arri news magazine ibc issue 2005
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ÂTRANSCRIPT
N E W S
I s s u e 0 9 / 2 0 0 5
A R R I M A S T E R P R I M E S
A R R I F L E X D - 2 0
A R R I M A X 1 8 / 1 2
D-20 Review 4
On-board Recording Solut ion for ARRIFLEX D-20 7
ARRIFLEX D-20 on a Hot Air Balloon Ride 8
First Master Primes in Use / 10Master Primes Technological Benefit s
T* XP – Master Primes Get a New Lens Coat ing 14
Wide & Straight – Ult ra Prime 8R Tests 18
Lens Data Mount 20
Lens Data Archive 21
ARRICAM on J U S T FR I EN D S 22
R E T U R N T O R A J A P U R 24
Art l ite 25
Rentacam 25
Shoot ing in Paradise 26
ARRIFLEX 235 in Tornado Aircraf ts 28
First ARRIFLEX 235 in Denmark 29
235 Lef t Rod Bracket LRB-1 29235 Compact Rod Holder CRH-1 29
Around the World with SUPER 16 30
ARRI/Zeiss L ightweight Zoom LWZ-1 32ARRI Video Accessories 33Lightweight Support LWS-4 33Hand Crank HC-1 34ARRIFLEX 435 T iming Shif t Box 34UMC-3 Compat ibil it y with Cine Tape Measure 35Camera Configurat ion Overviews 35
ARRIFLEX D-20 at the Munich Film Fest ival 2005 36
First Cinec Salon in Teheran Successful 38
Cine Gear 2005 39
Digital Day Take 3 40
Workshops in Kiew and Yalta 40
BIRTV 2005 41
Capital FX 42
Interview with Peter Doyle 44
ARRILASER HQ – 46Highest Qualit y According to DCI Specif icat ions
ARRISCAN – Making DI Workf low Happen 47
ARRISCAN / ARRILASER 48Preserving the Qualit y of the Image in the DI Process
Shor tCut in Copenhagen 51
First ARRISCAN in Russia at Mosfi lm 51
Pacif ic T it le 52
T H E R O B B ER H O T Z EN P L O T Z 54
Digital Intermediate and the New Lustre Grading Suite 56
Sat isf ied ‘L ions‘ – ARRI Says Thank You 59
ARRIBA – the Online Por tal 59
New Homepage 59
ARRIMAX 18/12 60
ARRI Studio Ceramic 250 63
Pick Hit Award at NAB for Ceramic 63
Paul McCarthy‘s “Lala-Land-Parodie -Paradies” 64
Roger Dean Touches Down at ARRI CSC in Ft. Lauderdale 66
Il luminat ion Dynamics Launches Moving L ight Division 67
New Racking System for ARRI L ight ing Rental Trucks 68
Congratulat ions 68
A Select ion of Current ly Serviced Product ions 70ARRI Rental Germany · ARRI Media · ARRI CSC ARRI Lighting Rental · ARRI Visual Effects · ARRI Commercials ARRI Sound · ARRI Lab – TV Drama
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C o n t e n t
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“Size matters”– it’s not just the little things that can make life easier, as the new ARRIMAX demonstrates in a truly impressive fashion. Its claim to fame is contained in its name. Simply speaking, it is the most powerful HMI luminaire available in the market today. On set, this leads to some decisive advantages: where in the past multiple units were required, and with them – due to multiple shadows – complicated lighting set-ups, a single fi xture can save a lot of time and money. This has already been praised by Gaffer Michael Bauman in the fi rst production deployment on the set of Steven Spielberg’s MUNICH. On the other hand, the ARRIMAX clearly shows just how much research, design effort and novel solutions go into the design of the new ARRI lighting products. This ranges from obvious advances such as the novel refl ector design, which focuses without lenses, to the new cooling concept, down to subtle improvements like the new damped mount of the protective glass.
Quality, long-term value and security of investment play an equally important role in all ARRI products. This is especially apparent in the fast moving world of digital technology, where it holds true not only for the innovative modular concept of the ARRIFLEX D-20 – which was recently shown together with the new Master Primes to widespread acclaim at the BIRTV in Beijing. It can also be found in the constant and dependable evolution of existing product lines. In the ambitious DCI project (www.dcimovies.com), the future digital cinema standards have clearly been defi ned in 4K resolution. This superior new standard will enable a viewing experience unknown since the prevalence of 70mm cinema releases diminished to insignifi cance some 15 years ago. However, the 4K/12 bit images will also act as a magnifying glass, relentlessly zooming in on every visual shortcoming introduced by acquisition, post-production or distribution. For that reason, and as a response to the elaborate and well-researched DCI Standard, ARRI has launched its own „4K+” Project. The goal of this project is to review all of our camera and digital intermediate products in their respective applications and make sure that they meet, or even better exceed, the 4K DCI recommendation. From the very beginning, the ARRILASER has fulfi lled 4K standards. Future HQ (High Quality) developments with e.g. substantially improved MTF performance and continuous 16 bit color depth will not only reproduce the digital source master in DCI quality onto fi lm but will even raise the bar a notch or two. With its novel concept, the ARRISCAN, too, effectively demonstrates our understanding of a consistent, future-proof solution for the digital intermediate fi eld. Offering 6K/16 bit native resolution, the ARRISCAN meets the 4K+ goal right from the start.
The experience we gain with our own fi lm and digital post-production operation, ARRI Film & TV Services (www.arri.com/entry/services.htm), exposed as it is to real competition in every form, is invaluable. The DI philosophy is not only preached – it is practiced on a daily basis. Last spring, a grading suite that is surely one-of-a-kind in Europe was installed at ARRI Film & TV Services in Munich. Here motion pictures can be graded and viewed under practically authentic cinema conditions on a big screen with a Barco DP-100 digital projector, allowing them to be processed with a level of precision and quality that was never before possible. The experiences gained – for example in matching the color representation of the digital projection to that of the fi nal cinema release – not only directly benefi t the customers of our post-production services: this know-how also fl ows back into the development and technical support of all our products such as the Color Management System, that itself includes an ever-growing base of partners from other areas of the industry.
We are especially pleased by the long list of success stories that come back to us from our customers. These range from the enthusiastically commented fi rst productions with the Master Primes to post-production with the ARRISCAN in all corners of the globe – on this note we wish you all an enjoyable read.
Klaus A. Feix Franz Kraus
Dear F r iends of ARRI ,
Klaus A. Feix Franz Kraus
3E d i t o r i a l
After NAB and Cine Gear Expo various test
shoots took place with a pre-production
model of the ARRIFLEX D-20. The first was
conducted directly after NAB when Bill
Lovell (ARRI’s Product Manager for Digital
Cameras) was joined in Los Angeles by
three distinguished Directors of Photogra-
phy, Curtis Clark ASC (Vice President of the
ASC and Chairman of the ASC Technology
Committee), Walter Lindenlaub ASC and
Eric Adkins. Footage was shot exclusively
with available light at various locations and
in varying weather conditions around Los
Angeles – from the famous Hollywood sign
and crowds along Hollywood Boulevard at
mid-day, to the Disney Concert Hall at dusk
and downtown LA at 11.00pm.
D-20 Test Shoots
R E V I E WD-20
L O S A N G E L E S
4 C a m e r a
This was also the first test to use a pre-production model of the ARRIFLEX D-20 with prototypes of the high speed ARRI Zeiss Master Primes, which not only offer higher speed (with a maximum iris opening of T1.3), but also offer higher resolution, better contrast and virtually no breathing.
During shooting Clark worked closely with Lovell to monitor the relationship between his lightmeter and the waveform monitor. Clark measured light levels while Lovell ob-served the waveform monitor. This method of working proved viable for those DoPs who may not be comfortable with a wave-form monitor. When asked about his overall impression of the D-20, Clark remarked “The D-20 impressed me with its ease of use and friendly feel. It is very much like a film camera, especially the superb optical view-finder. In addition, the colour saturation and highlight detail gave me new confidence in shooting with a digital camera that has these tone scale and colour saturation capabilities.”
Two further days of shooting took place on the West Coast after Cine Gear Expo,
where Clark and Lindenlaub were joined by John Fauer ASC at Venice Beach. High con-trast exteriors were shot on and around the beach using the Master Primes, an Ange-nieux Optimo 24–290 mm zoom, and for the first time with the D-20, the new extreme wide angle ARRI Zeiss Ultra Prime 8R.
As well as traditional tripod work the D-20 was also used in hand-held mode, including some wide angle shots featuring skate-boarders and improvised dolly shots from a rickshaw style bicycle.
Following the exterior shoot at Venice Beach the D-20 was taken to the facilities of Stargate Films, where Stargate’s owner and expert SFX cinematographer Sam Nicholson conducted comprehensive blue and green screen tests. Nicholson and his team experi-mented with various set ups and Look Up Tables (LUTs), which are available within the D-20, to determine the best settings for blue and green screen. While his composit-ing artists admired the quality of the keys that they pulled from the images, Nicholson was also impressed by the camera itself,
commenting, “I love the feel of the D-20: it feels like a regular, dependable ARRI camera. The depth of field and the lens choice it gives are great, but the real ad-vantage is the optical viewfinder. Judging focus is usually quite impossible on an electronic camera, unless you have a 30,000 US dollar monitor with you. The optical viewfinder of the D-20 will essen-tially save me real money. Focus is the one thing that no one notices until it is out. Things often get soft in HD and you cannot tell. I would look to use the D-20 for some high quality keying on set for virtual backgrounds.”
D-20 at Cine Gear Expo & Cine Gear Expo Master ClassThe pre-production model of the ARRIFLEX D-20 proved to be one of the biggest draws on the ARRI booth at this year’s Cine Gear Expo in Los Angeles, where it appeared in its most advanced version to date. During the show, film prints from some of the D-20 test shoots were screened in excellent view-ing conditions in a screening theater at the Warner Bros. lot.
Camera Assistant Joe Torres and cinema-tographers Curtis Clarke ASC, Walter Lindenlaub ASC and Eric Adkins with the D-20
Joe Torres (left), Bill Lovell (behind camera) and cinematographer Curtis Clarke ASC (right) during shooting at Venice Beach
SFX cinematographer Sam Nicholson gets a shot with the D-20
Walter Lindenlaub ASC using the D-20 in hand-held mode with a prototype of the ARRI Zeiss Ultra Prime 8R lens
5C a m e r a
The D-20 was one of the cameras featured in the Master Class Seminar ‘The High End of Digital Image Capturing’, which was organised by Kess van Ostrum, ASC, and Bill Bennett, ASC, on the day after the show. With the aim to ‘explore the different pal-ettes we have at our disposal’, the Master Class provided the opportunity to witness the practical testing current larger format digital cameras, including the ARRIFLEX D-20, Dalsa Origin and Panavision Genesis. An ARRIFLEX 435 Xtreme was also used to shoot 35 mm film as a reference.
Moderated by Bennett and Russell Carpen-ter ASC, the Master Class was attended by about 80 people. Each camera was used to capture images of a young woman sitting at a table in a variety of lighting situations. Carpenter lit the set, cameras were oper-ated by Thom Cox with Focus Puller Paul Guglielmo, and David Darby supervised film processing and scanning. The set was shot by each camera with key light on and off, followed by a blue screen set-up, a green screen set-up and then the same scene
lit exclusively by candles. The exposure for the first set-up at EI 400 was T2.8 and for candlelight T1.3.
The ARRIFLEX 435 Xtreme, ARRIFLEX D-20 and Dalsa Origin used 40 mm and 100 mm Master Prime lenses, while the Panavision Genesis used Panavision-supplied lenses. Both the ARRIFLEX D-20 and Panavision Genesis recorded onto HDCAM SR tape at 23.976 fps, in 4:4:4 mode, while the Dalsa Origin recorded raw Bayer data onto a hard disk array provided by Dalsa. The 435 Xtreme captured images onto three different film stocks: Eastman Kodak 5218 and 5229, as well as 5217 for the blue and green screen set-ups.
Film from the 435 Xtreme was sent to be processed by FotoKem and scanned at 2K on a Spirit by Laser Pacific while the other cameras were shooting. In the afternoon of the Master Class, everyone met at Laser Pacific’s 60 seat Lustre theatre, where all the material was screened using a Christie 2K digital projector.
Images shot by Russell Carpenter at the Master Class, testing the ARRIFLEX D-20 to its extremes at EI 400 and T 1.3 to T 2.8
RU
SSEL
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Thom Cox with the cameras that took part in the Cine Gear Master ClassF.l.t.r.: ARRIFLEX 435 Xtreme, ARRIFLEX D-20, Panavision Genesis, DALSA Origin
L O N D O N | B E I J I N GM U N I C H | T O Y K O
6 C a m e r a
On-board Recording Solution for ARRIFLEX D-20ARRI have entered into an agreement with Grass Valley to utilize their Venom FlashPak recorder as an on-board
‘FlashMag’ for the ARRIFLEX D-20.
The FlashMag will further expand the capabilities of the ARRIFLEX D-20 by providing a portable recording solution that allows the camera to be used with-out a cable to a separate unit. A fl exible bracket that can position the FlashMag above or to the rear of the camera also means that a variety of camera confi gu-rations can be achieved.
The 112 GB recorder offers a capacity of 10 minutes of HD capture in 4:4:4 and 15 minutes in 4:2:2 mode at 25 frames per second. The data from the FlashMag can be transferred to a storage system such as Sony’s HDCAM SR VTR or the S.two Digital Field Recorder disk based system for longer term storage of images, or delivery to a post house.
The ‘ARRI FlashMag 112’ will be demonstrated for the fi rst time at IBC.
The reaction to the D-20’s performance was very positive. The open discussion of the results with the professional community has led to further improvements in image quality.
D-20 Around the WorldThe D-20 has also made many other appear-ances, with test shoots in Germany and the UK and a presentation to the ASC. ARRI was invited along with other leading manufac-turers to an evening at the ASC clubhouse where there was the opportunity to make a presentation and show D-20 material to a highly critical but appreciative audience.
In the UK, the D-20 featured in a seminar on ‘HD & DI in Film & TV Production’, organised by the Production Guild of Great Britain for its members. Held at the Warner Bros. Preview Theatre in London, which was equipped with a Barco DP-100 2K projector supplied by ARRI Media, the evening includ-ed a presentation by Bill Lovell and Milan Krsjlanin of ARRI Media on HD shooting options and Peter Doyle, a Senior Super-vising Colourist who has worked on many
The Venice Beach test team (standing, f.l.t.r.): Joe Torres,
Walter Lindenlaub ASC, Curtis Clarke ASC, Stephan
Ukas-Bradley, (sitting, f.l.t.r.): Bill Lovell, Andreas Weeber,
Thomas Greiser, Günther Zöh
In the middle: DoP Zhao Xiaoding (HOUSE OF
FLYING DAGGERS, HERO)
PHOTO COURTESY OF JON FAUER, ASC, FROM THE FILM AND DIGITAL TIMES (WWW.FDTIMES.COM)
Warner Bros. Productions, spoke about and demonstrated DI colour grading capabilities.
Other events where the D-20 has featured during the summer have included:
• a ‘Digital Day’ in Los Angeles, organised by the Directors Guild of America,
• two weeks of test shoots organized by NAC in Tokyo with their clients Tohokush-insha Film Corporation and Image Studio 109, Inc, including work on a commercial high-end television drama,
• two test shoot days with Professor Mu Deyuan and his colleagues at the prestig-ious Beijing Film Academy, prior to the BIRTV show in Beijing, China.
Refl ecting on recent activities with the D-20 Bill Lovell summarizes, “The gradual intro-duction of the D-20 through pre-production units is a challenging, but very worthwhile exercise. It is allowing us to gather invalu-able feedback from users that will help to shape future ARRI digital camera products. We are looking forward to offering the D-20 for rental later this year”.
The resolution of details in the dark areas is phenomenal. The skin tones are now, like you know them from fi lm.
DoP Zhao Xiaoding( HOUSE OF FLY ING DAGGERS, HERO )
7C a m e r a
Camera Assistant Kaspar Kaven and DoP Sascha Mieke check the lens
(f. l. t. r.:) Balloonist Stefan Röckl, DoP Sascha Mieke, Digital Technician Andreas Berkl
ARRIFLEX D-20 on a Hot Air Balloon Ride
(AL MOST )
EIGHT
MILES
HIGH:
With summer finally arriving in the foothills of the Bavarian Alps, it was
decided to shoot some spectacular footage with the ARRIFLEX D-20.
High contrasts, subtle movements and lots of fine details were the goals.
So why not take the camera on a balloon ride to really challenge the
D-20 s capabilities?
8 C a m e r a
The balloon did the panning ...Moments before take-off DoP Sascha Mieke
DoP Sascha Mieke framing the shot, Digital Technician Andreas Berkl checking the waveform monitor and VTR
Some minutes before touch-down
The tree to the left comes really close...
own axis. This rotation was in most of the cases extremely smooth and slow so some very nice shots where possible with this unusual camera support device.
On the other hand the basket itself reacted very sensitively to even the slightest move-ments of the passengers or other distur-bances – almost like a pendulum. Thus longer focal lengths were critical and most shots where done in the range from between 25 and 70 mm. Adjustment of the fl uid head level was a constant challenge to the fi lm team. The bowl head/tripod combina-tion nevertheless provided a fast way to level the head. A fl at-based head/tripod would have caused many more problems considering the limited space inside the basket.
One and a half hour later and some 15 kilometers of travel the balloon touched down smoothly close to a small village after missing a nearby tree by only a couple of meters.
The resulting footage shows some very un-usual images from a bird’s-eye view with rich details and colors, another convincing addition to the D-20’s growing portfolio.
Andreas Berkl
For simplicity DoP Sascha Mieke chose a Cooke Cine Varotal 25-250mm lens since changing lenses up in the air seemed a bit cumbersome and risky. A SONY SRW-1 HDCAM SR VTR was used to record the images from the D-20. The capability to capture about 50 minutes on a single tape was ideal for this type of shooting. Additionally an ASTRO combined wave-form/picture monitor allowed the verifi ca-tion of correct exposure and evaluating the images while shooting.
After a couple of days of waiting for suitable weather conditions the balloon ride was confi rmed for Friday, June 3rd.
The fi lm team met the balloon crew at 5:30 a.m. After about half an hour of driving to the starting location close to Bad Aibling, south-east of Munich, both the balloon and the camera/VTR were prepared for take-off in the morning mist. The basket of the balloon was designed for up to fi ve persons including the balloonist/pilot on an area of about 1.60 x 1.20 meters. After setting up the tripod, camera, bat-teries and VTR in that tight space it was obvious that the balloon could only be manned by three persons, the balloonist, the DoP and the VTR-operator/Digital Technician. Camera assistant Kaspar Kaven joined the ground crew to track the balloon on its way through the morning air.
After a spectacular take-off in the morning light at about 7:00 a.m. the D-20 was on the ‘stairway to heaven’.
Flight altitude was up to approximately 600 meters, most of the time at about 100-200 meters and in some cases literally almost level with the treetops. A mild wind from the Alps gently blew the team north-wards over fi elds, forests, small villages and farms.
Due to the limited space in the basket, it was hardly possible for DoP Sascha Mieke to do pans exceeding about 60 degrees in total. Fortunately the balloon offered the possibility to rotate completely about its
9C a m e r a
The balloon did the panning ...
First Master Primes in Use
Here is one of the first real world test images taken with a Master Prime prototype. This image of beautiful Katherine Beer shows off the Master Primes‘ ability to see deep into shadows as well as their resistance to flares.
Since the end of August we have begun shipping Master Primes and, together with the Master Prime prototypes,
these lenses are already being used on various productions. Even though it has been diffi cult to get a hold of
anyone because they are all out shooting, here are some comments from the very fi rst Master Prime users.
Unique for high speed lenses is the fact that the Master Primes retain their high image quality over the whole T-stop range, from low light / low contrast to high light / high contrast scenes, like this car commercial shot at the Mammoth ski resort in California.
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In the United States, Michael Ballhaus (GANGS OF NEW YORK, BRAM STOKER‘S DRACULA, GOODFELLAS) is currently shoot-ing a feature film called THE DEPARTED, directed by Martin Scorsese (THE AVIATOR, GANGS OF NEW YORK, GOODFELLAS). Mr. Ballhaus is using Master Primes, Ultra Primes, ARRICAMs and 435 cameras. Jack Nicholson, Leonardo DiCaprio, Matt Damon, Mark Wahlberg, Alec Baldwin and Martin Sheen headline this remake of a 2002 Hong Kong hit film, revolving around the rivalry between the Boston police force and a gang. A gangster infiltrates the police force while a young police officer infiltrates the gang. Suddenly the race is on to uncover each other’s identities. Michael Ballhaus commented on his use of the Master Primes: “The film called for many low light set ups, including location street scenes at night with very little light to work with. I chose the Master Primes in order to work with the available light and to preserve
the natural look of the scenes. On several occasions the Master Primes saved last minute setup changes, late in the day, when the daylight was disappearing. These scenes would not have been possible to shoot without these lenses. I am truly impressed with the optical performance of the Master Primes.” The production company is also extremely impressed with the Master Primes, as they saved on setup time, personnel, lighting and grip equipment needed to accomplish these delicate shots. Technical support for this feature is provided by ARRI CSC in New York.
From June 2005 on, a number of Master Prime prototypes were used by cinematog-rapher Frank Griebe (HEAVEN, RUN LOLA RUN) on the feature film PERFUME: THE STORY OF A MURDERER. This film is an adaptation of the book by Patrick Süskind that has sold over 15 million copies world wide and has been translated into 42 languages. The film is directed by Tom Tykwer (HEAVEN, RUN
Michael Ballhaus on the set of THE DEPARTED with a 35 mm Master Prime and an ARRICAM Studio.
11C a m e r a
LOLA RUN) and produced by Bernd Eichinger (THE FANTASTIC FOUR, NOWHERE IN AFRICA, THE NAME OF THE ROSE). It is a Constantin Film production, starring Dustin Hoffman, Corinna Harfouch, Alan Rickman and Ben Whishaw. It is the story of Jean-Baptiste Grenouille who develops a superi-or olfactory sense, which he uses to create the world‘s finest perfumes. His work, how-ever, takes a dark turn as he commits hor-rid crimes in search of the perfect scent. Cine matographer Frank Griebe started out with just a few of the first Master Prime pro-totypes, but liked them so much that he requested to have the missing focal lengths immediately sent to the set when they became available. He notes: “I am very excited about the speed, resolution and brilliant image quality of the Master Primes! The large selection of focal lengths, the pleasant focus behavior and the sharpness cannot be beat by any other lens. I also appreciate the perfectly round iris, which provides an organic feel for this historical feature. In my opinion, these are the lenses of the future.“ Presently, Mr. Griebe‘s first unit is shooting with an almost complete set of 11 Master Primes to complement the ARRICAMs, 435 and 235 cameras they rented from ARRI Rental Germany in Munich, while the second unit has a few Master Primes of their own.
The honor of the very first professional pro-duction falls to Bill Bennett, ASC. He not only shot the famous candlelight test images, but also used the Master Primes on a Suzuki car commercial, where he was shooting a car on snow in the blazing sun on top of a mountain at the Mammoth ski resort. “The Master Primes perform extremely well in low light, but they are so flare-less, that they work equally well in the
blazing sunlight. You have created a truly universal set of lenses, usable in all lighting conditions, from the darkest scenes to the brightest“, Mr. Bennett reported.
Aside from having supplied Master Primes to various commercials already, ARRI Media in London is providing ARRICAMs, 435 cameras and Master Primes for the feature film SUNSHINE, directed by Danny Boyle (28 DAYS LATER, A LIFE LESS ORDINARY, TRAINSPOTTING). Cinematographer Alwin Küchler (PROOF, CODE 46, THE CLAIM) was nice enough to give us his first impressions of the Master Primes, while his assistants Ollie Tellett and Pete Byrne were checking
out the camera gear. Mr. Küchler said “In our tests with the Master Primes I was very impressed with their resolution and contrast. One scene especially comes to mind, where we shot a test in a corridor lit all in red. Now red is a difficult color to capture and reproduce, and we shot at T1.3! The Master Primes showed so much detail it was amazing. I also plan to use low light levels and a lot of practicals, so the widest stop of T1.3 will come in very handy. I am very enthusiastic about the Master Primes.”
