAN film scanner has been exhibited worldwide with

great response and overwhelming feedback. Due to the innovative

concept, the well chosen technologies and the support for the Digital

Intermediate workflow, the ARRISCAN is of highest interest for service

bureaus, film labs and postproduction facilities worldwide.

3 3D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

During the three days training, the clientslearned how to handle the machine, howto use the ARRISCAN software, and tosetup jobs, etc. Even though the softwareused was still the same than the one shownat NAB2004, everybody was amazedabout the flexibility and intuitiveness thissoftware already offers. Creating scansfrom various input resolutions (6K or 3K)is as easy as everybody had hoped for.Setting up the calibrations, using variousgeometries, building up job lists and pre-viewing scans was done very efficiently.

While the training took place, R&D ofcourse kept on working on finalizing therelease software, which is now available.In the next issue of ARRINEWS, an updatewill be given, on how easy the DI (DigitalIntermediate) workflow with the ARRISCANactually is.

The most important aspect for clients wasto see the quality of scans derived fromvarious start resolutions. The group madesome intensive tests and comparisonsbetween 6K scans downsampled to 4K or2K images and 3K scans downsampled

to 2k images. All were very pleasedabout the faster 3k to 2k (1 fps @2k)results. The quality in general and speedof the machine was completely in specand was taken as a very good sign forthe final release date.

After the three day training the group leftARRI quite impressed by the performanceand power of the ARRISCAN, all partici-pants will get an software update trainingon-site during the installation of theARRISCAN at the variousfacilities.

Elfi Bernt

Dr. Hans Kiening

ARRISCAN User TrainingRight in time for the first delivery of the ARRISCAN, ARRI has invited to the

very first user training, taking place in the ARRI headquarters in Munich from

June 21st – 23rd. Clients from all over the world – from China, Great

Britain, New Zealand and Europe – joined the first session to get a deep

insight in the new workflow and usage of the ARRISCAN.

First ARRISCAN sold to DryLab in Oslo/NorwayIt is with great pleasure for us to announcethe first ARRISCAN sale to DryLab in Oslo.The installation took place end of July andthe ARRISCAN is already up and runningand doing the first scans for a feature production. We congratulate DryLab to thisdecision and support them with all our manpower and knowledge about DigitalIntermediate workflow.

ARRISCAN at DryLab in Oslo, Bjorn H. Brudeli, Technical Manager, The Chimney PotOslo AS & DryLab

3 4 D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

“Recently I was asked to shoot a smallindependent feature, ADMISSIONS. The filmI worked on just before was a feature shot on DVCAM video. I had a lot ofexperience in video, but never had takenit to a 35 mm projection print. The qualityof the print was surprisingly good, andthe film EASY, was accepted in the 2004Sundance Dramatic Competition. Still,there were some scenes and images thatlacked a depth. There was what I call a‘plateauing’ of tonal values. In otherwords, subtly graded surfaces were rendered in some degree of steps ratherthan continuous tone.

We talked about shooting video onADMISSIONS, but I also wanted to ex-plore other economic means of shoot-ing. I had seen Elliot Davis’ brilliantSuper 16 mm work on THIRTEEN, andwas very impressed. I hadn’t shot 16mm in ten years or so. I was curioushow the medium had evolved.

The first time I picked up the ARRIFLEX 16 SR3, I was struck by the lightness. It’salways been important to me to be ableto get the camera just where I want it andto do it quickly. I made the commitment to shoot this film all handheld and some-times in order to get the right angle, youhave to hold the camera while standing ina slightly awkward position or make aphysically demanding move. This is somuch easier to do if the camera is smalland light. Also, with the small and thinLCD on-board monitors, I can sometimesshoot truly ‘handheld’, with the ARRIFLEXoff my shoulder and away from my eye,making moves that would normallyrequire a dolly or jib arm. This is a radical departure in camera operating.

In many situations we didn’t have muchcontrol of the light. We spent ten daysinside a big house with big windows. We had attracted a troupe of brilliant andaccomplished actors including Lauren

SHOOTING ADMISSIONS

Super 16 mm for a theatrical feature

ADMISSIONS is one of many theatrical productions recently shot in

Super 16 mm. Advances in camera, lens, film and digital post production

technology have spurred the revival of this format, which has been around

for over 30 years. It is particularly popular for smaller budget, independent

movies that desire the look of film and have identified the many benefits of

working with it. ARRI asked Director of Photography Paul Ryan, ASC,

which advantages he uncovered shooting in Super 16mm format.

Super16on

3 5D i g i t a l I n t e r m e d i a t e Wo r l d w i d e o n t h e M o v e

Ambrose, Amy Madigan, ChristopherLloyd and John Savage. It was a filmabout their painful relationships and in many scenes director Melissa Painterwanted the actors to have the freedom to roam in long intense takes. There werealso a lot of playful scenes between thetwo sisters where we wanted them both to just improvise together in the sunnybackyard garden, in and out of the shade of a tree.

I knew that film negative would be bestable to deal with these widely varyingbrightness levels. The 16 mm gear andfilm would give me the mobility and theadded depth of field that would be helpfulin low light improvised situations. We shota lot on Kodak’s 7218, which added tothe ability to achieve a natural tonal rangein our images.

The Digital RealmAnother big consideration for me in shoot-ing in Super 16 mm was the inherent needto go through a blow up process to get to the final 35 mm release print. Thisopened the door to taking the film througha digital intermediate. This way all theinformation on the negative can beaccessed, with more of a selective dynamicrange than in a classic straight film-to-filmblow up. I have done a lot of work inPhotoshop with still images. Taking the

16 mm negative into the digital realmallows the filmmaker many of the samecontrols as Photoshop. Separate areas of the image can be treated individuallythrough multiple power windows and discreet colors can be altered unilaterally.If you know you are going to have thisdigital control in the video realm, yourvisualization during the shooting can bemuch more imaginative. In fact one of theprevisualization techniques I like to use isto shoot digital still photographs on theset before or during production and ex-plore them visually as Photoshop images,knowing that I’ll be able to get close tothat image in the final film output throughthe digital intermediate process. A lot ofpeople use digital stills to try and get anexact match in the timing process, but Ithink that they add greater value as a visualsketchbook, exploring and conveying thecreative intent of the visual possibilities ofthe scene.

Looking back at the production, I realizethat the package of technical solutions we used was well suited for this film. The digital pre-visualization, the ARRIFLEX16 SR3 in Super format all handheld,lighting with an eye to the actors’ freedom,the DI, all came together nicely. Eachpiece of the puzzle helped strengthen theothers.”

Franz Wieser

Paul Ryan, ASCPaul Ryan began his career as a documentary filmmaker on the World Cup Ski racing circuit. He followed ski racers with his 16mm camera all around Europe’s mountains. He had to be able to move fast and respond quickly to changing situations. Eventually he moved on to feature films with bigger crews and bigger sets, and often much bigger cameras. He was the cinematographer on the Disney Epcot center 3-D film MAGIC JOURNEYS, where the basic camera was a rig comprised of two 65 mm cameras, weighing about 200 pounds. The dolly was a Titan Crane.

ADMISSIONS centers around a conflicted relation-ship between a mother and her two daughters.One of her daughters is brilliant, while the otherdaughter is mentally impaired. The film portraysthe conflict between the interdependence thatconnects them, and their desire for individuality.

Amy Madigan, Melissa Painter,Paul Ryan (l to r)

3 6 L i g h t i n g

After half a year of market research and very intensive

dialogue with many of our customers from different lighting

sectors the ARRI X Ceramic 250 was developed. Based

on the new Ceramic ST 250 HR lamp from Philips, which

provides 3200K Tungsten equivalent light from a discharge

lamp, the new ARRI X Ceramic 250 is the perfect fixture

for smooth and cool background and fill lighting.

The new lamp from Philips providesalmost the same light output as a 1kWHalogen lamp, but with a quarter of thepower consumption. Due to the lowerpower consumption (250W) the fixture ismuch cooler than a comparable Halogenfixture and it’s much easier to work withwhere power is limited, for examplewhen using a small generator.

In principle the fixture is based on theDaylight ARRI X 5 but the ballast for theCeramic lamp is incorporated in thehousing of the lamphead itself, so that itis a “Plug-In-The-Wall” fixture.

During the last six months ARRI also hadthe chance to do a reference projectwith Aardman Animations in Bristol, UK.As well as movies such as Wallace &Gromit, Rex the Runt and Chicken Run,Aardman produces commercials, includ-ing a series for the US company Chevron.In these commercials they are animatingminiature cars made of Plasticine (seepictures).“Because heat dissipation fromfixtures is always a problem while working with Plasticine models, theARRI Ceramic fixture was just perfect for the work on the Chevron commercial”,said Nathan Sale the Senior Studioand Lighting Technician at AardmanAnimations. “Also the long lifetime(4000hrs) and the stable light outputand colour temperature convinced us touse the ARRI X Ceramic 250 for our

New ARRI

© 2001 Aardman Animations Ltd

3 7L i g h t i n g

work here at Aardman Animations”, said Mark Chamberlain the DP of theChevron commercial.

Apart from all the technical and economicbenef i t s (see box “At a Glance”) ,many customers have commented on thepleasing quality of light. Very sharpshadows can be created by using theblack reflector in combination with theclear glass and the light field is moreeven than with a filament source.

Typical for the ARRI X design is the widespread, so that the fixtures, both daylightand tungsten (ceramic), are good for situations where the application requiresmaximum light with a minimum of space.

Timo Müller

X Ceramic 250Cool enough for sensitive Performers

At a Glance

• 250W / 90-265VAC / 50-60Hz• 4000hrs lamp lifetime• 21200 lm light output (lamp

Ceramic ST 250 Hot Restrike)• Very high efficiency 85lm/W• 3200K / CRI>90• Built-In Ballast• Flicker-free (90Hz)• Cost benefits: maintenance,

running costs, air conditioning, wiring, transport, generators

• Lower thermal stress to performers• Longer lifetime for colour gels

L i g h t i n g

ARRISUN 12 EVENT Lighting System putsnew products in an exceptional light atBMW’s Research and Innovation Centerin Munich.

Exclusive automobiles require an exclusivesetting. That is why BMW decided to installARRISUN 12 Event Daylight Lampheadsin their new Research and InnovationCenter in Munich for the exceptionalillumination of automobiles in a speciallydesigned studio.

Two-dozen 1200 Watt ARRISUN 12 EventDaylight Lampheads provide focused illu-mination to 5 fifteen-meter high revolvingstages, allowing the automobiles to appearin an exceptional light.

Planning and concept for the display weredeveloped by the lighting specialists atthe Trendco company located in Siegen.They chose the ARRISUN 12 Event Lamp-heads because of the Event’s affordable,yet professional, improved cable manage-ment system comprising of multiple ballastmodules, packed into a single 19" rackthat feed all lampheads with only onemulticore cable and a splitbox. Drop-inlenses allow each light to be individuallyadjusted for the optimal illumination of aparticular revolving stage.

After quick and simple installation, theARRI-Event lampheads display an especiallybrilliant light color and an excellent lightdistribution.

Sven Beyer

3 8

ARRISUN 12 EVENT

in the BMW Research and Innovation Center in Munich

ARRISUN 12 EVENT-Lights

BMW FIZ in Munich

3 9L i g h t i n g

ARRI Daylight in Chinese Theatres

Famous architects from all over the worldbuild the most modern and prestigioustheatres, opera houses and music halls in present day China. Equal to this veryambitious design approach is the techno-logy used inside these buildings. To betterdemonstrate the state of the art in lightingequipment, Jebsen and ARRI invited Prof.Max Keller – author of the standard the-atre lighting book “Fascinating Light” andpioneer of daylight luminaries for theatricaluse to talk about his work and experienceswith the opera houses and stages in Munich,Salzburg, Brussels, New York… The seminars were held at the Central Academyof Drama in Beijing June 1st and ShanghaiTheatre Academy June 4th. Professors,lighting designers from theatres and of coursesenior students from these Academiesattended a daylong presentation.

Large space coloration, simple and elegantgeometric lighting structures and a mixtureof already known and brand new conceptsopened interesting perspectives to theaudience. “Amazing and unforgettablelighting designs!” was the most heardcomment. Max Keller had also touchedbasic knowledge of lighting, such as thecharacteristics of different light sources,choosing color and color temperature toachieve different moods, and how to createsubtle and very special atmospheres.

Long discussion during and after the seminars, showed the great interest in thenew lighting technology and applications.In fact the response of audience was sooverwhelming that Prof. Max Keller wasinvited by Liu Libin, Dean of the CentralAcademy of Drama in Beijing to conductfurther lectures in autumn of this year.

At the Shanghai Theatre Academy MaxKeller was already offered to chair theatre

lighting for a special master class by theDean Yin Zhongfu.

ARRI would like to thank Prof. DezhongFeng of the Central Academy of Drama,Professor De’an Liu of the ShanghaiTheatre Academy, Ms. Yao Yan, Lecturerof Beijing Foreign Languages College,our superb translator and the team fromJebsen for perfectly organizing these seminars. Our special thanks goes to Prof. Max Keller. We wish him further successful lecturers in China.

Grace Wang Ying/JT

Mr. Yang Taiquan, Prof. Max Keller

Department head Mr. Ying, Stage Art Dept. of theShanghai Drama Academy and Prof. Liu De'an,

Stage Art Dep.,Shanghai Drama Academy

Students and teachers in the discussion with Prof. Max Keller at the Shanghai seminar

(l to r) Reinhard Kulterer, Max Keller, Franz Kraus, Mr.YangTaiquan, Stage Art Designer at the Wuhan Opera, Feng

Dezhong, Professor for Design at the China CentreAcademy of Drama in Beijing, Yao Yan, interpreter

Hangzhou Grand Theater

Phot

o: M

ax K

elle

r

4 0 L i g h t i n g

Lighting designers often look to alternative sources of light to complement or

contrast standard tungsten-halogen light on the set or stage. The ever-popular

HMI, or MSR, lamp is one source that offers a dramatic increase in light output

within a pure daylight color spectrum. The use of an HMI as a single light

source, producing a single shadow, is increasing in theatrical – especially

operatic – productions. For daylight fill, the HMI is an excellent choice for

video and film production. Daylight sources to create distinguishing bright,

cool and stark light are often specified for industrial events. Although the HMI

source cannot be fully dimmed electronically, the utilization of mechanical

shutters or dowsers with DMX control offers acceptable results for most

applications that require dimming.

Examining a

Powerful

The HMI light source first entered the market more than thir ty years ago.However, despite its increased popularity,many questions still surround HMI lightingtechnology. This article is intended todemystify the components, the system and the applications.

Characteristics of the SourceThe HMI lamp is an AC powered metalhalide lamp, which generates an extremelybright light by electrical discharge. Thisarc discharge is produced as a result of ionization of gases in the lamp. Thedischarge arc burns between the twoelectrodes aligned along the axis of thelamp that project into the bulb and are set a certain distance apart creating theelectrode gap. Approximately ten fillingcomponents comprise the chemical atmos-phere. These fillers are grouped within theArgon, Mercury, Halogen, and Rare Earthcategories and determine the lamp desig-nation. These discharge lamps offer

several important advantages over incan-descent lights, including:• Three to four-fold increase in luminous

efficacy• Daylight spectrum with a color

temperature of 5600-6000 K• Luminance value that is seven times

higher than incandescent, bringing thelamps very close to the ideal of a pointlight source

• Exceptionally low heat radiance• Color rendering index of 95, which

nearly matches the maximum possiblenatural rendering of non-luminous colors

HMI is an Osram trademarked namederived from Mercury (HG), Medium Arcand Iodide. MSR is a Philips trademarkedname standing for Medium Source RareElements. HMI and MSR lamps are manu-factured in wattages from 125W to18,000W in single-ended and double-ended bulb configurations. Other configu-rations of metal halide lamps such asPh

oto:

Max

Kel

ler

4 1L i g h t i n g

HMP, HTI, HSR, and HSD exist for projectoruse and exhibition lighting.

