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IssueJune 1997

Shift & Tilt System Variable PrimesO N L O C A T I O N :

Le Plus Beau Metier Du Monde American Werewolf

P R O D U C T S :

LOCPRO 35 ARRI X

R E P O R T S :

Bandits Asteroid Shine

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A Smashing Success for NBC and Stargate

Asteroid

Earthquakes. Floods. Avalanches. In-

terstellar cataclysms. The end of the

world? No, just another day at work for

Sam Nicholson, President and CEO of

Stargate Films. Creation of these catastro-

phes and dozens of other mind boggling

special effects is Stargate's stock and trade.

If you can imagine it, they can achieve it.

If you can't imagine it, Sam probably can.

In existence for only eight years, Stargate

has grown to become one of Hollywood's

most prolific effects houses primarily due

to the irrepressible spirit of its founder,

Nicholson. Most recently, Sam and Star-

gate were pressed into service on the NBC

Mini Series ASTEROID where they were as-

signed the duty of destroying Dallas among

other tasks. The resulting effects were

spectacular, believable, delivered on time,

and under budget.

ASTEROID, which aired on NBC February

16th and 17th, drew high ratings due in

part to it's stunning effects. With a budget

of $19 million and no fewer than 265

special effects scenes, ASTEROID was de-

signed to put NBC over the top during

Sweeps Week. “A huge rock, exploding

buildings, people fleeing…what's not to

love?” raves NBC Entertainment President

Warren Littlefield. Apparently audiences

agreed as ASTEROID literally blew the com-

petition away.

Using a combination of miniature, live

action, and CGI effects, Nicholson created

what the writers and producers had only

imagined. Sam's camera of choice for this

project was the new ARRIFLEX 435ES.

“I like the versatility of the system,” says

Nicholson, “We used the 435 for a varie-

ty of shots, under cranking, over cranking,

motion control, everything.”

“For live action, the 435 viewfinder is a

lifesaver, especially at night. We spent a

lot of time shooting in a crater that we

had created on our back lot. Shooting in

the darkness with smoke effects is always

a challenge. With the 435, no problem,”

Nicholson continues. “It is not at all unu-

sual to have to set up in very tight quarters

or at an unusual angle to shoot miniatures.

The orientable viewfinder simplifies the

process. It allows us to get radical angles

that would otherwise be impossible.”

Sam Nicholson

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“I used the 435 to shoot plate shots of the

Denver skyline, and also had a chance to

use the new Variable Prime lenses. The

combination was amazing. The Variable

Primes are unbelievably sharp and the

435's movement is rock steady. These shots

were later combined with computer gen-

erated images at Stargate. Many of our

projects which we composite in digital

video, such as ASTEROID for NBC, or Road-

warriors for Viacom, are transferred to

35 mm film for theatrical release. The

superior clarity of the new VP lenses is

essential to achieve a top quality film neg-

ative from a digital video composite. The

end result is remarkable.” Nicholson adds,

“Normally I would have used my Mitchell

to do the plate work. The 435 was a wel-

come change. At the time we shot there

were relatively few 435s in Los Angeles.

The camera always drew a crowd on the

set. Everyone was curious about the new

ARRI.”

“Back at our Burbank facility, I used the

435 to shoot a miniature of a flood se-

quence. An ASTEROID strikes a dam which

floods the town. We used the 435's speed/

shutter ramp capacity to shoot the flood

sequence over and over. With the RCU unit,

repeating the ramp was simple.”

A longtime friend of ARRIFLEX, Sam

Nicholson was instrumental in the crea-

tion of the LCC laptop computer control

system for ARRIFLEX cameras. The ex-

change of ideas and technology between

ARRI and Stargate has been beneficial for

both companies. Located virtually across

the street from ARRIFLEX Corporation's

Burbank facility, Stargate employees often

just walk over to ARRI to pick up new cam-

era and lighting products.

“Sam and his crew help us realize the full

potential of new equipment. By asking,

“What if?”, Sam has often spurred new

ideas that our engineers have translated

into new products, or improvements in

existing products. We couldn't ask for a

better friend or associate,” says Bill Russell,

ARRIFLEX Corporation's Western Sales

Manager. “He's always on the cutting edge

of new technology. Always thinking ahead.”

What's next for Stargate? The phones ring

off the hook. A lengthy list of new projects

cover Sam's desk and walls. Staff members

are busy assembling miniatures and the

computers hum as artists create new images

for Nicholson's approval. On Stargate's

back lot, a miniature ski lodge awaits de-

struction. Just another day.

Sam Nicholson, Dan Schmit and

Stephan Cojot Goldberg

Fire on the Mountain –

Dave Kuklish, Sam Nicholson

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B a n d i t sB ANDITS, the first full-length feature film

by the Academy Award and Bundes-filmpreis (German film prize) winner, Katjavon Garnier (ABGESCHMINKT!) opens thisyear’s Munich Film Festival.

“For a while”, explains Katja von Garnierduring a break in mixing for her new fea-ture film BANDITS, “the whole of ARRI waspretty much hit by ‘BANDITS-fever’. Wefilmed with ARRI cameras and developedthe neg in their lab. Also post-productionand digital effects were done here. Wher-ever you opened a door, you found someBANDITS-shots on the screen on which theARRI team was doing really good work.We edited on the Avid – the capacity wasincreased especially to enable access toall the stock. The working-print was re-edited in the lab and optical effects wereprepared. The titles were prepared on theHenry, sequences from that colour-timedon the Cineon, a cord was digitally takenout from a bungee jump shot, and so on…”

Katja von Garnier

A REPORT BY ROLF THISSEN

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This collaboration continues a tradition forthe young director: in 1992 she beganfilming the short film ABGESCHMINKT! on anARRIFLEX 16SR 3 in Super 16. Originallythis was only intended as a training filmfor the Munich based film and TV collegeHFF. But the 55-minute story of a cartoonartist and her friend who go out togetheron a man-hunt and experience a few sur-prises became the summertime hit of 1993:together with the short film DER SCHÖNSTE

BUSEN DER WELT, ABGESCHMINKT! booked overa million spectators in German cinemas.“tip“-magazine wrote about it at the time:“The characters of this ‘training film’ bythe talented college student, Katja vonGarnier, breathe far more life than theprattling clichés of a typical comedy aboutrelationships.“

Awarded with, among others, the StudentAward for the best foreign film (by theAcademy of Motion Picture Art andSciences), the Bavarian film prize, the Ernst-Lubitsch-prize and the German film prizefor best young director, Katja von Garnierreceived many script offers to considerbefore she decided on an original story.Together with Ben Taylor she developedthe idea of a ‘dramatic music film’ and then

wrote the script with Uwe Wilhelm. Theresult: the ‘Blues Brothers’ meet ‘Thelmaand Louise’. Several very different wom-en, played by Katja Riemann, NicoletteKrebitz, Jasmin Tabatabai and Jutta Hoff-mann, get to know each other in prisonand form the group BANDITS. On the wayto a police ball at which they are supposedto play, the four ‘Blues Sisters’ happen toget the chance to escape. They cause quitea sensation in the press, become a cultband – and are hunted the whole time bya persistent policeman (played by HannesJaenicke). We won’t tell you the rest.

The filming for this seven million DM project(production: Olga Film) was carried out inHamburg, Nürnberg, Bad Neustadt andMunich. The 14 pop/rock songs performedin BANDITS were produced prior to filmingin the Audio Studios Berlin (Udo Arndt) anddubbed in during filming. “Katja Riemann,Nicolette Krebitz and Jasmin Tabatabaiwrote much of the music themselves, andKatja learnt to play the drums especiallyfor the film, and Nicolette learnt bass”,Katja von Garnier explains. “But it’s notjust about the visually lavish music scenes;the music is important as an outlet for pent-up emotions, for the dramatic basic tenorof the film, at the centre of which is thedeveloping friendship of the four women.While writing the script I did a lot ofresearch on mythology to find out what

really makes up a heroic tale. The charac-ters in our film should be bigger than life– characters for the cinema.”

BANDITS was filmed with the ARRIFLEX 535and 435. DoP Torsten Breuer, who alsocomposes film music and who had alreadyworked with Katja von Garnier, shootingthe camera trial film LAUTLOS and thenABGESCHMINKT!, explains the reasons: “The535 is a wonderful camera. We used itpartially because we intended to shootsome scenes with filmspeed changes, sub-tle transitions. Another effect we created

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in Hamburg was also strenuous. TheBANDITS team was incidentally the first toreceive permission to film on it. TorstenBreuer explains: “In one and a half dayswe had to film 80 shots – with two explo-sions, two stunt jumps, a complicatedcrane move and a helicopter shot. Weused three cameras and a Steadicam forit.“ This schedule could only be adheredto with strict planning and a second unitheaded by Breuer’s long-time assistant,Dixie Schmiedle.

nitely use it for dialogue scenes too. It isalso a very good camera for shoulderoperation. The 535 is actually too. I car-ried it on my shoulder for hours – andyou don’t need to be a strong young manto do that either.“ The project was filmedon Eastman-Kodak stock 5298, 5293 and– more seldom – 5248. “The new ‘Vision’-emulsion simply would have looked tooclear, too much video-like,“ explainsTorsten Breuer.