Andy Subratie, Head of Camera Operations at ARRI Media adds: “The response to the Master Primes is amazing. Our customers love the look and the feel, but most of all they like the optical performance. Everyone who has shot with them has been very impressed. We have a lot of requests for the Master Primes, and we are trying to get more lenses now that lens production is ramping up.“
Marc Shipman-Mueller
Focus Puller Ollie Tellet (left) and 2nd camera assistant Pete Byrne (right) during the prep for SUNSHINE.
Cinematographer Frank Griebe (with hat), director Tom Tykwer (with monitor), Steadicam operator Jörg Widmer and camera assistant Leah Striker follow Ben Whishaw with an ARRICAM Lite and a Master Prime through the fields of the Provence.
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Marc Shipman-Mueller: Christian, what is your impression of the Master Primes?
Christian Almesberger: The Master Primes are spectacular. We shoot most of the time with the 27, 50, 75 and 100, but having all those different focal lengths is fantastic. It was a good idea to develop all 12. Having this huge spread of lenses, with all the in-between focal lengths, is a great advantage for us, and we have used and needed all of them. As you know, PERFUME: THE STORY OF A MURDERER is a historical film, and that often limits where we can put the camera. Some times we simply cannot move the camera any more forward or backwards, and to be able to then put on the perfect lens is great. For this kind of film all those different focal lengths makes a lot of sense.
MSM: How do they perform for you, as a focus puller?
CA: I love the scales on the focus ring. They are very good and the numbers are very easy to see. I think it is great that all Master Primes have the same size and front diameter and that the focus and iris rings are in the same place. I also like where the focus and iris rings are posi-tioned, it makes working with follow focus and lens motors very easy. The whole ergonomics are very well thought out.
I also feel that the Master Primes have a very organic focus fall off. It makes for a very pleasant image to look at, this is something I have always liked about the Cookes. In that respect the Master Primes
perform like the Cookes, I very much appreciate this. I also think it makes focus pulling easier, there is no sharp drop off, no point when all of a sudden the image is out of focus, but rather a gentle change from in focus to out of focus. This makes my job easier, even though they are T1.3 lenses.
MSM: Why were the Master Primes chosen?
CA: Tom and Frank (director and cinema-tographer) chose these lenses for a variety of reasons, but two things they really liked were the nice out of focus highlights and their resistance to flare. The out of focus highlights are important for a certain image quality, a soft, natural looking image. And the resistance to flare is also very impor-tant for us. We have some complex CGI work that has to be done with lights actually in the frame. Having lots of flares in the lens would affect the whole frame and be a big problem. But the Master Primes are amazing. We did a lot of tests with lights that are in the shot, pointing directly into the lens. It was surprising how well the Master Primes were able to handle this. You can place soft or hard lights directly into the frame, and there are no flares. And resolution and contrast are outstand-ing. This will make post production much easier.
MSM: At what stop do you work on this show?
CA: We shoot usually at T2 or T2.5, those are our standard stops at night, and we get an outstanding image quality from the
Master Primes at those stops. When we shoot daylight we shoot at T5.6, and that looks equally good.
MSM: Are you using any other primes in addition to the Master Primes?
CA: No. Both first and second unit use Master Primes. We have 11 Master Primes on the first unit, all focal lengths except the 65 mm, which is not ready yet, we were told, and the second unit also has some Master Primes. Why should we use other prime lenses when we can shoot everything with the Master Primes?
MSM: And what cameras are you using?
CA: An ARRICAM Studio is our A cam-era, an ARRICAM Lite is the B camera and our Steadicam camera, we use a 235 for hand held and special rigs and an ARRI Wireless Remote System. All cameras are shooting 3 perforations. The 235 really is a handy little camera. We have, for instance, something we call the “Nose cam”. It is a 235 mounted to a parachute helmet, and the camera looks into a mirror that shows the actor’s nose. So we can shoot the nose as the actor is moving around naturally.
MSM: Thank you for this interview.
We were lucky to reach Christian Almesberger, first cam-era assistant on PERFUME: THE STORY OF A MURDERER, who was on his way to a location in Spain while talking to us on his cell phone.
Interview with Christ ian Almesberger
13C a m e r a
XPXPXPT* XP – Master Primes Get a new Lens Coating
Technology
While two sets of Master Prime prototypes were being used in various test shoots
earlier this year with very positive results, Zeiss has been hard at work in their
labs in Oberkochen, Germany, secretly designing yet another technology to
enhance the already outstanding image quality of the Master Primes: The T* XP
(Extended Performance) anti-refl ex coating.
Master P r imes Techno log ica l Benef i t sThe Master Primes prototype tests have now been completed, and what has been learned during the tests has been incorporated into the fi nal product that has been shipping since August 2005. In addition to a very positive response we have also received many questions on the different technologies, new and proven, that are used in the Master Primes. To answer those questions we have assembled a list of the main technol -ogies and their direct benefi t.
Still in development, but available soon, are the Master Diopters, which
are a set of three diopters (+0.5, +1 and +2) that are optically matched to the Master Primes, but can also be used with many other lenses. Due to the achromatic lens design of the +1 and +2 Master Diopters, they are of a signifi cantly higher optical quality than traditional diopters, and thus match the high quality standard set by the Master Primes.
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XPXPXPThe Master Primes are high speed lenses, replacing the venerable Zeiss Super Speed lenses which were awarded a technical Academy Award in 1987.The Master Primes produce a substantially improved picture at T1.3 – with even illumination across the entire frame and no visible light fall-off towards the corners.
Other high speed lenses tend to have a ‘sweet’ spot when stopped down 2 – 3 stops from the widest opening; they fl are when wide open and their optical performance deteriorates when stopped down. The Master Primes have been designed to exhibit their high optical performance over the entire T-stop range, so a candle lit dinner scene at T1.3 will look as good as a high contrast shot in the snow at T22. The Master Primes at T1.3 have a signifi cantly better optical performance than other modern 35 format primes lenses at T2.
At their close focus range, the Master primes exhibit high resolution and contrast, and negligible geometric distortion and minimal chromatic aberration.Both Ultra Primes and Master Primes have fl oating elements. A decrease in optical performance at close focus with other lenses is most noticeable in the corners and at wide open apertures.
High speed – T1.3
Consistent optical performance over the entire T-stop range – based on most of the technologies mentioned below
Floating elements
• Shoot in low or available light,• reduce lighting budget,• get more natural looking shots,• shallow depth of fi eld
• Shoot in any lighting situation with great results
• Excellent close focus opticalperformance
T* XP – Master Primes Get a new Lens Coatingfi rst coatings were single layer coatings, which optimized transmission for one color only, leading to an uneven transmission behavior across the color spectrum. A signifi cant improvement was introduced in the 70s when multilayer coatings were introduced, offering a further reduction in refl ectance from glass-air surfaces in a broader spectral range. A highly sophisti-cated version of this technology is the Zeiss T* coating used in the ARRI/Zeiss Ultra Primes and Variable Primes. For the Master Primes the T* coating has now been refi ned even further, resulting in the T* XP coating.
To achieve the excellent image quality of the Master Primes even at T1.3 and to elimi-nate breathing, the number of lens elements had to be substantially increased. This could have lead to a decrease in light transmis-sion and an increase in various false light effects such as veiling glare, fl are and narcissism. Instead, the new T* XP coating as well as other measures allow a greater light transmission, and the false light effects
Benefi t NotesTechnology > > > > > > >
Anti-refl ex coatings have proven to be one of the most important inventions in modern optics. By reducing the natural tendency of glass-air surfaces to refl ect a portion of the incoming light, these coatings ensure that the maximum amount of light reaches the fi lm, instead of being refl ected away from the lens surfaces or, worse, bouncing around inside the lens. Especially modern lenses with their large number of single lens elements would otherwise not be able to transmit enough light to the fi lm. At the same time, anti-refl ex coatings suppress ‘false light’ (internal refl ections including veiling glare, fl are, narcissism), resulting in higher contrast and deeper blacks in the image. Last but not least, they are an impor -tant contributor to proper color balance. Thanks to modern anti-refl ex coatings we are used to brilliant images in almost all lighting situations on the fi lm set.
First developed in the Carl Zeiss laborato-ries in 1935, anti-refl ex coatings found widespread adoption after 1945. These
15C a m e r a
Technology
This graph shows the reflectance of a lens sur-face with a conventional anti-reflex coating at different frequencies of the light spectrum. Notice how the red line, which represents the reflectance at the edge of a strongly curved lens, indicates a severe increase in reflect-ance starting at 580 Nanometers.
have been attenuated even below the level of other modern cine lenses. Thus the Master Primes can catch subtle tones in the deepest shadows and fully utilize the high dynamic range of modern fi lm stocks.
The T* XP coating is optimized with respect to the spectral sensitivity of motion picture fi lm and the sensitivity of the human eye. Additionally the color of any remaining minor
ghosting effect is magenta instead of green, which is considerably less noticeable on fi lm.
A disadvantage of conventional multilayer coatings was their application on large, strongly curved surfaces. On this type of surface the spectral refl ectance of the coating usually shows a variation, so that it’s optical and mechanical performance close to the lens edge becomes worse than
its performance closer to the optical center. Compared to conventional multilayer coatings the T* XP coating has a more uniform performance across the lens from optical center to the edges; in fact the T* XP coating has up to fi ve times better transmission at the edges.
Designing an anti-refl ex coating formula that ensures maximum light transmission in
‘Breathing’ is defi ned as a change of a lens’ angle of view during a focus pull. The Master Primes are the fi rst set of prime lenses that show virtually no breathing thanks to the Dual Floating Elements ™ (patent pending) technology.
To achieve an undistorted geometry (so called ‘correct rectilinear perspective’, which is especially diffi cult to achieve in wide angle lenses), all Master Primes use aspherical lens elements. These are produced with an extremely elaborate polishing processes, and they must be tested with a complex holographic technique. Aspherical lenses can be made smaller, lighter and, in general, better than similar lenses which employ only spherical elements.Aside from simply better and more natural looking images, no geometrical distortion also means that it is much easier to combine footage shot with the Master Primes with computer generated elements.
For higher levels of chromatic correction, both elaborate optical design, as well as exotic glass types with ‘anomalous partial dispersion’, like fl uor crown and barium dense fl int are required. Some of these exotic glass types are almost as heavy as steel, some as expensive as gold, but together they ensure the high accuracy with which chromatic aberrations are corrected in the Master Primes.The absence of color fringes helps in blue or green screen work, as it provides cleaner edges.
• Excellent close focus optical performance AND no breathing
• No geometric distortion, less weight, no color fringes
• No color fringes (= no chromatic aberration)
Dual Floating Elements™
(patent pending)
Aspherical lens surfaces
Exotic glass materials
NotesTechnology Benefi t
>>> Master Pr imes Technological Benef i t s cont inued > > > > > > > > > > > > > >
16 C a m e r a
Conventional Coating on Strongly Curved Surfaces
Refl e
ctan
ce
380 480 580 680nm
middle of the lens edge of the lens, 45 ° inclination
This graph shows the reflectance of a lens surface with the T* XP anti-reflex coating at different frequencies of the light spectrum. Notice how the red line, which represents the reflectance at the edge of a strongly curved lens, essentially follows the green line, which represents the reflectance at the center of the lens.
a wide spectrum of wavelengths is one part of the high art of anti-refl ex coatings. The second part is the equally tricky art of applying the coating in the proper and even thickness onto the lens elements. Zeiss uses a carefully monitored, elaborate proc-ess in high vacuum where special optical substances are evaporated one after the other and deposited on the lens surface with precisely controlled thickness. For the
T* XP coating this process was further refi ned to assure a perfectly even and symmetrical application of the lens coating.
The design of the new T* XP anti-refl ex coating and its sophisticated application techniques are yet another technology that contributes to the outstanding optical quality of the Master Primes. What counts in the end, of course, are the new creative
option these technologies allow the cinematographer, are the images on the screen. So we are now looking forward to the new and exiting visuals cinematogra-phers world wide will be able to produce with these new lenses.
Hubert Nasse/Zeiss
The larger barrel of the Master Primes allowed for a mechanical design that incorporates various light traps to keep unwanted light from bouncing around inside the lens.
Carl Zeiss uses several types of proprietary black paints with different refractive indices to blacken lens element rims with maximum light absorbing effect.
Accomplished through choice of glass, the Zeiss T* XP anti-refl ex coating and other measures, all Master Primes are super color matched to each other and to the other lenses in the ARRI/Zeiss lens program, including the Ultra Primes, Ultra 16 prime lenses and the Lightweight Zoom LWZ-1.
More lens elements than in most other lenses lead to an improved optical performance across the board.
Traditionally, standard speed lenses have a range from T2 to T22, and high speed lenses have a range from T1.3 to T16. The Master Primes not only have an extended range from T1.3 to T22, but they also offer superb optical quality over that whole range.
• Higher contrast, deeper blacks
• Higher contrast, deeper blacks
• Shots from one lens match shots from another in colorimetry
• Better overall optical quality (resolution, contrast, geometric distortion, chromatic aberration)
• Shoot night or day, low key or high key with the same lens set
Internal light traps
Strategically painted lens rims
Super color matched
Multiple lens elements
Extended iris range
Technology Benefi t NotesNotes
>>> Master Pr imes Technological Benef i t s cont inued > > > > > > > > > > > > > >
17C a m e r a
T*XP Coating on Strongly Curved Surfaces
Refl e
ctan
ce
380 480 580 680nm
middle of the lens edge of the lens, 45 ° inclination
In April of 2005, Bill Bennett, ASC was handed the fi rst prototype of the Ultra Prime 8R lens for tests. This was a fi tting honor, as Bill had been instrumental in the conception and specifi cation of this unique lens. Since images speak louder than any specifi cations we could list here, and since we have all the specifi cations on the Ultra Prime 8R web page anyway, above are some screenshots from this shoot. A short corresponding video clip can be down-loaded from our website.
How did they do that? Below some comments and making-of stills by Bennett regarding the motorcycle shoot:
“These Motocross scenes are the best exam-ple of how the Ultra Prime 8R can put the viewer right in the middle of the action and of the extreme dynamic look it will give you. Knowing that in previous tests I had already done the ‘sedate’ and safe shooting with
the lens of the buildings in downtown LA from the top of the car, the freeway inter-change from the front of the car and the hand held material in the train station and on the beach, I decided to go all out and create some very dynamic footage.”
“We mounted the camera and lens on the back of Alan Padelford’s ‘Maverick’ miniature camera car, built around a Yamaha V-Max motorcycle power plant. The water cooled V-twin engine has a 1,200cc displacement, putting out 120 horsepower. It utilizes a Porsche transaxle and custom off-road rally-car suspension, with Michelin rally tires. The chrome-moly steel tube frame chassis was totally custom built by Alan to join the Yamaha bike frame to the rest of the components. Alan is one of the best camera vehicle drivers in the world. He had driven high speed camera cars for many big racing movies like DAYS OF THUNDER.”
WIDE & STR A IGHT – ULTR A PR IME 8R TESTS
When a group of rental house owners and cinematographers got together
with some ARRI folks at the NAB in 2003 for a user‘s group meeting,
none could have guessed that this meeting would lead directly to a new
product. Born from this meeting and a desire to expand the range
of the Ultra Prime lenses, a new wide angle lens was developed by ARRI
and Zeiss, the Ultra Prime 8R.
UP8R
DoP Bill Bennett
from left to right: Craig Devereux, Bill Bennett, ASC, Alan Padelford, Craig Conaway, Scottie Niel
The Maverick rig with the ARRIFLEX 435 attached
18 C a m e r a
“Lets just say this … with a camera mounted and two people on board … it is very fast! When we were chasing the motocross drivers on the mountain dirt roads, Alan had the machine in a constant 4-wheel drift, steering and pointing the camera using the throttle. That was fantastic, as you can see from the footage. I was riding along, looking at a small LCD video tap monitor. What I was seeing on the monitor was amazing, but when I looked up at the ‘real world’ and saw just how fast we were going, inches from these speeding motocross bikes, drifting right on the edge of a bottomless cliff, it scared the hell out of me! My solution was to look back at the monitor, and just ignore the outside world!”
“To get the dynamic images you see here, we had to place the lens extremely close to the speeding motorcycles. We had the camera mounted on the end of 6 foot
WIDE & STR A IGHT – ULTR A PR IME 8R TESTS
(2 meter) pipes, attached to the chassis with Speed Rail fi ttings. Placing the camera out away from the camera car allowed Alan to stick the camera up next to and between the riders, just inches from them, to get these extremely aggressive shots.”
“I do remember that Alan admitted at one point that he was scaring himself too on occasion. At the end of one particularly close run, he said to me, “I don’t think I want to do that again!” We had to admon-ish the motocross riders to not look back at us, because they would unconsciously lift out of the throttle just a wee bit, and would
“back” into our camera, which was inches behind them at the time.”
“We shot the lens at T11, with the focus set at 2 meters, (6' 6") using a Schneider ND9 fi lter, with a clear fi lter in front to protect the ND fi lter and the lens from rocks. We
rolled the 435 at 20 fps, for an intended projection or transfer rate of 24 fps. For some of the shots, we did a speed ramp, while the camera was rolling, from 20 fps to 96 fps. When we were doing the speed ramping, we changed the ND fi lter to an ND.3 and set the aperture to T5.2. When the camera initially rolled at 20 fps, the internal computer set the shutter angle to 37.5 degrees to compensate for the extra light, giving the ‘skinny shutter’ look to the low frame rate portions of those shots. When I ramped towards 96 fps, the shutter angle automatically compensated until it was 180 degrees at 96 fps. The fi lm stock used was Eastman 5246-250D.”
Bill Bennett
19C a m e r a
The ARRI Lens Data System collects essen-tial lens and camera information and displays it to the camera assistant either on a dedicated remote display or on the video assist. This information includes focus, iris, zoom, depth of fi eld, hyperfocal distance, close focus, fps, shutter, battery voltage, footage, fi lmstock reserve, take length, etc. The LDS can speed up work and assist the camera crew when the camera is in a remote situation (like a crane, Steadicam, car rig, etc.), in critical focus situations to see if an actor was within the depth of fi eld, for faster speed/iris ramp setups and as an accurate video tape log for second unit work, re-shoots and pick-ups.
Originally available only with the ARRI-CAM system, the Lens Data System has been continually expanded to include other cameras like the ARRIFLEX 435 Xtreme. Now two scalable and compatible options have been added that expand the system to any camera and any lens: the Lens Data Mount and the Lens Data Archive.
The Lens Data Mount can update non-LDS lenses, including most zooms, to work with LDS cameras like the ARRICAM Studio, ARRICAM Lite or ARRIFLEX 435 Xtreme. By exchanging the PL mount of a lens for the LDS Data Mount, which has an embedded miniature chip and LDS contacts, this lens
can be used with the LDS system as long as lens motors are used. Using an Lens Data Mount preserves the ability to change lenses quickly, as the camera recognizes the lens automatically.
The Lens Data Mount Standard LDM-1 mounts instead of the standard ARRI/Zeiss PL mount. It is compatible with Ultra Primes, Variable Primes, Standard Speeds, Super Speeds and any other lenses that can accept the standard ARRI/Zeiss PL mount (K5.35204.0).
The Lens Data Mount Intermediate LDM-2 mounts instead of an intermediate mount. It is compatible with the Angénieux Optimo
The Lens Data Mount Intermediate LDM-2
The Lens Data Mount Standard LDM-1
A regular Super Speed lens with the Lens Data Mount Standard attached
Ident Numbers:
Lens Data Mount Standard LDM-1 K2.52254.0Lens Data Mount Intermediate LDM-2 K2.52272.0
With the Lens Data Mount, many popular zooms, including the 24-290 Optimo, can become part of the ARRI Lens Data System
The Lens Data Mount (LDM) allows most Lens Data System (LDS)
features to be used with ARRI LDS cameras and the vast inventory
of existing lenses.
24-290, Angénieux 17-102, Angénieux 25-250, Cooke 25-250, Cooke 18-100, Zeiss Apo Tessar 300 and a wide range of other lenses that use the same intermediate mount. Lens Data Mounts for other lenses can be supplied on demand.
Marc Shipman-Mueller
L ENS DATA M O U N T2 0 C a m e r a
Selecting a lens can be easily done from a series of screens on the LDD-FP
UMC-3
WirelessLens Control System
WirelessLens Control System
ARRICAM Studio ARRICAM Lite 435 Extreme
Lens Data Box or FEM-2
Lens Motor
Any Camera
Lens Motor
Any Lens Any Lens
The Lens Data Archive allows the use of LDS features with any camera and any lens
After each lens change, the lens type must be selected from a pre-programmed menu on the LDD-FP. Once the lens motors are calibrated, the system can display LDS in-formation on the LDD-FP.
The Lens Data Archive also allows LDS cam-eras to use non-LDS lenses, as shown in the diagram to the right.
The great advantage of the Lens Data Ar-chive is that it works with any camera and any lens, wired or wirelessly. However, in contrast to LDS Ultra (LDS lenses with LDS cameras) it does not support manual follow focus, camera status infor-mation and video insertion. Lens Data Archive functionality is already part of the latest software for the ARRICAM Studio, ARRICAM Lite, ARRIFLEX 435 Xtreme, LDD-FP and UMC-3. Even non-LDS cameras like the 235 can enjoy basic LDS features with the Lens Data Archive.
The Lens Data Archive provides basic LDS features for any
camera with any lens, as long as the ARRI Lens Data Display
for Focus Puller (LDD-FP), the Universal Motor Controller UMC-
3 and lens motors are used.
L ENS DATA A R C H I V E
21C a m e r a
Out in the ColdWhen first camera assistant Ted Overton got a call from cinematographer
Anthony Richmond, ASC, BSC (A CINDERELLA STORY, SHADE) to work on
the feature film JUST FRIENDS, Overton jumped at the chance. When he
learned shooting would occur in Regina, Saskatchewan at the height of winter,
Overton was a little hesitant. “I have always enjoyed working with Tony
and I would go anywhere in the world for the opportunity to do it again, but
the Canadian prairies in January and February! This was going to be proof of
willingness and proof of the equipment that we would be taking,” he says.
JUST FRIENDS was directed by Roger Kumble and produced by Benderspink and Infinity Media, Inc. The film follows Chris (Ryan Reynolds), a man rejected by his true love who moves across the country to transform himself into a selfish womanizer. The cast includes Amy Smart, Chris Klein and Anna Faris. Additional locations were also shot in Los Angeles.
To help translate the relationships between the characters onto the screen, Richmond chose a camera package that would taste- fully render images and perform well in
Canada’s extreme climate. The camera package included an ARRICAM Studio, an ARRICAM Lite and an ARRIFLEX 435. For lenses, the production had two complete sets of Cooke S4 primes and Angenieux Optimo long and short zooms. With actors and crew depending on the camera equip- ment to perform when needed, keeping these important tools warm was a serious priority. “The ARRICAMs did exceptionally well in the cold outdoor conditions that we were working in,” notes Overton. “The temperature was rarely above – 20 deg- rees C (-4 degrees Fahrenheit) and more
often closer to – 40 and lower (-40 deg- rees Fahrenheit). On the day that we flew into Regina our second assistant David Rumley looked at the weather map in the newspaper and saw that the only place colder in Canada that day was the town of Iqualuit, north of the Arctic Circle. The next day the lift on the back of our camera truck could not be lowered because the hydraulic fluid had frozen.”