In contrast to a tungsten-halogen lamp, theHMI lamp does not have a continuousspectrum, but rather a spectrum consistingof a large number of lines. Due to theirchemical fillings, these metal halide lampsproduce a quasi continuous spectrum thatis very similar to that of the sun with acolor temperature of 6000 K.

Manufacturers of stage and studio lumi-naries design myriad optical systems toefficiently use HMI sources. They range in type from the Fresnel, PAR, ellipsoidal, followspot, softlight, open face and flood-light. The most popular for theatricalapplications are the Fresnel and the followspot. These instruments differ fromtheir incandescent counterparts primarilyin size and special electrical components.Specifically, an HMI lamp requires anelectrical system to provide the AC lampcurrent and protect against UV radiation.

Lamp OperationApplying normal voltagewill not overcome the high-pressure resistance ofthe gas filling the bulb. Infact a discharge lamp actsas an insulator while off orin the cold state. In order tostart the lamp, the electricalsystem must first ionize this gas by supplying ahigh-voltage discharge, orsurge voltage. The ignitercomponent, which is locatedin the head, provides the

Light SourceIn coil and core ballasts, current lags voltage

Electronic ballasts draw current in very large, verynarrow, and high harmonic mid-cycle pulses

Power factor correction addresses these problemsand should both minimize the harmonics and getthe input fundamental frequency voltage and current in phase

VoltageCurrent Figure 1

VoltageCurrent Figure 2

VoltageCurrent Figure 3

ignition voltage as a series of high-frequency pulses. The warm-up cycletypically takes one to two minutes duringwhich time the lamp reaches full intensity.

It is not only cold starts that are problematic.The hardest time to restart a dischargelamp is 10 to 90 secply will not reignite.This behavior is dependent on the degreeto which the filler components have con-densed on the electrodes or on the wall ofthe bulb corresponding pressures. Lampmanufacturers continually work to improvethis behavior to allow a hot restrike.

There are also safety issues to consider.All metal halide lamps are high-luminancelight sources and generate a considerableamount of UV radiation. Proper distancemust be maintained from an instrumentduring operation. Also, the lamp mustalways be operated in an enclosed lumi-naire with proper safety circuitry to pre-vent direct exposure to an energized lamp.A detection device verifies the integrity

of a lens or safety glass in afixture and secure closure

of the lamp access door.System power is

terminated bymeans of anelectricalsafety loop if direct ex-posure of the lamp is sensed.

EB 2,5/4kW

Because the lamp doesnot go out for short peri-ods of time, light outputis increased by aboutten percent when usingan electronic ballast.Lamp life is increasedeven more – by approx-imately twenty percent.Grip and stagehand

life and efficiency may beextended too, since electron-

ic ballasts are smaller and weigh lessthan their magnetic counterparts.

Partial dimming of HMI lamps is possiblewhen using electronic ballasts. A dimmingcircuit allows electronic operation of thelamp from full power to fifty percent ofrated power. Designers should note thatwhen metal halide bulbs are dimmed, thebulb gets colder and therefore the colortemperature rises, or appears bluer. Thisis because the metals that are responsiblefor the red component in the spectrum arethe last of the filler components to vaporizeduring startup and the first to condenseout again when the lamp is dimmed. Forcontrol, two DMX addresses are typicallyused per channel – one for dimming andone for on/off functions.

Used in conjunction with mechanicaldowsers, electronic dimming providesgood control. Because of the slow starttime and the fact that the lamps can onlystrike to full output, HMIs are ignitedbehind closed dowsers in advance of acue and then seek the appropriate presetlevels.

Power Factor and Load CalculationThe manufacturer or supplier of any ballast,including those used for HMI lighting,should publish the efficiency of the bal-last’s circuit and its power factor. The efficiency of the circuit, simply stated, is theoutput divided by the input (if the powerfactor equals 1). The difference betweenoutput and input is the amount of energyconsumed by the components. To talkabout power factor, we must first realizethat transformers and coil and core bal-

4 2 L i g h t i n g

The Electrical SystemAn HMI Electrical system includes a bal-last to provide the proper AC lamp cur-rent. The arc of the HMI light source isof a very low resistance and thereforethe current can increase to a highvalue, which would eventuallydestroy the lamp electrodes. Thus,the current must be limited bymeans of a magnetic field that iscreated by the alternating lampcurrent passing through a magneticcoil. While these standard magnetic bal-lasts are often used, electronic ballastsare increasingly more popular and offermany operational advantages.

One advantage is that electronic ballastsare designed to provide constantly regu-lated power to the lamp despite variationsin the main supply. Lamp output can bemaintained as long as the incoming voltageis between 90-125V or 180-250V andlamps are operated independently of thefrequency of the supply power. In additionto accepting a wide range of power inputs,electronic ballasts frequently offer multiple wattage outputs. Electronic ballasts offer

a flicker free mode forfilming needs. This isusually accomplishedby providing a squarewave output. With asquare wave, thepolarity reversal of thecurrent is so quickthat there is virtuallyno pulsation of the

light. In contrast, a sine wave output isquieter at the lamp, igniter and ballast. A selection switch is therefore offered fornon-filming applications. It should benoted that filming is possible with a sinewave output, but extreme care must betaken to ensure that the frame frequencyof the camera is synchronized with thepower supply frequency when the sectorangle of the shutter is adjusted.

lasts are inductive loads and consumepower differently than traditional resistiveloads. Rather than being in phase, thecurrent lags behind the voltage.Electronic ballasts do not draw currentfrom a power source in a true sine wavebut instead draw line current in relativelylarge surges or spikes over a short periodof time. Ballasts also create current on theneutral and generate harmonics, whichcan contribute to erratic performance ofother equipment using the same service.These characteristics make it difficult tocalculate the actual load.

We define true power use as the amountof energy consumed by a device connect-ed to an AC source of power. However,the measurement of the RMS voltagetimes the RMS current yields a result muchgreater than true power, which we callapparent power. By definition, power factor is simply the ratio of true power toapparent power. When the power factoris one, the apparent power equals thetrue power. As the power factor is de-creased, an increase in peak currentleads to problems. These problems canbe avoided with power factor correctioncircuitry provided by an active line filter(ALF).

This active line filter solves many electricalproblems by first working to get the volt-age sine wave and the current waveformin phase. Additionally, ALF works to re-duce the current spikes and harmonics inthe line and contributes to more economicaluse of power, since electric utility compa-nies charge for apparent power usage.

To obtain proper load calculations forHMI lights, we cannot use the simple formula W = VA. First we must calculateapparent power:

The apparent power value can now be substituted for watts in the W = VAformula and redefined as:

Apparent Power = Volts x Amps

Wattage of LampPower Factor x Efficiency

Apparent Power =

EB 12/18kW

EB 575/1200 A.L.F.

4 3L i g h t i n g

System DesignMany ballast configurations are currentlyavailable. The distributed system, or indi-vidual ballast per fixture, is the most popular.With this application, multi conductorcables connect the HMI lamp head andballast. The maximum combined length ofcable should not exceed 200’. A recentconfiguration for the current market is a cen-tralized system. This system uses rack-mount-ed ballasts with multiple output selections.Multi ballast cables are routed to a splitterbox and out to multiple luminaires. The latestinnovation in ballast configuration employstransmitter technology to sense the luminaireand the lamp wattage connected. This centralized system provides better cablemanagement for the event, industrial, filmand theatrical markets.

There are many great reasons to utilizeHMI technology in your next productionor event. Hopefully this article answeredsome questions and increased comfortwith technical aspects. Popular ARRIunits are readily available in most rentalhouses. In addition, both ARRI and yourlocal rental company offer consultationson application solutions for your nextproject.

John Gresch

John Gresch…is an instructor of HMI lightingfor IATSE 728 (Studio LightingTechnicians) Safety & Training program. He often lectures on thisand other lighting topics for union,trade, and educational groups.John is a graduate of CarnegieMellon School of Drama andPresident of its West Coast DramaAlumni Clan. As Manager of ARRILighting in Los Angeles, John canbe reached at JGresch@arri.com

New ARRI-Lighting brochures...

The improved electronic ballast for both 575W and 1200W lampheads isnow equipped with an Active Line Filter. The new technology of the ballastoffers the same high quality standard as all ARRI ballasts and runs from 90 to 250 volts.

The Active Line Filter contributes to a more economical use of power. The A.L.F. systemperforms a power factor correction to eliminatethe phase shift between the voltage and thecurrent sine wave. As a result the requiredapparent power is optimized to a minimum.Since electricity supply companies charge forapparent power, A.L.F. helps to save costs.

With the new EB 200 EVENT NINE ARRI expands its EVENT productrange. In addition to the existing EVENT systems the 9- channel 200W version offers you high flexibility paired with compactness. The system isperfect for smaller events and exhibitions or as an add-on system in largershows where 200W daylight power adds the finishing touch. The EB 200EVENT NINE comes with DMX control, manual dimming option on the frontpanel and active ignitioncontrol to protect thelamp. As well as all thestandard protection andsystem analysis circuitsthe Active Line Filter(A.L.F.) with its powerfactor correction is alsoincluded in the new ARRIEB 200 EVENT NINE.

New ARRI EB 575/1200 A.L.F.

New ARRI EB 200 EVENT NINE

...are available for ARRI X,ARRI Cyc & Flood, ARRISUN,ARRI Ballast, ARRI Studio, ARRI Junior, ARRI DaylightCompact, ARRILITE and ARRI Theatre.

4 4 Wo r l d w i d e _ G B

READY to RollAt the beginning of the year ARRI LightingRental introduced ARRI Focus, a divisiondevoted specifically to servicing the commercial, music video and short-termlighting rental markets in the UK.

Commercial and music video productionstend to be of a quicker turnaround thandrama and features, as such ARRI Focushas introduced systems and equipment tosuit the specialized nature of these pro-ductions, with this in mind TechnicalDirector Ricky Miller has developed theROLL-A-RACK system: A racking systemideal for quick unloading and loading oflighting equipment.

The system offers several advantages forTechnicians and Production, once quicklyoff-loaded from the truck and on set theequipment can be easily moved aroundwhere needed, with all small items clearlylabelled in bespoke crates finding equip-ment is easy, saving time and money forproduction, savings can also be counted

in the rental department with quickerload/unload times and reduced equipmentwear & tear.

Ricky explained. “Although there are similarsystems available in the industry the Roll-A-Rack system has been designed to belighter and more versatile, by incorporatingaluminum into the design the weight sav-ing is significant making the racks easierto manoeuvre and in some cases the difference between using an HGV truck ornon-HGV truck, also, the systems versatilenature means that packaged equipmentcan be tailored to suit the customers exactrequirements”.

During the innovation period Ricky discus-sed the concept with Gaffers to ensurethat ease of use down to the smallestdetail was taken into consideration, assuch the response from many gaffers isthat the system offers a more thoroughand intuitive approach to the rental aspectof lighting equipment.

ARRI Lighting Rental’s Managing DirectorTommy Moran added. “Although Roll-A-Rack is aimed at the ‘quick turnaround’productions, I am keen to expand elementsof the concept into the feature and tele-vision markets in the future”.

Judith Petty

Many thousands of visitors made theirway to the ARRI & Jebsen (ARRI’s Camera,Lighting & Digital Distributor in China)stand at BIRTV. Showcasing cameras,lighting and digital equipment, it wassoon apparent that there was somethingfor everyone to see. It was the idealopportunity to introduce the new ARRIFLEX235 & ARRIFLEX 435 Xtreme camerasalong with the ever popular ARRICAMStudio. Also making their debut in Chinawere the ARRI D-20 digital camera andARRISCAN film scanner which at timesseemed to be engulfed in crowds of visitors making it difficult to get near them!ARRI’s Managing Director, Franz Krausand Wang Ying (Grace) from Jebsen(Shanghai) gave a presentation on thedigital products and capabilities at thedigital forum.

Visitors from many film studios, film studentsand rental companies from all over Chinaand Hong Kong, including Professor MuDeyuan, Dean of Cinematography at the

Beijing Film Academy, enjoyed the oppor-tunity to have an in-depth glance andtouch of various new products, and aninformative exchange with the ARRI experts.

Judith Petty

Beijing International Radio, TV & Film Equipment Exhibition August 2004

Phot

os: D

amia

n Sm

yth

ARRI Focus introduces the new Roll-A-Rack System.

Checking out the ARRIFLEX 435 Xtreme: (l to r) DoP Mr. Jian Liwei, DoP Mr. Hou Yong

4 5Wo r l d w i d e _ G B

The three day course has been developedover the years and with ARRI has nowfound a partner that can offer an unparal-leled level of support. Providing the latestequipment both in lighting and cameras,the course delegates were able to work ina great training environment.

The course is certificated and aimed atthose who are in the industry, wishing tospecialise or improve their understandingof basic lighting theory and practice. It isan intensive hands-on course, the empha-sis being on good practical lighting forthe film, television and creative industries.Fundamental lighting theory is backed upwith practical exercises including locationshoots and a mixed lighting shoot. Some exercises are recorded giving thedelegates the opportunity to analyse theirown work. Recent clients include the BBC,Disney, ITV, CTV, ITN, Ulster TV, LondonStock Exchange, Ministry of Defence tri-services and freelancers.

During the three days, time was allowedto tour the facilities, in particular the rentalcompanies, ARRI Lighting Rental and ARRI MEDIA. Allan Fyfe, from the Camera

The ARRI Lighting Academyin association with

Bill Curtis Associates

Sales Department gave a fascinating andinformative talk on the history of the orga-nisation and development of ARRI filmcameras from 1917 to the present day.

The course, normally for between four tosix delegates, on this launch occasiontotalled seven. In written feedback, CraigDockerill, Lighting Director for ITN, wrote:“this has been a really informative andenjoyable course, I wanted it to go onand on to gain even more knowledge.The tour was a real eye opener and gave a good insight to what ARRI is allabout”. ITN Lighting Director RichardEvans concluded, “excellent course, veryinformative, I thoroughly enjoyed it.”For more information on future coursescontent and outline contact either

Siobhan Daly, ARRI GB on +44(0) 1895 457 060, e-mail: sdaly@arri-gb.comor Bill Curtis Associates on +44(0) 1959 563 326, e-mail: bill@bcassociates.org

Judith Petty

May saw the first ARRI three day Lighting Course, which took place at

ARRI (GB) headquarters in Uxbridge just outside London, run by David

Lock and Bill Curtis. Bill Curtis left Ravensbourne College Short Course Unit to further develop courses

for professionals in the film and television industry with his company Bill Curtis Associates. David Lock

was formerly a Lighting Director for the BBC on a wide variety of shows, from EASTENDERS to TOP OF THE

POP’S, before leaving to go freelance. At the BBC he already lectured on lighting for BBC training

at Wood Norton Hall.