“Of course, filming was strenuous,“ saysKatja von Garnier. “The emotions varyfrom despair, to euphoria, to total exhaus-tion, but I think this is good for the film,and you will feel that between the lines.Sometimes there are also some great feel-ings of happiness: for example, when theweather is perfect for exactly the threedays on which you have to film a concerton the roof. I believe that these emotionsare also noticeable in the finished film.“Filming on the famous Köhlbrand Bridge

is otherwise only known from video-pro-ductions: we filmed at 6 frames per second– later the images were prolonged to getback to 24 frames per second. The resultsare some interesting wipe-effects in theimage. Also the 435 was used a lot becauseit enables speed changes from normal toslow motion very nicely. It needs 3.7 sec-onds to go from 24 to 130 fps; that ispretty fast – if it was faster, it would ofcourse be even better.”

Torsten Breuer continues: „As an MOScamera, the 435 is otherwise mainly usedas a second unit, or for commercials.Although it is actually not a sync-soundcamera, it is still very quiet. If you uselonger focal length lenses you can defi-

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The soundtrack to the film will be broughtout on CD. The final number ‘Catch Me’will come out separately as a single. Notwanting to give away the end of the filma separate video of was also made straightaway. You can easily believe Katja vonGarnier when she promises that BANDITS is“something different, something new“ inGerman film. BANDITS is the opening filmof this year’s Munich Film Festival and willbe brought to German cinemas through-out the country by Buena Vista on 3 July.

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Director: Katja von GarnierProduction: Olga FilmProducers: Harald Kügler,Molly von Fürstenberg, Elvira Senft

Distribution: Buena VistaDoP: Torsten Breuer2nd unit: Dixie SchmiedleCamera-Assistant: Olaf Wildenhaus

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way. We consciously did away with normal‘in-focus’ pictures in order to irritate theviewers and thereby grab their attention.Only a small part of the image was in-focus. Nevertheless the eye always looksfor a focused point. By letting the focusedpoints wander through the image, we ledthe viewer.

We used this effect to guide the viewer’seye over the model’s face. On one clip thefocus moves from the woman’s right eyeto her left eye. Finally you only see the redlips in focus. That very closely imitates anatural way of seeing.

?: How else do you use the shift and tiltsystem?

Stefan von Borbély: Mainly I use theshift and tilt system for beauty work, whichoften involves extreme close-up shots, forexample around the eyes. Tiny hairs, whicheven the most beautiful woman has, canbe easily hidden. You set the line of focusso that the pupil is totally in-focus and theskin around it slightly less so. The image stillappears in-focus to the viewer. With adiffusion filter the whole image would makean soft impression. You would lose the in-focus reference point for the eye.

Especially for macro work, the shift andtilt system has advantages for the produc-tion: it doesn’t cost much more than renting4 macro lenses, but you have the additionalpossibility of setting the focal plane asdesired. This is particularly important inmacro work, since you can normally onlycompensate the missing depth-of-field ofsuch shots by using far more light and highaperture-stops. The system is also more flex-ible through the extension with the bellows.

?: New focal length lenses will be comingout shortly. Which ones have you misseduntil now?

Stefan von Borbély: I missed the 20 mmlens most as you can only shoot buildingsfrom close-up with a wide-angle lens. Inter-esting viewpoints will certainly be possiblewith the 20 mm. You can not only correctthe perspective of buildings or objects, butalso create extreme distortions in perspec-tive. I could for example imagine a pan shothigh up on a building: to create a moreextreme viewpoint the lens could be shifteddownwards. So you would actually pan wid-er than the building’s height, and therebycreate even more extreme cambered lines.

?: You’ve also already used the shift and tiltsystem in combination with Motion Control.

Stefan von Borbély: I worked for Un-titled and Matthias Zentner with MagicMove in Munich, a motion control company.They adapted additional motors to theshift and tilt system and integrated theseadditional control possibilities into theMotion Control. On this shoot we control-led focus and the horizontal tilt plane.

For a reverse tracking shot, products en-tered the image, and finally so did an ac-tress. Using the tilt plane we could setwhether the products and the actress shouldbe in-focus, or just the actress. On oneclose-up shot of her face we panned thesystem the other way for a change, tomake her mouth totally out-of-focus. Thatworked really well.

?: Why is this type of image creation withthe shift and tilt system so modern now?

Stefan von Borbély: Because previ-ously we didn’t have these possibilities,which come from large format stills photo-graphy, in a professional form. Adapta

As distinctive as a face, recognisableat first sight, interesting and mystical

at the same time: that is how commercialsshould look in the late 90s. In search ofexpressive possibilities, a process has beenrediscovered for the moving image whichwas always known and used in stills pho-tography: shifting and tilting of the lens.What is new is the ‘how’: Before it used tobe all about showing technical perfectionwith seemingly infinite depth of focus. Now’selective focus‘ is called for – meaningthe discovery of the psychological poten-tial of a subtly directed glance. Shots arecreated, and even experts ask how theycould have been made without great effortor extensive post-production costs. Theanswer is easy: with the shift and tilt systemand a focus setting which contradicts allpreviously applied (Scheimpflug-) rules.

Roman Kuhn and his team used this tech-nique for the series of FACES spots whichwere made for RTL. We spoke to DoP Stefanvon Borbély about the possibilities of theShift & Tilt system, which he has alreadybeen using for the past year.

Stefan von Borbély: The FACES areshown before the commercial breaks. Thegoal was to get the viewer´s attention asquickly as possible for the following com-mercial break. To do this we wanted toshow women’s faces in a new, interesting

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tions from photo-shift lenses were available,but these are very limited in their creativepossibilities.

?: Is this just a short-term trend or is thisform of image creation here to stay?

Stefan von Borbély: I think it’ll be like‘dutching’ which was very popular for awhile: in the early 90s every image had tobe ‘dutched’. With time though this hasbeen reduced to where it is used to supportthe image. The out-of-focus effect will alsolevel off. But the shift and tilt system alsoreally does extend the boundaries of whatis technically possible and so goes far be-yond a trend. People will find images whichcan’t be created in any other way – forexample in dream sequences. Effects shouldbe used very consciously; you do some-thing like that once or twice in a film, butnot all the time.

?: What tip would you give someone whohas never used the system before?

Stefan von Borbély: I would start byadjusting the shift plane and watchinghow the image frame is altered. Then youcan swing away one plane – such as thehorizontal – and watch how the focal planeis displaced. With the shift adjustment theimage frame can be corrected again. Ifyou feel safe at this point you can tilt in thesecond plane and turn the shift plane. Go-ing through the process step-by-step helpsto understand it.

With kind support:RTL Television/Manfred Becker, Creative Directorand Roman Kuhn & Partner GmbHFilmproduktion

The Basic Version of the ARRI Shift & TiltSystem Comprises:Adjustment unit with colour-coded operat-ing elements for ease of use:

Adapter für 15 mm und 9 mm support rods

4 lenses:24 mm/T4 45 mm/T2.8 90 mm/T2.8 110 mm/T2

Ident No.: K0.52001.0

In addition the following accessories areavailable:

7 additional lenses, see table

Retro-adapter to enable use ofthe lenses in retro focus positionfor extreme enlargements K2.52021.0

PL adapter for lenses with PL mount K2.52020.0

Filter attachment for round 4.5" filter K2.52034.0

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Lenses18/T3.8 20/T2.8 24/T4 28/T2.8 35/T2.8 45/T2.8 60/T3.5 80/T1.9 90/T2.8 110/T2 150/T2.8

Focal length 18 mm 20 mm 24 mm 28 mm 35 mm 45 mm 60 mm 80 mm 90 mm 110 mm 150 mm

Max. aperture 1:3.5 1:2.8 1:3.5 1:2.8 1:2.8 1:2.8 1:3.5 1:1.9 1:2.8 1:2 1:2.8

Image circle diameter 38.6 43.2 58.2 58.2 58.2 58.2 58.2 58.2 58.2 58.2 58.2(1.52") (1.7") (2.29") (2.29") (2.29") (2.29") (2.29") (2.29") (2.29") (2.29") (2.29")

Front diameter 95 87 87 87 87 87 87 87 87 87 87

T-Stop scale 3.8-22 2.8-22 4-22 2.8-22 2.8-32 2.8-22 3.5-22 1.9-22 2.8-22 2-16 2.8-22

Weight (g/lb.) 330/0.72 350/0.77 480/1 400/0.88 300/0.66 500/1.1 590/1.3 510/1.12 440/0.9 780/1.75 660/1.5

Lens angle (degrees)

TV horizontal 59 54 46 40 32 25 19 14 13 10 8

TV vertikal 46 42 35 30 25 19 14 11 10 8 6

1.85:1 horizontal 61 55 47 41 33 26 20 15 13 11 8

1.85:1 vertikal 35 32 27 23 18 14 11 8 7 6 4

Order number K2.52031.0 K2.52018.0 K2.52010.0 K2.52033.0 K2.52032.0 K2.52011.0 K2.52022.0 K2.52017.0 K2.52012.0 K2.52013.0 K2.52019.0

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An often asked question the mediaindustry is “Who does what, with

which tools?“. Increasingly this need forinformation is answered in an opticallyimpressive way with show reels, self por-traits and image trailers. With our 15-minute scenic image trailer we wanted topresent the German broadcasting companyZDF abroad. In 12 days’ filming we por-trayed the ZDF’s main offers: series, film,news, documentaries and sport, all shownwithin a scenic framework to enable us towork with as little archival material aspossible.

Highest quality was required, so we pro-duced on 35 mm film using the ARRIFLEX535. Together with the standard lenses14, 25 and 85 mm, we rented the newZeiss Variable Primes from the film equip-ment rental house Pille in Wiesbaden.