To deal with the low temperatures, the camera crew kept equipment inside and warm for as long as possible to reduce the time exposed to the cold. Outside, if a camera or head was not being used, the item would be immediately covered with an electric blanket. These extra precautions made the cameras ready for shooting, but the equipment’s design also played a large part in allowing the production to run with- out interruption. “Both the ARRICAM came- ras and the magazines are designed so that their motors will heat the camera when they are detecting very cold temperatures and when they are not running.” he notes.
Specialty items made by Clairmont Camera were also brought along to help deal with the cold weather. Ted Overton further ex- plains, “Denny Clairmont ingeniously de- signed an insulated magazine case that we could connect to a 24-volt battery in order to power the magazines before they were put on the camera. This supplied power to the magazine‘s heater even when the magazine was not on the camera. With Denny‘s case we could keep the magazines warm before they were put on the camera.”
The production also used ARRIHEADs, since the smoothness of a gear-head is the first choice of A camera operator, Candide Franklin and B camera operator, Roger Finlay. “The ARRIHEADs performed well in all but the most extreme cold. At the lowest temperatures we experienced a loss of smoothness in the pan. Clairmont was great in supporting us with detailed instructions on how to loosen the pan and this helped,” notes Overton.”
Out in the ColdOut in the Cold
Tony Richmond, ASC, BSC, takes a reading from his light meter in front of actor Ryan Reynolds
2 2 C a m e r a
First AC for B camera Dean Frank became very adept at creating heating systems for the heads. Frank used a combination of hand-warmers, reflective insulating tape and deconstructed heating pads to create heating systems that kept everything work- ing.
“We had a hard lesson the first night out- doors when we had to heat up a head with an open face 2K lamp to get it functioning again. With the exception of when we were in the worst cold, the ARRIHEAD worked smoothly and we were glad to have it,” Overton remarked.
Working in such frigid conditions required the production to plan accordingly, even when the crew would retreat indoors to shoot scenes out of the cold. “Any lenses not working were brought in to warm up when we were making a move inside and we carried two sets of primes so that we could have an indoor set and an outdoor set. This really sped things up when we wanted to come inside after we had been shooting outside. An acclimated set of lenses meant that we were not putting up lenses covered in condensation and fogging. Taking warm lenses outside won’t create problems, but careful planning has to go into bringing cold equipment indoors. The cameras always have to be sealed in a plastic bag when they are coming inside from the cold so that the bodies do not be- come wet with condensation as they warm up. I usually leave them plugged in with the main power switch on in hope that they will warm up faster.”
Overton is quick to acknowledge the hard work of the crew in making the shoot a success. “Working in cold conditions re- quires a lot of cooperation and our camera crew accepted the challenge. David Rumley kept all of the equipment well organized with a good sense of anticipation and an eye on the thermometer and the weather report. Jesse Sannerud made sure that magazines were in the proper rotation so that we didn’t have a magazine that had been getting cold for hours going on the camera. Candide and Roger understood things would take a little longer on occa- sion because of the conditions. Clairmont Camera offered us wonderful assistance in
prep, when they were adapting equipment for us and anticipating solutions, and also throughout the shoot,” he says.
Despite the rough conditions of the shoot, the overall experience is filled with warm memories. He explains, “The many laughs we shared making JUST FRIENDS more than made up for the cold and it is always a good shoot when you are working with Tony.”
JUST FRIENDS is scheduled for release in the US for Nov. 23, 2005.
An Tran
Tony Richmond, ASC, BSC, next to director, Roger Kumble
Photos: Allen Markfield
Tony Richmond, ASC, BSC,on the ARRICAM ST,behind him A unitcamera operator,Candide Franklin
2 3C a m e r a
A Passage to India:
Shooting RETURN TO RA JAPURAlthough Hollywood is widely regarded as the fi lmmaking capital of the world,
India’s movie production is actually the most prolifi c with well over a thousand
feature fi lms released each year. For director Nanda Anand, the New York-
based fi lmmaker would be able to take advantage of India’s experienced
crews and the setting of her native country as a dramatic backdrop for her
fi rst feature fi lm. RETURN TO RA JAPUR follows Samantha (Kelli Garner), who
arrives in the historic Indian desert town of Rajapur to discover the truth about
a mysterious man, Jai Singh (Manoj Bajpai). With only scattered photos, old
letters and a love stone to guide her search, she unveils the story of Sara (Lynn
Collins) and Jeremy Reardon (Justin Theroux), along with a secret love affair.
The crew was comprised of primarily two backgrounds: the Indian crew came from the Bollywood fi lm tradition and the Ameri-can crew came from the U.S. independent film world. Anand hired Dileep Singh Rathore of On The Road Productions, a Los Angeles-based producer who had done many projects in India. The director also enlisted Harlan Bosmajian, a cinematogra-pher with over 20 features, including LOVELY AND AMAZING, LA CIUDAD, SAVING FACE and WINTER SOLSTICE.
For Bosmajian, RETURN TO RAJAPUR was his fi rst anamorphic fi lm and his introduction to the ARRICAM. “This was the fi rst time with the ARRICAM. Before I had always used 535s. Our B camera on the shoot was an old BL4 which was a good workhorse,” he says. “The ARRICAM was very silent with a functional design and nice, clear eyepiece... I would love to use this camera again.”
Mixing different time periods, the fi lm incor-porated different operating styles, shooting the second half of the fi lm handheld. ”There was lots of handheld,” says Bosmajian, who chose to shoot the entire project on Kodak
DoP Harlan Bosmajian Producer Dileep Sin Harlan Bosmajian andGaffer Vineet Malhotra
1st ACManuel Billiter
Director Nanda Anand
2 4 C a m e r a
A Passage to India:
Shooting RETURN TO RA JAPUR
ARRICAMs go EastArtLite is a rental company with pro-
duction bases in Yalta (on the Crimean
peninsula), Moscow and Kiev – the
‘Hollywood’ of the ex-Soviet Union.
They have recently added the fi rst
ARRICAM Lite and Studio cameras for
the ex-Soviet market.
Both cameras have been booked out ever since: CAPTIVITY, directed by Oscar-winner Roland Joffe, was shot by DoP Daniel Pearl, ASC. Now the cameras are on the set of CORRECTION OF FATE, shot by cinematogra-pher Andrei Makarov and directed by Vladimir Mirzoyev, and also on CONSERV, directed by Russian hit-maker Yegor Konchalovsky, and shot by Anton Antonov.
“We’re very happy that we choose three perforation cameras,” comments ArtLiteco-owner Robert Crombie. “The digital intermediate process is very accepted now
– all fi ve fi lms nominated for the Oscar in cinematography this year went through the DI-process. And producers are a lot
happier when they realize that they will save 25% in fi lmstock and developing costs by shooting with 3 perforation cameras.”
“We’ve also noticed that the ARRICAM Lite is incredibly popular,” adds Robert Crombie.
“The mobility of the Lite, together with the sensitivity of the new Kodak fi lm-stocks, the Cine Tape measuring system, and the wide apertures of the new Master Primes are coming together to create a new style of fi lm-making – one that can travel hand-held into the smallest and darkest corners with-out fear.”
ArtLite also offers lights, cranes, dollies, generators etc., including a wide range of ARRI products.For more information: www.artlite.com.ua
Vision2 5218 fi lm stock. “I wish there were smaller zoom lenses that are good quality but can be used in 35mm handheld.”
Because shooting style in India is also very different, 1000-foot magazines were not available. Since the fi lmmakers wanted to be able to have longer takes, the larger magazines were rented from ARRI CSC in New York. Production took place over 35 days and included scenes taking place in the desert during a sandstorm. “The equip-ment was excellent and we put it through the intense heat of the Rajasthan desert and multiple sandstorm scenes. We never had a jammed magazine,” says the cine-matographer who studied fi lm at New York University. “My grip and electric crew in India was one of the best I have ever worked with. They were both creative, enthusiastic and technically proficient. I would work in India again in a second.”
An TranMichael Mukasey is one of Russia’s success-ful DPs. For his Moscow based rental company Rentacam he had choosen the ARRICAM Lite not only as a very attractive visual (on one of Moscow’s busiest streets – the Mosfi lmovskaya) but also as a true work-
ARTLITE – Yalta – Moscow – Kiev
RENTACAM – Moscow
horse. Along with the most modern access-ories – ranging from the newest wireless systems and LDS lenses, the company also offers the ARRIFLEX 435 Xtreme, ARRIFLEX 535B and 16SR3 cameras. Currently the ARRICAM is on the set in Sewastepol.
Robert Crombie
Michael Mukasey
1st ACManuel Billiter
2 5C a m e r a
Mike started his career in the BBC sound department in 1972 but was soon seduced by the idea of creating wonderful images through photography. During his twenty year career he has become an internation-ally renowned DoP and is considered a specialist in the fi eld of underwater photo-graphy for commercials, dramas and feature fi lms. He has worked on over fi fty-six feature fi lms, such as TR A INSPOT T ING, TOM B R A I DER , D I E ANOTHER DAY, and STAR WARS EP ISODE 1 to name but a few. He now runs his own production company, Valentine Films with his wife Francoise who works regularly with him on productions as 1st Assistant Director / Producer.
Recently Mike met with Hedley Dindoyal and Stuart Ryan from PWI who commis-sioned him to shoot a commercial for the International fashion house, Escada for their new fragrance, ‘Pacifi c Paradise’. When asked about the location for the shoot Mike didn’t hesitate in stating that he thought the
only place possible for the shoot had to literally be ‘paradise’ and on this occasion the destination became Palau and paradise became one of several hundred islands scattered in the South Pacifi c. Mike ex-plained “These islands are some of the most beautiful in the world with the most amazing deserted beaches, jungles, waterfalls and fi sh life, therefore supplying the most perfect of back-drops for the commercial for this luxury brand.”
With the location agreed, it was time to think about what equipment to take. As the journey would take an arduous two days from London via Dubai and Manila, it was crucial that Mike had exactly what he need-ed when he needed it, in such a remote location. Although he owns his own camera, an ARRIFLEX 435 and lenses, he wanted to ensure that he was well prepared for all eventualities and so he hired the ARRIFLEX 235 camera from ARRI MEDIA in London. He explained the reasoning behind this:
DoP Mike Valentine, BSC, puts the ARRIFLEX 235 through its paces in the South Pacific. SHOOTING in Paradise
Its not easy being Director of Photography. Sometimes you fi nd yourself
in paradise on one of the most breathtaking beaches in the world, shooting
a commercial featuring some of the world’s most beautiful fashion models –
it’s a diffi cult job, but someone has to do it …
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“I planned to use the camera in so many different ways, on a tripod, handheld, on a crane and in a splash bag, the size and weight of the camera made the decision really easy for me.” Mike added “I put a lot of faith in the 235, with only three days to complete the shoot and in such a remote location I had to hope that this small camera wouldn’t let me down. My crew and I were amazed at how well it performed. At one stage we were in the jungle in 86 % humi-dity and then as if that wasn’t enough, the heavens opened and it poured with rain. I’m glad to say the little camera didn’t let us down once.”
The commercial shoot proved the perfect project to show the versatility of the camera, especially for hand held work. Mike ex-plained. “Using the camera in the hand-held mode felt far better than any video camera I have held, due to the balance. The 200 ft magazine was comfortable and with the 400 ft magazine it became even more com-
fortable and for the fi rst time I felt I could have shot hand-held all day without any problem.”
The 235 performed well even when put inside the scuba cam bag during the water level sequences. It was at this time that they used the ARRI Wireless Remote System allowing Focus Puller Dean Morrish to control the focus with a radio link in a boat up to 50 ft away.
For the reverse sunrise sequence Mike shot at 1 frame per second and was amazed to see during the telecine how stable the images were even speeded up twenty-four times, explaining that the footage shot at 50 frames per second allowed the oppor-tunity to slow down certain sequences back to 25 frames per second, hardly ever using the normal running speed.
Mike summarised his experience shooting with the 235 for the fi rst time: “I can really
say that we put this versatile little camera through its paces and I was delighted with its performance. In many cases, the condi-tions were harsh and it performed fl awlessly. For those considering using it in the future, they can rest assured that they won’t ex-perience any problems.”
Mike and Francoise are currently preparing for their fi rst feature fi lm titled, LOU IS an aspirational love-story based on the real life adventures of Louis Boutan, one of the fi rst underwater cinematographers in the 1890s.
Judith Petty
Crew Details:
Focus Puller, Dean Morrish2nd Focus Puller, Jason WrenLoader, James Lewis
For further information contact details are available on www.valentinefi lms.com
SHOOTING in Paradise
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The CPA (Center Production Audiovisual) is part of the complex organization of the Aeronautical Military General Staff. Its main task is to produce images on fi lm and video for the Italian Armed Forces and also to create a historical archive. At the moment an extensive evaluation test is carried out to replace their main 35 format fi lm camera, the old but reliable ARRIFLEX 35 II C, with the latest technology. Quite naturally the new ARRIFLEX 235 is consid-ered as an optimal choice since it maintains
ARRIFLEX 235in Tornado A i rcra f t s
One of the dreams of every cinematographer is to realize breathtaking pictures. Well, no problem at 6 to 7 G in the cockpit of a Tornado aircraft … just a little stressful to the equipment, and maybe for the cinematographer as well. To produce such impressive footage from the cockpit of a com-bat airplane fl ying close to other jet planes is one of the tasks of the Italian “Truppa Azzurra”, which is currently testing the ARRIFLEX 235.
the small size, easy handling and light weight of the venerable IIC, while offering all the advantages of modern fi lm cameras like much improved ergonomics, Super 35, swingover viewfi nder, high quality video assist and support for the full range of modern accessories.
Already the fi rst ‘hands-on’ experience, carried out at the ‘Pratica di Mare’ military airport, totally satisfi ed the demands. Some of the new 235 features that were not present on the IIC were very much appre-ciated, including the highly fl exible and bright viewfi nder with the optional view-fi nder extension, which allows the camera-man to easily wear a helmet and oxygen mask while fi lming. Also very critical are the dimensions of the equipment in the very restricted area of a combat airplane cockpit. The large number of 235 mounting options, different handles, different magazine choices and the modularity of the 235 camera system all help in the sometimes cumbersome search for enough space.
Of course, we do not want to omit the opportunity to thank the members of the unit CPA: Colonel Felici, Marshal Natale, Marshal Bielli, who carried out the fi rst tests and submitted these pictures.
Mauro Sembroni / Giuseppe Tucconi
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First ARRIFLEX 235 in Denmark
The 235 Compact Rod Holder is a view-fi nder port cover that can hold two support rods. When the 235 viewfi nder is removed, for instance for a Steadicam low mode shot, the CRH-1 takes its place. The CRH-1 accepts two 19 mm support rods, or with
the addition of the CRH-1 Reduction Sleeve Set also 15 mm support rods. Thus it allows mounting of lens motors when an extremely compact build of the 235 is required.
The 235 Left Rod Bracket LRB-1 makes it possible to mount lens motors or a Light-weight Follow Focus LFF-1 along with a left hand grip on the left side of the 235 in a weight effi cient manner. The LRB-1 attaches
to the left side of 235 Riser Plate. It accepts one 19 mm support rod, or with the LRB-1 Reduction Sleeve Set, one 15 mm support rod. A left hand grip can be mounted on the rosette.
235 Left Rod Bracket LRB-1
235 Compact Rod Holder CRH-1
„I always wanted a small handy 35 mm MOS camera. The ARRIFLEX 235 is perfect for shooting in cars, and on car mount, it’s a great camera“, says DoP Jens Maasboel. He works mainly on commercials and decided to buy an ARRIFLEX 235 as his personal camera. His 235 is the fi rst in Denmark and already heavily in use.
Mogens Gewecke
Contact: email: [email protected]
OMV, Director Kasper Wedendahl
Ident Number: K2.65037.0
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Over the last two years, Super 16 has emerged stronger than ever as a viable origination medium for high end imaging in commercial, narrative, and documentary projects. Many articles have been written highligh-ting big names like Vilmos Zsigmond, ASC, and Haskell Wexler, ASC, who are returning to Super 16 and extolling its virtues. Kodak is now offering Super 16 workshops to educate young fi lmmakers on the benefi ts of shooting Super 16 fi lm.
AROUND THE WORLD WI TH SUPER 16
A number of factors have combined to bring Super 16 to the attention of producers, directors and cinematographers again. These factors include the new Kodak Visi-on2 emulsions, faster and sharper lenses, rugged and reliable cameras like the ARRIFLEX 16 SR3 Advanced, the advent of high quality scanners like the ARRISCAN, improved telecines and the emergence of the Digital Intermediate process.
Many of these same people had been seduced by the initial promise of HD tech-nology, specifi cally its proposed effi ciency and cost savings. But in the real world, high end HD video acquisition can become a daunting proposition. Cameras with elaborate menus and changing backfocus fi nd themselves in need of DITs (Digital Intermediate Technicians), waveform moni-tors, cables, and large calibrated monitors all of which must be moved around the set like a well choreographed carnival.
While HD has its many virtues and strengths, fi lm is still the standard by which imaging is judged. Because the continued liveli-hood and future development of Super 16 depends on new and emerging fi lmma-kers, Kodak’s Entertainment Imaging (EI) division has been actively partnering with cinematographers, production companies, manufacturers, and post facilities to get fi lm into the hands of these young and developing image makers. This new video centric generation includes many who have
never photographed a single frame of fi lm. Their fi rst still cameras were digital – their fi rst motion picture cameras were automa-ted consumer DV. This situation makes the fi lm educators’ responsibilities even more challenging and Super 16 camera systems serve as a practical means to bridge that gap.
While Kodak has always supported student and emerging fi lmmakers, the company is continuing their outreach with a series of Super 16 workshops presented worldwide. The three primary programs are entitled Stop By Shoot Film (Film Basics), The Kodak Film Experience (Intermediate Level), and The Kodak Cinematography Workshops (Advanced Production Techniques). The pri-
mary reason to implement these workshops may revolve around demonstrating the new Vision2 stocks, but the workshops are far more than PR exercises. The potential Super 16 user has advanced knowledge of video technology and techniques. To truly appreciate fi lm acquisition and fi lm images, this person must go out and shoot fi lm, then see the difference fi rsthand during a telecine session.
The “Truth About Film” workshop in Bris-bane, Australia, hosted by Kodak’s Leigh Christensen and Randy Sparrazza was an ideal situation for this complete Super 16 experience. The program brought together a team of cinematographers, all highly experienced educators. On tap were
During the International Wildlife Film Festival, the Kodak Film Exper-ience workshop offered hands-on intensive training for documen-tary fi lmmakers. This beautiful nature preserve in Missoula, Montana acted as an ideal location.
The Cutting Edge post facility hosted the Kodak Film Experience in Brisbane, Australia. DOP instructors Thom Marini, Tim McGahan ACS, Michael Goi ASC, and Matthew J Siegel put this class through it paces.
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With director of photography Matt Siegel acting as guide, participant Mark Phillips fi nds exposure for a high contrast beach and sky during the Santa Barbara Stop By Shoot Film workshop.
the myths. We have to make the technology and the equipment completely approach-able,” said Matt Siegel. “In a workshop si-tuation, we have so little time, and so much information to convey. It is essential not to overwhelm a prospective fi lmmaker.”
In keeping with that philosophy, the “Truth About Film” workshop took a decidedly hands-on approach. Students broke away into small production groups. Each member took a turn as director of photography designing his/her own shots, as camera operator framing for a director of photo graphy, as 1st camera assistant setting T-stops and pulling focus, as 2nd assistant loading cameras, and as gaffer lighting the set and reading light meters. Away from
these technical/crew challenges, the instruc-tors emphasized the collaborative nature of fi lmmaking and the heightened need for communication when working in fi lm.
What is different or unique when going out to photograph with Super 16 motion picture cameras and fi lm? The fi rst realization that came from many students was the idea that ‘nothing is automatic.’ Unlike video systems, a fi lm camera does not ‘think’ for you; no auto focus, no auto iris. The shoots also introdu-ced proper set procedures and protocol, a strange novelty for those coming from the ‘I can do it all myself’ school of video. The use of grey cards, slates, camera reports, and light meters demonstrated certain rituals for fi lm photography designed to make the expe-rience most productive, creative and effective.
Ultimately it came back to the images. Whether fi lming at 24 fps on a 30-year-old ARRIFLEX 16 SR1 or animating on a hand wound Bolex, or doing time lapse, modern fi lm stocks and camera technologies have ad-vanced motion picture fi lm to a point where by all accounts the process is easier for the novice to produce stunning images. The key factors include its tremendous latitude, high ASA, and extremely fi ne grain structure. This fact was evident on the workshop’s fi nal day as an extremely wide range of images came up on the telecine at Brisbane’s Cutting Edge post facility.
For people to choose Super 16, they have to see the difference. The major impact has to be the image itself. When the fi lm images came up on the HD monitor in the workshop’s telecine suite, there was a resounding ‘Wow’ factor. Without question, the Brisbane cine-matographers, directors, and producers were amazed by the ‘difference’ in the fi lm image compared to their previous experiences with videography, specifi cally in the rich skin tones and in the highlight information.
Heading into 2006 with the educational schedule, it is exciting to see Kodak joined by ARRI, Schneider, and other fi lm companies in a coordinated effort to bring the simple and elegant advantages of Super 16 cinemato-graphy to the world. Detailed information on the workshops can be found at www.kodak.com/go/motion.
Matt Siegel
SUPER 16
Matthew J. Siegel (USA), Michael Goi, ASC (USA), Tim McGahan, ACS (AUS), and Thom Marini (USA).
The cinematographers tag teamed to teach the thirty participants both the basics of production and the essentials of fi lm style shooting. On the fi rst intensive day, they touched upon fi lm language, exposure, me-tering, loading, and cameras. Immediately following this overview, the class began fi lming on Super 16 with a wide variety of cameras including the ARRIFLEX 16 SR3 and SR2, Aaton XTR Prod, and the Aaton A-Minima.
“The challenge of current fi lm education is to make it simple. I do all I can to dispel
Participants at the Kodak Film Experience-Singapore take their turn at Super 16 motion picture photography.
Media Corp provided stage space, lighting equipment, and crew for the participants of the Kodak Workshop-Singapore. Kodak educational DOPs David Lee, Thom Marini, and Matthew J. Siegel take a moment to pose with the class.
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Soon after the fi rst ARRIFLEX 235 prototypes were in customers’ hands, those customers were asking for a lightweight wide zoom that could be used when going hand held or on a Steadicam. Similar requests have been made by customers shooting with the ARRICAM Lite.
For years ARRI and Zeiss have been work-ing on several alternatives for a lightweight wide zoom with outstanding performance and a weight of under two kilograms (4.4 lbs). Sophisticated design and manu-facturing techniques, which include the production of large diameter aspherical elements of high precision, and the uses of exotic glass materials, ensure that this lens will deliver the customary Zeiss
ARRI and Zeiss are announcing the development of a lightweight zoom (LWZ-1) inspired by the ARRIFLEX 235 and ARRICAM Lite cameras.
quality despite its compact form factor and light weight. This zoom lens matches perfectly with the ARRI/Zeiss Ultra Prime and Master Prime lenses, since it is super color matched and shows similar image quality and image characteristics. Special light absorption techniques and the new and improved Carl Zeiss T*XP multi-layer anti-refl ex coating keep veiling glare to a minimum. The design of focus, zoom and iris scales has also been matched so assis-tants can work with familiar controls on all ARRI/Zeiss lenses.
The ARRI/Zeiss Lightweight Zoom further expands the range of 35 format lenses of the highest quality offered by ARRI and Zeiss.