4 6 Wo r l d w i d e _ G B

BI CHEON MOO – meaning “DANCING IN THE SKY”

is a martial arts drama and the first collaboration

for production companies Eight Peaks (based in

Korea) and the Chinese company, Yulin Cinema

Group. Starring some of Korea’s leading actors

and actresses Joo, Jin-Mo and Park, Ji-Yoon this

twenty-four part, seventy minutes episode series

tells the tale of a strong mans' friendship crossed

with success and emotion intertwined with a

modern love story.

ARRI Lights up theSkyDirected by Yoon, Sang-Hyo (Korea) andproduced by Leng Ho-Yu (China) BI CHEON

MOO is shot using many locations such as north of Beijing near Inner Mongolia,Hengdian and ancient city Xinchang inZhejiang province to name but a few.Extremes in climate were expected and so due to the fluctuations in temperature,humidity and in some instances, extremerainfall; the choice of lighting was givengreat consideration.

ARRI Lighting was chosen for its durabilityand adaptable capabilities. When loca-tion shooting, versatility is the key.Therefore the ARRISUN with its range oflenses seemed the perfect choice com-bined with the Junior range of lighting,supplied by the Shanghai branch of

Hang Wan Cinematic Equipment Rental(Hong Kong). While the production of TVdramas is growing rapidly in China, ARRIalready reinforced it’s key role to supplycustomers with top quality lightings.

BI CHEON MOO is due to be released inJanuary 2005

June Fung

Action Director: Mak Yuk-Sing (Hong Kong)

Director of Photography: Youn Suk-Dol (Korea)Miu Kin-Fai (Hong Kong)

Gaffer: Ma Kwok- Keung (Hong Kong)

Mr. Kulterer helping the productioncrew in using a 12/18K fixture

In a bamboo forest – theprotagonists of the story

The revenge of the general

Testing an ARRI 12/18K in the CCTV Wuxi production base

4 7Wo r l d w i d e _ G B

“When we received our first system fromNAC,” explains Bill Lovell, ARRI Media’sHead of Digital Development, “we decidedto focus on the workflow as our first prior-ity. We looked long and hard to find theright ‘box’ that would do the best job forour system, but we also looked for the rightpeople with a similar mind set to ours andthe same passion for the pictures as weand our customers have. The guys fromQuantel and their eQ is the best and it isgreat to work with them on making themost out of our system. With eQ and new software that Newbury has writtenspecially for us, we have something reallyunique. We have HD or SD SDI outputsthat can directly plug into any televisioninfrastructure, plus great and very sophis-ticated picture processing from Quantel’sversion 2 that will be of great benefit toanyone working with our Tornado systemfrom now on.”

High-Speed SystemWhips up a Storm in the UK

Tornado Digital

Initial market reaction in the UK to the introduction of the digital

high-speed NAC fx Cam from NAC Image Technology has been

overwhelming for ARRI Media London. Developed and introduced as

the Tornado system, ARRI Media has teamed the NAC fx Cam, capable

of recording images up to 1000 frames per second, with the eQ

from Quantel, which allows images to be enhanced and then easily

versioned to any required output standard. By expanding the

capabilities of the camera with eQ the system becomes a form of

workstation that takes care of file down-loading, content management,

necessary image processing, file conversion and camera control.

“We have put together our production ex-pertise, NAC’s willingness to customisetheir finest high-speed camera andQuantel’s ability to fix workflow on the fly and we’ve got the Tornado,” continuesLovell, “with this system, tremendouslyexciting slow-motion can be delivered.We are pulling shooting and post closertogether than ever, bringing powerful posttools to the shooting stage.”

The introduction of the system has createdwidespread interest with further camerasordered to meet demand. In particular, thesystem is proving extremely popular in thefield of outside sports broadcasting withARRI Media recently supporting BBC Sportat Wimbledon.

The Tornado system has been in develop-ment for some months and was used atWimbledon in its most advanced versionto date. For the first time the eQ processing

unit was directly connected to the PC thatcontrols image capture and download,allowing a much faster turnaround ofrecorded sequences.

The ultra slow-mo images were highlypraised by BBC commentators as theTornado can produce views that no othersystem can offer, creating replays showingdetail that would normally be missed bythe naked eye.

BBC Sport has also used the system for coverage of horse racing and golf, andChannel 4 and SKY Sports for internationaltest cricket.

For enquires about the Tornado systemcontact Bill Lovell on +44 1895 457100or email blovell@arrimedia.com

Judith Petty

Wimbledon Winner Roger Federer

The Tornado system on Centre Court at Wimbledon

4 8 Wo r l d w i d e _ G B

ARRIFLEX 435 Conquers

EVERESTWorking Title Films have embarked on their most exciting project to date, a £56 million feature

film that will chronicle the deadliest single day on Everest, May 10th 1996, when a brutal

storm on the world’s highest mountain claimed the lives of eight mountaineers.

The feature will include actual footage from the slopes and summit of Mount

Everest. On May 17th 2004, a six member film team and eight high-altitude

Sherpas from the 2004 Working Title Everest Expedition successfully reached

the summit of Mount Everest. The shots taken from the highest point on

earth, 29,028 feet, were a world first for cinema and a world first for

the ARRIFLEX 435, which was supplied and supported by ARRI

Media London.

ARRIFLEX 435 and camera SherpaLhakpa Dorje on top of the world

4 9Wo r l d w i d e _ G B

The 2004 Working Title Everest Expeditionclimbing and film teams were led by Co-producer David Breashears, one of theworld’s most respected mountaineers andhigh-altitude film-makers, who had previouslyreached the summit four times. His handpicked team consisted of co-leader EdViesturs, America’s most celebrated mountaineer and five-time Everest veteranand included Veikka Gustafsson, RobertSchauer, sports photographer Jimmy Chinand Amy Bullard, an experienced moun-taineer and guide.

Breashears was equipped with an ARRI-FLEX 435 Advanced, 35III, 35IIIC, sevenZeiss prime lenses and an Angenieux 25-250mm zoom. He also carried a 6x7cmstills camera.

For Breashears, Viesturs, Gustafsson andSchauer, this filming expedition broughtback memories of that fateful day in May1996 when they were on the mountainfilming the IMAX documentary EVEREST.Breashears and his team assisted in therescue effort and selflessly gave thestranded mountaineers access to all theirteam’s oxygen, placing their own ex-pedition in jeopardy.

The Director of EVEREST is Stephen Daldry,who was nominated for Academy Awardsfor BILLY ELLIOT and THE HOURS. Daldry

and his Producer Jonathon Finn trekked toBase Camp, 17,600 feet, and thenclimbed to 19,000 feet in the infamousIce Fall.

In addition, the team was accompaniedby a camera engineer, ARRI Media’sHead of Camera Operations, AndySubratie. He also trekked to Base Campwhere he remained throughout the expe-dition so that any technical issues causedby the sub-zero temperatures could bequickly addressed.

Before the equipment could be taken toEverest it all had to be winterized whichinvolved careful testing within anEnvironmental Chamber where the tem-perature was set at -45°C. All of the lenses were re-greased with an uniquegrease used by NASA that is capable ofwithstanding extremely low and high tem-peratures. The mechanisms of the ARRI-FLEX 35 III also had to be re-greased but

the 435 withstood every test and madethe trip all the way to the summit withoutany modifications, proving the reliabilityand robust construction that ARRI camerasare renown for. Breashears commentedthat the entire package supplied by ARRIMedia performed flawlessly throughoutthe expedition. “We did not have a singlemalfunction despite filming in the world’smost unforgiving environment.”

Principal photography will start in spring2005 but for insurance reasons the actorswill not go to Everest. Instead, filming willprobably take place in the Alps and NewZealand.

Michelle Smith

David Breashears with the camera inhigh winds at 22,000 feet

Breashears sets up a shot in the Western Cwm (20,000 feet)with Everest, Lhotse and Nuptse behind (left to right)

Members of the team on thesummit (29,028 feet)

5 0 Wo r l d w i d e _ U S A

SPARTACUS

Earlier this year USA Network aired a remarkable re-make of Stanley Kubrick’s epic

film drama SPARTACUS. The four-hour TV-movie was directed by Robert Dornhelm,

scripted by Robert Schenkkan based on the novel by Howard Fast and filmed by

Director of Photography Kees van Oostrum, ASC. The story evolves around

Spartacus, played by Goran Visnjic (E.R.), who leads a rebellion of slaves against

the Romans 72 B.C. In order to facilitate the enormous array of Roman soldiers and

slaves and for the specifically required landscape Bulgaria was chosen as the desired

place of production. ARRI had a chance to speak with Kees van Oostrum about his

work and special challenges on this demanding assignment in Eastern Europe.

Actor Goran Visnjic

Angus MacFadyen(Crassus) in the center

Sir Alan Bates (Lentolas Agrippa) on the left,Jack Huston (Flavius) on the right

Sir Alan Bates (Lentolas Agrippa), Angus MacFadyen (Crassus), (r to l)

5 1Wo r l d w i d e _ U S A

? What was your camera equipment of choice?Kees van Oostrum:I used an ARRICAM Studio and Lite, oneARRIFLEX 535, two ARRIFLEX 435, one35-III and three Eclairs CM-3. The majorityof the film was shot with the ARRICAMStudio. As B-camera and, of course,whenever I had to go hand-held I woulduse the Lite. The 535 was the main A-camera for second unit. The 435 I usedfor all the battle sequences where I neededto ramp up the speed. My preferredspeed for these battle scenes was 120fps. I still did a fair amount of 50 fps withthe ARRICAM Studio primarily for thegladiator fights. The Éclairs are my owncameras, which I usually use as “crashand specialty cameras”.

? The entire film was shot in the 3-perforation format. Who made thisdecision, how did you feel about it andhow did it work out for you?Kees van Oostrum:

This is correct, it was indeed a 3-perforation job. All cameras,except one ARRIFLEX 435, and the older cameras the 35-III andEclairs had the 3-perforation movement. The reason to keep one of the 435s in 4-perforationwas to accommodate visual effects.I wanted to shoot 4-perforationplates so the effects people hadmore room and more to play with.

When I took the assignment from Universalthey basically told me that they wouldprefer to shoot 3-perforation for the obvious reason of cost savings. If youconsider that we shot close to a millionfeet of film you can figure out how muchwe saved in film stock and developingcost.

One might think of productions of $40 –$100milion and how little a 25% savingsin film and developing cost compares to,but regardless of the overall budget, thebudget for camera equipment and filmstock is never adjusted in proportion.Producers are not going to spend moreon cameras only because the movie ismore expensive. They never spend more

on film, it’s just used for all those otherthings and I never feel the differencebetween a 40, 60 or 80 million budget. It always seems to come down to the samefor me. So for us savings of $250,000was huge money.

For me shooting 3-perforation was noparticular concern, actually it was a blessing as I had 25% more shooting time in each magazine. When you shoota 400 ft load you gain one more minuteat 24 frames, which can be essential tobe able to get the shot or not.

I know in the past it was often scaryshooting 3-perforation, because the formatgives you no safety in the gate area. Hairand dirt build up was a constant concernand just like in 16mm you ended upchecking the gate constantly. However,the film gates in modern cameras are soprecisely machined to a thousandths ofmm and I believe the ARRICAMs use aspecial chrome coating, which combinedwith the advanced technology in filmemulsions just doesn’t allow for any dirtbuild up. In SPARTACUS, a film where I wasprimarily out in the field and in the dirtespecially during the battle scenes I neverhad a problem. Not one single problemwith dirt or scratches or anything. So Ithink using 3-perforation makes a lot ofsense and makes completely good use of film.

? Which lenses did you use? Kees van Oostrum:I had two full sets of Ultra Primes and oneset of Variable Primes. For zooms I usedthe 10:1 HRs Angenieux and Hawk 150to 450mm. I really do like to work withfixed focal lengths lenses and I would saythat about 95 percent of the film was shoton the Ultra Primes. The Variable Primes I put primarily on the B-camera, becausewith the B-camera you can not alwaysafford to get into a perfect position andthere the VPs gave me the flexibility I need.They match the Ultra Primes perfectly,intercut really well and are optically justgreat lenses. The zooms I used only whennecessary and maybe on some actionshots.

? Ultra Primes have the reputation ofbeing cooler and more contrasty than thecompetition. Did this have an effect on thedramatic and moody shots of the film?Kees van Oostrum:I defy the myth that these lenses are cooleror bluer or any of that. In my mind this is a big misconception. Ultra Primes areusing a blue coating to deflect the lightyou don’t want to have in the lens. Theblue coating does not influence the optical performance at all. If you wouldcompare Primos, Cookes and Ultra Primesside by side, which I have done, the filmitself will come up slightly cooler with theUltra Primes, but this is just a color issue.This has nothing to do with the represen-tation of warm colors through the lens. It’s just a matter of color timing and hasno affect what so ever. In Holland wewould say it’s an “old wives’ tale” thatblue coating creates more contrast andappears harsher. I believe that all cinelenses from the leading manufacturers are equal in their optical performanceand are indiscernible from each other.

The reason I prefer the Ultra Primes is thatthey offer the largest range of focallengths out there including the 28mm,40mm and 65mm. The 135mm and180mm are optically just wonderful lensesand as I said before, the Variable Primesgive me any focal length in fixed primelens quality from 16mm to 105mm.

Rhona Mitra (Varinia)

? Did you use the new wireless lens control system?Kees van Oostrum:Yes we did and we used it a lot. Wefocused probably 60% of the show wireless. In the past I would only useremote controls if it was really necessary,because the systems were not very userfriendly and you had to add on boxesetc. ARRI’s system is completely integrated,which makes it really convenient to use.

We had one very exciting sequence,which actually was the opening shot ofthe film. It was a cable cam shot wherethe cable cam had to travel 200 yardsfrom the crane towards us. Productionbuilt a replica of a 300 by 400 feetsquare in Rome with all buildings around,three stories high. At one end the cablewas extending over the square to a 175feet construction crane. I had to come intoa close-up of Crassus on the balcony, comearound him looking over his shoulder andinto the square. From the 200 yards I wasshooting, about the last 135 yards wereall live action. So, we needed to focusand adjust the F-stop if the light changed.Honestly, I was worried if the systemwould work from a distance of 200yards. My worries were unjustified. Thesystem was with us all the time, focusedand did everything through out the entiredistance.

5 2 Wo r l d w i d e _ U S A

? How did you handle dailies and ensure post production in LA would preserve the look you envisioned?Kees van Oostrum:We had the negative developed in Sofiaat a local Kodak supervised lab, whichwas really good. No problems whatsoever.HD transfer was done in LA and to seeour local dailies we used a local transferhouse, but the transfer didn’t quite meetmy requirements. So I shot the whole filmrelying on digital stills. I took digital stillpictures of every scene I shot, timed themat night in Photoshop, printed them andsent them to LA with the weekly shipmentof film material so they would have animage reference. A month later I wouldget a HD cassette from LA for my owncontrol. This was the previsualization system to get me through the movie and it worked really, really well for me.

? Could you tell us about your lighting package?Kees van Oostrum:The lighting package was of quite considerable size. It all came from ArcoMultimedia Group in Rome. Basically allthe HMIs were from ARRI. I had four18Ks, four 6K and four 12K Pars. Thesmall tungstens, which I’m fond of, the200W and 650W were ARRIs as well.There were some Ruby 7s, putting outsome very hot light, which I found usefulfor effect lighting. I’m also a big fan ofIaniro open-faces, and of course being a production primarily supplied by Italythere were plenty of those available.Another favorite of mine are the Pinzalights, which I always use.