These focal lengths as well as the manu-facturer have accompanied me throughoutmy career. That made it even more inter-esting to now be able to follow and assessthe latest developments.

Our filming experience was very positive:the maximum aperture, which is T 2.2 onall three VPs, allows night shoots basicallywithout greater lighting needs. The large

focal length range offered by each lenscovers all the necessary image angles.The lenses are superb, distortion-free, andexceptionally sharp. Due to the maskingof the front lens, stray light had practicallyno chance, even without a matte box orformat masks. A small but very importantfeature.

Of course through the ‘all-in-one’ effect,frequent lens change is a thing of the past:I could offer the images faster, and theassistant was also freed up for other ac-tivities.

In physically tight sets the actual length ofthe VPs occasionally caused a slight ob-stacle. Then we reverted to the tried-and-true standard lenses. You should not un-derestimate the three cases – one for eachVariable Prime – that need to be stowedin the camera van.

The VPs are not designed as zoom lenses,but they do offer – more so with the supportof a zoom fluid – the possibility to com-pensate somewhat, for example to zoom ina little, a framing which is hardly noticedby the viewer because of the action in theimage.

Handling on pan shots was also surpris-ingly good. The solid construction and theresulting considerable weight allow forbalanced camera handling.

The scales for focusing and aperture areprinted very large and the mechanics areextremely precise. Due to its long focalrange, we used the VP 3 most frequentlyon our production. The ability to vary aclassical portrait focal length continuouslyfrom 85 to 105 mm with an open apertureis of course very interesting. Additionallythe particularly bright finder image –despite the “zoom” capability – was veryconvincing. The VP 2, which is more oftenused for full shot/medium shot and medi-um close-ups, is physically the longest ofthe trio. Working with it was still comfort-able though and thanks to the lens supportalso absolutely safe for the flange focaldistance.

Our conclusion: Excellent lenses whichshould be part of the standard equipmentof any production, particularly when thingshave to move fast: as for example on ourshoot with Horst Tappert (in the GermanTV-series ’Derrick‘) when we could only beon set for a very short time so as not todisturb the production plan more than nec-essary, and where we had to get by withjust one take if possible.

The Team:Production: ZDF, Screenworks, WiesbadenExecutive producer: Rolf HermannDirector: Olaf SteenfadtDoP: Roland BreitschuhCamera assistant: Michael KernGaffer: Karlheinz BrücknerGrip/Set: Stefan Undeutsch

ZDF-Image Trailer with the Variable PrimesROLAND BREITSCHUH DESCRIBES HIS EXPERIENCES

left to right:Winy TomscykRoland BreitschuhOlaf Steenfadt

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V P stands for Variable Prime, i.e. vari-able fixed focal length. At first glance

that seems contradictory, but it expressesvery well what the system intends: insteadof the usual 8 to 12 fixed focal lengthsand an additional zoom lens for the rangebetween 18 and 100, the VP-packageconsists of three short ‘zoom’-lenses. Theirfocal ranges overlap slightly, and altogeth-er they cover a range from 16 to 105 mm.The VP 1 has a focal range from 16 to30 mm, the VP 2 from 29 to 60 mm andthe VP 3 from 55 to 105 mm. And sincewe’re on the technical data: all three op-tics have a very acceptable aperture open-ing of T 2.2.

That was one of the main reasons why weput the VPs on our equipment list. Ourcinema clip for adAugrus accessoriesrequired after a car chase exterior/nightand cross-cut interior shots. The locationwas a part of the Mannheim industrial portIV. Not just due to the image sequencethat director Jörg Lühdorff with operatorThorsten Schmidt had worked out requir-ing a multitude of tracking shots, flash pansand zooms, but also because of the shortfilming schedule from sunset to sunrise wewere grateful for every possible time-sav-ing. In a word, the Variable Primes offeredthe solution to all these problems and weretherefore as if made for our purpose.

Of course some uncertainties remainedwhich we were only able to clarify whileshooting. With the Eastman Kodak 5287filmstock and using a sepia filter as wellas the ARRI Varicon, we had just 125 ASA.We agreed to film mainly with an open ornearly open aperture. The second uncer-tainty was the optical quality of the lenses.Despite the fantastic zooms available to-

day, you do tend sometimes to accept theirsmall optical disadvantages in use – mini-mal chromatic aberrations, light focalpumping, slightly reduced resolution etc.But we would treat the VPs as fixed focallength lenses and also use them as such.

To state the result up-front: the VariablePrimes are completely satisfactory as ‘var-iable’ fixed focal length lenses, which inevery way are comparable to the ‘prime’competition, and are actually better. Evenwith an open aperture, the optical qualityof the VPs is perfect in all focal lengths,without reservation. The generous focusingscale allows surprisingly extreme close-upshots, even on long focal lengths. Particu-larly Jochen Stäblein, our first cameraassistant, was very impressed.

One thing which would occasionally havebeen desirable for our purposes is a some-what more geared-down zoom control,but in most cases it’s not really necessary.Resolution and contrast of the optics areenormous. Even the classical case of carlights at night didn’t cause any reflectionsor stray light. That was particularly impor-tant for the lighting concept which I hadworked out with my gaffer Tom Grok. Strongcontrast and glaring reflections and prac-ticals were used to optically underscorethe story.

The VPs’ sharpness is superb. Thanks toinner focusing of the lenses with a stablefront lens group, the annoying pumpingon focal changes has been entirely elimi-nated. In addition, focus of course remainsstable over the entire zoom range.

My only criticism is the weight of the optics,due to the very robust construction and

A REPORT BY

DOP PHILIPP TIMME

Car-Commercialwith theVariable Primes

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the up to 14 optical elements. This makesshoulder-operation unlikely. Of courseyou have to use a 6.6" x 6.6" matte boxwith the Variable Primes, together with theadapter ring for the Cooke 1:5 zoom.

In summary I must say that I was positivelysurprised, despite the high expectationswhich I naturally had of an Zeiss/ARRIproduct such as the VP optics. They areone of those occasional aids which makeit easier for the DoP to realize his visionswithout worrying about the technology.Their use for our purpose was a completesuccess and I think that the images in ourclip speak for themselves – and at the sametime for the Carl Zeiss/ARRIFLEX VariablePrimes.

Philipp TimmePhillip Timme is a German DoP who daredthe move to Hollywood and made it there.After numerous commercials and featurefilms shot in Germany he moved to the Statesto work as a visual effects DP. Currentlyhe is shooting for Touchstone’s ARMAGEDDON,directed by Michael Bay. Among his ex-

tensive experiences as a visual effects DPare THE POSTMAN, INDEPENDENCE DAY andDante’s Peak. INDEPENDENCE DAY was present-ed with the Academy Award for the bestvisual effects in 1997.

The Team:Producer: AV GaißerExecutive producer: Sylvia SabiwalskyDirector: Jörg LühdorffDoP: Philipp TimmeOperator: Thorsten SchmidtFirst assistant: Jochen StäbleinMaterial assistant: Marc “Bobby“ RogollGaffer: Tom GorkDolly-Grip: André HahnCamera: ARRIFLEX 35 IIILenses: Variable PrimesFilm: Eastman Kodak 5287

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PHO

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I magine a pole-vaulter sprinting towardsthe camera, which is running at the

standard speed of 25 fps. As he jumps,the frame rate changes to 125 fps. Opti-cally this gives the impression that he hasjumped over the bar at just a fifth of hisactual speed.

This trick is possible with the ARRIFLEX435ES, which is capable of altering theframe rate while the computer controlledmirror shutter automatically compensatesthe exposure with a continuously variableshutter angle between 11.2° and 180°.A fantastic possibility! Perfectly exposedacceleration and deceleration effects di-rectly while filming. Of course the exposureprogramme must be set in the camerabeforehand. Then you simply push a button.

This creates a variety of creative possibili-ties for producing commercials, clips andfeature films and at the same time post-production costs in the lab or on the com-puter are reduced.

For the Dutch/Belgian journal “AV Maga-zine“ I had plenty of opportunity to tryout the possibilities of the ARRIFLEX 435ESand the Variable Primes.

PreparationBefore the shoot I had the camera and lens-es measured by Fofic’s ARRIFLEX specialist,Edgar Gomes. We checked the lenses onthe collimator and they all showed a won-derfully sharp image. These high-speedlenses (T 2.2) offer not only fantastic imagequality, but can be used both as zooms andas genuine fixed focal length lenses. I haveoften had to move camera and tripod backand forth while filming a commercial witha prime lens until I finally found the rightframe. With the Variable Primes that’s nowmuch easier. You turn the focal length ringuntil you find the desired image frame –that’s all! Intermediate focal lengths arenow also available. The desired focal lengthcan be locked on the lenses with a clampscrew. That’s very useful if you need exactlythe same frame again, as for example ondouble exposures.

Testing in PracticeEarly this year I read a report in AmericanCinematographer by DoP William Bennett.He reports how during the shooting of acommercial, a 435 was accidentally hit bya car. “The camera fell five feet, crashedonto the concrete sidewalk, and slid twelvemore feet. The matte box was destroyed,but the only damage to the camera was aslight crack in the magazine. We replacedit with an ARRIFLEX 35 III type magazineand shot the rest of the night. All the foot-age, before and after the accident, wasperfect! The day after the accident we testedthe steadiness of the movement against alatent-image grid, pre-exposed on an op-tical printer using an Acme camera with aBell and Howell 7709 type fixed-registra-tion pin movement. We took this latent-image film and exposed it a second timein the 435ES with the grid rotated about10°, so the two sets of grid lines wouldcross each other on the negative. Using anew 435 type magazine, we ran the cam-era at: 12, 24, 30 and 150 fps with a180° shutter. In all cases the image wasrock steady!“

Testing the ARRIFLEX 435ES and the VP-Lenses

Rob de Windduring the test

BY ROB DE WIND

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A similar thing happened to me during ashoot: I was working on a rolling fishingboat when the remote control cable gotstuck behind the rigging. The RCU crashedto the deck. I thought “there go the seashots“. But everything was fine – not eventhe paint was damaged.