ARRI/Zeiss L ightweight Zoom LWZ-1
Main Features at a Glance:
• Compact, lightweight zoom covering ANSI Super 35 • 15.5 to 45 mm • T 2.6• Weight under 2 kg /4.4 Lbs• Ultra Prime image quality through aspherical elements and Zeiss T*XP coating• Color matched to Master Primes, Ultra Primes and Ultra 16 lenses• Perfect for ARRIFLEX 235 & ARRICAM Lite
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ARRI Video Accessories An Interview with Casey Kemp, First Light HD
Casey Kemp of First Light HD in Denver had heard that the fi rst prototypes of ARRI’s new compact wide angle matte box MB-20 were making the rounds. When Kay Baker of Film/Video Equipment Service in Denver fi nally showed it to him, he said “I fell in love with it and just had to have it … I felt you’d have to tear it out of my hands.“ Casey quickly added the unit to his produc-tion inventory and has been very pleased ever since.
„We were originally convinced by the pro-duct because of its fl exibility,” he says, referring to the MB-20’s unique ability to be used both in rod-mounted and clip-on confi gurations. „But then we also like the MB-20 fi lter setup, where we can rotate both fi lters, not just one”. Casey also noted that the MB-20 allows for an unpreceden-ted number of lens options. “We use the MB-20 with Fujinon primes and EFP lenses, which are high-quality zooms. We’ve also used the MB-20 with the 11×4.7mm Canon, the 22×7.3mm Fujinon, and the 13×4.5mm Fujinon. With very wide-angle lenses like the 13×4.5mm Fujinon the other matte boxes vignette, but the ARRI doesn’t.”
Quality is important to videographers, who have to face the same rough conditions and hostile environments as fi lm crews, and Casey feels that the MB-20 fi lls the need for a robust compact matte box in the video accessory marketplace. “The workmanship and hardware are really nice,” he says,
“and there’s also just something great about the way it looks. You can see that the quality is there. Plus, there’s the reputation of ARRI. It’s really great that you guys have decided to get involved in this.”
Casey fi nds that his matte boxes sees good utilization reaching 15 rental days per month.
“The fi rst question everyone asks is, ‘is the ARRI in?’ Unfortunately, since we only have one for now, we often have to say no.” But as the MB-20 starts to ship in August, Casey is planning to rectify that situation as soon as possible. “We also want to add the new follow focus (FF5-HD) as soon as possible,” he ads. “It’s a big advantage when you can put the follow focus on or take it off without removing the matte box, which is what you have to do with the other video units. In our fi eld, being fast is really important. As soon as we saw it, I thought, ‘gosh, it’s great … get one.’”
Thank you, Casey and Kay.
Jim Elias
Lightweight Support
LWS-4
An update to the Lightweight Support LWS-3, the LWS-4 fulfi lls the same functions but with a more robust design. Like the LWS-3, the LWS-4 is used to attach the 15 mm lightweight support rods to the front of either an ARRIFLEX 16SR 3 or a video camera. Especially for video cameras the lightweight support rod system is popular, since it allows accessories to be mounted with the least increase in weight. Many accessories can attach to the light-weight support
system, including the ARRI lens motors CLM-1 or CLM-2, the Lightweight Follow Focus LFF-1, the Studio Follow Focus FF-4, FF-5HD and the matte boxes MB-19 or MB-20.
Casey Kemp and Kay Baker with the new wide-angle compact mattebox MB-20
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ARRIFLEX 435
The Timing Shift Box alters the phase rela-tionship of the mirror shutter to the move-ment, so that the film is exposed while being transported. This creates a streaking effect that has become popular to indicate a heightened awareness of the characters, like in a combat situation, for instance, or an unusually stressful or unique state of mind. Even though a timing shift was con-sidered an image defect for decades, modern fi lm cameras like the ARRICAM Studio, ARRICAM Lite or 435 Xtreme can make this effect available to fi lm makers in a controlled fashion.
The Timing Shift Box (TSB) is an accessory that has been available for
the ARRICAM already, and is now also available in a version compatible
with the ARRIFLEX 435 Advanced and Xtreme.
With the TSB the timing shift effect can be adjusted from very faint to very strong. The amount of jitter, a random fl uctuation in the strength of the effect, can also be set to various degrees. In the past a timing shift effect with jitter used to be done by pur-posefully misadjusting the timing belt of the oldest camera in the fl eet; this effect can now be simulated by the software that controls the camera movement and mirror shutter motors. The timing shift effect can be executed while the camera is running (a timing shift ramp), or the effect can be locked in to remain constant.
The 435 Timing Shift Box is connected to the 435 by means of the MCB Cable Adapter (K2.52213.0) and the 435 Timing Shift Box Cable. To distinguish the 435 Timing Shift Box from the ARRICAM Manual Control Box (black cover) and from the ARRICAM Timing Shift Box (red cover), the 435 Timing Shift Box has a blue front cover.
TIMING SHIFT BOX
The Hand Crank HC-1 can be used with any ARRIFLEX 435 Xtreme or 435 Advan-ced (even without FEM-2), to achieve that old fashioned hand cranked look. An ARRIHEAD hand wheel (not included) can be attached to the HC-1, and the rotation of the hand wheel will govern the speed of the camera. The slight inconsistencies in speed introduced by the human arm is what makes for that special historic look in old newsreel footage, and it can now be re-created easily with the 435.
HAND CRANK HC-1
To set the HC-1 to the operators liking, a fl uid dampening of the hand wheel can be set, and three gear ratios can be program-med on the camera‘s display: 5, 10 or 20 frames per revolution. The HC-1 can control speeds from 0 to 150 fps, forward or reverse.
Ident Number:435 Timing Shift Box TSB K2.54171.0
Ident Number:Hand Crank HC-1 K2.55022.0
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The Cine Tape Measure from Cinematogra-phy Electronics is an ultrasonic distance measuring device that can be mounted to a camera. The ARRI Lens Data System can accept the input from the Cine Tape Meas-ure to display the measured distance and for focus tracking. While this has been available for the ARRICAM cameras (Studio and Lite) and the ARRIFLEX 435 Xtreme for a while now, a software update to the Universal Motor Controller UMC-3 makes this feature now available to all other cameras. Once the Cine Tape Meas-ure and UMC-3 are connected, the follow-ing features are available:
CAMERA Configuration Overviews
The modern ARRI equipment has become more sophisticated but also more complex in the last 10 years. To shed some light onto the ARRI camera product line and compatibilities between components, we have created the Confi guration Overviews, an ever expanding series of visual cheat sheets for what goes with what. Take a look on the ARRI website to download these overviews, or call your local ARRI sales rep to purchase a set of print outs in a map. Future updates can be downloaded from the ARRI web site.
UMC-3 Compatibility with Cine Tape Measure
Display Measured DistanceThe measured distance from the Cine Tape Measure is displayed as a mark on the focus scale of the Lens Data Display Classic (LDD) or the Lens Data Display for Focus Puller (LDD-FP). This also works when the LDD-FP is used wirelessly.
Focus TrackingWhen the LDD-FP is used alone or in combi-nation with the Wired Handgrip Attachment 3 (WHA-3), it is possible to let the lens motors continuously set the lens to the measured distance, thus tracking the focus. This function can be easily activated and de-activated by the FOCUS TRACK button on the WHA-3 or by the buttons on the LDD-FP.
Ident Number:Camera Confi guration Overview K2.47662.0
3 5C a m e r a
ARRIFLEX D-20at the Munich Film Festival 2005
This year’s Munich Film Festival provided a unique forum for presenting new possibilities of digital
image acquisition. In a well-attended event at the Black Box Theater in the Gasteig Cultural Center,
ARRI’s hardware and services divisions joined forces to highlight the ARRIFLEX D-20.
Following an overview of the technology and the screening of footage shot with the camera, a panel discussion featuring the well-known German DoPs Tom Fährmann (DAS WUNDER VON BERN, DER HIMMEL KANN WARTEN) and Stefan von Borbély (DIE NACHT DER REGISSEURE, Commercials for Mercedes, Langnese, among others) gave the audience the opportunity to hear about fi rst-hand experiences with the D-20. Experts from ARRI’s various departments were also at hand to answer questions, covering not only the camera technology
but also such topics as recording and work-fl ow. The following day the D-20 was also a major attraction at the HD-Campus, which was held at the nearby German Museum. Aside from the “hands-on” exhibition of the camera system, visitors were treated to a presentation of D-20 images on the museum’s huge IMAX screen and could take part in an introductory seminar on the camera.
In his opening speech, ARRI’s Managing Director Franz Kraus clarifi ed the strategy that the company is following with the D-20
and explained where ARRI sees the position of digital in relation to classic analog image acquisition: “It remains to be seen if and at what rate digital image acquisition will com-plement or even replace fi lm in the long run. It is not our primary interest to replace fi lm as the highest quality medium for profes-sional motion picture imaging. We believe, however, that digital technology is ready to adequately supplement fi lm, especially in high quality television productions. Marc Shipman-Mueller, Product Manager for Film Cameras and Lenses, then spoke about the
Marc Shipman-Mueller, Elfi Bernt, Stefan von Borbély, Tom Fährmann (f.l.t.r.)
Walter Brus, Theo Bierkens (DP), Klaus Feix
Michael Koppetz explains the D-20
Marc Shipman-Mueller, Michaela Haberlander (FFF), Franz Kraus at the Happy-Hour after the presentation
3 6 T r a d e S h o w R e v i e w
technology and architecture of the D-20 camera system and described the current status of professional digital cameras in the international market. His presentation was concluded by the screening of footage shot with the D-20, including clips from the MÜNCHNER BILDER-SYMPHONIE IN ZWEI SÄTZEN, shot by DoP Stefan von Borbély with Director Margrét Rún in Winter 2004. In the following panel discussion, the DoP commented on his experiences: “It was really surprising what we could do in night scenes, and how much headroom we even had in post,“ he reports, clearly impressed by the image quality.
With regards to the post production of the footage, Henning Rädlein, Head of ARRI Digital Film, added: “The fi rst impression was already very good. I think it is ok to do some tweaking, e.g. color-correction, since we can assume there is always post-production. But there was no clipping whatso-ever in the camera image data, as would be the case with conventional digital cameras.“
A lively discussion ensued, with experts from ARRI including Michael Koppetz from the D-20 R+D team and Elfi e Bernt, Product Manager of ARRI Digital Intermediate Systems on hand to answer the various and
often very specifi c questions from the pro-fessional audience. The relative merits of analog and digital acquisition were a major topic, for obvious reasons. When asked to explain the growing investment in HD despite the obvious advantages of fi lm, the two DoP’s were very pragmatic: “We shoot digi-tal simply because we are asked to shoot digital.” As Stefan von Borbély put it: “More and more TV stations will be expected to broadcast in HD quality, at the very latest after the Soccer World Cup 2006. And even today producers ask us whether we have experience with HD and can shoot digital.”
“If all technical and aesthetic possibilities are available in digital acquisition so that there is no difference to what we have been able to achieve with fi lm, there is no reason not to shoot digital,” explained Tom Fähr-mann. “However, the results need to meet the quality standards that we are used to. For us DoPs this means, we have to learn a lot again – including all the diffi culties and surprises this new technology still has in store for us.“
“I don’t think it is just the digital camera which is of interest,” Franz Kraus remarked.
“The more important question is how a result can be achieved in the best, most reliable
and cost-effective way. For us quality, relia-bility and fl exibility are essential because commercial motion picture productions can’t afford to become a proving ground for risky experiments with new technology.”
Summing up the company’s position, ARRI’s managing director continued: “We still spend more money on fi lm-based develop-ments than on digital acquisition. This ap-plies to new fi lm-based cameras as well as to hybrid technologies that interface between fi lm and digital – such as the ARRISCAN and the ARRILASER. On the other hand, we are not ignoring the challenge of digital imaging: we have to learn to play this instru-ment in order to gain competence and a clear idea of our own position. Neverthe-less, we still believe that 35 mm fi lm is the best and most reliable image acquisition medium and see a tremendous potential in the digitization of the post production and distribution.” In conclusion, Franz Kraus pointed out that it is through these techno-logies that the true quality potential of fi lm can be carried through to the cinema audience. Like electronics, fi lm is a ‘moving target’ which is continually evolving. “If fi lm emulsions would still look like they did 30 years ago, digital would have already won hands down.“
Jochen Hähnel
3 7T r a d e S h o w R e v i e w
The Iranian delegation in front of a model of the new Hashtgerd International Studios
F.l.t.r.: Mr Heydarian, Mr Masjed-Jameie
F.l.t.r.: Mr Kamrani, Mr Masjed-Jameie, Mr Foroutan, Mr. Shahrivary Shadab
DoP Alexey Berkovitch
First Cinec Salon
For nearly ten years the trade show Cinec has become one of the most
successful and innovative platforms for the promotion of international cinema
technique worldwide. Reason enough to promote the fi rst trade show for
the fi lm industry in Iran under the name Cinec. In spring, Iranian fi lm profes-
sionals had the opportunity to learn about the current state of fi lm technique
for the fi rst time in Iran. During the Cinec Salon Teheran DoP Hamid Khozuie,
winner of the 23rd Fadjr Film Festival, was awarded the prize of honor,
sponsored by ARRI.
The Cinec Salon opening ceremony was presided over by the Iranian Minister for Culture, Masjed Jamei, and Heidarian Jahromi, Deputy Minister of Culture, in the camera department. This demonstrates an offi cial interest in an east-west dialogue be-tween our varied cultures. At international fi lm festivals like Cannes, Venice and, even in Hollywood, fi lms with Iranian cultural themes, which are new to us, can be found more and more often and are increasingly successful. This is not surprising, since Irani-an cinema looks back on a tradition of one hundred years of fi lm production and there-fore a wealth of stories.
At the same time, the Cinec Salon Teheran marks the start of new and ambitious plans; not even 70 kilometers beyond the city limits of Teheran, on the outset of the Alburz mountains, the new Hashtgerd International Studios (HIS) cover an area of 100 hectares, offering cutting edge technology to become a hub for the international fi lm industry. 2500 new fi lm theatres, multiplexes among them, are scheduled to open in Iran in the next three to six years. Yearly feature fi lm production is estimated to increase from cur-rently 65 features to 120 features in 2005, and then 200 features is 2006. Local sup-port is provided by the Cinema Shahr Insti-tute and its General Manager, Mr. Shadab, by the Farabi Cinema Foundation and the Cinema City Institute.
Shortly after the Cinec Salon a return visit to Germany was paid by a high-ranking
Iranian delegation consisting of Heidarian Jahromi, Deputy Minister of Culture, Seyed-zia Hashemi Khaled, Head of the Iranian Society of Cinematography, Mr. Shadab, Managing Director of the Iranian Film Insti-tute, and the consultants Mr. Hosseinnejad and Mr. Pojhan. The visit gave an opportu-nity to deepen ongoing conversations and for a personal impression right on location in Munich. The delegation toured the factory, among others, where they received fi rst hand information about the ARRISCAN, the ARRILASER and also about the newest in camera technology, the ARRIFLEX D-20. All fi lm service areas, from equipment rental and fi lm lab to ARRI Digital Film were part of the tour, as well. The Bavarian Ministry of Economic Affairs, Mr. Georg Reichl, assistant secretary and head of the depart-ment for foreign relations, participated in the conversations.
Thomas Popp
in Teheran Successful
3 8 T r a d e S h o w R e v i e w
Cine Gear
During this year‘s Cine Gear at
the beginning of June the organizers
had mercifully exchanged the
dusty Western town set of previous
years for a nice outdoor set of a
small American town in the Warner
Brothers studio lot. The show was
well attended, the weather was
pleasant and both the ARRI camera
and lighting divisions were exhibit-
ing new equipment. Various after-
show activities allowed those who
attended to deepen their knowledge
of the new gear.
One of the biggest draws at the camera booth was the ARRIFLEX D-20 pre-produc-tion model. Bill Lovell, Product Manager for Digital Cameras answered many questions and showed the images from the D-20 in proper viewing conditions inside a building behind the camera tent.
Another big draw were the new lenses shown. The Master Primes were displayed on almost every camera at the ARRI booth. Many cinematographers were dragged into the booth by their assistants to see the new Ultra Prime 8R lens, using two ARRIFLEX 235 cameras as director‘s viewfi nders. We noted with satisfaction the large numbers of 235 cameras that showed up in everyone‘s booth, as well as the many special rigs and jigs built for the 235.
The new 435 Hand Crank HC-1 was shown at Cine Gear for the fi rst time. As the name indicates, with this accessory it is possible to move a wheel by hand to control the speed of the 435, to achieve that historic hand-cranked look. The faster the wheel is turned, the faster the 435 runs, from 0 to 150 fps, forward or reverse, with a selection of gear ratios.
Another new accessory shown was the External Display EXD-1, which can be mounted on any 16SR3, 535, 435 or 235 camera, and provides a display and simple controls. With an extension cable, the EXD-1 also becomes a convenient remote control for those cameras.
On the afternoon of the last day a well attended screening was presented where sample footage was shown shot with the Master Primes, with the Ultra Prime 8R and with the ARRIFLEX D-20 camera. All in all the Cine Gear was a successful and plea-sant show, and we are looking forward to returning next year.
in Teheran Successful
ARRI equipment was displayed in the camera tent (left) and the lighting tent (right)
Franz Wieser from ARRI Inc. explains the ARRIFLEX D-20 camera
The 235 was the camera of choice for many new and unusual contraptions
Back to the future with the 435 Hand Crank HC-1
The External Display EXD-1 on a 435 Xtreme, providing a display and controls on the camera‘s right side
2005
3 9T r a d e S h o w R e v i e w
DIGITAL DAY TAKE 3
On Saturday, July 30th the
DGA (Directors Guild
of America) held a one-day
industry event titled
“Crossing the Digital Divide”.
The event was well attended and supported through exhibits and hands-on demos by ARRI, Dalsa, Panavison, Sony and Panasonic, just to name a few. The day was also fi lled with presentations, seminars and panels which covered everything notable about digi-tal formats, cinema, intermediate process and workfl ows. It started with the topic
“Choosing a Format” – The latest options in
Workshops in Kiew and YaltaARRI’s partner Proline Ukraina organized a three days workshop wherein Sibylle Maier, Thomas Popp and Stefan Schmidt had the opportunity to present ARRI camera, lighting and digital products to the professional audience.
HD, DV, Mini DV & HDV, in which Franz Kraus was the opening speaker. Franz Kraus laid out the latest development in the D-20 digital camera concept and elaborated on its integration in the digital intermediate workfl ow. The latest D-20 test footage was screened meeting wide acceptance within the audience. Other presenters in this panel were Mark Chiolis, Managing Director,
Thomson Grass Valley; Alan Lasky, Special Projects, Dalsa; Moe Shore, VP Technical Marketing, Panavision; Doug Leighton, Sales Development Manager, Panasonic; Bernie Mitchell, President, Silver Platter Productions, Spokesman for JVC; Greg Salman, Cinema-tographer, Spokesman, Canon; Andrew Stucker, Manager of Studio Production Exhi-bition Systems, Sony.
Franz Wieser
Workshops at the broadcast stations INTER, 1+1 and TELEKOMPANIA UKRAINA, as well as the Yalta fi lmstudios focused on the new lighting products like the ARRI X Ceramic and its use in new studios.
The workshop at the Dowschenko fi lmstudio was especially noteworthy. All product areas – camera, lighting and digital – were received with great interest by the public. Questions from the audience created a live-ly exchange of thoughts, that resulted in some very valuable ideas for new products.
Stefan Schmidt
F.l.t.r.: FRONT – Bernie Mitchell, Brian Frankish, Greg Salman, Andrew Stucker. BACK – Doug Lieghton, Moe Shore, Mark Chiolis, Alan Lasky, Franz Kraus
Thomas Greiser, Technical Representative for ARRI Inc. NY, discusses the D-20 with a DGA member.
Stephan Ukas-Bradley, Manager of Technical Services for ARRI Inc. CA, demonstrates the D-20
4 0 T r a d e S h o w R e v i e w
BIRTV 2005
With more than 50,000 visitors this exhibi-tion is on the same level with NAB and IBC. ARRI was represented with its own and extended booth showing all state-of-the-art equipment, ranging from the ARRIFLEX D-20, Master Primes, 235 and ARRICAM to the ARRISCAN, ARRILASER and an extensive lighting programme. The importance of the exhibition was underlined by the presence of ARRI’s entire executive board, Klaus Feix and Franz Kraus, and Serge Giordano, the new Vice President Sales.
One of the fi rst visitors on the ARRI booth was the DoP Zhao Xiaoding, who was nomi-nated for an Oscar for best cinematography for his work on HOUSE OF FLYING DAGGERS,
directed by Zhang Yimou (HERO). Mr. Xiao-ding was greatly impressed by the live pic-tures of the D-20: “The resolution of details in the dark areas is phenomenal,” he said,
“and the skin tones are now even in digital, like you know them from fi lm.” The live demonstration of the ARRIFLEX D 20 was the great attraction and product manager Bill Lovell and executive board member Franz Kraus were the most wanted professionals for discussions and the exchange of ideas.
Another buzzword was ARRI’s Digital Inter-mediate System. Especially the ARRISCAN and its new workfl ow approach, together with the concept of a LED illumination and a CMOS sensor, attracted wide interest. Scanning 35 mm fi lm life on the showfl oor and the upcoming speed upgrade for an even higher productivity (4 fps @ 2K) made a very positive impression. ARRI’s Digital Intermediate showreel was shown in a mandarin version to further explain the workfl ow of the ARRISCAN and the ARRI-LASER. The DI concept is quickly being adopted, as China has the greatest number of digital cinemas in the world.
The Beijing International Radio, TV and Film Equipment Exhibition draws not
only China’s industry leaders, network stations, productions and of course all
the creative potential, but is also a magnet for the whole area.
DoP Zhao Xiaoding (HOUSE OF FLYING DAGGERS,
HERO), in the middle between D-20 product manager Bill Lovell, left, and Franz Kraus, right
Conducting one of the extensive tests with the new ARRIFLEX D-20: Mr. Lei Zaixing (BFA)
F.l.t.r.: June Fung (Jebsen), Reinhard Kulterer (ARRI), Mr. Ben Mau / IVE Hongkong, Harald Brendel (ARRI)
F.l.t.r.: Mr. Huang Yaozhu (Hualong), Mr. Yang Butin (China Film Group), Mr. Franz Kraus
Mr. Yang Xuepei (CRIFST), Mr. Yang Butin (China Film Group), Mr. Chen Fei (Chief Engineer of China Film Group), Mr. Huang Yaozhu (Hualong), Mr. Lei Zhenyu (Deputy GM of Hualong)
Of course the new Master Primes and the latest ARRIFLEX and ARRICAM models attracted crowds of young fi lmmakers and students, but also many famous Chinese DoPs and fi lm producers until the very last hours of the exhibition.
The new ARRI Ceramic lighting technology, the Event Multiple Function System, lighting kits and new electronic ballast models rounded up the comprehensive portfolio.
We don’t want to miss the opportunity to extend our thanks to the Jebsen team for their great support, making this exhibition a successful event for the whole ARRI Group.
A test drive of the D-20 by Prof. Mu Deyuan (BFA)
41T r a d e S h o w R e v i e w
Allan Fyfe, ARRI (GB) and George Ilko, Capital FX (f.l.t.r.)
Capital FX and ARRI – June 2005 saw the fi rst delivery
of an ARRISCAN in the UK to the
Soho based post-production house,
Capital FX. Home already to two
ARRILASER‘s and the ARRI bespoke
Colour Management System, this
now gives Capital FX the facility
to offer end-to-end quality control
and consistency within the Digital
Intermediate workfl ow.
George Ilko, IT Director at Capital FX is responsible for specifying and overseeing the installation of equipment within the organisation.
?: Starting with the ARRILASER, can you explain your reasons for purchasing it?
George Ilko: “Initially we were asked to pitch for STAR WARS EPISODE I I I : REVENGE OF THE SITH. The client insisted that it had to be recorded on an ARRILASER, and as we didn’t have an ARRILASER we unfortunately weren’t successful. As CFX are a proactive and client driven organisation we decided to buy an ARRILASER for future work.”
?: So why did you decide to buy two?