? How was it working in Bulgaria? How did you handle all the logistical challenges?Kees van Oostrum:Well, Bulgaria, Sofia it’s all in develop-ment. I think it’s just a matter of time untilthey catch up. Look at Romania and thelong way this country came in the lastfive years. Of course, we had to bring in the entire crew, because there wasnobody available. The only Americanwith me was my first Assistant, the restwas a completely Italian crew.

There are certainly big efforts to build upBulgaria’s film industry and when I gotthere I was actually surprised by some ofthe stuff that there was. We actually diduse some supplemental items from localsources, but the camera, lighting and gripequipment was rented entirely from Italy.

There were some compatibility issues andthe Bulgarian cabling system definitelywasn’t up to our standards. But, like Isaid, they learned from us and are eagerto develop their industry.

Franz Wieser

Photo: Chris Schenk

Kees van Oostrum (DoP)

is an active member of the AmericanSociety of Cinematographers. In hiscareer as cinematographer he hasworked on over 50 feature produc-tions including last year’s historicaldrama GODS AND GENERALS. In 1994he received the prestigious ASC Award for the Mini-SeriesRETURN TO LONESOME DOVE andearned two nominations in 1993for THE BURDEN OF PROOF and 1998for MEDUSA’S CHILD. He also hadtwo Emmy Award nominations forMISS ROSE WHITE and RETURN TO

LONESOME DOVE.

Actor Henry Simmons (left), DoP Kees van Oostrum (front right)

5 3Wo r l d w i d e _ U S A

Salado Media was founded 1996 inMontevideo by Carlos Ameglio and Nerode Vargas. Within the few years it hasdeveloped into one of the leading localproduction companies catering to clientsfrom all over the world. Arcor, AT&T,Bayer, Coke, Danone, Ford, Johnson &Johnson, Movicom-Bell South, MTV, Nestlé,Pepsi, Procter & Gamble, Quilmes, Tele-fónica, Telecom, TNT, Toyota, Unilever,Volkswagen are some of their customers.

The concept of the campaign was verysimple: a married couple, who lives underwater, enjoys breakfast and prepares foran ordinary day under water. However,when they get into the car to leave home,the vehicle refuses to start. The moral ofthe story is you have to take a Toyotaunder water to make it fail.

The actors had to use synthetical clotheswith hidden weights. Also, a special carwithout a motor was brought in from theUS to assure that the water of the Puntadel Este Campus pool would not be con-taminated. Carlos Ameglio notes: “It trulywas a wonderful experience for everybody.It was a fun production, and after threedays in the water we left with the im-pression that everything can be done inUruguay”.

A Commercial

under the Waterby Rodolfo Musitelli

The only way a Toyota could possibly fail is by trying to start it under

water. That was the idea of the new Corolla 2004 commercial, directed

by talented director Carlos Ameglio, produced by Uruguayan production

company “Salado Media”. The commercial, which will be released for

Toyota’s international campaign was entirely filmed under water at the

Punta del Este Campus pool, in Uruguay.

Uruguay is increasingly becoming a desirable destination for internationalcommercials, particularly for the low production cost. This certainly is an issueif a production involves more than 30people and lots of equipment as wasneeded in this case. Director of Photo-graphy, Hector Morini (ADF), used ARRIFLEX cameras, HMIs and FluorescentLights all contained in Hydroflex under-water housings. Above water, along thepool side, an array of ARRISUN 1.200W,2.500W, 4.000W, 6.000W and12.000W lit the set.

All the production gear, cameras, lightsand underwater housings were providedby Musitelli Cine Video, a rental operationand ARRI representative based in Monte-video. They also designed a GFCI systemto prevent any electrical risk.

Crew:

Badilo Nazca Saatchi & Saatchi Puerto Rico Agency

Director: Carlos AmeglioExecutive Producer: Nero de VargasProducer: Pilar de HaedoProduction Coordinator: Verónica BertaProduction Manager: Alejandro NoyaDirector of Photography: Héctor Morini (ADF)1st Camera Assistant: Gabriel DesiderioCameraman: Santiago Braga

Gaffer: Sebastián Hermansson

5 4 Wo r l d w i d e _ G e r m a n y

were used by Slawomir Idziak and his crewat peak times. The cinematographer ofPolish origin has worked with ARRI Rentalbefore, when shooting BLACK HAWK DOWN,which brought him an Academy Awardnomination for Best Cinematography. Ioan Gruffudd (BLACK HAWK DOWN) stars asLancelot, the brave warrior. Clive Owen(THE BOURNE IDENTITY, GOSFORD PARK) portraysKing Arthur, the leader of the army withKeira Knightley (PIRATES OF THE CARIBBEAN,LOVE ACTUALLY) as the future QueenGuinevere, as well as German actor TilSchweiger (LARA CROFT TOMB RAIDER – THE

CRADLE OF LIFE) with the saxons fightingagainst King Arthur in the ultimate battle oflove, honor, fraternity, betrayal and death.

K I N GProducer Jerry Bruckheimers’ KING ARTHUR is one of the largest Touchstone

productions ever to be shot in Europe. Director on this project was Antoine

Fuqua (TRAINING DAY), collaborating with Director of Photography Slawomir

Idziak (BLACK HAWK DOWN, THREE COLOURS: BLUE) and Gaffer James

McGuire (HIDALGO, IN AMERICA).

Ireland lent itself ideally as a backdrop to this retelling of the story of King Arthurand the Knights of the Round Table. Notjust the same old tale about the conflictbetween the Saxons and Britains this filmis a new and very realistic rendering ofthe events, true to facts and based onextended historical research. Central locations like Hadrian’s Wall and theBattle of Badon Hill were re-created ingreat detail with all set decoration carriedout as accurately as possible to show 5thcentury Britain.

ARRI Rental Germany supplied camera,and grip equipment, with ARRI Lighting

Rental UK supplying the lighting equipment

and distribution.A total of 19

cameras

Equipmentlist

Camera2 ARRICAM ST 4 Moviecam SL3 ARRIFLEX 435 ESUltra Primes24-290 mm Angenieux Optimo

LightingTOTAL HMI/MSR LIGHTING 890 KWTOTAL TUNGSTEN LIGHTING 1400 KWTOTAL MOBILE POWER GENERATION14000 KWTOTAL MAINS CABLE 80 KM

A n a l l

5 5Wo r l d w i d e _ G e r m a n y

Director of Photography Slawomir Idziakjoined the preparations about two and a half months before shooting started. Some locations had already been chosen,like the one for the final battle or forHadrian’s Wall. Together with DirectorAntoine Fuqua and the Set Designer, a

lot of decisions still had to be made.Slawomir Idziak explains: “The Directorof Photography has much more responsibility in Europe than in the States.In Poland, for example, the DoP worksvery closely with the Director and participates in all the decisions. It is

inconceivable that the Director settles onlocation, color or costume without firstconsulting the DoP. In Germany the DoPhas more influence in the final look of theproject, as well.” He continues, “Thework with Antoine Fuqua was very enjoyable. In regards to the Americanway of making a film and compared toother American Directors Antoine is veryopen to other people’s ideas, includingthose of the cinematographer”.The Battle of Badon Hill is the film’s crucial point where the Saxons werecrushed and finally defeated. “In the firstand second unit we had a total of 19cameras working. In many shots, like thehuge battle scenes, both units workedtogether.” Slawomir Idziak explains.ARRI Rental’s cameras were everywhere,on horse back, mounted onto shields andonto swords. Every detail was taken intoconsideration to provide the best ‘pointof view’ during the five-week shoot of thebloody battle. In some instances, disguisedcamera operators and cameras wereplaced right in between the crowds,making the audience feel that they are in the centre of the battle.

How did the ARRICAMs perfom?Slawomir Idziak answers: “I decided onthe ARRICAM STUDIO during the tests inMunich. I have to say that once I’m usedto a certain type of camera, it is difficultfor me to switch to a new one. All handlingis second nature to me and I can operateevery button automatically. In addition Ioperate myself, which means I often grabthe camera at the last moment. Whileshooting, there is no time to figure out anew camera. On location, it is extremelyimportant to have perfect equipment,

A R T H U R- A R R I S h o w

shoot 3-perforation, but I think the savingson raw stock and lab costs (25% less) canbe a decisive factor for many productions”.

While shooting in Ireland, Zeiss UltraPrimes and the Angenieux 24-290mmOptimo Zoom were used. SlawomirIdziak continues: “In spite of the two other zooms we had with us, theAngenieux Optimo was the number one.All Operators absolutely wanted to workwith it. The quality is much better in com-parison to its predecessor, and imagequality and color rendering match theUltra Primes perfectly.”

What was it like to work with ARRI Rental? Slawomir Idziak’s preference is clear: “I know many rental houses all aroundthe world, some smaller, some larger.ARRI Rental has a fantastic inventory ofcamera equipment with all accessories.

And it has what can’t be found very oftenin rental houses: the human factor.“With Manfred Jahn, Technical Director of Camera Rental, there is an ingenioustechnician on the premises, the right person on the right spot. The good thingwhen working with him: together youponder ideas and a little later Manfredhas the technical solution. I first met himwhen preparing BLACK HAWK DOWN andsince then I am very keen to work withARRI Rental.” As with BLACK HAWK DOWN,Heinz Feldhaus also supported the pro-duction with great care and competence.Gaffer James McGuire and DoP SlawomirIdziak first worked together on LOVE &RAGE in Ireland and the ISLE OF MAN in1998 and then went on to shoot THE LAST

SEPTEMBER. So when shooting KING ARTHUR,they already knew each other well andwere very familiar with the other’s methodsof working.

5 6 Wo r l d w i d e _ G e r m a n y

which doesn’t give you any technical diffi-culties. And some of these difficulties maynot even be important but they can still bevery annoying.

All in all it wasn’t an easy decision but twoweeks into shooting, I felt very comfortablewith the ARRICAM and I realized what asuperb camera it is. Not once did I regretmy decision to use it. We didn’t have a single serious technical problem in thetwenty-two weeks of shooting.” The advan-tages, compared to other cameras, areobvious: The ARRICAM STUDIO has someintegrated features like an electronic ad-justable mirror shutter which allows you to compensate exposure during speedchanges. Electronic accessories like theSpeed Control Box and the Lens Data Box fit seamlessly onto the camera bodyand make attaching separate accessoriesobsolete. Slawomir Idziak adds: “TheARRICAM STUDIO has plenty of usefulfeatures to make work much easier.Beyond that, the viewfinder system isbrighter and better than that of other cam-eras. The high resolution of the IntegratedVideo System (IVS) is exceptional. TheARRICAM is also interesting with regardsto 3-perforation. On KING ARTHUR we didn’t

5 7Wo r l d w i d e _ G e r m a n y

With huge battle scenes to shoot com-bined with the considerable number oflocations, the lighting crew had to be prepared to let the camera shoot anyangle. The overall scale of the night exteriors meant that they had to makesure the photometrics (exposure calcula-tions) were correct, with some rigs beingplaced over 700 feet away. This alsomeant being lit for all 360°, and as thefort alone covered such a vast area theyhad extensive rigs on all four sides, utilizing Muscos and ARRI Cine spheres.

ARRI LIGHTING RENTAL had collaboratedwith James previously on Buena Vista’sproduction of HIDALGO, shot in Morocco.“The main reasons for the choice of thepackage were reliability and efficiency.Having utilized ARRI equipment in thepast and having had a history of satis-factory performance was a major factor,”says James.James goes on to explain his approach to certain challenging scenes from thelighting perspective: “For some particularlydifficult night locations such as the graveyard scene, located on the side of a steep hill, we would often be given justa 12-hour window to rig. This led us to

use some rather unusual rigs: We took a4-wheel-drive Manitou forklift (used onconstruction sites), stripped the forks offthe boom and rigged an ARRI Cine sphereon instead. This gave us 3 remote 18K’sthat we could now raise 16 meters (over50 feet) and still maintain control of thesource, which could be quickly rigged ondifficult terrain locations.”

“For the battle scenes, the main lightingapproach was to enhance the actual environment of the battle,” James continues:“We had extensive walls of fire throughoutthe battlefield and corrected our lightingto enhance the flames. Logistics quiteoften posed some big problems. It’s easyto turn a camera around in just a fewminutes, but 6 – 8 18K’s plus distributionand generators can take some time.”

Shooting on such a large scale meansthat you need plenty of crew on hand toassist. “The crew we had was great. Theywere a major factor in the whole opera-tion running smoothly (16 electricians in-cluding the rigging crew, 1 rigger and 2 stagehands). However, certain toolsmade a big difference: The Land Rover40kW generators meant that we could

run in two of these sets and have 4 x18Ks up and running in just a few minutes.These sets could fit into some extremelytight locations. Also the clown tires (largesoft rubber tires used instead of desertdollies in order to keep down the weight)were fitted to the lighting stands, whichenabled just one guy to move an 18K onhis own in rough terrain.

James concludes: “In one day we couldgo from flying an 80’ x 40’ overhead silk array, to erecting a 300’ long wall of bounce consisting of 20’ x 20’ bouncescomplete with four 18’ x 12’ mirrors & acouple of 10K Xenons, and then be ex-pected to lose any part of the above invery short time periods so we could turnthe camera around.”

Andrea Rosenwirth/Judith Petty

5 8 Wo r l d w i d e _ G e r m a n y

Product ion super visorAdam Goodman startedmaking preparations aboutthree months before pro-duction began. He super-vised the main, second and miniature Units as wellas two units that filmed inthe French/Italian Alps.

“We had already had a very successfulcollaboration with ARRI Rental,“ explainsAdam Goodman. “Their support wasgreat working within a tight budget thatallowed cinematographer David Johnson(RESIDENT EVIL) to have most of what he

wanted! With ARRI Rental I knew that Ihad their logistics and organizationbehind the project. In addition the rentalhouse is close to the Prague Studioswhere some of our large sets were located.“

Movies like VAN HELSING, HELL BOY andthe LEAGUE OF EXTRAORDINARY GENTLEMEN

had all been supplied with the lightingequipment f rom ARRI Rental. InSeptember 2003 ARRI Rental opened a branch office on the grounds of thePrague Studios. When ALIEN VERSUS

PREDATOR needed immediate technical

assistance, Arno Sieberger, Praguebranch office manager and his teamcould offer it without any delay.Moreover, the Prague branch office, aswell as the rental offices in Luxemburg,Cologne, Berlin and Leipzig can drawupon the inventory and logistical supportof ARRI Rental Munich – an unbeatableadvantage!

It is no wonder that the Czech gaffer Petr Konrád was also pleased with ARRIlighting – he had to fulfill a difficult taskof his own: creating the eerie mood that prevails inside the pyramid and

AvPALIEN VERSUS PREDATOR

To the fans of comic books they are definitely no strangers: the cult-figures Alien and Predator. 20th Century Fox

has just created another milestone in their epic battle. For the first time, the famous outer space monsters carry their

conflict to earth. AVP – ALIEN VERSUS PREDATOR is set in a pyramid concealed beneath the ice and snow of Antarctica.

An expedition team of several scientists stumbles upon their battle. Elaborate both in terms of visuals and lighting,

this Sci-Fi adventure was shot in Prague in the Czech Republic, and also on location in the French and Italian

alpine region of Chamonix. An indispensable partner had been ARRI Rental Germany, providing the lighting

equipment to the production’s four-month shoot.