On a further take I wanted to film seagullsflying around the shrimp boat while thecatch was being sorted. The 435 was fittedwith the VP 3. The speed had to changefrom 8 fps to 125 fps during shooting. Inaddition I set a program to make the cam-era carry out this acceleration sequence.The remote control unit displays not onlythe actual duration of the acceleration ordeceleration process but also calculatesthe screen time in the cinema. That’s veryuseful. For my effect I programmed a screentime of 15 seconds.

Once enough seagulls were circling overthe stern, I pressed the green start key onthe camera. I then activated the gradualslow motion sequence with the ‘RAMP’ key.The camera accelerated without a prob-lem. But when you’re filming at 125 fps –that’s 5 times normal speed – the film isgone in no time. You have to be aware ofthat, even if you’re captivated by a beau-tiful scene.

The optical impression of this effect wasfantastic. Hundreds of seagulls are divingin search of food in the wake of the boat,then suddenly in the starting slow motionsequence they remain nearly still. The ex-posure remained perfect throughout thetake. It was marvellous. The mirror shutteron the ARRIFLEX 435ES adapts perfectlyto the speed-change and the depth-of-fieldremains completely constant.

The ExperiencesThe ARRIFLEX 435ES is easy to handleand has a very bright and flexible findersystem. It feels reliable and good on yourshoulder, and it is user-friendly. It’s goodthat the ‘Vario Speed Unit’ was integratedinto the 435. Programming the camera iseasy. I used the RCU-1 remote control unitwhich is easy to operate. I particularly likedthe perfection with which the ARRIFLEX435ES allows you to change frame rate.

The image sharpness was also noticeable.Looking at the results Bert Hulshoff (Cine-co filmlab), a connoisseur suprême in suchmatters, said “the images created with thiscamera are 100% perfect. I’ve never seenanything like it. On a double exposurewhere we had high tension wires (of coursewith no wind), even the wires are sharp asa knife. That’s unique.“

The camera is as fantastic in use as in theresults. With the ARRIFLEX 435ES it’s easyto design creative shots. You can give yourimagination free rein. For me the ARRIFLEX435ES is a camera with revolutionary pos-sibilities, and it’s ideal for commercialsand clips.

Rob de WindDuring 23 years Rob de Wind has beenactive in his company ‘Rob de WindVakfotografie & Filmproduktie’. He mademore than a thousand hours in helicop-ters for airial photography and crossedthe Sahara in a Land Rover. His activitieshave brought him numerous prizes.

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THE MOST MAGNIFICENT JOB IN THE WORLD:being a teacher in the turbulent multi-

cultural Parisian suburbs? With GérardDepardieu in the leading role and 300prints, this was one of the biggest and mostsuccessful films of 1996 in France. Jean-Luis Deriaz and Yves Clanet (of TechniCinéphot, France) talked to Jean-Yves LeMener, DoP on this box office hit. In thelast 10 years he has made over 40 films,including “Les Visiteurs“ (“The Visitors“,1993), the biggest and commercially mostsuccessful French film in recent years.

T.C.P.: You shot THE MOST MAGNIFICENT JOB

IN THE WORLD (LE PLUS BEAU METIER DU MONDE),a film by Gérad Lauzier, with the VariablePrimes. This was the first time these lenseshave been used on a French feature film.

J. Y. Le Mener: Thanks to the supportof T.C.P. and Samalga, I was able to tryout the Variable Primes and compare themthoroughly with the Zeiss standard T 2.1lenses which we also used.

Over 90 % of the film was shot with theVariable Primes and almost 2/3 of thatwith the VP 2 (29-60 mm T 2.2) – that mustbe the best proof that I liked the system.

We used two cameras, an ARRIFLEX 535and a BL 4s. The Variable Primes seemedto be ‘welded’ onto the cameras. On themain camera, the 535, we mostly used theVP 2, on the other the VP 3. The large aper-ture opening enabled us to do the nightshots. Less than 10 % of the film was shotwith the standard lenses, only when we wereobliged to use them, for reasons of weightfor example, such as with Steadicam.

The VPs are extremely high-performing andremarkably sharp lenses, even at openaperture. Maybe they have a little morecontrast than the standard lenses, but inpractice the difference is hardly noticeable.

The adaptability of these lenses is veryinteresting, although they aren’t properzooms with a large focal length range. TheVariable Primes saved us a considerable

amount of time while shooting. For theassistants that meant far fewer lens chang-es. Then there are the increased creativepossibilities. For example camera moveswith difficult angles in narrow corridors.If lack of space forces you to do withoutthe zoom, you get a much better solutionwith the compact VPs than standard lensescan offer. You can easily and comfortablyadapt the framing with a change from forexample 32 to 28 mm without changinglenses.

Personally I really appreciate the possibil-ities of perfect fading out – you can com-pletely close the lens aperture.

The front diameter is identical on all threeVPs. That meant we could use exactly thesame filters.

T.C.P.: In filming you often use the 535’spossibilities for effects shots. Do you alsouse the Variable Primes for these?

J. Y. Le Mener: Of course, the focallength ring on these lenses is luckily equip-ped with a wonderful scale and a fixingposition for the chosen focal length. Wher-ever necessary I can keep the same settingor find it again.

T.C.P.: And the system’s weak points?

J. Y. Le Mener: Without wanting to beflattering – in filming I didn’t notice any-thing negative: no spherical aberrations,

not even with different focal lengths – atnight – no flaring, no ghosting… In certainsituations – for example in shoulder useor with Steadicam – the VPs are of coursetoo heavy. With the LOUMA handling wasquite easy though.

Apart from the optics, I would also like tosay something about the noise level. Despitethe larger emission surfaces compared tothe standard lenses, I didn’t hear any neg-ative comments from our sound recordistabout the lenses used. And that’s very im-portant.

It would be nice if all three VPs could besupported in one position. When youchange the lens the support could then stayin place and wouldn’t need to be moved.But that’s a fine point!

T.C.P.: And how do you rate the systemfrom the point of view of the production?

J. Y. Le Mener: My practical experi-ences in filming of course don’t take intoconsideration the rental costs of a set ofVariable Primes compared to a set of stand-ard lenses. It would be difficult to calcu-late the time saved in shooting and theadvantage in quality, although of coursethat’s important.

T.C.P.: Thank you for this interview.

“Le Plus Beau Metier Du Monde”and the Variable PrimesAN INTERVIEW WITH JEAN-YVES LE MENER

right: DoPJean-Yves Le Mener,

left: CadreurYves Agostini16

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Eyes Wide Shut

Stanley Kubrick is currently working onhis new project EYES WIDE SHUT in England.DoP Larry Smith is filming with theARRIFLEX 535B on location in London andthe Pinewood Studios. Tom Cruise andNicole Kidman are in the leading roles ofKubrick’s new production.

Production:Hobby Films for Warner Brothers

Camera-equipment:ARRI Rental, Munich

For years, ShowBiz West in Los Angeles,has been one of the largest exhibition inthe motion picture industry. Over 500companies present their products and serv-ices at the show.

This year, the entire ARRI Group will presentitself in a newly designed and enlargedbooth. With an area of 2,000-sq. ft., ARRIis one of the largest exhibitors at ShowBizWest.

In addition to the product display areaswhere new and existing camera andlighting equipment – such as the newLOCPRO 35, the Shift & Tilt-System andthe integrated Video Assist System – willbe shown, the ARRI Group will also bepresenting their worldwide company net-work.

ARRI is located in the Convention Center,booth 1650.

The most expensive production of 1996 isthe $ 100 Mio. fantasy film THE FIFTH ELEMENT

by Luc Besson

The Super-35 production was filmed withARRIFLEX 535 and 435 cameras. Bill Neil,Visual Effects Director of Photography,was extremely satisfied with the 435: “Iwas amazed at the performance of thiscamera in terms of it’s steadiness at allspeeds. In fact, it was rock steady, goodenough for matte work from two frames to150 frames a second - in both forwardand reverse. I’ve never seen any cameramade anyplace in the world that coulddo that.“

THE FIFTH ELEMENT premiered mid-May inthe United States and starts in Germanyin August.

Luc Besson with the ARRIFLEX 435

The Fifth Element

left to right: Heinz Feldhaus,Stanley Kubrick, Larry Smith

ShowBiz West

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SHINE was one of those scripts that real-ly got it right: A simple story of a

man and a piano, told with passion andemotion. It affected my focus puller, SallyEccleston so much that she paid her ownway to the UK for the London leg of theshoot. Our director, Scott Hicks, had livedwith the project for ten years, refining thescript with Jan Sardi, and finally findingthe perfect cast.

I have known Scott for many years, sinceschool days in fact. We worked togetheron television projects more than ten yearsago and have maintained the friendship.He was sharing our house while cutting

his documentary THE GREAT WALL OF IRON

in 1989 when he first started telling meabout the life of David Helfgott. He toldthe story with passion and a sense ofhumour that have stayed to the finishedfilm.