George Ilko: “Because we were so impressed with the fi rst! The sheer accuracy, fi delity and quality of the image produced were outstanding and client demand was clearly well established. We were also very impressed with the reliability, consistency and stability of the ARRILASER. Furthermore, a very well respected Colourist, Peter Doyle, advised us the ARRILASER was the best on the market.”
?: How happy are you with the machines, have they lived up to your expectations? Were you happy with the service you recei-ved from ARRI?
George Ilko: “So far, they have exceeded our expectations and we can’t fault the service we’ve received from the whole ARRI team. Let me give you some examples, we had a problem with the ARRISCAN image ingestion process, I telephoned Roman Gardner in Munich, and he was on site
within four hours and quickly had the prob-lem solved! We had another problem with a fi lm recorder, telephoned ARRI (GB) in Uxbridge and within two and a half hours the Engineer was on site, the problem fi xed and the fi lm recorder was ready to shoot! As we operate twenty four hours a day, seven days a week consistency and the ability to respond when problems occur are critically important. ARRI understand this.”
?: What advantages have you found using the ARRILASERs?
George Ilko: “In a single word ‘effi ciency’. They’re located in a carefully controlled environment and this ensures that they can perform to their maximum capacity. We have over engineered the fi lm recording environment to ensure complete stabilisa-tion. Our fi lm recording room has four air changes an hour to regulate humidity, we ensure the temperature remains constant,
the whole room is isolated from vibration, positive air pressure is maintained to limit dust and hair particles and the room is monitored twenty four hours a day. We recently had a project which involved sca-ling up an image from 2K to 4K resolution and won the job because of our ability to achieve image sharpness, vividness of colour and consistent quality. Due to the fact that we rely on ARRI technology for fi lm scanning, colour management and fi lm recording you could say that without ARRI this would not have been possible!”
?: Do you do much 4K work?
George Ilko: “Yes, a great deal, we recently recorded multiple original version printing negatives and twenty one foreign versions of reels one, two and three for CHARLIE AND THE CHOCOLATE FACTORY at 4K, and have recently output the Sony distribution feature STEALTH at 4K.
a Perfect DI Partnership
4 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
?: Do you see 4K becoming the norm in the future?
George Ilko: “Increasingly more 4K work is coming through, we have recently installed an SGI GRIO SAN which is being used for isochronous real time 4K playback with the Sony 4K projector. With the ARRISCAN we are able to scan at 6K and so are very future proofed! We have just output a fea-ture called SILENCE BECOMES YOU, which was shot digitally and is the fi rst fully digital feature fi lm produced. I think this is very ex-citing and combined with 4K image quality bodes well for the Digital Cinema Initiative.
?: What feature fi lms have utilised the ARRILASER recently?
George Ilko: “Recently we have worked on CH A R L I E A N D T H E CH O CO L AT E FAC TO RY, BATMAN BEGINS, RIPLEY UNDER GROUND, ASYLUM, THE BRIDGE and DEAD MANS CARDS, which were output on the ARRILASER’s.”
?: Moving on to the ARRISCAN, what was your rational for the purchase?
George Ilko: “Consistency, accuracy, fi delity, and precision – we wanted to stay with the same manufacturer throughout our entire workfl ow. By utilising ARRI products for scanning, colour management and fi lm output, we achieved great quality on each project. ARRI helped us to profi le every de-vice involved in our workfl ow and produce a LUT that achieved meticulous results. So, for example, if an image is being projected by our Barco DP100, the projector has a colour profi le and LUT to ensure faithful image representation.“
?: What advantages do you see with the ARRISCAN?
George Ilko: “Apart from the qualities mentioned already such as consistency, accuracy, fi delity, and precision, I would include simplicity. The ARRISCAN is extre-mely easy to use and has a very logical and intuitive GUI.”
?: How did the installation go, did you receive suffi cient training?
George Ilko: “The installation went very smoothly, it was a very slick process. We are grading images as we scan them, which involves quality control throughout our entire workfl ow. ARRI have offered ad-vanced training in Munich which we intend to take later this year.”
?: What experience do you have of rescans?
George Ilko: “We have recently com-pleted a repair job on a Paramount produc-tion called ASYLUM. This involved rescan-ning the entire feature and colour grading a more balanced result. The colours and geometry for rescanned sequences were absolutely perfect and looked great in post production. The client was extremely pleased with the end result.”
?: The software, how pleased have you been with this?
George Ilko: “Very satisfi ed, again, like everything with ARRI, the GUI is very simple, intuitive and well designed.”
?: And fi nally moving on to the ARRI Colour Management System. What is your level of satisfaction with the look up tables?
George Ilko: “We are extremely happy with the ARRI CMS. This is an area critical to our business, and many other post pro-duction companies. We researched several solutions from companies such as Kodak, Baselight/Northlight/Truelight, Rising Sun, we even held roundtable meetings with Autodesk, Kodak, Barco, Bell Theatre, and encouraged open discussions with other post houses to achieve a greater understan-ding of colour science and management. ARRI provided an extremely competent, effi cient, elegant solution to a very complex problem. In my opinion that is a key differentiator between ourselves and all other post houses – together with ARRI we can provide end to end consistency from scanner to fi lm recorder to ensure truly fantastic results.”
?: What colour grading tool do you use with the CMS?
George Ilko: “We currently use the Lustre grading solution from Autodesk and also have Smoke and Combustion suites. We are currently involved in the Toxic BETA program and are strongly allied with Autodesk products.”
?: Do you use the CMS in the ARRILASER for video to fi lm shootouts?
George Ilko: “Not as yet, but we have several projects on the go which we intend to use the ARRI CMS for. It’s great to have the CMS as another tool.”
Siobhan Daly
Capital FX• Creative services including title design by our award winning art department
• Digital visual effects and post production facilities utilising industry leading applications such as Smoke, Combustion, Toxic, Digital Fusion, and Shake
• Film recording services at 2K and 4K with the largest fi lm output capacity in Europe including two ARRILASER fi lm recorders
• Scanning bureau services at 2K, 4K and up to 6K with the latest ARRISCAN
• Full Digital Intermediate services in large screen preview theatre utilising Lustre Colour Grading suite, Barco DP100, Kinoton fi lm projection and full Dolby Theatre Surround Sound all profi led via the ARRI CMS
• Full HD bureau services
• State-of-the-art IT infrastructure delivering industry best practice full DI workfl ow
• Laser subtitling services utilising Titra technologywww.capital-fx.co.uk
According to Capital FX … they have the largest fi lm recording capacity in Europe and can offer clients the following services:
4 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
Doyle’s Digital IntermediateWith titles including THE MATRIX, HARRY POTTER & THE PRISONER OF AZKABAN, HARRY POTTER & THE GOBLET
OF FIRE, CHARLIE & THE CHOCOLATE FACTORY and all three LORD OF THE RINGS, Peter Doyle has one of the
most impressive Colorist/DI credit lists in the business. He has used his experience to create a new DI unit at Warner
House in London. By tailoring workflows to meet the individual needs of big projects Doyle is able to produce the best
results while driving cost savings and efficiencies. ARRI Media London has helped to create and install this workflow at
Warner House by providing storage and projection hardware. This solution has enabled an advanced form of colour
management as well as superior quality release prints. Altogether this represents a big step forward for DI and the
cinema experience.
When creating the workflow Doyle looked into what a Director and Director of Photo- graphy require in DI to realise their creative ideas. He then examined the infrastructure to see what could be outsourced. First he concluded that it was impractical for the new unit to include film scanning and re- cording. “We feel we’ve ended up with the result where the DoP and Director can walk in, grade and give their creative input. This is literally next door to editorial so the whole interaction is tight. The infrastructure allows us to tailor the pipeline to an indi- vidual production. For the larger films we feel this is important as each cutting room works in a slightly different way.”
DI Sign-offDoyle’s workflow required taking tight con- trol of the colour management throughout the scan-to-screen process. “For scanning and recording we turn to third parties pick the best ones, work with them and tailor it to how we would like it to be. I make contact directly with the manufacturers of
which the facility normally could not do. For example, on ‘Charlie & the Chocolate Factory’ DI was just one stage, it really was the checkpoint for colour, even down to the publicity stills coming through the unit, so the magazines look the same as the film.”
Part of the colour management involves getting different prints to match. Tradition-ally this is judged looking at printed film but Doyle’s unit worked in a different way. A Barco DP100 projector output was used directly from the DI image data. For this ARRI created 3D LUTs to allow Doyle to make adjustments so the projector precisely matched the colour of the print. Precise sett- ings for the ARRILASER recorders were used and after adjustments checked against film out with the aid of ARRI’s Colour Scientist Harald Brendel, production was able to accept the projected DI footage instead of film print for the final sign off. This meant acceptance that the film recording and
the particular hardware we are using, in this case ARRI in Munich for the film recor- der, and say, ‘this is what we’re trying to do. What can your machine deliver?” The lead times and scale of his projects allow Doyle to have very true and frank discus-sions. “We said, ‘we need it this way, and we got the results we wanted.”
Throughout the DI process all colour infor- mation, including printer lights for the whole film, is held on a database. The idea of digital match clips has replaced attempts to match printed clips with on-screen images by eye. Now one person does it all and the light boxes are gone. Doyle describes the process, “We’ll scan the film, sit with the DoP and Visual Effects Supervisor and decide how we want the shots to look, grade them, and then issue that metadata to the facilities houses so they can then get the scans and download the metadata. When the Supervisor views it, it’s the colour it’s supposed to be. Also, because we’re attached to production and part of editorial, we can grade the sequence in context –
4 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
Doyle’s Digital Intermediate
printing was an accurate, stable technical process. Besides creating a significantly faster workflow, the film was fully graded at the DI stage, allowing prints straight from uncut digital internegatives.
Multiple Negative OutputDoyle points out, “Because of the scale of the films, we require unity. On LORD OF THE RINGS we used different labs for bulk release printing. For CHARLIE & THE CHOCO- LATE FACTORY we used Cinesite for master recording, then Capital FX to generate the six printing negs to be distributed around the world for the creation of the release prints. I need complete unity across the
board, all these negatives have to be exact- ly the same. As the release prints are made directly from these digital internegatives, rather than going through the intermediate process, the quality is really extraordi-
nary.” This is the ideal scenario for film distribution as Doyle again spoke directly with manufacturer Fuji, who customised a print stock to bring the RGB layers closer together to work better for DI grading and digital record out.
The quality jump of using multiple digital internegatives requires that several are produced rather than the single one used in the standard lab intermediate process. The increased speed of the ARRILASER to 1.7 seconds per 2K frame helped but it still means using multiple recorders that may be spread over different locations. This angle has been well covered by the meticulous Doyle. “DI provides a good ‘border control’ for the output of all versions of the film. So for a trailer, we already have all the shots graded so we can release the imagery as the Director requests. They get the digital shots and a piece of paper saying ‘with an ARRI recorder, use this set-up, this sharpen-ing and Kodak Vision print to this aim. It will look the way the Director intended.”
Doyle added, “Now it’s really streamlined. Tim Burton (Director of CHARLIE AND THE CHOCOLATE FACTORY) sat in our cinema here in London on a Thursday afternoon, we graded shots and on Saturday evening they were on air, on the American networks for a commercial and they looked the same.”
Doyle concluded, “The concept of a central master is already here. If you look at CHARLIE & THE CHOCOLATE FACTORY or HARRY POTTER AND THE GOBLET OF FIRE there will be the standard 35mm release and IMAX release. The window to produce the HD master is very tight, almost at the same time and then we have the D-Cinema release. Likewise, during previews, do you have a film or tape preview? If it’s tape is that SD or HD? So the control side of how you keep all these areas looking the same is achievable but a challenge. Technically you could argue that it’s an industrial pro- cess to take the colour gamut of film and convert it into HD gamut. But the reality is that there’s an extraordinary amount of subjective and creative input needed, as cinema and TV viewing are very different experiences. Ideally there would be one grade but in practice, probably not.”
Judith Petty
Peter Doyle
4 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
ARR IL ASERHighest Quality According to DCI Specifications2K or 4K – what is good enough for the projection of digital data? The DCI (Digital Cinema Initiative), a consortium of the most important players in the industry, has clearly defi ned their specifi cations: Images should have 4K resolution. This also confi rms ARRI’s approach of offering a fi lm recorder that is clearly capable of outputting images at 4K resolution and at the highest speed that is currently available on the market. Now to top it all, ARRI has started a project to look into the possibilities of even increasing this high quality level.
The high quality project covers a number of substantial improvements. These include:
ResolutionWith the help of additional and customized lenses and apertures, the spot size of a regu-lar 4K spot can be further reduced. Addition-ally, fl are and noise can also be minimized by theses measures. An improved MTF (Modulation Transfer Function) curve allows sharper images to be achieved (see com-parison line pairs).
Dynamic rangeThe ARRILASER already offers a huge dynamic range of 2.04 densities. However, together with the manufacturers of inter-mediate fi lmstock, ARRI is currently working on possibilities to offer an even higher dynamic range.
QuantizationUp to now the 10 bit log Cineon format has been considered as the best compromise between the amount of data and the neces-sary bit depth. As data storage and fi le handling are constantly being improved in their capability to handle larger fi le sizes, a 16 bit data fl ow becomes reality. With 16 bit data the quality criteria are certainly beyond all restrictions concerning dynamic range and quantization. This is the reason why ARRI is developing a 16 bit data path for the ARRILASER to ensure that 16 bit data can be transferred directly onto the fi lm.
General Image QualityAs a part of the ARRILASER s image pro-cessing, specifi cally designed digital fi lters will be implemented to further minimize blooming effects. Lasers with modifi ed wave-lengths will reduce color cross-talk.
About DCI
Digital Cinema Initiatives, LLC (DCI) is a limited liability company founded by Disney, Fox, MGM, Paramount, Sony Pictures Entertainment, Universal and Warner Bros. Studios in March 2002. The purpose of the venture is to establish and document the specifi cations of an open architecture for Digital Cinema components that ensures a uniform and high level of technical perfor-mance, reliability and quality control.
Stability and ReliabilityDependability has always been a strong argument for our ARRILASER customers – and of course, when looking into improve-ments, we will also take the opportunity to update components and continue to make the ARRILASER the industry’s most reliable workhorse.
As always, an important concern for ARRI is to protect the investment of our customers and to supply future-proof equipment. Con-sequently the refi nements future HQ pack-ages will be retrofi table as far as possible.
Sibylle Maier
6K rescan of the Marcie image recorded in 2K 6K rescan of the Marcie image recorded in 4K+
4 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
The ARRISCAN software team has now released version 1.0 of the scanner‘s operating software. This major update enables a number of powerful new features of the ARRISCAN system.
ARR IL ASERHighest Quality According to DCI Specifications
ARR ISCAN Making DI Workflow Happen
With the ARRISCAN setting new standards in quality and productivity, an adequately potent software is needed to take full advantage of the ARRISCAN’s potential to fi nish DI jobs successfully and on time. Each day, facilities around the world are faced with the ever increasing demands of their clients, who not only expect highest quality images, but also data that fi t seam-lessly into their downstream processing chain. The ARRISCAN software was designed
Software can quickly become a buzzword even in today’s totally digital world, when it is able to create the most important link in the postproduction workfl ow.
from scratch to meet this challenge – client by client, day by day, and from job to job.
This latest software release provides the foundation for future updates that will tap further into the ARRISCAN‘s potential. These will include system-wide Keycode support with Keycode based scanning, as well as major speed improvements starting with the ARRISCAN Speed Package, which will be presented at IBC 2005 and launched later in September 2005, featuring 4 frames per second for 2K images at the full ARRISCAN quality.
The software development team (in alpha-betical order): Harald Brendel, Michael Cieslinski, Dr. Peter Geissler, Thorsten Har-ling, Dr. Achim Oehler, Dr. Jens Rumberg.
Elfi Bernt
Productivity
There are many productivity enhancements, such as the capability to connect multiple user interfaces to the same scanner, as well as a switchable constant illumination for easier fi lm loading. A revamped job monitor shows detailed information on progress and system status during automated job processing. Key-codes are displayed live and can be browsed in the keycode log. Keycode information is also written into the DPX header for easy conforming.
Workfl ow
The management of automated scanning has been enhanced to support parallel processing with multiple ARRISCAN units. To this end, the software introduces a new database structure for managing calibrations and settings for all scanners in the facility. Consistent results across different machines are ensured by ARRI‘s propri-etary color management technology, which allows every ARRISCAN to be calibrated to absolute standards in both color and geometry.
Usability
The most visible change is the redesigned user interface. Panels and control elements were streamlined to make all important system parameters immediately accessible. Scan jobs are managed in the new customizable job editor. As one beta tester has said, this software is „a joy to use“.
4 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
ARRISCAN
Preser v ing the Qual i t y of the Image in the DI Process
Digital Intermediate (DI)
is one of today’s most
exciting and fastest
growing technologies in
digital postproduction of
motion picture fi lms.
Most individual parts of
the process have been
around for a long time –
digital editing, scanning,
digital effects, composit-
ing, and fi lm recording.
The latest step in the
progression is to apply
the process to the entire
movie.
all details from the scene are captured a 4K scan is necessary. The trade-offs are scan- ning time per frame, data transfer times, and processing costs.
Even more important is to take care that no aliasing appears in the scans. In digital imaging, aliasing is a term used, when patterns are created in an image that were not in the original. It can be avoided by scanning in a higher resolution (oversam-pling) and resampling the image to a lower spatial resolution with a digital fi lter or scanning the image at a lower spatial resolution and using optical fi ltering. Though, optical anti-aliasing fi lter tend to produce less sharp images. See fi gure 2.
The ARRISCAN scans with a native reso- lu tion of 3K or 6K and produces in this manner an oversampled image for 2K or 4K resolution.
On the recording side spatial resolution is also an issue, to guarantee that the digital 2K or 4K fi les can be transferred onto fi lm without any losses. The ARRILASER fulfi lls highest demands by recording out high quality 4K fi les in the unsurpassed speed of 2.9 s/frame.
In spite of all advantages, DI raises concerns of cinematographers. The motion picture system has been producing excellent quality for decades and there is some fear that this quality may degrade. The traditional method for post production of motion picture was relatively simple because there are not many variables available to be controlled. Digital color correction can manipulate the image to practically any degree. Some cinematog-raphers may wonder if it can maintain the original intent as well. This article should give some insights on the important factors of containing quality in the DI process.
Spatial ResolutionScanning resolution is one key issue when it comes to scanner performance. Many tests and demonstrations have been done to show the ultimate resolution of fi lm. Most scanning is currently carried out at 2K resolution, i.e. the image is sampled with 2048 pixels per line. For comparison, HDTV has 1920 pixels per line. 4K (4096 pixels per line) scans are sometimes performed for VFX and some productions, SPIDER MAN 2 for example, have been done entirely in this format. Looking at the digital fi les in Figure 1, a 4K scan defi nitely contains more details than a 2K scan. To guarantee that
4 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
ARRILASER
Dynamic RangeDynamic range is the other key issue mean -ing the scanner needs to capture the entire density range of the negative. Even though this may contain information that will not be shown in the fi nal image, it gives head -room to change the dynamics of a shot to fi t creative requirements.
Together with dynamic range comes the question about quantization. A scanner has to translate the continuous range of densities in a negative into discrete digital numbers. The bit depth, or number of bits per channel, determines how many levels can be encoded. Usage of 8 bits results in 256 levels, a number generally considered to low for
negative fi lm scanning. One needs at least 256 levels per channel to produce a perfectly smooth tonal scale. Lower quantization breaks graduated colors into visible blocks. The effect is called banding or contouring and is illustrated in Figure 3. Color process-ing may make banding visible where the tonal variation of the original image appears to be smooth. Therefore, scans with a higher bit depth than 8 bits are needed as source for the color correction. To achieve a good compromise between fi le size and dynamic range, the Cineon format has been intro -duced by Kodak in the early 1990s. Until today it is a commonly used fi le format for fi lm scans. It uses 10 bits per channel, which equals 1024 levels, and linearly encodes
the densities of the negative above base. One code value in the cineon fi le represents 1/500 log density in the negative. That s why it is usually called a logarithmic fi le format. The base density of the negative is encoded as 95 rather than zero, which is to ensure that the complete fi lm grain is captured in the scan. Recording the Cineon image with an ARRILASER on an intermediate fi lm results in a digital IN (inter negative), con -tain ing the full dynamic range of a negative shifted by 0.19 log D. This is equivalent to an optically copied IN (inter negative).
A scanner sees fi lm transmittance, which has to be converted to density. Because of this conversion the internal bit depth needs to be higher than the output bit depth. See fi gure 4.
Using 14 bit A/D converters the ARRISCAN reaches the high dynamic range by combin-ing a low and a high frame. The scanner
Fig. 1: Comparison between 2K and 4K resolution: Both images are enlarged portions scaled to the same size. The 4K image on the right hand side displays more visible details and appears to be sharper than the 2K image on the left.
Fig. 3: A grayscale gradient in different bit depth: The upper grayscale is encoded in 8 bits, which gives 256 levels, more than the eye can differantiate. With each bit depth less the number of levels is halved. The visual effect seen in the lower bit depth is called banding or contouring.
Fig. 2: Aliasing in digital image: Both images were down-sampled from a higher resolution. To make the effect more visible an enlarged portion is shown. A proper digital filter was used for the upper image and it does not show aliasing. In the lower image no filtering was applied producing an edgy structure in the diagonal lines. Aliasing can also increase the noise or grain in an image as shown in the enlarged face.
4 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
800
600
400
200
90 % White
18 % Gray
2 % Black
0 10000 20000 30000 40000
Log
Cod
e Va
lue
(10
Bit)
Sensor Code Value (16 Bit)
takes two exposures per channel. The fi rst one (Figure 5 left hand side) captures the negative densities up to 1.0 log D. The second one (Figure 5 right hand side) is done with 10 times more light and captures the densities above 1.0. Both images are combined into a true 16 bit fi le.
On the recording side the ARRILASER is the only fi lm recorder that produces the same density range as an optically created internegative, which is usually 2.0 log D above base. It is also important that in a DI process the recording is done on interme-diate material to avoid introducing of additional grain.
Color ManagementA Cineon fi le presents a positive image but otherwise it keeps the characteristic of a negative. One could regard it as the digital version of an interpositive. It looks ‘fl at’, the blacks are too high, and the whites are too low since the additional tonal values below and above are linearly encoded as well. Like fi lm negatives, cineon images are not meant to be judged by the human eye.
Nevertheless, a colorist has to use those fi les for the color correction. This is usually performed on a CRT Display or a DLP projector. By applying a 1D-LUT (see fi gure 6) the greyscale characteristics of the image would be displayed correctly, but the colors of the fi lm would look neither like the colors of a print from the OCN, nor like the colors of the print from the recorded IN. Therefore a 3D-LUT (see fi gure 7) is necessary to display digital images that match the tone scale and colors of print fi lm.
ARRI offers 3D-LUTs for several grading and display systems.
SummaryTo maintain the image quality in the DI proc-ess a thoroughly knowledge of the process is necessary to decide which is the correct way to go. It might always be a compromise between time, budget and quality. The ARRISCAN and the ARRILASER are able to deliver the highest quality and the usage of that high quality in the complete chain gets more and more feasible by growing computing power.
This article is an excerpt of ‘The Companion to Digital Intermediate’ written by Harald Brendel. To read the full length document please visit our web side www.arri.de.
Harald Brendel and Sibylle Maier
Fig. 4: Relation between sensor signal and log encoding: About 500 16 bit code values represent the range of 800 to 900 cineon code values. If the sensor had less than 14 bit reso-lution it could not produce the desired resolution of 1/500 log D.
Fig. 5: Low and high image used in the ARRISCAN: The upper right image is captured with ten times more light than the image on the left hand side. (If you are thinking the order is reversed, remem-ber that a negative image is scanned.) The left image is shifted down by the equivalent of 1.0 log D, while the right image is shifted up. The resulting images in the second row are combined into one.