Production SupervisorAdam Goodman

5 9Wo r l d w i d e _ G e r m a n y

employing silhouettes to help build theaudience’s fear and tension. Keepingscenery and actors visible while main-taining the desired mood was no easytask for Petr Konrád: “Inside the pyramid,it is very dark and there is no real lightsource in the typical sense. One doesn’tknow where the illumination is actuallycoming from. And the dark look was difficult to translate when one should stillbe able to recognize certain details.”In addition the sets had not yet beenbuilt. “As I began preparing only plansand sketches were available. This meantlighting the set without seeing it. It washard to imagine how the light would acton the real scenery,” explains the gaffer.“But I have worked with ARRI equipmentbefore, and my good experiences meanta lot of security to me.” Adam Goodmanadds, “there were no complaints from the lihgting department or the cinema-tographer as ARRI’s standards are high,and it was reassuring to have one lessthing to worry about.“

Visual effects obviously play a decisiverole in Sci-Fi adventures, and manyscenes in ALIEN VERSUS PREDATOR were shot in front of a green screen – a complex and time sensitive process, forwhich the existing infrastructure in Pragueis perfectly designed and equipped. “When compared with the cost of NorthAmerica, Central Europe or England,Prague is hard to beat. Naturally itdepends on what kind of film one wantsto make. It doesn’t always make sense tobuild huge sets for a film set in New Yorkor Los Angeles. But in some situations itcan even be reasonable to build hererather than having a difficult and complexshoot on location in L.A. or New York.Set construction costs here are relativelylow. Right now Prague has the right ba lance o f cos t s and techn ica l competence“, says Adam Goodman.“My exper iences in Prague wereextremely good. A lot of it down to thelocal crew that I worked with whobrought with them a large amount of

experience given the number of featurefilms made in Prague over the past fewyears. Naturally, one works to earnmoney, but it is also satisfying to workwith people that really enjoy what theydo. If I had the opportunity, I would bevery happy to shoot in Prague again.“And he concludes “I believe we receivedextremely good service and back-up fromARRI at a price that allowed us to makethe best movie possible.

Release in Germany will be November 4th,2004.

Andrea Rosenwirth

6 0 Wo l d w i d e _ G e r m a n y

The Lazarus ChildInternational film productions are

increasingly taking advantage of the

complete service package offered by

ARRI in Munich. The worldwide ARRI

Rental net and the opportunity to

complete even the most demanding

picture and sound productions in one

location offer ARRI’s clients many

important advantages: close proximity

of different service areas, increased

efficiency, flexibility, and the ability

to meet the demand for highest quality.

So it was with the Canadian production

company Illusions Entertainment, which

recently completed the feature film

The Lazarus Child in ARRI Munich,

a drama featuring a renowned cast

(Andy Garcia, Frances O’Connor,

Angela Bassett). The Lazarus Child

is a Canadian-British-Italian-German

co-production, financed in part

through the British tax shelter model.

Support on the journey into subconsciousness

Digital color dramaturgy

Controversial doctor:Angela Basset

6 1Wo l d w i d e _ G e r m a n y

“In Spring, 2003 I received a call froma producer in England with whom we hadsuccessfully worked before. He told me hewanted to introduce me to the producerof an upcoming cinema project. This wasthe prelude to an extensive postproductioncontract for ARRI Services,” explainsAngela Reedwisch, Key Account Managerat ARRI Film & TV Munich. Shortly thereafter,British coproducer David Brown, togetherwith director Graham Theakston, and DoPLukas Strebel arrived in Munich to discussthe details of shooting and postproduction.

The planned shooting ratio of approximately1:30 offered the opportunity to shoot

with 3-perforation cameras; the moneysaved on film stock could then be investedin digital postproduction. Shooting tookplace in England (2 weeks) and Canada(7 weeks). The production was equippedwith cameras from ARRI MEDIA andlighting from ARRI Lighting Rental, London.Cameras used were the ARRICAM ST,ARRICAM LT and ARRIFLEX 435 Advancedwith Zeiss Ultra Primes. Lighting equipmentincluded ARRISUNS 18 kW, 12 kW, 2,5 kW, ARRI Junior 2kW, 1kW, 650 W,300W, 150W, as well as Pocket Pars.Cinematographer Lukas Strebel chose35mm Kodak Vision 2 500T 5218 and200T 5274 as his film stock.

For logistical reasons, it was decided thatthe negatives would be developed locallyduring shooting in London and Vancouver,respectively. Avid cutting was done inLondon and Canada. The completepostproduction after “locked picture”was done at ARRI Munich: DigitalIntermediate, VFX processing, soundpostproduction, including sound designand mixing, as well as finishing in thefilm lab.

Canadian producer Bruce Harvey fromIllusions Entertainment and his Italianpartner Ciro Dammicco came to Munichat the end of January 2004 to determinethe timing for the end production work.

The Storyline12-year-old Ben is accompanying hisyounger sister Frankie to school. In a

moment when he is not paying attention,Frankie starts to cross the street and isstruck by a bus. She falls into a deep coma.Ben’s feelings of guilt become unbearableas his sister’s condition deteriorates andhis parents’ (Frances O’Connor, AndyGarcia) already shaky marriage threatensto break up in the face of this tragedy.The only hope seems to be a new typeof shock therapy developed by acontroversial doctor (Angela Basset). Thisform of therapy consists of a personentering the patient’s coma in anattempt to communicate with them andbring them back to consciousness. As timeis running out, the desperate boyvolunteers to embark on this life-threatening journey…

Digital Intermediate and VFXThe decision to implement the DigitalIntermediate system was made long beforeshooting began. ARRI colorist Birgit Steffandeveloped an elaborate color dramaturgyfor the entire film. Separate looks werealso created in color correction for thedream, coma, and flashback sequences.

This project was the first at ARRI utilizingthe new HDCAM-SR system from SONY;the system offers the lowest currentcompression ratio available for HD tapes(2:1). This allows the completion ofbackups in real time and the effortlessproduction of master tapes at a film speedof 23.98. The finished project was recordedonto 35 mm intermed positive stock withthe ARRILASER utilizing CMS (ColorManagement System) in full range (nolimitations of white and black color values).All further film lab work was completedat the ARRI Film Lab under the sup-ervision of Sepp Reidinger.

“Once again, the Digital Intermediateand the resulting HD master prove to bethe most sensible solution in filmpostproduction,” comments HenningRädlein, head of ARRI Digital Film.

The production of digital visual effectswas done under the creative supervisionof Visual Effects Supervisor Jürgen Schopper,who was happy to assume the responsibilityfor this international production with sucha quality cast and the resulting demandsfor high quality: “Our VFX team perfomedwonderfully, and I was confident that theoutstanding performance of Klaus Wuchta,Mikel und Stefan Tischner, and Alex

The split second beforethe tragedy

6 2 Wo l d w i d e _ G e r m a n y

frame exact Keykode Management. Forthis he converted the NTSC-based Avidproject into a scanning list, making theonline editing possible for us.”

“Cooperation with the client functionedat all levels,” remembers Philip Hahn. He continues, “From the successful colorand light grading to the precise, equallyhigh-quality work of our VFX department,all the production’s wishes were fulfilled.Despite having to work at night due tothe time difference, everyone involvedcame together to make this film one of

our most interesting projects.

Nowotny would enable us to easily meetthese international standards.”

Particularly exceptional was a dreamsequence in which a monstrous lookingtruck is racing through a collapsing corridorand comes to a halt just before hittingBen and Frankie. One of the film’s keymoments, this sequence was compiled froma multitude of filmed takes and computer-generated elements. Other importantnarrative sequences were dramatized withthe application of digital blood, rain, andsnow. Additional digital work seen in thisthriller includes wire removals, green screencompositing, and the supplementation ofsets using digital images, as well as a“Vertigo” camera zoom reverse which wasnot planned during shooting and wasgenerated on the Inferno from a singlestill frame.

Along with visual effects, the titles werealso created digitally. Lutz Lemke, whosecreative ability as Title Designer has foryears been a crucial element in the ARRIDigital Film team, was responsible forthis aspect of the film.

Commenting on the extremely complicatedproject workflow during THE LAZARUS

CHILD, Philip Hahn, since May, 2003Postproduction Coordinator for DigitalIntermediate Projects at ARRI DigitalFilm, explains, “our basis situation was a project shot in 3-perforation and givento us in the form of Avid data in NTSCformat. In cooperation with the editors inCanada, a synchronized film project wasestablished in Munich. Andreas Kern ofMotion Picture Tools used this informationto develop an easy to use program for

The creation of digital imageswith Maya software

Hope or farewell? (Frances O’Connorand Andy Garcia)

6 3Wo l d w i d e _ G e r m a n y

That’s what makes our work exciting: allprojects are unique in their demandsand qualities.”

Postproduction Supervisor NicholasGoodwin played an important roll as“native speaker” point of contactbetween the client and the entire ARRIPostproduction Unit (Picture and Sound).The fact that he has the additionalqualification as trained Avid editorproved to be an enormous advantagefor the production, as it was decided toreedit the film’s ending during the finalmixing phase at ARRI Munich. “Thatmeans, during the mixing of reels 1through 4, we were working at the sametime on Avid here at ARRI with the dir-ector and producer to totally reedit reel5. In this phase I structured the project to give them as comprehensivean overview as possible, from color

correction to sound and titles,“explains German/Canadian

Nicholas Goodwin. “Without thecommitment and cooperation of theentire ARRI team it would havebeen impossible to completesuch an intricate project in theshort time we had beforedeadline.”

SoundAs is usual with NTSC-HD film projects,during the sound work it was necessaryto create a printmaster at 24fps/ 48kHz, as well as an NTSC master at23.98/ 48 kHz, which required apulldown and sample rate conversion ofthe audio data. A 24 frames PALDigital Betacam recording was used forthe film processing, in order to retain aclear overview of the project’s complexpostproduction requirements. Theaudio masters were then converted toNTSC. For the first time, the advantagesof the new SONY HD-CAM 5000 SRwith 12 audio tracks came into play,making it possible to create an HD-Masterwith all sound formats. All downconvertsand HD-Clones were taken from thistape.

The ARRI sound team worked intensivelywith networks and data transfers inpreparation for the audio mix. The voice

ARRI Digital Film

Head of Department: Henning RädleinProject Coordinator: Philip HahnPostproduction Supervisor: Nicholas GoodwinVFX Supervisor: Jürgen SchopperDigital Scanning and Digital Grading:Birgit SteffanTitle Design: Lutz LemkeARRI Lab

Head of Department: Josef ReidingerProject Coordinator: Angela ReichenbergerARRI Sound

Senior Project Coordinator: Florian GrossTechnical and Project Coordinator:Hans Hohenwarter1st Re-recording Mixer: Michael Hinreiner2nd Re-recording Mixer: Max Rammler-Rogall Chief Sound Designer: Nigel Holland

dubs for the actors, for example, weredone in various locations – Toronto,Vancouver, Los Angeles, and London.Because not all the dubbing studios wereequipped for NTSC, for these sequencesQuicktime movies with the correspondingProTools sessions were created in bothformats and sent to the studios via FTPsites.

Hans Hohenwarter, Production Super-visor at ARRI Sound: “We were able tomaintain the flexibility to make changesin picture and sound editing up to theproject’s completion. This proved onceagain that adequate networks areabsolutely essential to sound processingin international productions. The directorand other decision makers aren’t alwaysthere physically, but digital networksallow them to always be “virtually present”and step in when their decisions arenecessary.” These challenges were, onceagain, met to the clients’ completesatisfaction by Chief Sound EngineerMax Rammler and his team in the newARRI Sound Studio complex.

THE LAZARUS CHILD will be released in the U.S. in Fall, 2004. ARRI Film & TVMunich is currently working on othersubstantial domestic and internationalfilm postproduction projects equallychallenging in their scope and complexity.

Jochen Hähnel, Jürgen Schopper,

Hans Hohenwarter, Angela Reedwisch

6 4 Wo r l d w i d e _ G e r m a n y

On March 20, 2002, Edgar Reitz beganthe extensive shooting. The last take wasmade on October 11, 2002. The twoDirectors of Photography, Thomas Mauch(episodes 1 to 4) and Christian Reitz(episodes 5 to 6), were behind the cameraover a period of 246 days of filming.

A total of approx. 165,000 meters 35mm1:1.66 negative, including approx.10,000 meters black/white for the flash-backs and 155,000 meters color, werefilmed. The shots were mainly taken at theoriginal settings and the interior shots inHunsrück.

Just like the previous HEIMAT episodes, there are plans for a combined cinema-TVrelease of the new episodes of HEIMAT.HEIMAT 3 – like the other parts – have been

presented to the international press at theVenice International Film Festival of theBiennale. Already in the previous episodesof HEIMAT 1 and HEIMAT 2, Edgar Reitzdecided to use 35mm negative. Reitz didnot carry out the editing using Avid systems,but instead resorted to the totally classicalmethod of 35 mm film dailies at the filmcutting table.

Heimat 1For Edgar Reitz and his team the coopera-tion with ARRI goes back a long way. “Wealready cooperated very closely with ARRIon HEIMAT 1 – not just technically but alsoin the production sector,” he reminisces.In those days in the 1980ties the electronicimage processing was in its infancy andARRI TV had just been founded. EdgarReitz Filmproduktion was the company’s

first big customer for the production ofrelease tapes, of color matching or thetelecine of negative. “Back then, some newappliances were created especially for thefilm. People who were at the time pioneersin this television sector today occupy leadingpositions at ARRI. For me real testimony ofthis great development is the fact that FranzKraus then did the color matching for us.We sat side by side as he did the gradingscene by scene. Meanwhile, Franz Kraus is Managing Director and member of theExecutive Board at ARRI,” sums up EdgarReitz. For the first time, many digital effectswere used in HEIMAT 1 – for example, coloredelements were incorporated in black-whitescenes or transitions from color to black-white created.

HEIMAT 1 had its premiere as part of theMunich Film Festival in the ARRI cinema.“From there the film set out to conquer theworld,” continues Producer Robert Busch.

Heimat 2For HEIMAT 2, Edgar Reitz once again closelycooperated with ARRI between 1987 and1992 and it was there that he also carriedout all technical processes. Both, the entireequipment for the shooting was providedby ARRI, as well as the film processing, andthe complete sound editing, including thegargantuan task of mixing a 26-hour longfilm. “Back then, we spent at least half ayear at a time in Studio A. Thus, an entireuniverse of cooperation emerged, whichalso affected personal relationships. We got to know the ARRI staff so well that theybasically became members of our team”,explains Edgar Reitz.

A Chronicle of Endings

Christian Reitz (DoP) and 1. AC Herbert Sporrer

Franz Kraus, Robert Arnold, Edgar Reitz (f.l.t.r.) signing the co-production contract on July 27, 1999.

HEIMAT 3

Edgar Reitz directsSalome Kammer

About 20 years ago, director and producer Edgar Reitz began shooting the

first eleven episodes of HEIMAT (the title can be translated as ‘Homeland’).

These were followed in 1992 by 13 episodes entitled DIE ZWEITE HEIMAT. His

cinematic life’s work has now reached its climax with six new episodes of

HEIMAT 3. The third part of the HEIMAT trilogy was produced by Edgar Reitz

Filmproduktion in cooperation with SWR and ARD/Degeto, which were back

on board as television stations. ARRI, too, entered the project as a co-producer.

6 5Wo r l d w i d e _ G e r m a n y

Heimat 3Already in the early planning stage ofHEIMAT 3, the first discussions were held onthe possibility of an extensive cooperationwith ARRI. This time ARRI also became aco-producer. With worldwide distribution,a further company sector came into play.ARRI Media Worldsales, managed byAntonio Exacoustos, has meanwhile soldthe film in numerous countries – above allItaly where there are many great lovers ofEdgar Reitz’s HEIMAT trilogy.