We talked about the film over the years,and it came close to getting it’s moneyseveral times, until finally I got the call fromScott saying “are you still on for this?”A few month later we found ourselves inTrafalgar Square at five in the morningdoing the first shot of the shoot. A mobiletelephone was next to the slate so Jan Sardiback in Australia could hear “action” andknow that SHINE was finally happening.

Knowing a director as a film maker andfriend really help the film making process.Getting into a director’s head, helpingwith their vision where you can, is for meone the great joys of film making. Scotthad talked about his visual metaphor forDavid Helfgott’s life as a “journey intolight”, a fairly “dark” childhood with manydark periods, before he finally came into

with ARRIFLEX 535A BY D O P G E O F F R E Y S I M P S O N

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the light, the spot light of the concert stage,the limelight of success. This was a greatcue for me and I needed no further encour-agement to go into the darkness.

The fight with his father as a teenager, evenplaying the piano at night for his father asan eight year old has an underlying ten-sion, and the darkness of the scene helps.Some glimpses of the light at the end of thetunnel with his success at the Royal Collegeof Music – bathed in the concert spotlight.On the other side, we had seen RogerWooded walk into the light after winningthe national competition, while David hadto stay in the shadows… Then darkness inthe limbo world of mental institutions andhalf way houses, with the light very muchcoming from outside – David looking outthe window at the trees and hearing thestirring of music, his feet hopping on sun-light patterns. The transition being his slowmotion run through the rain, back to thepiano bar, back to music. His marriage toGillian light and bright, his return to thestage with the spotlight peeking throughthe crowd and finally bathing David.

cult and unhelpful location. Most of ourwork was on the fourth floor and the localcouncil would not allow cherry pickers orlifts so we could not light through windowsso we had to be inventive.

Our camera package was the ARRIFLEX535A with Zeiss standard lenses, a Can-on 200 mm and a Cooke Varotal 18 mm -100 mm zoom. We rarely used the zoomtending instead to stay with the Zeiss T 2.1glass. I come from a documentary back-ground where I like to operate the cameramyself. It’s good for communication withthe director and really keeps me in touchwith the image. The 535 viewfinder wasexcellent, very clear and bright. Often fo-cus was checked in the viewfinder insteadof running with the tape. I found it alsoreally good to light through, constantlygoing back to the camera to check theimage as I worked with the gaffer.

The swing over viewfinder saved us on acouple of shots. One very tight situationhad the camera on a narrow staircase inThe Royal College of Music with Sir JohnGielgud walking past our lens followed byNoah Taylor. There was hardly room forSir John let alone camera, operator andfocus puller. However we managed withthe viewfinder’s help to get into a positionwhere I could pan the camera with ouractor. He had just celebrated his ninetyfirst birthday!

The concert sequences were fun, the basicplan of attack being to put David in thespotlight, dim the house lights loosing theaudience and orchestra and focus onDavid’s world. We always talked aboutslow motion and really exploring every

DoP Geoffrey Simpson

The shoot consisted of two weeks shootingin London, mainly the Royal College ofMusic, followed by nine weeks in Adelaide.The London leg was particularly toughwith The Royal College being a very diffi-

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angle possible on a grand piano, hands,feet, keyboards and face. The shiny blacksurfaces also presented wonderful oppor-tunities for reflections. I think with moretime and budget we would have rippedthe piano apart and photographed ham-mers hitting wires in macro close up at120 frames per second. Still it was a nicesequence to photograph, hand holdingthe camera and moving quickly roundDavid. What a challenge for our focuspuller Sally Eccleston, who did a great job.

On the 535, she was particularly impressedwith the Camera Control Unit (CCU) whichgave her constant monitoring of the manyfunctions now available. We did use thein-shot frame rate and variable shutter func-tion a couple of times, another great toolthat I am sure will continue to grow in use.Sally also reported no scratches and nohairs in the gate over eleven weeks offilming.

For some of young David’s story we usedwide lenses for many of the close ups, the20 mm and 24 mm often coming out ofthe box. This put us very close to a youngactor who was often speaking in a loweredtone. The quietness of the ARRIFLEX 535was remarkable. As I often looked over toour sound recordist Toivo Lember at theend of a take I would find a smiling faceand the universal thumbs up.

Our gaffer for the bulk of the shoot wasSouth Australia’s Trevor Toune. ThoughI now live in Sydney and have not workedwith him for many years, it was great towork together again on our tenth film. Asis the Australian custom, Trevor owns hisown lamps and generator, the bulk of hislamps have that familiar blue paint. Acouple of ARRI 12 kW HMI, two 6 kW HMI,three 4 kW HMI, two 2.5 kW HMI, one6 kW PAR and two 1200 PARS. SHINE wasa location shoot with only one set, thebathroom from David’s childhood. So wewere lighting through windows wherepossible for the daylight work. Needlessto say we emptied Trevor’s truck on mostdays, sometimes hiring in an extra lampor two for some larger interiors.

We used Eastman Kodak 5293 for exteri-ors and some daylight interiors and 5298for all night work. It was winter for theAustralian leg of the shoot, so the shortshooting days kept us running in the after-noon. The 5293 rated at 200 ASA wasvery useful as sun hit the tree tops, butsometimes we had to finish on the faster5298. We were basically a single camerashoot, with lots of actual locations, nothingparticularly tricky lighting-wise, just tryingto do justice to a wonderful script. The filmwas a small low budget shoot with anAustralian crew who kept their sense ofhumour when the going got tough. It wasfantastic to work with a crew who were socommitted to a script, the actors and their

DoP Geoffrey Simpson

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director. Now the film has been nominatedfor seven Oscars and our lead actorGeoffrey Rush has already won best actorat the Golden Globes and the Oscar. Thereal David Helfgott has found his careerskyrocketing and our director has signeda deal with DreamWorks. Talk about happyendings!

Production: Momentum Films

Director: Scott HicksScript: Jan SardiDoP: Geoffrey Simpson, A.S.C.1st Assistant: Sally EcclestonGaffer: Trevor TouneSound: Tiovo LemberCamera and additional lighting equipment:Cameraquip, MelbourneARRI MEDIA, London

Geoffrey Simpson A.C.S.Geoffrey Simpson just received the BronzeFrog at the CAMERIMAGE Festvial inPoland for SHINE.

1996 Oscar And Lucinda1995 Some Mother’s Son

Shine1994 Little Woman1993 The War1992 Mr. Wonderful1991 Fried Green Tomatoes1991 The Last Days Of Chez Nous1990 Deadly

Green Card1989 Till There Was You1988 Fields Of Fire III

Eden LostCelia

1987 The NavigatorJiltedRiddle of the Stinson

1986 The ShiraleeInitiationGallagher’s TravelsThe Blue Lightning

1985 Playing Beatie BrownCall Me Mr. Brown

1982 Mad Max II/The Road Warrior(2nd unit DoP)

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An American Werewolf in Paris

I n this funny as well as fast-paced horror-comedy, three young Americans on a

European trip meet the blood-thirsty ances-tors of the erstwhile London werewolf inFrance’s capital: 15 years after John Landis’glittering, effect-laden production AN

AMERICAN WEREWOLF IN LONDON, the crea-tures of the night return. In the lead rolesare Julie Delpy (HOMO FABER, THE THREE

MUSKETEERS, AFTER SUNRISE) and Tom EverettScott (known from Tom Hanks’ directingdebut THAT THING YOU DO). After exteriorshoots in Paris, Metz and in studios inLuxembourg AN AMERICAN WEREWOLF IN

PARIS is currently being completed in Ger-many as a European production with abudget of 30 Million DM.

A REPORT BY ROMAIN GEIB

The director and script writer is the British-born Anthony Waller, who lives in Germanyand has made a name for himself throughcommercials and with his remarkabledirectorial debut MUTE WITNESS. 10 years’experience in the commercials businessprepared him for the big screen. To createhis werewolves he used the most modernspecial effects and camera technologyavailable.

DoP on this lavish production is EgonWerdin, who once made his debut behindthe camera supporting Roland Emmerich(NOAH’S ARC PRINCIPLE – DAS ARCHE NOAH

PRINZIP, JOEY). His camera work in TV filmsand cinema productions by young Germandirectorial talents have already won himtwo German film prizes. On the altogetherfour months’ filming with a decidedly

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European filmcrew, representing nine na-tions, ARRIFLEX 435 and 535 packagesfrom the Munich ARRI Camera Rental parkwere constantly in simultaneous use.

“The atmosphere called for a lot more lightthan on for example MUTE WITNESS. Main-stream American productions are certain-ly one of the reasons for this. But if youdisregard that, we have also found thatmany cinemas project too dark. In this filmthere are two totally different lightingatmospheres: very warm and very cold col-ours. The cold tones are for the bad side,in connection with the moon, and the warmtones are for the good side. In contrastto MUTE WITNESS we are now working withclear, or ‘true’ colours”, reports EgonWerdin.

In order to give the action-oriented visualstory the necessary dynamics for the roller-coaster-like plot, he insisted on being ableto use Steadicam equipment for the entireshooting period. Second Unit DoP was JörgWidmer, an experienced Steadicam oper-ator. For him the lightweight magazineLM-1 was ideal for Steadicam shots withthe ARRIFLEX 535: “With the lightweightmagazine the camera is very well-balanced.That facilitates flexible use, particularly inthe sometimes very constrained sets of re-constructed Paris metro shafts and under-ground sewer channels.”