Fig. 6: 1D-LUT: In a LUT each input value is processed without looking at the values of the other color channels. In the example the red input value “50” is transformed to “70” no matter what the values in the green and blue channels are.
Fig. 7: 3D-LUT: A 3D-LUT defines for each input color triple an output triple, in the example the red input value “50” is transformed to three different output values depending on the green and blue values.
5 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
ShortCut in Copenhagen
A R R I S C A N A T N O R D I S K F I L MFirst ARRISCAN in Russia at Mosfilm
Nordisk Film ShortCut is one of the leading companies in Scandinavia for digital postproduction, and part of Nordisk Film A/S, the world’s oldest fi lm company, founded in 1906. The company operates facilities for fi lm production, fi lm laborato-ries and digital postproduction in Denmark, Sweden and Norway. Already in 1985 Nordisk started telecine and postproduc-tion services for video as a department of the Filmlaboratory Johan Ankerstjerne. In 1995 they bought equipment for digital scanning of fi lm and a fi lmrecorder.
“The fi rst 4K scanner we bought was a Kodak Genesis with Kodaks Cinesite workstation and a Solitaire CRT fi lmre-corder. A commercial for a Cocio choco -latemilk drink, was one of the fi rst produc-tions we did. After this we did 14 minutes of special effects inserts for a feature fi lm called BARARA, made in 4K, but this is history today,” says Ivan Schmidt, Film production supervisor. Nordisk Film Short-Cut has since also made numerous com -mercials and feature fi lms in 2K. “We have also bought a Philips Spirit Cine Data scanner and telecine, which we foremost use as telecine for HD-video to HDCAM SR 4:4:4 fi lm production.”
In the beginning of 2004 ShortCut decided that it was time to build a new and second line for a high quality and digital fi lm to fi lm post production. Ivan Schmidt tested all available scanners on the marked with their own specifi cally selected and produced fi lm material. After intensive testing the choice was
clear – without any doubt the results indicated an ARRISCAN.
“First of all it was its superior image quality that keeps ‘the fi lm look’. Fast scanning and winding speed, together with a very user friendly interface the reliable mechan-ical quality made the choice easy. The price was also a important factor, and we got the best value for the invested money by choosing an ARRISCAN,” says Ivan Schmidt. “Another factor were our good experiences and records with the ARRILASER fi lmrecorder”.
From the beginning on, there were two ARRILASER recorders at ShortCut. After a highspeed upgrade the capacity was doubled, and it was possible to send one of the machines to the sister company in Stockholm. Today ShortCut’s remaining ARRILASER has already exposed over 13 million 35 mm frames. And also service and software updating turned out to be absolutely fl awless.
The fact that ARRISCAN internally utilizes a 3K resolution, which is converted to 2K.
“This can easily be recorded as 4K to 35 mm IN in the ARRILASER, which gives us not only a fantastic quality but is also very cost effective compared to scanning in 4K,” says Ivan Schmidt. After scan-ning, the digital post production is done in Flame Tezro and Lustre Incinerator from Autodesk.
Hans Hansson, FSF
On August 5th 2005 the fi rst ARRISCAN was delivered to Moscow. The long-time famous Mosfi lm strongly relies on the DI process for quite a while, according to Mr. Karen Shakhnzarov, Mosfi lm’s CEO. After thoroughly testing all scanners available, there was a clear decision to choose the advanced technology of the ARRISCAN. With this latest addition, Mosfi lm completes it’s existing line of ARRI DI products. With the ARRILASER already in use for several years now, Mosfi lm completes it post-production chain that also includes a Lustre color-grading suite.
The arrival of the ARRISCAN, has turned into a news event as the postproduction facility had to be modifi ed to accommodate the new equipment. Representatives of ARRI and PROLINE were on site to move the ARRISCAN into it’s new home – with a TV team under Christoph Wanner from the German broadcast station “Deutsche Welle“ documenting the action.
Best of success to Mr. Shakhnazarov and his team.
Thomas Popp
Karen Shakhnzarov, CEO Mosfi lm, and Thomas Popp
The ARRISCAN fl oating into the lower fl oor
Done – with all feet on the ground!
Ivan Schmidt (right) and
Morten Lynge
51D 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
Michael Moncreiff, Head of Imaging
“This company understands fi lm forward and backward,” says Head of Imaging Michael Moncreiff, who was brought on three years ago by Pacifi c Title‘s President Phil Feiner to grow the scanning and recording business. He explains that the company made a con-scious choice to start out focusing on scann-ing and recording as a service. “When I came onboard,” he recalls, “the bigger guys were focusing on digital intermediate work at the time so outside vendors like us had time to grow. Now we service about 50 other companies around town.”
“We‘re open twenty-four hours a day, seven days a week. We offer phone service from 7 am to midnight every day. We embrace fi lm and we understand the concerns of the major clients who rely on us. The people at ILM came to us with the bulk of their scann-ing and recording because they are impress-ed with the quality and the service we offer. A lot of times on big fi lms, the work is being done until extremely close to the release date and our clients know we‘re here at the 11th hour for them.”
The impressive list of features that have passed in and out of the digital realm at the facility includes the Steven Spielberg block-buster WAR OF THE WORLDS, the fourth
HARRY POTTER fi lm and the second and third installments of the Disney franchise PIRATES OF THE CAR IBBEAN. Most of the major studios have had fi lm scanned and fi les recorded out at Pacifi c Title.
The facility also does a signifi cant business recording out trailers, which are almost always fi nished these days as digital fi les in either 2K or 4K resolution, and theatrical commercials, which generally come in as standard defi nition or high defi nition video formats to be fi lmed out on the company‘s ARRILASERs, “We do ten trailers a week,” Moncreiff says. “We scan the fi lm, assemble, and color correct in our digital intermediate bay and then shoot out multiple negatives with our ARRILASERs.”
Moncreiff stresses the advantage of not being tied to a specifi c lab, as the major digital intermediate houses now are. Recorded nega-tives can be calibrated to the specifi c chemis-try at Deluxe, Technicolor or Hollywood Film and Video, depending on where the custo-mer plans to do the photochemical work.
“No matter where you‘re doing your process-ing and printing,“ he says, “you can be assured that your fi lm will work with their soup. Clients can come to us as a neutral party and we can go to any lab seamlessly.“
In order to ensure perfect calibration with each lab, Pacifi c Title records out fi lm every day and sends it to each lab for processing in order to keep track of even the slightest variance in density resulting from minute temperature or chemistry changes at the lab.
Moncreiff reports that he was involved in the company’s fi rst ARRILASER purchase as soon as he began setting up the scanning/record-ing service. “It was an easy decision to go with ARRILASERs,” he says, “because of their image quality and reliability. The ARRILASER is just a very stable machine. So we bought two right away. Then we scaled up to four, and then six. Right now, we have all six going every night. We put half a million frames through our ARRILASERs each week and we‘re about to add two more.”
Because more and more feature fi lms are being fi nished digitally, studios are taking seriously the issue of archiving this material. Since no digital format has yet been invented that is considered truly archival by the studio experts, these fi lms are still preserved the way fi lms have been preserved for decades: as black and white separation masters. YCMs (which capture the blue, red and green record respectively, on strips of nearly indestructible black-and-white fi lm) are still
Pacifi c Title has been a major player in the post-production industry almost since that industry‘s inception. Now in its 87th year, the company‘s sister facility – Pacifi c Title Imaging, located a few blocks from the main building in Hollywood – offers state of the art services for clients working in the digital realm. The services include full digital intermediate work, digital separation masters for archival purposes and it continues to function as a major scanning and recording bureau for many major studios and visual effects houses, including Industrial Light and Magic, which recently de-cided to stop performing those services internally.
Pacific Title
Pacifi c Title Imaging – the studio
5 2
the method of choice for archivists. When stored in cool, dry environments, these easi-ly recombined elements are expected to last centuries.
But when the original (fi rst generation, so to speak) versions of these images are actually digital fi les, it makes a great deal of sense to generate these YCMs digitally. Doing this properly, so that the yellow, cyan and ma-genta records actually recombine perfectly, is more diffi cult than it might seem. It requires a precise understanding of the relationship between the fi lm and the digital color spaces involved.
“You have to be very careful about gamma issues,” says Moncreiff, describing Pacifi c Title’s proprietary, patent-pending process to divide the color information into the three
channels and record it out using ARRILASERs into three perfectly registered strips of archi-val black-and-white stock. “When you re-combine them, the goal is to make an exact duplicate of the approved answer print every-one loved before duplication.”
This can be especially diffi cult because the approved answer print very often contains some fi nal color adjustments that were achieved after the completion of the digital intermediate work. “A lot of digitally timed fi lms still get fi ne-tuned in the lab after the fi lm out,” Moncreiff says. “Ideally, the YCM should refl ect those changes too. So another piece of our patent pending process is to factor that in and make [the YCM refl ect] what the print looks like, not just what the color corrected fi les look like and that can be pretty challenging. Then, as the fi nal step, we process the black-and-white separa-
tions ourselves in our own lab that we use only for this kind of work. We use a specifi c method for the lab work that is also part of our unique process.”
With digital technology changing so rapid-ly, it is very possible to fi nd that the original digital fi les of a show done just a few years ago are now completely unsupported. So to further help service the archiving portion of its business Pacifi c Title also maintains equipment to play back any of the evergrow-ing digital storage formats. “We have LT01, LT02, DTF1, DTF2, DLTs and all the rest of them,” says Moncreiff. “The company started buying Metrum drives in the early 1990s and we still maintain them.”
Though Pacifi c Title is not interested in moving exclusively into digital intermediate work, it
does possess a state-of-the art DI suite and employ a highly respected colorist. Films such as THE RING 2, EARTHLING and DEUCE BIGELOW 2 have all been done in the com-pany‘s DI suite with Colorist Doug Delaney at the luster color correction system. “We want to do more DI,” says Moncreiff, “but we also want to remain a boutique to make sure we can give our undivided attention to the fi lms that come here.”
Whether scanning, recording or doing digi-tal intermediate work, Moncreiff stresses the importance of top-notch service. “When we were doing the fi lm recording for Michael Bay‘s sci-fi action T H E I S L A N D,” he says, “we spoke with the people at Company 3 [the site of the digital coloring sessions] virtually every hour. They would send color cubes here and we would shoot color passes for them with the ARRILASER
very frequently so we could both check each other. This kind of work has to be so precise and it‘s always good if we can hold hands through the process.”
The time-sensitive and expensive work in-volved in the digital intermediate process, he adds, is only as valuable as the image pro-cessing that goes into getting those frames into and out of the digital realm. “Our philo-sophy is we want to match the negative as closely as possible,” he explains. “We‘re very careful with the way we scan or sharp-en – or don‘t sharpen – and generally mani-pulate the images that pass through here. And I think that really true fi lm purist‘s ap-proach has paid off because we win all sorts of jobs purely as a result of blind bake-offs. Filmmakers look at our work and the compe-tition‘s without knowing who did what, and
time after time they prefer the work that came out of Pacifi c Title.”
Moncreiff would like to see the company continue to grow as it has since his arrival.
“We want to do ten to twelve digital inter-mediates a year,” he says. “And we‘d like to grow our trailer and theatrical commer-cial work and really build up our YCM services too.”
But, Moncreiff stresses, the company‘s core business has been, and will continue to offer top-level scanning and recording services to high-end clients. “We‘ve been very successful with the service bureau portion of our business and we have every intention of continuing to offer that level of service. That‘s why we‘re about to add the two new ARRILASERs – to continue to support the growing demand.”
Jon Silberg
CMY-Separation of fi lm image in the respective colors
5 3
Jürgen Schopper
A Fairy Tale
On the Hunt for a Thief
“THE ROBBER HOTZENPLOTZ is a comedy fairy tale. We wanted this to be a story with a big cast, unusual scenery, spectacular costumes and many special effects, and that is exactly what we did,“ beams a proud Ulrich Limmer, producer und co- scriptwriter, whose enormously successful family entertainment fi lms include THE SAMS and THE SAMS IN DANGER. “I am especially happy about the way everyone
on this team, from our outstanding actors to our technical crew, got personally engaged and had their hearts in their work.“
The fi lm version of the legendary classic by author Otfried Preußler is a co-production of Ulrich Limmer’s Collina Filmproduktion GmbH and the fi lm’s distributor, Constantin Film. Funding was also provided by the FFF (FilmFernsehFonds Bavaria), the FFA (German Federal Film Board), the BBF (Bayerischer Banken Fond) and the BKM (Federal Government Commissioner for Cultural and Media Affairs).
Ulrich Limmer was able to win over the experienced and successful Gernot Roll to be the project’s director and DoP. Together with his crew, Roll approached it with great enthusiasm: “For me, fi lmmaking is an eternal childhood.”
THE ROBBER HOTZENPLOTZ was fi lmed over 42 days in the Franconian cities of Seßlach and Burgpreppach as well as in Prague, using 35mm fi lm in the 3-perforation process. Manfred Brey was entrusted with the weighty responsibility of production manager.
Ulrich Limmer and Manfred Brey turned to Angela Reedwisch und Walter Brus of ARRI Film & TV to support them in the making of THE ROBBER HOTZENPLOTZ. All the services ARRI offers were used. Three 35mm 3-per-foration-cameras – a 535B, ARRICAM ST, and ARRIFLEX 435 with LDS Ultra Primes and a 24–290 Angenieux Optimo Zoom as well as the ARRIMOTION system were supplied by ARRI Rental in Munich. Lighting, fi lm lab services, scanning, mixing, an AVID-Adrenalin Suite, and of course the complete Digital Intermediate also came from ARRI. The fi lm was color graded entire-ly in 2K resolution in the Lustre/Barco suite.
Particular attention was given to the music for THE ROBBER HOTZENPLOTZ, so the renowned fi lm-composer Nicola Piovani, who won an Oscar for his music to Roberto Benigni’s fi lm LIFE IS BEAUTIFUL, was brought onboard to write the fi lm’s score.
‘Kasperl Theater’, alias ‘Punch and Judy’The sub-title of Otfried Preußler’s THE ROBBER HOTZENPLOTZ is ‘a Kasperl story’, underscoring the tale’s roots in the ‘Kasperl Theater’, a classic German form of
“I’m known far and wide for stealing what catches my eye” brags the great robber Hotzenplotz (Armin Rohde).
If Hotzenplotz had not stolen Grandmother’s (Christiane Hörbiger) beloved coffee grinder, then Kasperl (Martin Stührk)
and Seppel (Manuel Seitz) would not have set out on their perilous search, trading hats, “so that the thief
cannot recognize us.“ Then perhaps the town watchman Dimpfelmoser (Piet Klocke) and the clairvoyant Madame
Schlotterbeck (Katharina Thalbach) might not have met (together with the dog ‚Wasti’, who was transformed into
a crocodile), and the fairy Amaryllis (Barbara Schöneberger) would have remained forever imprisoned in the dungeon
of the evil wizard Petrosilius Zwackelmann (Rufus Beck). Yet in the end, everyone receives just what they deserve:
fairy herbs, potatoes, a miniature castle, a gold wagon full of sand – and Grandmother’s beloved coffee grinder.
THE ROBBER HOTZENPLOTZTHE ROBBER HOTZENPLOTZ5 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
Director and DoP Gernot Roll, the robber Hotzenplotz Armin Rohde and Producer Ulrich Limmer (f.l.t.r.)
Otfried Preußler approved of – and enjoyed – the fi lm’s script.
Ulrich Limmer: “It was our goal to retain the original story’s fairy tale quality, its playfulness, its naiveté. THE ROBBER HOTZENPLOTZ is set in a time when thieves still existed who were satisfi ed with stealing coffee grinders. Modernizing the story would have been the death of this film. A fairy tale is timeless.“
Analog and Digital MagicFor THE ROBBER HOTZENPLOTZ, Gernot Roll consciously employed simple, long-standing special effects techniques to create the fi lm’s naive, fairy tale look: stop-trick, 3M refl ective gels for the fairy herbs, real steam and smoke, mini-explosions,
double-exposures, and numerous day-for-night shots, many of which were inspired by the long tradition of Russian and Czech fairytale fi lms.Nonetheless more than 100 computer effects were also added to the fi lm at ARRI Digital (post-production producer: Philip Hahn), such as title and credits, blue and green screen composites, wire removals, digital matte paintings, as well as complex computer animation. But all these costly digital tricks were never employed just to create a ‚special effects fi lm’ but to tell a story – the ‘Kasperl Theater’ story.THE ROBBER HOTZENPLOTZ opens in German theaters on March 30th, 2006.
Ulrich Limmer and Gernot Roll were interviewed by
Prof. Jürgen Schopper
Armin Rohde, Gernot Roll, and Camera Operator Michael Praun (f.l.t.r.)
Credits
Director and DoP: Gernot Roll
Cameraoperator: Michael Praun
Gaffer: Harald Hauschildt
Sound Mixer: Tschangis Charokh-Zadeh
Editing: Horst Reiter
VFX Supervisor / Creative Director: Prof. Jürgen Schopper
Digital Color Grading: Traudl Nicholson
children’s puppet theater. And indeed all characters of the typical ‘Punch and Judy story’ are there: the thief, Kasperl and Seppl, the grandmother, the watchman, the evil wizard, the fairy, the clairvoyant, and even the crocodile. But as Gernot Roll explains: “The Hotzenplotz stories are naive, in a positive sense, naive like the fairy tales that are the place where children go to nurture their dreams. We tried to bring that naiveté to our film.“
The comedy of THE ROBBER HOTZENPLOTZ arises from the quirky nature of the story’s characters: A thief that begins his thievery punctually each morning and with equal punctuality takes his midday break, a wizard who fl ies on a magic cape but, despite his all of his powers, cannot peel potatoes, a fairy who worries that her beauty will fade, and a country sheriff who solves his cases with the help of a clairvoyant who herself has transformed her dog into a crocodile.
A worldwide success, the Hotzenplotz stories have been translated into more than 34 languages and have sold more than4.9 Million copies.
‘Kasperl Film’The script generally remains true to the original books but combines them to one cohesive story with all the books’ charac-ters. While the fi lm takes some small artistic license with the original story, author
THE ROBBER HOTZENPLOTZTHE ROBBER HOTZENPLOTZ5 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
Digital Intermediate and the New Lustre Grading Suite at ARRIAfter completing one of Europe's most modern sound mixing studios in 2002, ARRI undertook the
construction of a new project for the postproduction of features: a state-of-the-art color-grading studio for
the Digital Intermediate (DI) process was recently opened at the Munich facility, featuring cinema-quality
projection and seating for twenty. Thus a strategic and service oriented postproduction concept became
reality: A large screen and a 2K Barco projector allow clients to optimally color-grade their films under
‘film theater’ conditions. Comparable facilities had hardly existed in Europe until now.
ARRI began to move beyond the HD track for digital color-grading with the release of the ARRISCAN in 2004. The workflow for high resolution post-production of the high- est creative and technical standards is now carried out entirely on a digital 2K/4K platform.
Digital Intermediate with Lustre TechnologyThe new color-grading studio at ARRI Munich is equipped with the Lustre software from Autodesk. This color-grading software is based on the printer lights of the traditio- nal lab and enables the seamless combina-tion of various media and materials. “The processing is done with the same red, green and blue lights as in the traditional process” explains Henning Rädlein, Head of ARRI Digital Film. “However, the Lustre software also permits selective work on specific areas in the frame, or over time, and there- by achieves a much higher level of preci- sion. There is no need to correct the entire scene or frame – one could easily correct the saturation or just individual colors in a particular scene. Another great advantage of Lustre is that you can immediately see the results in a preview mode, and the result is reversible, i.e., you can ‚correct, preview, undo’, until the client is 100% satisfied.” While cinematographers are certainly well versed in traditional color
grading, this digital variation of that process is more precise.
ARRI colorists are experienced in both the traditional analogue workflow and the digital color-grading. They are trained by colorist Florian ‘Utsi’ Martin, who knows the system inside out: He worked on all three parts of THE LORD OF THE RINGS with the color-grading team in New Zealand, and has color-graded numerous local and international feature films using Lustre after re-joining ARRI.
So far the new system was employed at ARRI on the post-production of the follow- ing features, to name a few: TRISTAN & ISOLDE (Prod.: 20th Century Fox, Director: Kevin Reynolds, DoP: Artur Reinhart), VOM SUCHEN UND FINDEN DER L IEBE (Prod.: Diana Film/Fanes Film; Director: Helmut Dietl, DoP: Jürgen Jürges), SIEGFRIED (Prod. Constantin; Director: Sven Unterwaldt, DoP: Peter von Haller), DER FISCHER UND SEINE FRAU (Prod. Constantin; Director: Doris Dörrie, DoP: Rainer Klausmann), NVA (Prod.: Boje Buck; Director: Leander Hauss- mann, DoP: Frank Griebe).
DER FISCHER UND SEINE FRAU & Digital IntermediateDirector Doris Dörrie was able to get a first
impression of the Lustre System on the post-production of her feature DER FISCHER UND SEINE FRAU: “I was overwhelmed by the result, and also by what one can do in digital post-production e.g. completely change the look of an image with Lustre. Such precise and extreme manipulation simply is not possible with optical methods. Once one has worked with such digital systems, one never wants to work with the old methods again.”
According to Dörrie, the look was already decided on before production commenced.
“But how far one can go to extremes is always a question of technology,“ DoP Rainer Klausmann notes. However, the decision to work with DI and Lustre came later, in part because the Second Unit had to create many time consuming underwater shots in HD. “We needed shots of fish that swam alongside each other and breathed as though they were speaking, so that we could sync up sound to the lips of the fish later during sound-mixing. Also, the colors had to change and strengthen from shot to shot, to give it all a fairytale look. It was just not possible using analog technology, but the Lustre system was superb,” reports Rainer Klausmann, whose films DAS EXPERIMENT and
5 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
Digital Intermediate and the New Lustre Grading Suite at ARRI
DER UNTERGANG were post produced using analog systems.
“We never would have thought that a color-grading system would give us so many crea-tive opportunities to manipulate the entire color scheme. This was especially impor-tant for this feature and all its fantastyelements. Color-grading with Lustre was insanely good, thanks also to the wonder-ful work of our digital colorist, Traudl Nicholson. It was wonderful to work at the limit, with cutting-edge technology and a really competent team,“ says director Doris Dörrie. „I wish I had had these opportuni-ties earlier, but they simply didn’t exist. The Lustre software makes so much possible”, confi rms Rainer Klausmann.
Asked whether she is now ‘addicted to the new creative workfl ow’, as Helmut Dietl announced after color-grading his fi lm VOM SUCHEN UND FINDEN DER LIEBE with Digital Intermediate and Lustre technology, she adds: “Let’s put it the other way around: I’m worried when there isn’t enough money in a project to go the digital route, and one has to go back to traditional post-produc-
tion. Because once you know about all the possibilities in DI you never want to miss them again.“
Cinematographer Frank Griebe, who ex-perienced digital color-grading at ARRI on the feature NVA, concurs, “I was amazed, fascinated and impressed by the inexhaust-ible creative opportunities this system offers, opportunities that simply did not exist with traditional color-grading in a fi lm lab.”
ARRI offers its clients two alternative digital color-grading packages: inexpensive pri-mary color correction at Lustre Grading Stations using high-end monitors, and the Deluxe package in the big Lustre Master Station with secondary color-grading and theater feeling, large screen and 2K projector.
Primary color grading – digitally in the Lustre Grading StationEven Sepp Reidinger, head of ARRI’s film lab is convinced of the advantages of digital color grading: “Let us start with the primary package, where a primary color-correction is performed on PC using high-
end monitors in the Lustre Grading Station. A colorist using this system can alter the color values both dynamically and in the most minuscule steps (RGB-grading). For example, the colorist can change white value, black value, gamma settings, image density and saturation. You cannot do all that with an analog system. Digital color-grading in Lustre simply does by far more than the traditional analog route in the fi lm lab. It is not better than a lab, but it is better than traditional analog color-gra-ding. And these advantages especially come to bear in the primary grading process.”