For the filming of HEIMAT 3 both lightingand camera equipment were provided byARRI Rental Munich. Furthermore, consult-ing discussions were held in advance withARRI staff on all matters of digital post-pro-duction of the film. HEIMAT 3 features awhole range of effects and 3D animations,e.g. the immense galaxy transport planes,

which were completely animated andincorporated in the scenes. “The company’sspecialists were always with us on setwhen it came to dealing with technicalmatters. For example, ARRI Rental developeda mobile video assist which ran during allour testing and trial stages”, report EdgarReitz and Robert Busch. “We also had anabsolutely reliable and competent partnerfor film processing. Josef Reidinger, Headof ARRI Lab, advised us on the purchase offilm stock and appropriate tests for thematerial and also devised the combinationof color and black-white that is so typicalof the HEIMAT films”.

For HEIMAT 3, for the first time, not only theTV version but also parts of the cinema ver-sion went through the digital process. “Thedigital color matching with its immensepossibilities in the digital lab was onceagain a really special experience for us,”reports Edgar Reitz. “It was new to me thatthe digital color correction can be used togive the film a completely new appearanceby enriching it with special effects andadded beauty.”

As a 6-channel Dolby Surround mix wasplanned for the film, the sound recordingswere carried out on set with four sound-tracks using the DEVA digital recorder,which meant that the Sound EngineerGunnar Vogt had to combine the classic‘microphone arm’ with several transmittingmicrophones. Sound editing and all mixing

stages were then carried out by ARRI.ARRI Re-Recording Mixer Max Rammler:“Viewed as an entire package, HEIMAT 3with its six films of various lengths in Dolbydigital and in another version for television,was the biggest project that I have everdone. Very many people participated inARRI Sound – also behind the scenes. Thiswas due to the fact that the offline editingwas still done conventionally and the soundediting was done digitally. The companySoundabout with Magda Habernickel andAnnette Prey was responsible for originalsounds and atmospheres, Marcel Spisaksupplied the effects and Jo Fürst createdthe foleys for these. I then mixed the wholething. Despite being pressed for time – withten days per film and all kinds of challenges –we were able to keep to our budget andour deadlines.”

“ARRI was always the ideal partner for us –particularly now in a time in which twoworlds are coming together – the digital andthe analogue. When we began filmingHEIMAT 1, almost everything was classicallyanalogue and, now that we have finishedHEIMAT 3, the analogue film world is almostan anachronism,” explains Edgar Reitzand elaborates: “ARRI envisioned all thesedevelopments, helped developing themand realized them technically – and wasawarded numerous technical and scientificengineering awards by the Academy ofMotion Picture Arts and Sciences from fordoing so.”Edgar Reitz Filmproduktion and ARRI areholding the premiere of HEIMAT 3 – A CHRONICLE OF ENDINGS AND BEGINNINGS

on September 18th and 19th in Munich’sPrinzregententheater with a 35mm cinemacopy: 680 minutes of dealing with man’srecent past, from a very personal view-point.”

Jochen Hähnel

and Beginnings

Edgar Reitz with the ARRIFLEX 535

Directing from the camera Homemade multi purpose camera car, Edgar and Christian Reitz

Edgar Reitz and Christian Reitz

6 4 Wo r l d w i d e _ G e r m a n y

On March 20, 2002, Edgar Reitz beganthe extensive shooting. The last take wasmade on October 11, 2002. The twoDirectors of Photography, Thomas Mauch(episodes 1 to 4) and Christian Reitz(episodes 5 to 6), were behind the cameraover a period of 246 days of filming.

A total of approx. 165,000 meters 35mm1:1.66 negative, including approx.10,000 meters black/white for the flash-backs and 155,000 meters color, werefilmed. The shots were mainly taken at theoriginal settings and the interior shots inHunsrück.

Just like the previous HEIMAT episodes, there are plans for a combined cinema-TVrelease of the new episodes of HEIMAT.HEIMAT 3 – like the other parts – have been

presented to the international press at theVenice International Film Festival of theBiennale. Already in the previous episodesof HEIMAT 1 and HEIMAT 2, Edgar Reitzdecided to use 35mm negative. Reitz didnot carry out the editing using Avid systems,but instead resorted to the totally classicalmethod of 35 mm film dailies at the filmcutting table.

Heimat 1For Edgar Reitz and his team the coopera-tion with ARRI goes back a long way. “Wealready cooperated very closely with ARRIon HEIMAT 1 – not just technically but alsoin the production sector,” he reminisces.In those days in the 1980ties the electronicimage processing was in its infancy andARRI TV had just been founded. EdgarReitz Filmproduktion was the company’s

first big customer for the production ofrelease tapes, of color matching or thetelecine of negative. “Back then, some newappliances were created especially for thefilm. People who were at the time pioneersin this television sector today occupy leadingpositions at ARRI. For me real testimony ofthis great development is the fact that FranzKraus then did the color matching for us.We sat side by side as he did the gradingscene by scene. Meanwhile, Franz Kraus is Managing Director and member of theExecutive Board at ARRI,” sums up EdgarReitz. For the first time, many digital effectswere used in HEIMAT 1 – for example, coloredelements were incorporated in black-whitescenes or transitions from color to black-white created.

HEIMAT 1 had its premiere as part of theMunich Film Festival in the ARRI cinema.“From there the film set out to conquer theworld,” continues Producer Robert Busch.

Heimat 2For HEIMAT 2, Edgar Reitz once again closelycooperated with ARRI between 1987 and1992 and it was there that he also carriedout all technical processes. Both, the entireequipment for the shooting was providedby ARRI, as well as the film processing, andthe complete sound editing, including thegargantuan task of mixing a 26-hour longfilm. “Back then, we spent at least half ayear at a time in Studio A. Thus, an entireuniverse of cooperation emerged, whichalso affected personal relationships. We got to know the ARRI staff so well that theybasically became members of our team”,explains Edgar Reitz.

A Chronicle of Endings

Christian Reitz (DoP) and 1. AC Herbert Sporrer

Franz Kraus, Robert Arnold, Edgar Reitz (f.l.t.r.) signing the co-production contract on July 27, 1999.

HEIMAT 3

Edgar Reitz directsSalome Kammer

About 20 years ago, director and producer Edgar Reitz began shooting the

first eleven episodes of HEIMAT (the title can be translated as ‘Homeland’).

These were followed in 1992 by 13 episodes entitled DIE ZWEITE HEIMAT. His

cinematic life’s work has now reached its climax with six new episodes of

HEIMAT 3. The third part of the HEIMAT trilogy was produced by Edgar Reitz

Filmproduktion in cooperation with SWR and ARD/Degeto, which were back

on board as television stations. ARRI, too, entered the project as a co-producer.

6 5Wo r l d w i d e _ G e r m a n y

Heimat 3Already in the early planning stage ofHEIMAT 3, the first discussions were held onthe possibility of an extensive cooperationwith ARRI. This time ARRI also became aco-producer. With worldwide distribution,a further company sector came into play.ARRI Media Worldsales, managed byAntonio Exacoustos, has meanwhile soldthe film in numerous countries – above allItaly where there are many great lovers ofEdgar Reitz’s HEIMAT trilogy.

For the filming of HEIMAT 3 both lightingand camera equipment were provided byARRI Rental Munich. Furthermore, consult-ing discussions were held in advance withARRI staff on all matters of digital post-pro-duction of the film. HEIMAT 3 features awhole range of effects and 3D animations,e.g. the immense galaxy transport planes,

which were completely animated andincorporated in the scenes. “The company’sspecialists were always with us on setwhen it came to dealing with technicalmatters. For example, ARRI Rental developeda mobile video assist which ran during allour testing and trial stages”, report EdgarReitz and Robert Busch. “We also had anabsolutely reliable and competent partnerfor film processing. Josef Reidinger, Headof ARRI Lab, advised us on the purchase offilm stock and appropriate tests for thematerial and also devised the combinationof color and black-white that is so typicalof the HEIMAT films”.

For HEIMAT 3, for the first time, not only theTV version but also parts of the cinema ver-sion went through the digital process. “Thedigital color matching with its immensepossibilities in the digital lab was onceagain a really special experience for us,”reports Edgar Reitz. “It was new to me thatthe digital color correction can be used togive the film a completely new appearanceby enriching it with special effects andadded beauty.”

As a 6-channel Dolby Surround mix wasplanned for the film, the sound recordingswere carried out on set with four sound-tracks using the DEVA digital recorder,which meant that the Sound EngineerGunnar Vogt had to combine the classic‘microphone arm’ with several transmittingmicrophones. Sound editing and all mixing

stages were then carried out by ARRI.ARRI Re-Recording Mixer Max Rammler:“Viewed as an entire package, HEIMAT 3with its six films of various lengths in Dolbydigital and in another version for television,was the biggest project that I have everdone. Very many people participated inARRI Sound – also behind the scenes. Thiswas due to the fact that the offline editingwas still done conventionally and the soundediting was done digitally. The companySoundabout with Magda Habernickel andAnnette Prey was responsible for originalsounds and atmospheres, Marcel Spisaksupplied the effects and Jo Fürst createdthe foleys for these. I then mixed the wholething. Despite being pressed for time – withten days per film and all kinds of challenges –we were able to keep to our budget andour deadlines.”

“ARRI was always the ideal partner for us –particularly now in a time in which twoworlds are coming together – the digital andthe analogue. When we began filmingHEIMAT 1, almost everything was classicallyanalogue and, now that we have finishedHEIMAT 3, the analogue film world is almostan anachronism,” explains Edgar Reitzand elaborates: “ARRI envisioned all thesedevelopments, helped developing themand realized them technically – and wasawarded numerous technical and scientificengineering awards by the Academy ofMotion Picture Arts and Sciences from fordoing so.”Edgar Reitz Filmproduktion and ARRI areholding the premiere of HEIMAT 3 – A CHRONICLE OF ENDINGS AND BEGINNINGS

on September 18th and 19th in Munich’sPrinzregententheater with a 35mm cinemacopy: 680 minutes of dealing with man’srecent past, from a very personal view-point.”

Jochen Hähnel

and Beginnings

Edgar Reitz with the ARRIFLEX 535

Directing from the camera Homemade multi purpose camera car, Edgar and Christian Reitz

Edgar Reitz and Christian Reitz

6 6 Wo r l d w i d e _ G e r m a n y

All equipment, cameras and lighting, forthe 31-day shoot in St. Petersburg wastransported from Munich to Russia. Filmlab, telecine, editing and further post-production then took place back in Munich.Both sets, St. Petersburg and at theBavaria Studios were equipped withKodak’s 35mm High-speed-MaterialVision 2 – 5246/5218 (total of 76,500metres), 3 perforation 1:1,85 and threeARRI cameras: the ARRICAM LT, ARRICAM STand occasionally an ARRIFLEX 435.Ultra-Prime Zeiss lenses were used on allcameras.

Chris t ine Rothe, l ine producer forConstantin Film, explains that the decisionto shoot in Russia was not an easy one.Having been at the St. Petersburg set forthe entire course of the shoot Mrs Rothesays, “I was often warned by previousproductions about the rigorous customsand import formalities. Each and everyprop, every uniform button and especiallycamera and lighting equipment was photo-graphed and weighed. Under these difficultcircumstances it is always good to havea strong partner like ARRI”.

ARRI Rental’s managing director ThomasLoher explains that “the entire Russianshoot was serviced by ARRI Rental inMunich. However, we were also able todepend upon our rental partner in RussiaACT, who guaranteed daily support ifnecessary. Yet ARRI’s provisions of servicewere not only rental but also logistical:we organized the courier drivers andtook care of the necessary custom’sclearance. Having achieved a very highlevel also in this respect, we are able toservice international standards.”

DerUntergang

Line producer ChristineRothe (2.f.l.) and directorOliver Hirschbiegel withmembers of the Team

Producer Bernd Eichinger(left) on location

(German original title)

…is the story of the last days of Adolf Hitler and the third Reich. Shot in St. Petersburg and parts of the “Führer’s”

bunker, built in detail to the original at the Bavaria studios near Munich. The script was written by producer Bernd

Eichinger, based on the novel by Joachim Fest and Mellisa Müller’s edited memoirs by Hitler’s personal secretary

Traudl Junge. German Director Oliver Hirschbiegel was able to work with a one-time star ensemble with actors Bruno

Ganz, Alexandra Maria Lara, Juliane Köhler, Ulrich Nöthen, Corinna Harfouch, Heino Ferch, Thomas Kretschmann

and many others. Director of Photography was Rainer Klausmann. The technical production was co-ordinated and

equipped by ARRI Rental while the postproduction took place at the ARRI Film and TV facilities in Munich.

Similar to ‘DAS EXPERIMENT’, we wanted torely on natural light sources in the bunker.”

“Like all previous projects that I haveworked on with ARRI, it is brilliant to havesuch professional, competent and motivatedpeople, in the lab, telecine, digital post,title concept, sound department and theARRI cinema, where you can even viewyour film in the 3-perforation-format onthe big screen”, says Hirschbiegel.“Everything is there within a few walkingmetres, and besides that I love theatmosphere and infrastructure of theTürkenstrasse and area surrounding ARRI.Everybody is very supportive becausethe team loves its profession and thus thefilm and that not only due to business.Honestly: this is the only way to work.The thought of working in any otherdisheveled situation, where departmentsare spread across the entire city is terrible.”

Constantin Film’s DER UNTERGANG washandled by ARRI in Munich as a 150-minute feature as well as a 2-part 90-minute TV movie. The German cinemapremier is staged for the 16th of September2004. The German network ARD hasbought the rights for the TV-version andthe international Release Company isEOS-Entertainment.

Jochen Hähnel

6 7Wo r l d w i d e _ G e r m a n y

Mrs. Rothe remembers: “despite thedifficulties with customs and shipment itturned out to be a great experience andARRI helped at all ends be it on set or inthe lab in Munich.” The negative wassent to the Munich lab, developed, QC’dand telecined, the video rushes then for-warded to the senior editor Hans Funck,who has been at the ARRI facility withhis Avid for the past ten years.

Director Oliver Hirschbiegel remembers:“everything went so smoothly – workingwith Sepp Reidinger (ARRI Lab) was fantastic. I never had the feeling that Ihad left home and thanks to ARRI I wasable to work as usual, even in Russia!”On a daily basis a courier picked up thenew material in St. Petersburg bringingyesterdays dailies from Munich back withhim.”

DER UNTERGANG is the 6th mutual film forthe team Hirschbiegel, Klausmann, Funckand ARRI, two of the latter being TODFEINDE

and DAS EXPERIMENT. Film prints were notcreated, just video rushes on digitalbetacam and beta SP used for editing.Rainer Klausmann says: “I usually talkedwith the lab and Oliver with Bernd(Eichinger) who always received thedaily video tapes shot directly on set. Itwas important to have this daily contactwith the lab – even more so than seeing

the video tapes.” Both Klausmann andHirschbiegel agree: “we’ve known eachother for years now and anyway ARRIknows exactly how things are supposedto look.”

Editor Hans Funck was not in St. Petersburgduring shooting but rather edited parallelin Munich. Similar to past projects hecould again count on ARRI’s support.“Despite the amplitude of this film project,being one of the most expensive ever inGermany, things went smoothly. The negative arrived safely, was telecined,synced and eventually edited. Even editingthe 3-perforation answer print was noproblem and the collaboration with thelab as usual relaxed. Bernd Eichinger camearound often to have a look at the editand was also pleased with everything.”