The digitally animated sequences of AMERICAN

WEREWOLF IN PARIS are some of the mostcomplicated currently being created incomputer-animated cinema internationally,considering the high percentage of themin the whole film and the amount of workinvolved. The transformation phases, inwhich the actors change into the horrifyingcreatures, are particularly spectacular. Forthe werewolf scenes special lifelike were-wolf creatures – Animatronics – were con-structed. Precise, motion-controlled green-screen sequences are subsequently reworkeddigitally on the computer, and in severalimage planes (real images, travelling mattes,computer-animated parts) combined intoa sequence. This demands a high consist-

ency in image steadiness from the camera.Although these days there are hardly anybounds to the corrections which can be car-ried out subsequently in digital processing,such complex digital composing visualeffects continue to make great demandson camera, especially for the big screen.

Just for the composite trick sequences, forwhich real shots are combined with digit-ally animated images, approximately 150individual shots had to be taken. SFX cam-eraman Wade Childress came to knowand appreciate the wonderful image steadi-ness of the ARRIFLEX 435 and 535 duringthe several weeks of greenscreen studioshoots: “We had until now only used Pan-avision cameras for digital and visualeffects and didn’t have any experience withother systems. Particularly because of theKodak Vision filmstock we did extensivetests. Here we also experienced the excel-lent features of the film transport systemon the ARRIFLEX 435 and 535. The resultswere magnificent.”

The brand-new Kodak Vision filmstock5297, which was used for the first time inbig European feature film production, wasexposed well below the rated exposure in-dex at 250 ASA to give better detail.From April the European werewolves willpopulate US screens.

Production: Comestone Pictures/Delux Productions

Producer: Richard ClausDirector/Script: Anthony WallerDoP: Egon WerdinSecond Unit DoP: Jörg WidmerSFX Camera: Wade ChildressCamera and Lighting: ARRI Rental

DoPEgon Werdinusing theARRIFLEX 535

DirectorAnthony Waller,DoPEgon Werdin

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The new LOCPRO 35 is a multipurpose35 mm filmprojector and video transfer

system for location, studio or conferenceuse. A switchable mirror system allows ei-ther wall projection or use of a 1/3" highresolution CCD-Color Imager. Image/soundsynchronization from the LOCPRO 35 ispossible with DAT recorder.

Rapid Film Transport andSimple OperationFilm transport via a patented intermittentfilm drive sytem enables a film transportinterval of less than 0.01 sec. regardlessof projection speed. Constant film tensionand reliable film transport is guaranteedthrough the use of a computer-controlled

drive system for the film platter motors.Two meters before the end of the film isreached, the projector stops automatically.

Film loading is both fast and simple as aresult of the computer controlled system.After placing the film on either of the filmplatters, the free end is attached to anempty core on the other platter while simplydropping the film into the wide open filmchannel. All of the remaining film loadingsteps, of loop forming and film tensioningare accomplished automatically. The filmmay be removed at any time, even in themiddle of a roll by simply depressing the“film load” button.

LOCPRO 35

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Optimized Image Quality withFlicker Free ProjectionImage brightness, frame steadiness andimage clarity have been optimized for allapplications. Regardless of projectionspeed, the new film transport system guar-antees that there is no flicker. The 400 WHTI lamp enables optimum projection ofan image width of over 2 meters (6 ft) andaverage colour-temperature 5400°K.

High Speed Shuttle

High speed winding and quick localisationof specific film frames is accomplished byusing the projector’s high speed shuttlemode. The film may be shuttled in bothforward and reverse at 200 frames persecond by simply turning the ‘film speedcontrol knob’. After switching back fromhigh speed shuttle to image projectionthe correct frame bar adjustment is pro-vided again by the constantly running elec-tronic frame counter.

Special Characteristics at a Glance

• easy to operate• excellent image quality• short frame change period• single frame operation• high speed shuttle• “auto stop” device• “auto” recognition of winding direction• infrared remote control• HTI lamp• wall and TV-projection• computer interface• external image synchronization• fully integrated extras• easy to transport

Accessories

• Maintenance tool kit• Service tool box• Transport box

Specification

ProjectorType: LOCPRO 35

Film format: 35 mm Positive/Negative

Capacity of film platters: 300 m/1000 ft

Projection speed (fps): 50 Hz operation: 50/25/12.5/6.25/3.12/1.56forward and reverse60 Hz operation: 60/30/15/7.5/3.75/1.87forward and reversefilm mode: 48/24/12/6/3/1.5 forward and reverse

Single frame film transport: forward and reverse

High speed shuttle: 200 fps

Automatic stopping device: film drive stops automaticallyapprox. 2 m/6.7’ before theend of the film

Automatic recognition ofwinding direction: no change-over necessary

for clockwise or counter-clockwise winding

Digital display: frame counter, 5 digitsprojection speed set up mode

Frame bar adjustment: during film transport or stillprojection

Remote control: INFRARED

Lamp projection: 400 W, 24 V, HTI-Lamp

Lens: F 2/50 mm

Focusing: manually

Computer interface: RS 232, control and moni-toring of all operating- andvideofunctions

Dimensions (overall): 740 (29.1") (w) x 700 (27.6")(d) x 510 (20.1") (h) mm

Weight: approx. 56 kg/123.5 lbs

Power supply: 230 V/50 Hz - 115 V/60 Hz

1/3" CCD-Color IMAGER, High Resolution

Signal system: PALNTSC

Picture elements: 752 (H) x 582 (V) 768 (H)x 494 (V)

Sensing area: 6.00 mm x 4.96 mm6.00 mm x 4.96 mm

Sync system: internintern

Scanning system: 2:1 interlaced2:1 interlaced

S/N ratio: 46 dB48 dB

H/V resolution: 460 (TV) line470 (TV) line

Video out: FBAS oder Y/CVBS oder Y/C

Frame line inserter: free adjustable formatmarking

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Lightweight Focus Drive LFDThe set for the 16 SR range consists of thefocusing knob on the left, the gearwheeland the holder for the lightweight support.For right-side operation the set can beswapped over. For production matte boxessuch as the MB-19, a longer focusing knobis available. On 35 mm cameras only dif-ferent adapters are necessary.

The flexible shafts and the focusing levercan be directly attached to the lightweightfocus drive or to the focus knob. The ta-pered marking disk facilitates reading thefocusing scale from an angle.

Weight:Lightweight Focus Drive Set 490 g/1 lb

New 4" x 5.65" Lightweight Matte Box LMB-5With the LMB-5 ARRI introduces a newlightweight matte box that is optimallysuited for the 16SR 3 and Super-16 film-ing. The range of feasible focal lengthsbegins at 6 mm for 16 mm cameras, andat 14 mm in the 35 mm format.

The Lightweight Matte Box LMB-5 is equip-ped with two push-through 4" x 5.65" filterframes as well as with attachments for alight shield. The matte box is attacheddirectly to the front ring of the lens with aclamp adapter of appropriate diameter.

The slip-on carbon fibre light shield is lightand compact and so can always remainin place. During breaks in shooting or whentransporting a completely set-up camera,the light shield can be folded down flatagainst the front of the matte box to protectthe filters or the front element of the lens.

4" x 4" filter frames and set of masks for16 mm/35 mm lenses are available asadditional accessories.

A compact and lightweight unit for fixedfocal length lenses on 35/16 mm camerasas well as for zoom lenses on 16 mmcameras: with a variety of interchangeableholders, the lightweight focus drive canbe attached directly to the 35 mm cameraor to the lightweight support of the 16 SRrange.

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ARRI X, the New Daylight LuminaireWith the new high performance day

light floodlight ARRI X 40/25,ARRI has introduced a new generation ofluminaires. The floodlight was developedfor the even illumination of large areaswith daylight character. The applicationscover film and television productions,theatre performances and even use inphotographic studios.

2500 Watt as well as 4000 Watt single-ended discharge lamps can be used asrequired. With the ARRI quick-changesocket, the bulb can be replaced simplyand safely. Alteration of the output andthe necessary lamp height compensationcan be done simply via a setting ring.

The reflector is equipped with quick re-leases for flexible handling and can bereplaced without tools. Reflectors for hardshadows (‘Shadowlight’) and for large,wide surface illumination with high lightintensity are available.

The ARRI X housing is made of stable alu-minium plates and profiles, making it veryrobust in use.

Technical Data:Capacity: 2500 W or 4000 W

single-ended dischargelamps

Colour temperature: 5600°K

Lamp socket: G 38

Dimensions (in mm): 432 (W) x 265 (L) x 612 (H)17" x 10 1/2" x 24"

Weight: 18 kg / 39 lb 10 oz

Light output in Lux:

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SHOWTECThe new daylight luminaire ARRI X 40/25will be exhibited at the Show Tec in Berlinfrom June 3 to June 5.Visitors will not only have theopportunity to see the entirerange of ARRI lighting products.On June 3, 1997 at 1:00 p.m.they will also be able to listento a lecture held by ProfessorMax Keller on the subject “Fas-cination Lighting”.

You can find ARRI inHall 20, Booth A18.

Distance 3 m 5 m 10 m Beam-Angle

2500 Watt 4028 1450 360 129°

4000 Watt 6110 2200 550 129°

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New Colleague inCamera Sales at ARRIBurkhard Schmalstieg has succeeded ascamera sales representative for Germany.Gerald Stekly has become sales managerfor ARRI’s film and TV services.