High end color grading in the ‘Lustre Suite’The Deluxe package, where the fi lm gets its fi ne-tuning, is performed under real cinema conditions. The Lustre Suite is 80 square meters large and has seating for twenty. Clients view the results of the grading pro-cess on a 26 square meter screen served by a Barco DP 100 projector.
The state of the art grading suite with theatre projection
VFX-Shots (explosion), for NVA, 3D animatedat ARRI by Markus Drayss
5 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
Henning Rädlein comments:“We are often asked: ‘why the large screen and projec-tor?’ Clearly, to approximate the fi lm’s later projection size as closely as possible. After all, we are making feature fi lms intended for the big screen. Therefore we want to screen the image as large as possible. The client should have the proper sensation and experience, should be immediately taken in by a projection that encompasses their entire fi eld of view. The emphasis is
‘now’, not ‘later’ like in the traditional route, where you had to wait for a print to seethe fi lm in the correct gamma in the ARRI cinema.“
The projection screen is 5.6 meters wide and suitable for 1.85 and Cinemascope. The Barco DP 100 projector is used as a reference projector with settings specifi -cally for fi lm grading. It also can work with 3D lookup tables in realtime. “This means that the color rendering as it will be later seen on fi lm can be simulated ‘on the fl y’, in realtime. To phrase it differently, the client can see from the start how the fi lm recorder and raw stock will react in the fi nal stage of the post-production chain. Since digital projection and fi lm projection are closely matched, we can see exactly what the end result will look like,“ Henning Rädlein promises.
As Dorrie Dorrie can confi rm: “At fi rst I could not believe it, but this system allows us to experience the film the way the audience will while still working on it. Previously, this type of work was a kind of interpolation – one had to have the skills to imagine what the fi nal product would look like on screen. When you use a large screen and projector to view the grading process, you see everything 1:1, the way it will be, and that just simplifi es the work enormous-ly.”. Rainer Klausmann was also impressed by the performance of the Lustre Suite:
“I was amazed that the digital projection is truly identical to the release print, and it’s all viewable in the proper size at the ARRI theatre. The Lustre suite is simply like a little
theatre.” DoP Frank Griebe had a similar experience: “Grading on a big screen with the 2K projector offers a completely new and amazing way of working.”
Theatre projection or monitor?ARRI digital colorist Rainer Schmitdt notes that sometimes clients who work this way the fi rst time have problems with the differ-ence between a light-emitting source like a monitor, and the illuminated, reflective screen, because so far they had to work on a monitor only. For years it wasn’t even technically possible to render images on screen and on monitor identically. Only now has this become feasible with the Color Management System (CMS) that was developed by ARRI and is now in use at the new facility.
Advantages in workfl ow – precise and effectiveApart from the digital primary correction, e.g. accurate color shading, variable satur-ation, adjustable gamma, black and white values, the secondary step allows specifi c areas in the frame to be easily and quickly modifi ed with so-called shapes.
“You simply create the desired shape with a few mouse clicks,” colorist ‚Utsi’ Martin ex-plains. “This way oval, triangular or rectan-gular shapes, even complex hand drawn masks, can be crossfaded and animated during the shot. Think about the shape of certain object or of a face.”
Henning Rädlein continues: “To stick with this example: you can change a person’s face, give it a different color, even make it smaller; basically everything can be shaped dynamically. The advantage: you can see this mask right away, subtract it from the background, or combine several shapes. If you don’t like it – no problem, just undo it. It works in quite a similar fashion as in Pho-toshop on your computer. It is also possible to perform a secondary color-correction by modifying only a specifi c color or color-range. This option isn’t available with the
primary version where the entire image is just modifi ed as a whole, like applying a color fi lter.“
ARRI defi nes the Digital FutureAs far as marketing is concerned, Henning Rädlein points out that ARRI is making a statement with the digital grading suite and is sending a signal for in-house activities as well: “We won’t wait until nobody wants to go the traditional post-production route any-more, because we see where it is heading. In the future color-grading for most features will be done in theater-like digital grading suites. Today we are already able to offer this setting to our clients – with a projector and a big screen, says Sepp Reidinger.“
The Master-Station as color-grading theaterAll ARRI Lustre stations are networked to-gether and have 26 Terrabyte total storage capacity. “Theoretically, we could work on fi ve feature fi lms of 100 minutes each and with 2000 edits. We don’t do that, but we do keep completed fi lms on the drive for some time, since subsequent short edits are often necessary for television or foreign distribution. And then there are the trailers and teasers, which the system creates more or less automatically once we enter the EDL,” explains Henning Rädlein. This also offers a decisive quality advantage: There is no need to duplicate the fi nal print to
Director Doris Dörrie (right) – DER FISCHER UND SEINE FRAU
5 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
ARRIBA – the Online Portal
edit it into a trailer. “Trailer, teaser and all versions of the fi lm have the same quality and appropriate color timing as the release print. There are no second and third gene-ration prints of increasingly diminished quality. This is a very important point, since the trailer is often one of the film’s most important advertising tools, and it should not be of lesser quality than the fi lm itself.”
Considering the future, the collaboration with ARRI and the digital post-production at ARRI Digital Film, Frank Griebe sums it up:
“Grading Boje Buck’s feature NVA was the fi rst opportunity for me to work on a Digital Intermediate in the new grading suite and the Lustre system with Traudl Nicholson,big screen and 2K projection – and I’m amazed! That’s why I’m looking forward to my next project as DoP, the Constantin Film production DAS PARFÜM with director Tom Tykwer, where digital color-grading is already scheduled.”
Jochen Hähnel
Frank Griebe with Director Leander Haussmann
Satisfied ‚Lions‘ –ARRI says Thank You
The 14th annual ARRI brunch took place in Cannes during the Lion Festival. On the guestlist were the most renowned fi lm pro-ductions, agencies and directors – all of them from the commercial sphere. Besides the first class catering, the event, on the terrace of the Carlton hotel, offered the possibility of making contacts and/or discussing future projects in a pleasant atmosphere. Happy faces, satisfi ed appe-tites and hopefully many new ideas and
Ernst Kalff, manager and producer of Rapid Eye Movement (REM),interested in the D20
projects were the result of the successful celebration. ARRI’s Commercial Department would therefore like to wholeheartedly thank its clients.
Julia Eberl
ARRIBA is the name of the new ARRI/commercial internet data exchange plat-form. From now on our customers can easily up- and download data and files, e.g. commercials. This brings tremendous advan-tages, both logistically and in regard to time: There are no shipping times anymore when screening a commercial in another city or country. Just upload the desired commercial and watch or download them through the password protected area of ARRIBA.
ARRIBA serves as a portal as well as an archive. It is almost impossible to exceed
the provided storage capacity. ARRI customers can upload any spots that have ever been produced and archive them. It is also possible to upload a single spot into the password protected area to make it available to clients without allowing access to the entire archive.
ARRIBA is an ARRI in-house development and as such optimized for the requirements of ARRI customers.
Contact: Philipp Bartel,phone 089/3809-1514, [email protected]
The design was created entirely on the In-ferno from a single white frame and one mask, with the color scheme maintaining the ARRI corporate identity. The fi nal result is also featured on the Showreel-DVD.“
www.arricommercial.de
Julia Eberl
New Homepage„Following an extensive facelift, the internet site of the Film & TV Commercial Depart-ment welcomes its visitors with a new look. On the new homepage one may view the suites and examples of the latest spots and get to know the complete team. The site is clearly structured and – despite the attrac-tive animated elements – avoids being to playful.
NVA
5 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
ARRI’s exciting new fi xture design provides an optimum choice for productions
requiring maximum light output. 50% brighter than a 12k Par;
15° – 50° continuous beam spread; Arc like shadow quality and a lensless
design makes the ARRIMAX 18/12 – a new concept in location lighting.
ARRI
MAX
18|12
Combining the variable beam spread of a Fresnel and the light output of a PAR, the ARRIMAX uses a unique refl ector concept for beam control, which eliminates the need for spread lenses. The optical system with its 580mm (22,8”) diameter specular, fl at-ted refl ector is adjustable and provides continuous focus from 15° – 50°.
Because the ARRIMAX does not require a set of spread lenses, the shadow quality is sharper and easily cut. Initial customer responses have compared the light quality to arc lights.
New 18,000W Single Ended lamps use a sturdier GX51 lamp base for which ARRI engineers have designed a special lamp
mechanical stress from the lamp pins, which now serve only as an electrical connection. The lamp clamping mechanism is self-aligning and uses a rugged, recessed lamp lock handle. To ensure that crews can easily use 12,000W lamps or versions of 18K Single Ended lamps with G38 bases, the new lampholder accepts either lamp type with no modifi cation or adjustment required.
ARRI engineers created an optimized solu-tion for the optical system, which placed new demands on the refl ector manufactur-ing processes. Supported by computer simulation tools, optical specialists, and industry experts, a unique refl ector design soon became reality. Similarly, the fi xture’s mechanical confi guration provides proper
ARRIMAX 18|12
cooling performance without increasing target dimensions. Based on collaboration with the Fraunhofer Institute, ARRI Lighting developed a convection cooling system, which is able to offer accurate temperature management.
The handling of big lights is always a priority issue and the ARRIMAX design team responded to many customer requests. A new stirrup design keeps the fi xture profi le as small as possible while the ‘butterfl y’ handle design allows crews to carry the ARRIMAX easily. A tough base skid protects the unit and lamp access via ARRI’s patented dual safety glass door is quick and simple.
The Most Powerful HMI Light on the Planet!
6 0 L i g h t i n g
ARRIMAX 18|12The ARRIMAX 18/12 on the set of the new Steven Spielberg film MUNICHMichael Bauman on the set of the new Steven
Spielberg film MUNICH with the ARRIMAX 18/12
The Most Powerful HMI Light on the Planet!
ARRIMAX on the set of the new Spielberg film MUNICHHollywood gaffer Michael Bauman (THE ISLAND, RAY, TRAINING DAY) conducted the first ARRIMAX 18/12 field tests while work- ing on Steven Spielberg’s historical thriller MUNICH, Mike used the ARRIMAX on several locations for DoP Janusz Kaminski ASC.
At first glance, the crew remarked on the new fixture’s unique appearance and sleek design, but it was the unit’s optical perfor- mance that really impressed everyone. For one particular setup, the single ARRIMAX provided the needed key light that other- wise might have required multiple overlaid sources.
On the following day, Mike was particularly vocal about the light readings remarking:
“...the output and the throw is fantastic”. Additionally, the shadow rendition of ARRIMAX prompted Mike and others to cemmt that the image reminded them of “...the crisp shadows you get from the old Arc lights”. ARRI owes a debt of gratitude to Mike Bauman and his crew, particularly Best Boy
Tommy Dangcil, for using the brand new ARRIMAX in actual production conditions on such an important location. Also, very special thanks to the production company and ARRI Rental whose involvement with this project made our first field test remark- able.
John Gresch
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ARRIMAX 18/12 Technical DataWorking principle: Open Face with parabolic facet refl ector
Lamphead construction: Casted front- and backparts; Aluminium profi les; ARRI eXtreme cooling system
Finish: Anodized Aluminium profi les (silver); painted castings (blue)
Stirrup: Aluminium stirrup, 28mm spigot
Dimensions (L x W x H): L=852mm (with barndoor brackets 942mm) x W=780mm x H=809mm
Power load: 18,000/12,000W Universal Power
Lamp socket: GX51/GX38 (ARRI Dual Pin width support)
LCL (18/12kW lamps): 260mm
Usable lamps: GX38 12,000W SE GX51 12,000W SE GX51 18,000W SE
Average lamp lifetime: 300hrs
Protective measure: Protective class I, protective rate IP 23
Max. ambient temperature: 45°C / 113°F
Max. operating tilting angle: ± 90°
Spigot mounting: ø 28mm DIN 15560/T24 ZA
Colour temperature: ~5,600 K
Colour rendering: Ra > 90
Flicker: Flicker Free (~1,5%)
Safety: Interlock microswitch on front door for disconnecting all power-loaded connections; safety cable attachement
Control: Illuminated ON/OFF switch; hour counter
Beam spread/control: 15°-50° HPA
Accessory insert size Ø: 740mm / 29”
ARRIMAX 18|12ARRIMAX 18|12ARRIMAX 18/12 Technical Data
6 2 L i g h t i n g
Pick Hit Award for the ARRI X Ceramic 250
ARRI STUDIO CERAMIC 250 At IBC 2005 ARRI Lighting featuresthe new ARRI STUDIO CERAMIC 250.
Ceramic technology provides aninteresting solution for professionallighting designers. ARRI fi xtures designed with this technology dramatically reduce transmit-ted heat, provide 3200K light, offer long lamp life and draw minimum power.
After the successful ARRI X CERAMIC 250, ARRI Lighting developed a Fresnel style Ceramic fi xture, which has been equally received. Modeled after the ARRI 2000 tungsten Fresnel, the Studio CERAMIC 250 evolved into an optimized and balanced lamphead. User benefi ts are similar to the ARRI X CERAMIC 250 design: lamp performance equal to a 1kw halogen lamp, cooler housing temperatures, lower power consumption, higher lamp life, ‘hot’ restrike, integrated ballast, 3200K color temperature, and a Color Rendering Index >90.
ARRI Ceramic Technology - a new choice!
Technical DataMains voltage range: 90–265V / 50–60HzDimensions (H x L x W): 327x305x359mm / 12,9x12x14,1”Weight without accessories: 8,2kg / 18lbs; with lamp Protective measure: Protective class I, protective rate IP 20Max. ambient temperature: 45°C / 113°F for full lamp performanceMax. surface temperature: 80°C / 176°FRecommended tilting angle for lamp: According to lamp manufacturer (burning position: any)Max. operating tilting angle: ± 90°Spigot mounting: ø 28mm DIN 15560/T24 ZA Colour temperature: 3200 ± 100K Tc variation: ± 100K(vertical/horizontal burning position) Colour rendering: Ra > 90Flicker: Flicker Free, 90Hz (square wave)Barn door insert size Ø: 245mm / 9,6” Accessory insert size Ø: 229mm / 9” Lens Ø: 175mm / 7”
Photometric Data (3m / 10ft)Flood Spotlx / fc HPA [°] lx / fc HPA [°]1080lx / 100fc 57° 7500lx / 700fc 10°
ARRI STUDIO CERAMIC 250 with lamp CERAMIC ST 250 HRARRI STUDIO CERAMIC 250, manual, Schuko connector, blue/silver L1.86500.DARRI STUDIO CERAMIC 250, manual, Schuko connector, black L1.86505.DARRI STUDIO CERAMIC 250, manual, Hubble connector, blue/silver L1.86500.AARRI STUDIO CERAMIC 250, manual, Hubble connector, black L1.86505.AARRI STUDIO CERAMIC 250, manual, bare ends, blue/silver L1.86500.BARRI STUDIO CERAMIC 250, manual, bare ends, black L1.86505.BARRI STUDIO CERAMIC 250, P.O., Schuko connector, black L1.86505.KARRI STUDIO CERAMIC 250, P.O., bare ends, black L1.86505.I
PRIMEDIA’s millimeter magazine, the pro -fessional resource for production and post, announced the 15 winners of the annual NAB Pick Hits Awards. These winners were selected during the annual National Association of Broadcasters convention from among hundreds of new products on display.
“We’re very pleased to offer the Pick Hit Awards,” said millimeter publisher Scott Schwadron. “Part of our mission is to provide insight to our readers on the trends and equipment that are impacting the
industry and their art. The Pick Hit Awards help us to spotlight some of the gear that will affect their work in a signifi cant way.”
The Pick Hits are chosen by a panel com-prised of millimeter senior editors, contribut-ing editors who are also veterans of fi lm and television production, and a select group of industry production and postpro-duction professionals. Pick Hits winners are selected for breaking new grounds for work-fl ow innovation, price/performance, image quality, and/or potential to drive artistic progress.
“Our Pick Hit judges have had a good record over the years of identifying products that would have long-lasting impact either by changing workfl ow, increasing image quality or simply by offering new opportu-nities that artists were able to capitalize on,” says Editorial Director Cynthia Wisehart.
“Our judges have seen and used a lot of technology and they have a passion for seeking out the best new tools.”
Franz Wieser
6 3L i g h t i n g
Paul McCarthy’s “Lala Land – Parodie Paradies”ARRI Ceramic Technology lights up the art ist’s latest project
With an oversized inflatable flower bouquet mounted on the roof of the
Munich House of Art, Paul McCarthy’s exhibition LALA LAND – PARODIE
PARADIES welcomes its visitors. The exhibition is one of his most extensive
artwork displays ever. Part of the exhibition is a new installation with the
title F - FORT AND LAMP WAGONS, a replica of a western fort that is
planned to go on a worldwide tour as an ongoing project. Paul McCarthy
is one of the most influential artists of his time. He and his son Damien
(as well as the rest of the McCarthy family) had a great time in Munich,
doing some HD-shooting for the new ‘F-Fort’-Project. His exhibition was
opened to great acclaim a day ahead of the Biennale in Venice – also
demonstrating Munich’s expertise in modern art. But when it comes down
to the technology involved in his films and projects, Paul McCarthy has
always had a clear sense of the cutting edge and what suits his needs best.
A passion he has obviously already passed on to his son Damien, who is
also involved in his new project.
Paul and Damien McCarthy
6 4 L i g h t i n g
Paul McCarthy’s “Lala Land – Parodie Paradies”ARRI Ceramic Technology lights up the art ist’s latest project
Hagen Keller, the lighting designer for Paul McCarthy’s ‘F-Fort Party’, gave us a tour through the new ‘set’ and explained how the lighting setup became part of the actual art installation.
?: The lighting design looks like a typical location setup. What was the reason for such an installation?
Hagen Keller: At the beginning the setup was supposed to light only the video shoot, which is now a video presentation that forms part of the exhibition itself. So we did the lighting setup and Paul arrived just as we had finished. He liked our setup so much that he decided to integrate the lamp heads, the stands, all the cables and the power distribution boxes into his exhibit. So all you see here is essentially the same setup we used at the beginning of July for the video shoot.
?: Can you tell us a bit about the chal-lenges of lighting artwork installations?
Hagen Keller: The scenery we had to light is basically a western fort with covered wagons standing in front and next to it. The entire exhibition is supposed to be interac- tive, so visitors can walk through the actual western fort. The intention – or better still the question Paul wanted to provoke with the exhibition is: “What is paradise? Who is inside, who is outside? Where is it better to live? Is it a playground or a jailhouse?” So for creating a kind of a jailhouse look we brought the lamp heads to a relatively high position to create a something like a
‘jailhouse-shadow’. Initially Paul wanted to have a very even light distribution through-out the western fort to make it possible to
shoot any unexpected situation. However, since the western fort has quite a number corners, we couldn’t avoid few shadows, but in the end, this created a dramatic look that Paul liked very much.
?: So the intention was no longer to have a lighting situation as soft as possible?
Hagen Keller: No, the lighting had to support the statement of the exhibition, and most of all support the activities for the video shoot-shadows and differences in the light level were actually more desired than unwanted.
?: You’re using thirteen ARRI Studio Ceramic 250 lamp heads and two ARRI Junior 5k Fresnels – what is the reason for this choice?
Hagen Keller: When we began, we actu- ally had thirteen tungsten 1kW Fresnel lamp heads. However, ARRI offered us the possibility to use the tungsten 1kW ARRI Studio Ceramic 250 lamp heads instead, as kind of a test project, so we switched over to these. This turned out to be a very good decision, especially since Paul decid- ed to use the lighting setup as part of his ongoing exhibition. This meant that we were now facing a situation with a fixed lighting installation that should be able to perform reliably over a long period of time.
?: Where do you see the benefits of the Ceramic lampheads?
Hagen Keller: First of all in the lamp’s life- time, which is over 4,000 hours. This is very important since a museum has a lot of visitors all day long, which makes it difficult to replace anything. And of course the
Munich House of Art is also happy because of the reduced power consumption: We started with 13,000 W and now we have a power load of only 3,250 W!
Paul is also very satisfied with the results. He has already announced that he would like to use the lamp heads in further projects, which will also be fixed lighting installations.
?: Thank you very much for your time!
Timo Müller
Hagen Keller
Hagen Keller and Timo Müller
Hagen Keller, Mathis Richter and
Hynek Popelak (ARRI Lighting)
6 5L i g h t i n g
Roger Dean will also oversee markets in the Caribbean, Central America and parts of South America. Television stations and new local programming provide a great need for lighting sales in these territories.Universities are especially important to Roger Dean, who is interested in having ARRI involved with the newest generation of up-and-coming fi lmmakers.
Although the ARRI line of lighting equip-ment is the primary focus, Roger Dean will acquire contacts for other ARRI product lines: digital intermediate, scanners and cameras. His contact with these potential clients is a vital connection between those countries and the respective sales managers in the United States.
An Tran
Roger Dean Touches Down at ARRI CSC in Ft. Lauderdale
Roger Dean, who graduated from New York University’s fi lm school says, “It’s a wonderful opportunity to continue extend-ing ARRI sales and service.” He has served as lighting sales manager at ARRI since 1994. Previous to that, he owned a lighting and grip company called New York Light- ing Systems. He has worked in the fi lm in- dustry since the 1970s, doing camerawork and lighting for commercials, feature fi lms and documentaries. Roger Dean can be reached at [email protected]
The successful launch of a full grip and lighting department at ARRI CSC in Ft. Lauderdale prompted the move of
former East Coast lighting sales manager Roger Dean to the Florida area. Roger Dean’s transition will emphasize a
stronger concentration on lighting sales in the southern region of the United States. Working out of ARRI Camera
Service Center (CSC), he will serve as a valuable link between the rental sector of ARRI CSC and lighting sales,
increasing synergy between the two branches and streamlining equipment rental with manufacturing.
By having rental and sales together in Florida at the same facility, ARRI CSC will be able
to service products on the sales side, minimizing repair time. ARRI CSC carries a
full line of ARRI HMI and Tungsten fi xtures, along with a complete collection
of Kino Flo, Mole and Dedo specialty lights.
6 6 W o r l d w i d e _U S A
“I am very pleased to have joined Illumina-tion Dynamics – a company that has always impressed me with customer service that is second to none,” says Mark. “ID’s Automated Lighting Division caters to the Television, Corporate, Special Event and Motion Picture industries by providing turnkey systems, including programmers and technicians if required. We have started from the ground up with brand new gear. Customer service is the key. Both ARRI CSC and ID are very supportive of this new venture and have committed to provide the best equipment and service possible. With many of ID’s entertainment
industry clients requiring automated lighting, this is the natural move for the company.”
In addition to its new Automated & Theatrical Lighting Division, Illumination Dynamics offers a complete line of lighting, grip, generators, power distribution and HVAC – as well as planning, engineering, permitting, installation and technical support – to the motion picture, television, broadcast and special events industries.
Carly Barber, President of Illumination Dynamics refl ects: “Illumination Dynamics
Illumination Dynamics LaunchesMoving Light DivisionEarlier this year, Illumination Dynamics expanded their Californian
facility with the creation of an Automated & Theatrical Lighting Division.
This exciting new development for the constantly evolving subsidiary of
ARRI CSC was made possible by the arrival of industry veteran Mark Rudge, who heads the new department. Mark
brings with him an extensive background in all aspects of theatrical and music lighting along with an outstanding
reputation amongst industry professionals, having not only worked extensively in rental but also as a freelance
lighting designer. Mark‘s new inventory includes a complete range of state-of-the-art luminaires by Martin and other
manufacturers, control consoles, specialized lighting (inc. LED technology), dimming and control systems, truss and
rigging equipment.
has big show experience and resources, while retaining our dedication to all aspects of customer support and quality. Moving into automated lighting was a natural step for us, because – as part of the ARRI Group – we strive to offer the newest and most advanced products. We can now provide our core customers in the fi lm, television, broadcast and special events industries with all their lighting requirements – both conventional and automated – along with the full-service support of generators, power distribution and grip equipment.”