Rainer Klausmann briefed colorist TraudlNicholson, responsible for the dailies, atthe start of the shoot. “The rushes alwayslooked fantastic,” said Christine Rothe,“you could judge pretty well everythingon the AVID.”

The 2x 90 min. TV-version was editedusing the master video rushes while thefeature print was edited and color timedin the lab. Traudl Nicholson was the keycolorist on this project and created bothfeature and TV version parallel.

It is interesting to note that the film wasshot on 3-perforation material yet con-ventionally finished. Klausmann remembers:“the shooting had documentary character.Trying to achieve a natural and honestlook, we did a lot of hand held camerashooting using the ARRICAM LT. Wewanted to avoid tricks and digital effectsas much as possible and were lucky enoughto find the necessary locations in Russia.We were able to photograph traditionalspecial effects directly on set, all explosionsand bomb detonations are real! The onlyCGI shot was the ‘Reichskanzlei’. Otherdigital effects were simply not necessary.”

To stay as authentic as possible, Klausmanntried to use as little lighting as possible.“Except for the fires burning everywhere,there was no electric lighting anywherein the ruined Berlin,” says Hirschbiegel.“I wanted to capture this atmosphere, sowe stuck to a minimum in lighting exceptfor a balloon used occasionally for basiclight and relevant fire-light effects.

ARRI Rental Munich

Sales Director Camera: Clemens DanzerTechnical Director Camera: Manfred JahnLighting: Hubertus von HohenzollernGrip: Carl Christian von HohenzollernARRI Lab

Head of Department: Josef ReidingerProject Coordinator: Christian LittmannColor Grading: Traudl NicholsonNegative Cutting:Sandra Stier, Andrea Voggenauer, Renate Siegl, Biserka KirrARRI Feature & TV Drama

Project Coordinator: Andreas ThomasColor Grading Telecine: Traudl Nicholson

Director Oliver Hirschbiegel on theset in St. Petersburg

Thomas Loher, Managing Director ARRI RentalGermany, and Walter Brus, Sales Director ARRI Film & TV, on location in St. Petersburg

6 8 Wo r l d w i d e _ G e r m a n y

These days many German film productioncompanies take their productions to foreign countries, either attracted by fabulous locations or for economic reasons. However, they still rely on ARRIas a strong and dependable partner. LikeNorbert Preuss, owner of Fanes Film andhis partner Helmut Dietl, Diana Film, inco-production with Mondragon Film andCP Medien who went on location in Indiafor their feature film SHADOWS OF TIME.

For the shoot in Calcutta, ARRI RentalMunich provided the entire camera andgrip equipment. Jürgen Jürges was the firstDoP to shoot in India with 3-perforationcameras, with the ARRICAM ST and theARRICAM LT, to be precise. “Both cameraswere fantastic, as was the cooperationwith ARRI in Munich. The negative materialwas processed at the ARRI lab and the

full post production was completed atARRI as well,” explains the producerNorbert Preuss.

During the shoot in India director FlorianGallenberger became seriously ill. Thefilming had to be put on hold in March2003 after the first month of productionfor seven weeks. Filming in Calcutta wasfinished in December 2003 after anotherbreak of half a year, due to the startingmonsoon rain. “We were extremely luckythat ARRI allowed us to keep the wholeequipment in India during the first break,”Norbert Preuss emphasizes, “for the finalshoot we imported the same equipmentagain to India.”

“As mentioned before the negative processing was done at the ARRI lab inMunich. ARRI sent 35mm 3-perforationrush prints to India on a regularlybasis. These were viewed on an ARRILocPro 35 in our production office inCalcutta. Here too the cooperation withARR I wo r ked ex t r eme l y we l l , ”Norbert Preuss remembers.

As already demonstrated on Fanes Film’srecent project NAKED, a movie can beshot in 3-perforation and cut and finishedthe analogue way. For the first time dissolves and some easy optical effectshave been completed using an Oxberrycamera with 3-perforation movement.Only the opening credits and six visualeffect shots were created digitally at ARRIDigital Film.

“Our next feature film THE WEDDING PARTY

will be finished as a digital intermediateprocess. That was not necessary forSHADOWS OF TIME since it is a movie withonly minor optical and digital effects. Wetherefore decided to finish the film in theclassic analogue way, not just because ofcost efficiency,” the producer explains.

Director and script writer Florian Gallen-berger was looking for authenticity inSHADOWS OF TIME for the sound also. This was the reason to not only look fororiginal locations in Calcutta and surroundings, but also to shoot in the original Bengal language. To make thingseasier during the offline editing on Avid,English subtitles of the original dialogue

SHADOWS OF

DoP Jürgen Jürges (1.f.l.), Director FlorianGallenberger (4.f.l.) and Producer Norbert Preuß

(6.f.l.) with the Indian crew

Ravi and Mashathe young Indian leading actors

6 9Wo r l d w i d e _ G e r m a n y

were inserted into the original film version.Some sequences were synchronized laterin Bollywood (Bombay) and in Calcutta.The original music score was created byGerd Wilden jr., and the final re-record-ing mixer was Tschangis Chahrokh at ARRISound in Munich.

After completing the first part of principalphotography, Fanes Film organized aworkshop in Bombay together with a numberof well known and established Indian producers and DPs so local talent could

get a first-hand experience with 3-perforationtechnique and its advantages. “We alsopresented a demo reel of SHADOWS OF

TIME during the workshop and peoplewere really impressed,” say NorbertPreuss, Jürgen Jürges and FlorianGallenberger.

SHADOWS OF TIME will be released inGermany in Autumn 2004.

Jochen Hähnel

TIMEARRI Digital FilmVFX Producer: Henning Rädlein Title Design: Lutz LemkeDigital Artists: Abraham Schneider/David Laubsch/Alexander Nowotny

ARRI Feature & TV DramaTelecine Operator: Daniel Schwerdtfeger Project Coordinator Rushes: Andreas Thomas Project Coordinator HD Mastering: Markus Kirsch

ARRI LabHead of Department: Josef ReidingerColor Grading: Mary-Ann OtemanProject Coordinator: Christian Littmann/Angela Reichenberger

ARRI SoundRe-Recording Mixer: Tschangis Chahrokh-ZadehSound Design: Magda Habernickel/Marcel Spisak/Benedikt JustProject Coordinator: Florian Gross

Director FlorianGallenberger on set

7 0 Wo r l d w i d e _ G e r m a n y

“ARRI’s VFX department has furtherexpanded the workflow for promotionalprojects requiring the creation and processing of visual effects. As posthouse,we have no problem creating specialeffects and 3D of the highest quality forour clients in advertising,” explainsHenning Rädlein, head of ARRI DigitalFilm. 3D animation has become an

important element in advertising today.ARRI reacted to this technical developmentand can offer its clients in promotionalfilm the latest technical developments in3D: from 3D storyboards to characterimagination, through the application ofthis technology in the spots themselves;it’s all possible at ARRI.

OF BEARS AND GROUNDHOGS

With two new Milka TV spots from the Munich promotional film production

company Wonderboys Film GmbH, ARRI went on the air in Germany and

Austria on April 28, 2004. The Milka commercials are the continuation of

a series of successful promotional films for international brandnames – from

ARRI Digital Film and from the team at Grad3, ARRI’s partner for complex

3D animation. The Milka project was especially challenging because the team

had to complete the 3D character animation of the bears and groundhogs in

half the projected time originally planned by the production.

7 1Wo r l d w i d e _ G e r m a n y

Until now, the Milka productions, includinganimal animation, were produced inFrance. Wonderboys was successful indeveloping a new concept for the seriesof three films, a concept which allowsthe series to be continued in Munich by ARRI and its partner Grad3.

“With the Milka presentations we wereable to fall back on a well-rehearsedteam of direction and postproductionhouse. We can’t guarantee good performance when individual partnersaren’t available – for whatever reason.But I know from past experience howwell the specialists at ARRI and Grad3can develop various themes,” saysWonderboys boss Stefan Orb. “We feelvery comfortable because we function as a team – not least because of thebackground in film exhibited by ARRI’spersonnel,” he continues. ARRI hasalready enjoyed successful cooperationwith Wonderboys, having developedpromotional films for Tesa, Bacardi Rigo,and Bacardi Breezer. “Excellent jobs thatstand up to any international comparison.We can hold them up to anyone, anytime,”was the uniform response of everyoneinvolved.

Instead of the well-known purple Milkacow, the spot features a bear and agroundhog outside in the typical Milkalandscape, stirring the famously delec-table Milka chocolate. Both animals, aswell as much of their surroundings, were3D animated. Even though the charactersare based upon their predecessors,much importance was attached to thecreation of more optical allure, moredefinition.

“One of the many important technicalaspects was the facial expression, i.e.facial animations, of the two animals.They each have 50 to 60 poses, whichshow a vast range of expressions in the end production – everything fromlaughing to crying. In addition, it was,of course, very important that we achieveclean movements and compositing, aseamless integration into the filmed scene,”explains Gunnar Wittig, founder of andVisual Effects Supervisor at Grad3. Alsoplaying a crucial role was Klaus Wuchtaof ARRI, who represented ARRI as techni-cal advisor on the set. The 3D animationwas done with MAX 6.

Jochen Hähnel

Credits:

Agency: Young & RubicamCreative Executive: Christian DaulFreelance Producer: Gesa BrecherFilmproduction: Wonderboys Film GmbHProducer: Stefan OrbDirector: Jean-Marc PichéPostproduction: ARRI Film & TV Services GmbHPostproduction Producer Commercials:Philipp BartelVisual Effects Supervisor/Inferno Senior Artist:Klaus WuchtaCompositing Junior Artist: Stefan Tischner3D / Character Design: Grad3Telecine:Verena Pohlmann

7 2 Wo r l d w i d e _ G e r m a n y

Not many people know that FedericoFellini was an artist and cartoonistbefore he became the world famousdirector of films like LA STRADA (1954), LA DOLCE VITA (1960) and OTTO E MEZZO

(1963). So it is only appropriate that hisfilm work was always accompanied bysketches and drawings, from the firstidea to shooting. The exhibition „Felliniex machina“ centers around the„Saraghina“ scene from OTTO E

MEZZO, Fellini’s undisputed masterpiece. The technicalequipment on display isthe same as the oneactually employedat that time. Among others an ARRIFLEX 35-IIBwas used for shooting.With barely 7kg it was perfectly suited for hand-held work and helped to create Fellini’s unmistakablefilming style. The ARRI lighting equipment on display shows the state of the art lighting gear of the fifties,some newer equipment dates back to theseventies.

Highlight of the exhibition are aboutforty original drawings by Fellini, neverbefore shown in public. Cameras, lightingand other film equipment show impressively

how idea and technical realisationare intertwined. Equip-ment, set photos, film stills, film clips and original score, all arranged in small scenes on display, illustrate the complexity ofthe creative process. Sponsored by ARRI,

the exhibition in the foyer of theLibrary of the Deutsches Museum inMunich is open until October, 31.

Marita Müller

Since 1 August 2004, Mandy Rahn hasbeen working at ARRI Film & TV inMunich as an inhouse producer for post-production. In this newly created posi-tion, she will supervise all productionstages of cinema projects for which ARRIhas been commissioned as a full-serviceprovider for postproduction. This is a fur-ther step towards making customer coop-eration with ARRI simpler and more effi-cient.

“The wide range of new and complexpossibilities of postproduction is becom-ing increasingly significant for film pro-ductions. ARRI Film & TV provides theseservices as a one-stop service providerwith high-quality technology and staff.From now on I will be acting as an all-round contact for productions in order toguarantee our customers optimum serv-ice and coordinate and shorten commu-nication channels in the ARRI company”,explains Mandy Rahn. “I’m looking for-ward to working with film productionsand their creative staff in cooperationwith the ARRI team”.

Mandy Rahn has profited from manyyears of experience in the productionand postproduction sectors in variousbig-name media companies. She lastworked in Studio Babelsberg as the post-production manager. Her work in thisposition included supervising film pro-ductions such as “A Sound of Thunder”by Peter Hyams, Kevin Spacey’s“Beyond the Sea” and the Universal pro-duction “The Bourne Supremacy” byPaul Greengrass. This know-how offersher the ideal prerequisites for her newposition at ARRI Film & TV.

Contact: Mandy Rahn: +49(0)89 3809-2295mrahn@arri.de

CONGRATULAT ION

Mandy Rahn – New Inhouse Producer of ARRI’sPostproduction Departments

Fellini Exhibition in Munich

German Camera AwardCameraman of Honor: Xaver SchwarzenbergerBest Cinematography in the category of features: Rainer Klausmann, GEGEN DIE WAND

Best Cinematography in the category of TV Movies: Hannes Hubach, ZWISCHEN TAG UND NACHT

Best Editing in the category of TV Movies: Christel Suckow, KALTER FRÜHLING

Documentary Feature: Sorin Dragoi, PARAISO

Bernhard Wicki AwardVolker Schlöndorff: DER NEUNTE TAG

MuVi Award, 1st prize, Internationale Kurzfilmtage OberhausenLET’S PUSH THINGS FORWARD: Martin Sulzer, Andi Triendl und Julia Weiger (FH Nürnberg)

Microsoft Imagine Cup Worldwide, 3rd prizeTHE STORM: Stefanie Schießl, Jenny Meißner, Lars Fischer und Thomas Bedenk (FH Nürnberg)

X Filme’s 10th Anniversary

ASC AwardAshley Rowe BSC nominated for his Cinematography on THE ROMAN SPRING OF MRS. STONE

BAFTA Craft AwardChris Seager BSC nominated for Photography & Lighting, Fiction/Entertainment for STATE OF PLAY

Barry Ackroyd BSC nominated for Photography & Lighting, Fiction/Entertainment for THE LOST PRINCE

David Higgs nominated for Photography & Lighting, Fiction/Entertainment for CAMBRIDGE SPIES

Ryzard Lenczewski nominated for Photography & Lighting, Fiction/Entertainment for CHARLES II

7 3S e r v i c e s

Title Production Company Director DoP Equipment

BARFUSS Barefoot-films Til Schweiger Christof Wahl ARRICAM ST/LT, 435

BERGKRISTALL Perathon Film Joseph Vilsmaier Joseph Vilsmaier ARRICAM ST/LT, 3 Perforation, Lighting, Grip

DAS GESPENST VON

CANTERVILLE Roxy Film Isabel Kleefeld Tom Fährmann ARRIFLEX 16SR3, 535B, Lighting, Grip

DIE BEAUTY-QUEEN sanset Film Jorgo Pappavassiliou Yvonne Tratz ARRIFLEX 16SR3, Grip

DIE WEISSE MASSAI Constantin Filmproduktion Hermine Huntgeburth Martin Langer ARRICAM ST/LT, 3 Perforation, Lighting, Grip

ERKAN & STEFAN III headnut industries Michael Karen Peter Krause ARRIFLEX 535B, 3 Perforation, Lighting, Grip

EVERYTHING IS ILLUMINATED Warner Independent Pictures Liev Schrieber Matthew Libatique ARRICAM ST/LT 435, Lighting, Grip

MARIAS LETZTE REISE TV 60 Filmproduktion Rainer Kaufmann Klaus Eichhammer ARRIFLEX 16SR3 Advanced, Lighting, Grip

NVA Boje Buck Leander Haußmann Frank Griebe ARRICAM LT, 435, 3 Perforation, Lighting, Grip