Mr. Schmalstieg has the perfect backgroundfor this position: as sales manager forcinematographic film at Agfa-Gevaert AGhe made many contacts to German DoPsand gained solid practical experience onnational and international productions.After internal training in the camera serv-ice department and camera rental park atARRI, Mr. Schmalstieg fully begins hisduties in May. He intends to pay particu-lar attention to the post-sales service forthe customers.

S.R. Electronics, ARRI’s representative inMumbai, has moved into new premises.As well as sales, Ravi Potdar now alsooffers comprehensive service for ARRI cam-eras and lighting equipment.

In 1989 R. Potdar founded his own com-pany after over 20 years of experience insales and service of ARRI products. Earlythis year he delivered the first ARRIFLEX435ES to the Indian DoP R.M. Rao.

S.R. Electronics12/351, Nirlon Colony, Siddharth Nagar,S.V. RoadGoregaon (West), Mumbai 400 062Tel.: 022 875 95 80, Fax: 022 895 44 58

Academy Bonner Medal to Volker Bahnemann

The John A. Bonner Medal for Commen-dation was presented by the Academy ofMotion Picture Arts and Sciences to VolkerBahnemann, president of ARRIFLEX Cor-poration on March 1 at the Scientific andTechnical Awards Presentation dinner.

The Bonner Medal, named in honor of thelate director of special projects at WarnerHollywood Studios, are awarded in appre-ciation for “outstanding service and dedi-cation in upholding the high standards ofthe Academy.”

Bahnemann began his career at Arnold& Richter in 1959 and came to ARRIFLEXAmerica as a camera technician in 1963.He was named president in 1977 and hasbeen a driving force in the success of theARRIFLEX line of cameras in the UnitedStates.

Bahnemann has been active over theyears in the Academy’s Scientific andTechnical Committee.

The medal of commendation now namedfor Bonner has been given at intervals bythe Academy Board of Governors since1977, upon the recommendation of theScientific and Technical Awards Committee.

India

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CAMERIMAGE – the “International FilmFestival of the Art of Cinematography”– took place for the 4th time in Torun(Poland). Its increasing popularity is nosurprise: CAMERIMAGE is the only festi-val in the world to concentrate on the art

MunichNumerous visitors from the film and televisionindustry came together for ARRI’s 8th OpenHouse in Munich. Over 800 film-makerscame to Studio 2 in Türkenstraße for a livelyexchange of ideas. This offered the opportu-nity to discuss projects, to keep up contactsor to establish new ones.

of the DoP. ARRI, a sponsor of the festival,also gave the first detailed presentation ofthe ARRIFLEX 435 in Poland: a two-dayworkshop was attended by establishedDoPs as well as students of the Polish FilmSchool. Lodz ranks among the world’sfinest institutions. Poland has brought forthDoPs such as Janusz Kaminski (SCHINDLER’SLIST) and Piotr Sobocinski (THE SEVENTH

DOOR).

The top-class festival jury consisted ofHaskell Wexler, Andrezej Zulawski, VilmosZsigmond, Robert Alazraki, MiroslavOndricek, Alexiei Rodionov and AndrzeyJaroszewicz. Nineteen films competed forthe Golden Frog. In addition 60 filmswere shown as well as a retrospective ofHaskell Wexler’s work.

The English DoP Dick Pope received theGolden Frog for SECRETS AND LIES. EduardoSerra (Silver Frog) and Geoffrey Simpson(Bronze Frog) were rewarded for theircamera work on the films JUDE and SHINE

respectively. Haskell Wexler was awardedthe Life Achievement Award.

Poland has developed over the years intoan interesting business partner for the filmindustry. Low shooting costs offer attractiveworking conditions, and the percentage offoreign productions is increasing. To meetthe demand for technical equipment, Polishrental parks continue to equip themselveswith new cameras, and the first ARRIFLEX435 and 535B cameras have already beenpurchased. In 1996, 22 feature films andover 230 commercials were filmed in Po-land.

Open House at ARRIBerlinIntervision Cine Rent also held an OpenHouse, thereby officially opening ARRI’sfacility in Berlin and presenting the latestlighting and camera equipment to its visitors.

Intervision Cine Rent GmbH,Kaiserin-Augusta-Allee 16-24,10553 BerlinPhone +49 30/34 68 00-0Fax +49 30/34 68 00-30

CAMERIMAGE

Intervision-Team: from top to bottom1st row: l. to r.: Hans-Georg Witthohn, Bernd Koschmidder2nd row: l. to r.: Siegfried König, Ronald-Michael Voigt,Nasser Heintzelmann, Regina Kunow, Sebastian Jahnke3rd row: l. to r.: Felicitas Schnatmann, Regina Nasu-In,Andreas Halle

left to right: Gernot Roll,André Siebert

left to right: Caroline Link, Rainer Matsutani,Katja Riemann, Rainer Kaufmann,Katja von Garnier

left to right: Dominik Graf, Hans Noever,Helmut Dietl

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Post ProductionA Quantel Henry V6 was installed inMunich’s leading post-production houseARRI TV in early January 1997. The com-puter allows digital image processing in6 layers simultaneously, as well as numer-ous effects such as motion tracking, picturestabilizing or motion blur. The new Henryhas a storage capacity of 2 hours of un-compressed 4:2:2 video. For editing andeffects, ARRI TV now has the broadestrange of all studios:

• Digital on-line in a D1 suite with the effectsmachines Harriet from Quantel and Flintfrom Discreet Logic, Abekas A57, ADO3000

• two Flames from Discreet Logic• Cineon Digital Film System• Henry V6• Harry/Paintbox

StudioBoth TV studios in Türkenstraße have alsobeen integrated into the digital ARRInetwork as of January 10. Vision controlwas upgraded with the image mixer Dia-mond Digital from Bosch. On studio pro-ductions it is now possible to access alldigital capacities via the internal router. Thesuperior capabilities of the Dynachrome-Keyer enables the combination of all in-house digital image sources.

Digital FilmAt ARRI Digital Film, a department of ARRITV, a second Flame workstation fromDiscreet Logic was installed in April. Nowtwo Silicon Graphics Onyx computers areavailable. Kodak Cineon Digital Film Sys-tem also runs on these, including scanningand recording in film resolution.

The animation software Alias Wavefronthas also recently been installed. In thenetwork with Softimage, which has alreadybeen used successfully for a long time,absolute state-of-the-art equipment is nowavailable for 3-D.

left:The DigitalEdit Suite

right:Colour gradingon Rank CintelUrsa Gold

New Colleague – New CompetenceJürgen Schopper, who has worked on thesuccessful American production INDEPEND-ENCE DAY has joined the company. He iscreative manager for 3-D animation anddesign development, thus enhancing theteam made up of Christian Singer (Henry)and André Siebert (Flame).

TelecineIn the area of Telecine, ARRI TV uses twotop-class Rank Cintel Ursa Gold film scan-ners with DCP and Electric Sunroof colourcorrectors; Electric Sunroof enables selec-tive effects in programmed Softwindows,i.e. colour grading partially in the image.Both machines have now been equippedwith TWIGI, a special development by theEnglish company, Innovation TK. TWIGIimproves the signal-to-noise ratio andaliasing noticeably and thereby optimizesimage quality.

What´s New at ARRI TVHenry V6/Digital Image Direction/Alias/TWIGI

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A social clip – what exactly is that?An advertisement for something

which in no way fits commercialisation –for a specific, sometimes even life-savingsocial behaviour. ‘The Airbag’ is an Aids-clip produced for cinema and television inGerman and English. The project by theyoung director Marc Köbler was also auniversity project at the Art School for Mediain Cologne. The reknowned German talk-master Alfred Biolek and Werner Bargwere his diploma supervisors. On a projectcalling for such commitment, active part-ners are certainly vital.

A professional 35 mm production with themost modern post-production and trickeffects was planned. ARRI Digital Film wasone of the companies that offered greatsupport. Angela Reedwisch and the Flame/Cineon team were enthusiastic about thissocial project. Thus one of the optical high-lights was created digitally – the combina-tion of two layers of action. The scene: astoryboard is left lying on the desk in anoffice. As the camera draws closer, thedrawings come to life: the display of a hand-

Social Clip – The Airbag

sketched elevator glows. The camera comescloser and closer, finally dipping into thesecond layer of the story’s action. It fliesthrough the drawing into a real parkingbuilding in a dream-world…

Other film industry companies, such asKodak, Ruhr Sound Studios and Cine Rent,and also the car manufacturers Saab,BMW and Ford donated cars and spon-sored the development phase – safety isof course in their interest too. The actorsand crew worked on postponed salaries.Marc Köbler has since then been employedon commercial productions in Englandand South Africa, where the market is boom-ing. As project manager for German com-panies he has noticed a clear increase ininterest in notable locations on the Cape.Currently he is negotiating with Europeanproducers for a script on Nelson Mandela’syears in prison.