Simon Broad
Mark Rudge
6 7W o r l d w i d e _U S A
Lighting companies have traditionally worked to a fi xed racking system when servicing productions. However, with the success of the ARRI Focus
“Roll-a-Rack” system in 2004 (a move-able racking system designed for short term hire productions) it was the idea of Tommy Moran, Managing Director of ARRI Lighting Rental, London to add to this by introducing a new modular racking system, therefore increasing the versatility of their fl eet of vehicles.
Creating the Ideal Working Load
New Racking System forARRI Lighting Rental Trucks
The new system has already been used on feature films, WASP 05 and THE FLYING SCOTSMAN and television dramas such as RIOT OF THE RITE and has proved to be a great success.
Tommy Moran added: “With servicing such a diverse range of projects we needed to be able to react more quickly and at the same time make our fleet more versatile nomatter what type of production we are servicing, this modular system is the perfect solution”.
Judith Petty
As lighting crews have differing preferences in the way they load the trucks and gene-rators, the new racking system allows them to configure the modules to their own require- ments creating the ideal working load.
This means that on location they are able to work from the vehicles in a more effici-ent way and with time becoming more and more of an issue, this is crucial to any pro-duction. In some instances the crews have preferred to use the modular system in con-junction with the “Roll-a-Rack” system to gain further flexibility in the utilization of equipment.
Founded in 1917, ARRI can look back on 88 years of fi lm history. A major part of the company’s secret to success lies in the experience of its em-ployees, some of whom have been with the company for decades, their careers reaching all the way back to their vocational training with ARRI. For such two distinguished employees, the fi rst day of work at ARRI was August 1st …
Max Welz began his career, which now spans six decades, at a factory in Brannenburg in 1945. At that time, ARRI’s production facilities had been evacuated away from Munich to an alternate location near the Alps. Within a few short years he was put in charge of the turning and milling operation. In 1948, he returned to the now re-stored facilities in the Türkenstrasse together with his department, where he also took charge of the quality control, the tool making, the machine repair shop and the parts stock. In the following years, Max Welz established departments for
110 Years of ARRI –
process planning, manufacturing resources and logistics. In 1986, he was charged with the over-all responsibility for manufacturing. In 1991 he was named technical head of ARRI’s entire hard-ware division, which put him in charge of the entire production of camera and lighting products including all technical departments. He was ap-pointed technical director soon after and in 1992 joined the executive board of Arnold & Richter Cine Technik. After a number of successful years at this peak of his career, Max Welz had origin-ally planned to enter his well-earned retirement in 2001 … originally, for in the same year he became managing director of the ARRI Gieß -technik, a foundry in Stephanskirchen that he still successfully runs today.
Thomas Popp joined the company 50 years ago, beginning his training with ARRI as an apprentice precision mechanic. In 1966, he earned a degree as a certifi ed technician at the Oscar-von-Miller
Polytechnic Institute, followed by a further degree in business administration, which he was awarded in 1973. As a camera designer in the 60’s and 70’s, Thomas Popp played a signifi cant role in the development of the successful ARRITECHNO 35, the ARRIFLEX 35 III and 35 III C. Following a variety of tasks as project leader, he assumed responsibility for ARRI’s medical product division. This period of his career was marked by such important innovations as the ARRIPRO 35, which later evolved into the LOCPRO 35, the QANSAD system and the ARRI OSCAR. Since 1994, Thomas Popp has been active in sales, where he took charge of the Camera and Digital departments in 2003. In 2004, he was named Director Sales and together with Sigrid Müller, he is also managing director of ARRI Lighting Solutions in Berlin.
In a special ceremony, ARRI expressed its gratitude for so much energy and dedication.
Max Welz and Thomas Popp Celebrate Their Anniversaries
Klaus A. Feix, Max Welz, Franz Kraus, Thomas Popp (f.l.t.r.)
6 8 W o r l d w i d e
Congratulations
Best Picture in Gold:ALLES AUF ZUCKER, Producer: Manuela Stehr
Best Picture in Silver:SOPHIE SCHOLL, Producer: Christoph Müller and Sven Burgemeister, Marc Rothemund, Fred Breinersdorfer
Best Directing:Dani Levy for ALLES AUF ZUCKER
Best Cinematography:Hans-Günther Bücking for SCHNEELAND
Best Sound Design:Thomas Riedelsheimerfor TOUCH THE SOUND
Honorary DP 2005: Robby Müller1
For his lifetime achievement, Robby Müller is awarded the honorary DP of the year 2005. Born in the Netherlands, Robby Müller worked together with Wim Wenders on such reknown features like ALICE IN THE CITIES or PARIS.TEXAS. Shooting for directors like Jim Jarmush, Lars von Trier or Hans W.
Geißendörfer he always established a very own and distinctive style. Robby Müller receives the German Camera Award already for the second time: In 1984 he was awarded for fi lming the road movie PARIS.TEXAS. Among other prices, he also received the Bundesfi lmpreis twice.
Camera feature fi lm:Michael Hammon10 for WILLENBROCK.
Camera TV-Drama:Ngo The Chau2 forTATORT: SCHEHERAZADE.
Camera Documentary/Feature: Christoph Castor5 forPFARRER AUF DER WIESN – SEELSORGEZWISCHEN ACHTERBAHN UND ZIRKUSZELT.
Camera short feature:Mike Steffl 8 for KIND? NEIN DANKE! – KINDERLOSIGKEIT IN EUROPA.
Camera reportage:Erich Hammerl4 for ES IST NICHT EINFACH, ABER WIR MÜSSEN ES TUN.
Camera short fi lm:Stephan Vorbrugg11 for KALTE HAUT.
Funding award camera short fi lm: Philipp Hirsch3 for INSIDE.
German Camera Award 2005
German Film Award LOLA Editing feature fi lm:Patricia Rommel6 for KAMMERFLIMMERN.
Editing documentary/Feature: Nikola Gehrke9 forPFARRER AUF DER WIESN – SEELSORGE ZWISCHEN ACHTERBAHN UND ZIRKUSZELT
Funding award editing short fi lm: Wolfgang Weigl7 for KALTE HAUT.
German Film Funding Award for Directing: Byambasuren Davaa, forDIE HÖHLE DES GELBEN HUNDES
Bernhard-Wicki-Award:SOPHIE SCHOLL directed byMarc Rothemund
FFA Short Tiger:CHRISTINA OHNE KAUFMANNdirected by Sonja Heiß
Audience Award:DIE HÖHLE DES GELBEN HUNDESdirected by Byambasuren Davaa
Munich Film Fest ival 2005
pictures: WDR/teamwork, Repro WDR, WDR/Klaus Görgen
2 3 74 5 6 8 119 10
1
6 9W o r l d w i d e
Title Production Director DoP Equipment
AUF IMMER UND EWIG UND EINEN TAG d.i.e. fi lm Markus Imboden Jo Heim ARRIFLEX 16SR3, Lighting, Grip
BABEL Babel Productions Alejandro Gonzalez Inarritu Rodrigo Prieto ARRICAM LT, 16SR3
PERFUME: THE STORY OF A MURDERER Constantin Filmproduktion Tom Tykwer Frank Griebe ARRICAM ST/LT, 435, 235, 3 Perforation,
Lighting, Grip
ELEMENTARTEILCHEN Constantin Filmproduktion Oskar Röhler Carl-Friedrich Koschnick ARRICAM ST/LT, 435, Lighting, Grip
ENIGMA – EINE UNEINGESTANDENE LIEBE Neue Bioskop Film Volker Schlöndorff Thomas Erhart ARRIFLEX 16SR3, Lighting, Grip
HELEN, FRED UND TED teamWorx Sherry Hormann Hanno Lentz ARRIFLEX 16SR3, Lighting, Grip
THE HILLS HAVE EYES Fox Searchlight Alexandre Aja Maxime Alexandre ARRICAM ST, MOVIECAM Compact,
Lighting, Grip
ICH BIN DIE ANDERE Clasart Film Margarethe von Trotta Axel Block ARRICAM ST/LT, Lighting, Grip
LOVE ME CRAZY Olga Film Peter Gersina Markus Hausen ARRIFLEX 16SR3
PERL ODER PICAR Red Lion s.àr.l. Pol Cruchten Jerzy Palacz 535B, 435, MOVIECAM SL, Lighting
POLIZEIRUF 110 - ER SOLLTE TOT TV60Film Dominik Graf Alexander Fischerkoesen ARRIFLEX 16SR3, Lighting, Grip
DER RÄUBER HOTZENPLOTZ collina Filmproduktion Gernot Roll Gernot Roll ARRICAM ST, 535B, 435, 3 Perforation,
Lighting, Grip
TOTE HOSE Dreamtool Entertainment Simon X. Rost Stephan Schuh ARRIFLEX 16SR3, Lighting, Grip
Title Production Company
DoP Equipement
BEYOND FRIENDSHIP Films 18 Ltd Giovanni Fiore Coltellacci ARRICAM ST, LT
BLACK BOOK Black Book Ltd Karl Walter Lindenlaub ARRICAM ST, LT
BREAKING & ENTERING Sorting Station Ltd Benoit Delhomme ARRICAM ST, LT
DA VINCI CODE Rose Line Films Salvador Tortini ARRICAM ST, LT
ELIZABETH I Company Pics Larry Smith ARRIFLEX 16SR3
Advanced
THE FLYING SCOTSMAN Mel Films Ltd Gavin Finney BSC ARRICAM ST, LT
LOVE & OTHER DISASTERS Ruby Films Pierre Morel ARRICAM ST, LT
SPOOKS 4 Kudos Damian Bromley ARRIFLEX 16SR3
Advanced
STARTER FOR TEN Scamp/Playtone Ashley Rowe BSC ARRICAM ST, LT
SUNSHINE DNA Films Alwin Küchler BSC ARRICAM ST, LT,
ARRIFLEX 235
ULTIMATE FORCE Bentley Prods Dick Dodd ARRIFLEX 16SR3
Advanced
W.A.S.P WASP Remi Adefarasin BSC ARRICAM ST, LT
Title Director DoP Gaffer
BLEAK HOUSE Justin Chadwick /Susanna White
Keiran Mcgwigan Mark Clayton
BREAKING & ENTERING Anthony Mingella Benoit Delhomme John Coley
ELIZABETH Coky Giedroyc David Odd BSC Tim Wylie
THE FLYING SCOTSMAN Douglas Mackinnon Gavin Finney BSC Brandon Evans
FOOTBALLERS WIVES David Knight Ian Howes Darren Harvey
THE LAST LEGION Doug Leffer Marco Pontecorvo
THE QUEEN Stephen Frears Alfonzo Beatzo Andy Long
TRIAL & RETRIBUTION Tristram Powell Mike Spragg/James Welland
John White
V FOR VENDETTA James McTeigue Adrian Biddle BSC Kevin Day
WASP 05 Woody Allen Remi Adefarasin BSC Jimmy Wilson
Title Subtitle Production Company Agentur Director DoP
ADAC Masseur Vivafi lm Young & Rubicam Andreas Grassl Mathias Fuchs
BAHRAIN MBC / Vivafi lm MBC, Creative Services Alexander Grinke Chris Hof
CHIO CHIPS Snapshot e+p TBWA, Düsseldorf Dennis Gansel Joachim Berc
DER HARAEUS-CODE Cadrage Cadrage Christof Gurland Joachim Seck
DIBA ExKo Basketball HelliVentures Wüschner Rohwer Baier Joachim Hellinger Ward Russel
FERRERO Saisonstart e+p Xynias Wetzel Dennis Gansel Ekkehart Pollack
FERRERO Pocket Coffee e+p Xynias Wetzel Dennis Gansel Britta Mangold
MCDONALD`S Polly Pocket e+p Heye & Partner Serge Guerand Stafano Morcaldo
MCDONALD`S Inbox e+p Heye & Partner Florian Seidel Sebastian Pfaffenbichler
MCDONALD`S ASOH e+p Heye & Partner Agust Baldursson Ottar Gudnarson
OUZO Gute Freunde e+p Fahrnholz, Junghans, Raetzel Claude Mougin Michael Schreitel
PREMIERE First Class GAP Films GmbH Goldammer Werbeagentur Luca Maroni Manfredo Archinto
SÜDWESTBANK Ballerina GameboyCollage Trailer
Leithaus Dongowski & SimonIdee & Konzept: Leithaus
Werner Kranwetvogel Dieter Deventer
WEIGHT WATCHERS FirstFrame Gramm Kilian Keyserlingk Toni Mitchell
YELLOW HANDS F24 Matthias Thönnisen André Wagner
ARRI Rental-Germany
ARRI Media ARRI Lighting Rental
ARRI Commercials
Chio ChipsPremiere McDonald’s
7 0 S e r v i c e s
Title Director DoP Gaffer
BLEAK HOUSE Justin Chadwick /Susanna White
Keiran Mcgwigan Mark Clayton
BREAKING & ENTERING Anthony Mingella Benoit Delhomme John Coley
ELIZABETH Coky Giedroyc David Odd BSC Tim Wylie
THE FLYING SCOTSMAN Douglas Mackinnon Gavin Finney BSC Brandon Evans
FOOTBALLERS WIVES David Knight Ian Howes Darren Harvey
THE LAST LEGION Doug Leffer Marco Pontecorvo
THE QUEEN Stephen Frears Alfonzo Beatzo Andy Long
TRIAL & RETRIBUTION Tristram Powell Mike Spragg/James Welland
John White
V FOR VENDETTA James McTeigue Adrian Biddle BSC Kevin Day
WASP 05 Woody Allen Remi Adefarasin BSC Jimmy WilsonTitle Production Company DoP Gaffer Equipment Serviced by
BORDERTOWN El Norte Productions Ray Villalobos Steven Litecky &James Tynes
Lighting & Grip Illumination Dynamics
FAST TRACK F.T. LLC Tom Richmond Joseph Quirk ARRICAM ST/LT, Lighting & Grip ARRI CSC NY
FIRST BORN First Born Film Works Alex Martinez Mike Marzovilla ARRI 535B, Lighting & Grip ARRI CSC NY
THE GROOMSMAN Black & Tan Productions Will Rexer ARRICAM ST/LT ARRI CSC NY
THE INSIDE MAN Universal Studios Matthew, Libatique ASC John Velez ARRICAM ST, Lighting & Grip ARRI CSC NY
THE LAST TIME Lift Productions Tim Suhrstedt ARRICAM ST & LT ARRI CSC FL
LAST TIME FOREVER Metropolis Films Ivan Jordana Pete Roseman ARRICAM LT, Lighting & Grip ARRI CSC FL
LITTLE CHILDREN Avery Pictures Antonio Calvache Russell Engels ARRICAM ST/LT, Lighting & Grip ARRI CSC NY
MADEA‘S FAMILY REUNION Madea Productions Inc. Toyomichi Kurita ARRICAM ST & LT ARRI CSC FL
THE NAMESAKE Namesake Productions Inc. Fred Elmes ASC Jonathan Lumley ARRICAM ST/LT ARRI CSC NY
NORTH COUNTRY Warner Bros. Chris Menges BSC Steven Litecky Lighting & Grip Illumination Dynamics
THE SOPRANOS Soprano Productions, Inc. Kevin Janicelli Lighting & Grip ARRI CSC NY
SOUTH BEACH Paramount Pictures Corp. David Hennings ARRIFLEX 16SR3 Advanced ARRI CSC FL
SOUTHLAND TALES Cherry Road Productions Steven Poster ASC Elan Yaari Lighting & Grip Illumination Dynamics
WAIST DEEP Bromley Productions Shane Hurlbut ARRICAM ST/LT, 435, 235 - 3 Perforation ARRI CSC FL
YELLOW Yellow Productions Corp Claudio Chea ARRICAM ST/LT, 3 Perforation ARRI CSC FL
Title Production Company Director
VIER TÖCHTER Claussen + Wöbke Rainer Kaufmann
APPOLONIA MARGARETE STEIFF Film-Line Productions Xaver Schwarzenberger
AUF IMMER UND EWIG UND EINEN TAG d.i.e. fi lm Markus Imboden
PERFUME: THE STORY OF A MURDERER Constantin Filmproduktion Tom Tykwer
DIE AGENTUR Aikon Media & Technology Reinhard Schwabenitzky
HUI BUH DAS SCHLOSSGESPENST Rat Pack Filmproduktion Sebastian Niemann
DIE SCHULD ABC Studio GmbH Martin Enlen
DIE SONNENFELDS TEIL 2+3 Post One Erhard Riedelsperger
EINE CHANCE FÜR DIE LIEBE ndF Dirk Regel
ENIGMA - EINE UNEINGESTANDENE LIEBE Neue Bioskop Film Volker Schlöndorff
FREUNDINNEN FÜR IMMER Lunet Entertainment Peter Gersina
ICH BIN DIE ANDERE Clasart Film Margarethe von Trotta
IM HIMMEL SCHREIBT MAN LIEBE ANDERS sanset Film Helmut Förnbacher
KOMMISSARIN LUCAS VI+V Olga Film Thomas Berger
KÖNIG DER HERZEN Aikon Media & Technology Helmut Förnbacher
LIEBE AUF 4 PFOTEN sanset Film Markus Bräutigam
MEIN LEBEN UND ICH V Sony Pictures Jacob Hilpert / Richard Huber
NO SNOW NFP Teleart Robert Young
NOCH EINMAL 20 SEIN! FFP Media Bettina Woernle
ORGANIZE ISLER BKM Film Yilmaz Erdogan
POLIZEIRUF 110 - ER SOLLTE TOT TV60Film Dominik Graf
POST MORTEM Sony Pictures Thomas Jauch
DER RÄUBER HOTZENPLOTZ collina Filmproduktion Gernot Roll
REINE FORMSACHE independent players Ralf Huettner
ROSAMUNDE PILCHER - MAGIC NIGHT FFP Media Dieter Kehler
SPECIAL Hofmann & Voges Anno Saul
TOLLPENSION Ziegler Film Köln Tim Trageser
VORSICHT SCHWIEGERMUTTER Hager Moss Film Zoltan Spirandelli
WER FRÜHER STIRBT, IST LÄNGER TOT Roxy Film Marcus H. Rosenmüller
Title Production Company Director Serviced by
ES IST EIN ELCH ENTSPRUNGEN SamFilm Ben Verbong DI, Title Design
OKTOBERFEST Hager Moss Film Johannes Brunner VFX, Title Design
ORGANIZE ISLER BKM Film Yilmaz Erdogan DI/VFX, Title Design
DER RÄUBER HOTZENPLOTZ collina Filmproduktion Gernot Roll DI/VFX, Title Design
DIE WEISSE MASSAI Constantin Filmproduktion Hermine Huntgeburth VFX, Title Design, HD-Mastering
Theater Release
Title Production Company
GERNSTL Megaherz GmbH
ORGANIZE ISLER BKM Film
DER RÄUBER HOTZENPLOTZ collina Filmproduktion
REINE FORMSACHE independent players
WHOLETRAIN Neue Goldkind
Foreign Dubbing
Title Production Company
AS IT IS IN HEAVEN As it is in heaven
FACTOTUM Mina Kindl Filmproduktion
LEGENDS OF ZORRO Columbia Tristar
TV Release
Title Production Company
APPOLONIA MARGARETE STEIFF Film-Line Productions
DER KEILER Post One
DRESDEN DER BRAND teamWorx
IM HIMMEL SCHREIBT MAN LIEBE ANDERS
sanset Film
SEX UND MEHR Lunet Entertainment
TATORT – DER RACHEENGEL Telefi lm Saar
ARRI Lab-TV Drama
ARRI CSC
ARRI Digital Intermediate/Visual Effects
ARRI Sound
71S e r v i c e s
Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 München Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita MüllerWith additional text by: Bill Bennett, Andreas Berkl, Elfi Bernt, Harald Brendel, Simon Broad, Siobhan Daly, Julia Eberl, Jim Elias, John Gresch, Jochen Hähnel, Hans Hansson, Bill Lovell, Sibylle Maier, Timo Müller, Judith Petty, Thomas Popp, Stefan Schmidt, Prof. Jürgen Schopper, Mauro Sembroni, Marc Shipman-Mueller, Matt Siegel, Jon Silberg, An Tran, Franz WieserArtwork: add cooperation Uwe Heilig Mediendesign, lucie_p, Matthias Göbel, Susanne SchreibauerPrinted by: Rapp-Druck GmbH, Flintsbach
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 and specifications given in this publication are subject to change without notice.
Key ContactsVice-President Sales & Marketing Serge Giordano +49 - (0) 89 - 38 09 – 1384 [email protected]
ARRI Rental Deutschland Thomas Loher +49 - (0) 89 - 38 09 – 1440 [email protected]
ARRI Film & TV Services Key Account: Angela Reedwisch +49 - (0) 89 - 38 09 – 1574 [email protected]
ARRI Film & TV Services International Sales: Thomas Nickel [email protected]
ARRI Film & TV Services National Sales: Walter Brus +49 - (0) 89 - 38 09 – 1772 [email protected]
ARRI Film & TV Services Feature & TV Drama: Josef Reidinger +49 - (0) 89 - 38 09 – 1339 [email protected]
ARRI Film & TV Services Digital Film: Henning Rädlein +49 - (0) 89 - 38 09 – 1970 [email protected]
ARRI Film & TV Services Sound: Thomas Till +49 - (0) 89 - 38 09 – 1292 [email protected]
ARRI Lighting Solutions Sigrid Müller +49 - (0) 30 - 678 23 30 [email protected]
ARRI GB Ltd., Judith Petty +44 - (0) 1 89 54 57 000 [email protected]
ARRI Media, Philip Cooper +44 - (0) 1 89 54 57 100 [email protected]
ARRI Lighting Rental, Tommy Moran +44 - (0) 1 89 54 57 200 [email protected]
ARRI Inc., Franz Wieser +1 - 845 - 353 - 1400 [email protected]
ARRI CSC Simon Broad, Hardwrick Johnson +1 - 212 - 757 - 0906 [email protected] [email protected]
CSC Camera Service Center (FL) Ed Stamm + 1 - 954 - 322 - 4545 [email protected]
Illumination Dynamics (LA) Carly Barber, Maria Carpenter + 1 - 818 - 686 - 6400 [email protected] [email protected]
Illumination Dynamics (NC) Jeff Pentek +1 - 704 - 679 - 9400 [email protected]
ARRI Canada +1 - 4 16 - 2 55 33 35 [email protected]
ARRI Italia, Antonio Cazzaniga +39 - 02 - 26 22 71 75 [email protected]
www.arri.com
ARNOLD & RICHTER CINE TECHNIK GmbH & Co. Betriebs KG Türkenstr. 89 · D-80799 München phone +49 - (0) 89 - 3809-0 fax +49 - (0) 89 - 3809-1791
Expo Calendar 2005 / 2006
These are the most important exhibitions where you can find out about ARRI products and services
2005
September 09 – 13 IBC Amsterdam
September 11 – 14 Plasa London
October 18 – 20 Satis Paris
October 28 – 30 Broadcast India Mumbai
November 03 – 06 IBTS Milan
November 11 – 13 LDI Orlando
November 16 – 18 INTER BEE Tokyo Tokyo
November 16 – 19 NAT Moscow
November_December 26 – 03 Camerimage Lodz
December 07 – 09 DV Expo West New York
2006
March_April 29 – 01 Prolight & Sound Frankfurt
April 03 – 07 Milia / MIP-TV Cannes
April 24 – 27 NAB Las Vegas
June 20 – 23 Broadcast Asia Singapore
August 01 – 03 Siggraph Los Angeles
September 08 – 12 IBC Amsterdam
September 16 – 18 cinec Munich