SPEER UND ER Bavaria Film Heinrich Breloer Gernot Roll ARRICAM ST, 535, 435, 3 Perforation, Lighting, Grip

THE 9TH LEGION Slovo Film Fedor Bondarchuk Maxim Osadchiy ARRICAM LT, 435, 3 Perforation, Grip

THE CAVE Lakeshore Entertainment Bruce Hunt Ross Emery ARRICAM LT, 435, 3 Perforation, Grip

UNTER VERDACHT V Pro Programme Uli Zrenner Johannes Kirchlechner 16SR3, Lighting, Grip

VOM SUCHEN UND

FINDEN DER LIEBE IOS Film Helmut Dietl Jürgen Jürges ARRICAM ST/LT, 3 Perforation, Lighting, Grip

Title Production Company DoP Equipment

SEED OF CHUCKY Highfame Ltd Vernon Layton BSC MOVIECAM Compact & SL

WHAT'S IT ALL ABOUT ALFIE? Paramount British Pictures Ashley Rowe BSC 535B & MOVIECAM SL

PROOF Proof Productions Ltd Alwyn Küchler BSC ARRICAM LT & MOVIECAM Compact

THE DARK Sheep Ltd Christian Sebaldt ARRICAM LT (3 Perforation)

THE CONSTANT GARDNER Constant Gardner Ltd Cesar Charlone ARRICAM LT, ARRIFLEX 435, ARRI 3C

WASP Jada Productions Remi Adefarasin BSC ARRICAM ST, ARRICAM LT

PRIDE & PREJUDICE Pemberley Pictures Ltd Roman Osin ARRICAM ST, ARRICAM LT

DIRTY FILTHY LOVE Granada Television David Odd BSC ARRIFLEX 16SR3 Advanced

COMMANDER II La Plante Productions Rex Maidment BSC ARRIFLEX 16SR3 Advanced

BLUE BLOOD Red Productions Matt Gray ARRIFLEX 16SR3 Advanced

HEX Sky Television Geoff Wharton ARRIFLEX 16SR3 Advanced

ROSE & MALONEY Company Stormdog Tim Palmer ARRIFLEX 16SR3 Advanced

COLDITZ Granada Television Gavin Finney BSC ARRIFLEX 16SR3 Advanced

MURDER PREVENTION BBC Television Kieran McGuigan ARRIFLEX 16SR3 Advanced

AUF WIEDERSEHEN PET BBC Television Tim Palmer ARRIFLEX 16SR3 Advanced

A Selection of Currently Serviced Productions

ARRI Rental Germany

ARRI Media

Camera Service Center (CSC)

Title Production Company DoP Gaffer Equipment Serviced by

BALLAD OF BETTY PAGE Clowndance Mott Hupfel Michael Berg ARRICAM ST, Moviecam CSC NY

BEHIND THE SMILE DDJ Prods. Steve Bernstein Dave Cook Lighting, Grip Illumination Dynamics LA

CLOUD NINE Ruddy Morgan Prods. Michael Goi Caleb Poynter Lighting, Grip Illumination Dynamics LA

CSI NEW YORK CBS Dermott Downs ARRICAM ST, 3 Perforation CSC NY

DARK WATER (NY filming) Hostage Prods. Affonso Beato Mo Flamm Lighting, Grip CSC NY

GLORY ROAD Disney John Toon ARRICAM ST/LT, ARRIFLEX 435 CSC Florida

THE INTERPRETER Universal Darius Khondji ARRICAM ST/LT CSC NY

LAST DAYS Pie Films Harris Savides ARRICAM ST, ARRIFLEX 535B CSC NY

LOST CITY Cuidad Perdida Emmanuel Kadosh ARRICAM CSC Florida

ROMANCE & CIGARETTES Humperdink Prods. Tom Stern Dennis Gamiello Lighting, Grip CSC NY

SHADOW BOXER Shadow Boxer LLC M. David Mullen Kevin Janicelli Lighting, Grip CSC NY

STRANGERS WITH CANDY Stranger With Movie LLC Oliver Bokelburg Tom Hamilton ARRICAM ST CSC NY

SQUID & THE WHALE Squid & The Whale Inc. Bob Yeoman Doug Shannon ARRIFLEX 16SR3 CSC NY

THIRD WATCH NBC Glen Kershaw Joe Sciretta ARRIFLEX 16SR3 CSC NY

WEDDING DAZE Larry Levinson Prods. Dane Peterson James Hartridge Lighting, Grip Illumination Dynamics LA

7 4 S e r v i c e s

ARRI Lighting RentalTitle Director DoP Gaffer

THE CONSTANT GARDENER Fernando Meirelles Cesar Charlone Andy Long

PRIDE & PREJUDICE Joe Wright Roman Osin Liam McGill

WASP Woody Allen Remi Adefarasin BSC Jimmy Wilson

THE POLIAKOFF STORIES Stephen Poliakoff Bary Ackroyd BSC David Oldroyd

COMMANDER II Charles Beeson Rex Maidment BSC Tom Gates

BLUE BLOOD Mark Munden, David Richards Matt Gray Paul Jarvis

MISS MARPLE Charles Palmer Nigel Walters BSC, Sue Gibson BSC, Martin Fuhrer Phil Penfold, Paul Borg, George Vince

MURDER PREVENTION Julian Simpson Kieran McGuigan John Colley

FOOTBALLERS WIVES SERIES- 4 Richard Signy Walter McGill Darren Harvey

SILENT WITNESS- SERIES 8 Douglas McKinnon Gordon Hickey Keith Woodward

LITTLE BRITAIN - SERIES 2 Matt Lipsey Francis De-Groote Brandon Evans

ARRI Visual EffectsTitle Production Company Director Service

SOPHIE SCHOLL Neue Goldkind Mark Rothemund Digital VFX

SIEGFRIED Constantin Filmproduktion Sven Unterwaldt Digital VFX, Digital Intermediate

DIE EISHEILIGE TV 60 Filmproduktion Johannes Fabrig Digital VFX

FILMFEST MÜNCHEN 2004 - Internationale Münchner

OFFIZIELLER TRAILER Filmwochen GmbH Jürgen Schopper Trailer Design

VW AUTOSTADT: "MOMENTE" Glassfilm Hamburg Christian Aeby Digital VFX, Digital Color Grading

ARRI Commercials

Title Director DoP Agency/Production Company

JAGUAR "TUNNEL" DIR CUT Jürgen Bollmeyer Stefan Austmeyer Young & Rubicam/GAP Films Commercial

MC DONALDS "(T)RAUMSCHIFF SURPRISE" Live: Frieder Wittich Michael Heiter Heye & Partner/embassy of dreams

MC DONALDS "(T)RAUMSCHIFF SURPRISE" Food: Ernst Kalff JFK Heye & Partner/Rapid Eye Movement

DIBA "PORTFOLIO" Joachim Hellinger Dieter Deventer Wüschner & Rohwer/Helliventures

MEZZO MIX "KIOSK" Dennis Gansel Andreas Berger Brand Lounge/e+p commercial

DIE GRÜNEN "EUROPAWAHL" Matthias Edlinger Christoph Oefelein Zum goldenen Hirschen/Picture Planet

LEIPZIG "ONE FAMILY" Sönke Wortmann Tom Fährmann Heye & Partner/Caspari

RITTER SPORT "SCHOKOWÜRFEL" Bernard Wedig Nico Leisen Heye & Partner/Rapid Eye Movement

MILKA "ILM, COUPLE, FRIEND´S" Jean Marc Piché Live: Pierre Gill/Food: Steve Gordon Young & Rubicam/Wonderboys Film

TNK "SPYDOG", "INVISIBLE MAN", "TERMINATOR" Manuel Werner Christian Rein EuroRSCG Kyiv/Radioaktive Film

SIEMENS "GIGASET IMAGEFILM" Gero v. Braunmühl Matthias Fuchs Häberlein & Maurer/Picture Planet

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7 5S e r v i c e s

ARRI Sound

Title Production Company

VOM SUCHEN UND FINDEN DER LIEBE Diana FilmSCHATTEN DER ZEIT Schatten der Zeit GbRSOPHIE SCHOLL Neue GoldkindANTIKÖRPER Medien KontorKINGDOM IN TWILIGHT Tandem CommunicationsWILDE KERLE II Sam Film

Foreign Dubbing

Featurefilms for Theater Release

Title Production Company

KEIN HIMMEL ÜBER AFRIKA teamWorxDAS ZWEITE MAL Lunet EntertainmentBELLA FIGLIA – MEINE SCHÖNE TOCHTER MR TVSCHLAFLOS IN ... sanset FilmMY WAY teamWorx

ARRI Lab – TV Drama

Title Production Company Director

EINE LIEBE IN SAIGON Allmedia Pictures Uwe Janson

NVA Boje Buck Leander Haußmann

MÄNNER WIE WIR Buena Vista / Hager Moss Film Sherry Hormann

DIE WEISSE MASSAI Constantin Filmproduktion Hermine Huntgeburth

BARBARA WOOD - HAUS DER HARMONIE FFP Media Marco Serafini

ROSAMUNDE PILCHER - KÖNIGIN DER NACHT FFP Media Karsten Wichniarz

ERKAN & STEFAN III headnut industries Michael Karen

MIT HERZ UND HANDSCHELLEN Hofmann & Voges Andreas Prochaska

DER SCHATZ DER WEIßEN FALKEN Little Shark Entertainment Christian Zübert

WAKE OF DEATH Lucky 7 Production Filippe Martinez

DAS ZWEITE MAL Lunet Entertainment Peter Gersina

MEIN SÜßES GEHEIMNIS Multimedia Xaver Schwarzenberger

WIE LICHT SCHMECKT Naked Eye Filmproduktion Maurus vom Scheidt

UMS PARADIES BETROGEN ndF Stefan Bartmann

SOPHIE SCHOLL Neue Goldkind Marc Rothemund

KOMMISSARIN LUCAS II + III Olga Film Thomas Berger

DER BESTSELLER III - WIENER BLUT Post One Dirk Regel

UNTER VERDACHT - DAS KARUSSELL Pro Programme Ulrich Zrenner

DAS GESPENST VON CANTERVILLE Roxy Film Isabel Kleefeld

WILDE KERLE II Sam Film Joachim Masannek

SCHLAFLOS IN... sanset Film Helmut Förnbacher

WINK DES HIMMELS sanset Film Karola Hattop

DIE CAMPER Sony Pictures Peter Lichtenfeld / Michael Faust

KEIN HIMMEL ÜBER AFRIKA teamWorx Roland Suso Richter

BEN Tom's Film GmbH Thomas Schaurer

AEON FLUX Studio Babelsberg / Paramount Pictures Karyn Kusama

DIE EISHEILIGE TV 60 Filmproduktion Johannes Fabrick

MARIAS LETZTE REISE TV 60 Filmproduktion Rainer Kaufmann

SCHATTEN DER ANGST TV 60 Filmproduktion Urs Egger

ROTER KAKADU X Filme Dominik Graf

Featurefilms for TV Release

Title Production Company

HEROLD & KUMAR Constantin FilmproduktionMOTORCYCLES DIARIES Constantin Film VerleihDIE KINDER DES HERRN MATHIEU Constantin FilmproduktionCOMME UNE IMAGE Mina Kindl Filmproduktion

Expo Calendar 2004/2005

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

2004

September 10 – 14 IBC Amsterdam

September 12 – 15 Plasa London

September 18 – 20 Cinec Munich

September_October 28 – 03 Photokina Cologne

October 22 – 24 LDI Las Vegas

November 02 – 05 TRBE Moskow

November 03 – 05 Satis Paris

November 17 – 19 Interbee Tokyo

November_December 27 – 04 Camerimage Lodz

December 08 – 10 DV Expo West Los Angeles

2005

April 06 – 09 Prolight & Sound Frankfurt

April 11 –15 MIP-TV Cannes

April 18 – 21 NAB Las Vegas

May 18 – 21 Koba Seoul

June 01 – 03 Showtech Berlin

June 03 – 04 CineGear Los Angeles

June 14 – 17 Broadcast Asia Singapore

June 14 – 17 Expo Cine Video Mexico

August 02 – 04 Siggraph Los Angeles

September 07 – 10 Plasa London

September 09 – 13 IBC Amsterdam

October 18 – 20 SATIS Paris

October 28 – 30 Broadcast India Mumbai

November 01 – 04 TRBE Moskow

November 03 – 06 IBTS Milan

November 11 – 13 LDI Orlando

November_December 26 – 03 Camerimage Lodz

Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 München Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita MüllerWith additional text by: Elfi Bernt, Sven Beyer, Siobhan Daly, June Fung, John Gresch, Jochen Hähnel, Hans Hohenwarter, Dr. Hans Kiening, Kris Kolodziejski, Sibylle Maier, Timo Müller, Rodolfo Musitelli, Judith Petty, Angela Reedwisch, Andrea Rosenwirth, Jürgen Schopper, Marc Shipman-Mueller, Jon Silberg, Michelle Smith, Dr. Johannes Steurer, Grace Wang Ying,Franz Wieser Artwork: Ute Fischer, Anka Lohbeck, Uwe Heilig Printed by: rapp-druck GmbH, Flintsbach Litho: EDTZ, Ottobrunn

The opinions expressed by individuals quoted in articles in the ARRI NEWS do not necessarily represent those of ARRI or the editors of the ARRI NEWS.Because of our constant endeavour to improve quality and design, modifications may be made to products from time to time. Details of availability andspecifications given in this publication are subject to change without notice.

Key ContactsSales Camera: Thomas Popp+49 - (0) 89 - 38 09 – 1289tpopp@arri.de

Sales Lighting: Sven Beyer+49 - (0) 80 36 - 30 09 – 80sbeyer@arri.de

Sales Digital Systems: Stefan Kramper+49 - (0) 89 - 38 09 – 2234skramper@arri.de

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

ARRI Film & TV ServicesKey Account Manager: 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 ServicesDigital Film: Henning Rädlein+49 - (0) 89 - 38 09 – 1970hraedlein@arri.de

ARRI Film & TV ServicesSound: Thomas Till+49 - (0) 89 - 38 09 – 1292ttill@arri.de

ARRI Lighting SolutionsSigrid Müller+49 - (0) 30 - 678 23 30smueller@arri.de

ARRI GB Ltd., Judith Petty+44 - (0) 1 89 54 57 000sales@arri-gb.com

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

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

ARRI Inc., Franz Wieser+1 - 845 - 353 - 1400fwieser@arri.com

CSC Camera Service CenterSimon Broad, Hardwrick Johnson+1 - 212 - 757 - 0906sbroad@cameraservice.comhjohnson@cameraservice.com

CSC Camera Service Center (FL)Ed Stamm+ 1 - 954 - 322 - 4545estamm@cameraservice.com

Illumination Dynamics (LA)Carly Barber, Maria Carpenter+ 1 - 818 - 686 - 6400carly@illuminationdynamics.commaria@illuminationdynamics.com

Illumination Dynamics (NC)Jeff Pentek+1 - 704 - 679 - 9400jeff@illuminationdynamics.com

ARRI Canada, David Rosengarten+1 - 4 16 - 2 55 33 35david@arrican.com

ARRI Italia, Antonio Cazzaniga+39 - 02 - 26 22 71 75acazzaniga@arri.it

www.arri.com

ARNOLD & RICHTER CINE TECHNIKGmbH & Co. Betriebs KGTürkenstr. 89 · D-80799 Münchenphone +49 - (0) 89 - 3809-0fax +49 - (0) 89 - 3809-1791