The Team Included:Director/script/Avid-editing: Marc KöblerDoP: Michael WeyhersAssistant: Dirk SteinmeyerDigital images: ARRI Digital Film

Car park, DüsseldorfLocation scouting with sunset atmosphere

Exact movements – rehearsal andsetting, left actor Stefan Gebelhoft,right director Marc Köbler

The “Airbag”

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A Selection of Currently Serviced Productions

ARRI Camera Rental, MunichTitle Production Company Director DoP Equipment

CASCADEUR Cascadeur Filmproduction Hardy Martins Markus Fraunholz 435

EYES WIDE SHUT Warner Bros./Hobby Films Stanley Kubrick Larry Smith 535B

JAGDSAISON Arbor Filmproduction Karola Hattop Hartmut Lange 16SR3

TARZAN & JANE CineVox/Film Africa Worldwide Carl Schenkel Paul Gilpin 535/535B/435

TOM GERHARD 2 Constantin Film Gernot Roll Gernot Roll 535B/435

WHEN THE LIGHT COMES Added Films International Stijn Coninx Theo Bierkens 535B

WIDOWS Hager Moss Sherry Hormann Hans-Günther Bücking 535

ABEL TV 60 Filmproduction Marc Rothemund Johannes Kirchlechner 16SR3

shooting already completed:

CRAZY SIX Wild Side LTD/Crazy Six Tom Karnowski George Mooradian 535

DATING GAME Olga Film Anno Saul Hans Grimmelmann 16SR3

KULL THE CONQUEROR Korsala John Nicolella Rodney Charters 535/535B/435

NACHTS Avista Film Peter Fratzscher Thomas Merker 535

SIN QUERER Trans Film Ciro Capellari Jürgen Jürges 535/BL4s

SPINNE IM NETZ Arbor Filmproduction Heidi Kranz-Fischerauer Mike Gast 16SR3

THE HARPIST Schlemmer Film/Jester Pictures Hansjörg Thurn Gerry Lively 535/BL4s

WEIHNACHTSFIEBER Clausen & Wöbke Paul Harather Gernot Roll 535/535B

ZWEI FRAUEN ZWEI MÄNNER Olga Film Vivian Naefe Peter Döttling 535

ZWEI IM BERG Cinecas Film/Ventura Film Christoph Kühn Peter Indergant BL4s

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ARRI Lighting Rental,MunichTitle Production

CRAZY SIX Studio Koliba

KATRIN IST DIE BESTE NDF

BYE BYE LOVE Hager Moss

WEIHNACHTSFIEBER Hofmann & Voges

FORSTHAUS FALKENAU NDF

DR. STEFAN FRANK Phönix

DEUTSCHE BA Input

BULLYPARADE Pro 7

BMW OPEN 97 Iphitos

WHEN THE LIGHT COMES Added Films

ABEL TV 60

ARRI Digital FilmTitle Production Director Service

OBSESSION Multimedia GmbH Peter Sehr Digital Compositing, Title Editing

BANDITS Olga Film Katja von Garnier Digital Image Restoration(Anti-Flicker, Wire-Removal)Title Design and Digital Compositing

NACHTS Avista Film Peter Fratzscher Visual Effects 3D and Compositing

DER UNFISCH Terra Film Production Robert Dornhelm Digital Compositing in Cineon ofStock Footage and New MaterialWire Removal

ZWEI IM BERG Ventura Film Christoph Kühn Digital Compositing Cineon/FlameCrowdshot

GIPSY MAGIC Vardar Film Stole Popov Digital Compositing CineonCreating of Stars in a Night Sky

FEARLESS FOUR Bioskop Film Digital Filmrecording

Marlboro Abenteuer Michael Conrad & Leo Burnett Digital Compositing CineonTeam ‘97 Colour Correction, Title Editing,BEAR’S PAW PRINT Different Country Versions

NACHTS

DER UNFISCH

BANDITS

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ARRI TVTV Commercials

Title Production

Siemens EDITION 150 Embassy of Dreams

BMW SHOWROOM Hager Moss Filmproduction

Siemens TOM German Answer Production

Pro 7 BÖRSENGANG E&P Commercial

Bitburger FORMEL 1 Heye & Partner

BFG DER BANKEXPERTE German Answer Production

Deutsche BA VORURTEILE Input Filmproduction

Fanta INSIDER Made in Munich

Arte SGI WETTER OPENER Velvet Medienagentur

Coppenrath & Wiese TRADITION Frames Filmproduction

Citroen Xantia CRASH Clay Coleman Associates

C&A YA.HO.HE Roman Kuhn Filmproduction

Maggi SNACK Interteam Filmproduction

Swatch CITYSURFER HelliVentures Productions

Citibank AUSTRALIEN Input Filmproduction

Chip MONITOR Bigeyed Beans Productions

Feature Films and Series

Title Production

OPERNBALL Constantin Film Production

MUSTERKNABEN NDF München

TODESSPIEL Multimedia

DER SKORPION MTM Cineteve

MIDNIGHT FLIGHT Gemini Film

MÖRDERISCHER SOMMER Frankfurter Filmproduction

14 TAGE LEBENSLÄNGLICH Helkon Film

WHEN THE LIGHT COMES TV 60 Filmproduction

CHAOS QUEEN NDF München

FRAUEN LÜGEN NICHT Cobra Film

TWIGGY Claussen & Wöbke

KALKULIERTES RISIKO Frankfurter Filmproduction

ALARM FÜR COBRA 11 –DIE AUTOBAHNPOLIZEI Polyphon

DIE AUBERGERS Objectiv Film

MONDSEE COPS Beo Film & Fernsehproduction

ROSSINI ODER DIE MÖRDERISCHE FRAGE

WER MIT WEM SCHLIEF Diana Film

DR. STEFAN FRANK Phoenix Film

Siemens TOMGerman Answer

Production

Siemens EDITION 150,Embassy of Dreams

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PICASSO, the new film by and with HerbertAchternbusch was the first cinema film projectof 1997 produced in Studio A.

FRAUEN LÜGEN NICHT – a spitting image comedywith Jennifer Nitsch, Martina Gedeck andHans Peter Sattmann.Production: Cobra Film. Director: Mike Juncker.Editing: Ulrike Pahl. Rental: Buena Vista.

The KARAJAN KONZERTAUFZEICHNUNGEN from theyears 1982 to 1989 are digitally re-mixed.Beethovens’ symphony no. 1., 8. and 9 andTchaikowskys’ symphony no. 6 have alreadybeen ‘re-newed’. The complete works is to bepublished on a 35mm copy – with SDDS dig-ital sound or Dolbydigital for special cinemato-graphic use and/or DVD with 6-track sound.Production: Telemondial S.A.M.

NACHTS by Peter Fratscher for AvistaFilmproduction.Editing: Barbara Gies.The thrilling film with Jan Josef Liefers, UlrikeMühe and Marie Bäumer acting in the maincast tells the story of an author who graduallymisses to distinguish between reality and fic-tion when writing a story about werewolves.“…It is not a horror film, not a thriller, not alove-story but a bit of all…“, says producerHerbert Rimbach. The music for this lavishlycreated soundtrack was composed by Ali N.Askin.Sound design: Marcel Spisak, Sloweig Bores.Sound mix: Max Rammler-Rogall.

Also in Dolby digital the Swiss/French/Ger-man co-production IRRLICHTER was produced.“A reality tv-report shot in a cave turns into alife-threatening situation“, explains directorChristoph Kühn: “A woman (Barbara Auer)and a man (Tobias Langhoff) who at first can-not stand each other fight side by side to reachthe daylight”.Sound designer: Marcel Spisak. Music: AlexKirschner. Editing: Birgit Klingel. Foley artists:Mel Kutbay. Sound editing: Lisa Ließl/SteffieGeißler. Sound mix: Max Rammler-Rogall.

Klaus Wendt mixed the German film version ofShakespeare’s HAMLET for the PPA Film GmbH.

SABBATH IN PARADISE – The realization of ClaudiaHeuermann’s work lasted three years. Jewish-orthodox tradition, in this documentary film,meets the new avantgarde culture of LowerEastside: stories of various musicians in todaysNew York entangle with an old jewish legend.

OBSESSION – director Peter Sehr, together withHelga Wagner (Sound edit) completes his newfilm. Sound mix: Tschangis Chahrokh.

DER SCORPION – a remarkable tv play.Editing: Christel Sukow. Music: Dominik Graf,Helmut Spanner. Sound mix: Max Rammler-Rogall.

In Studio C the series DER BERGDOKTOR, KATRIN IST

DIE BESTE, TRIKE and LADY MAYERHOFER were mixed.Production: NDF. Sound mixer: TschangisChahrokh, Martin Schalow and Anton Rädler.

From May 25 on, CRIMETIME will be shown inthe cinemas. George Sluizers’ film – a compo-sition of satire and psychothriller – reflects therelation between mass media and violence.The international production was completelysupported and looked after by the ARRI Soundstudios in 1996.

Technical NewsThe upgrade of two further edit suites equippedwith Pro Tools III, Yamaha O2R Digital consolesand diverse periphery will be completed in thenear future. The complete on-line connection ofsound mix studios with edit suites and a newrecording room for dialog and foleys offer newpossibilities for the area of commercials. Thisalso includes the fast building up of our soundarchive, run by Christoph Ebhard.

In future, Studio B, with a new digital consoleand new look will not only offer sound record-ing but also the complete range of sound postproduction and as a mix studio.

PersonalityIn April, the sound designers Magda Habernickeland Anette Prey, with their new company“Soundabout”, moved into our facilities.

Also technically on-line and business-wiseindependant, Jürgen Roth will join us whomade himself well-known with sound designand mixing in the field of commercials.Welcome Jürgen.

ARRI Sound:front row (l. to r.) – Annemarie Huemer,

Tschangis Chahrokh,Max Rammler-Rogall, Petra Fröhlich;

back row – Thomas Schwenke,Stephan Boehme de Marco,

Florian Feichtmeier, Peter Notz,Julian Müller-Scherz, Florian Groß,

Igor Stimmer, Christoph Ebhard

ARRI SoundSound Post Production atARRI Sound Studios

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Expo Calendar 1997

These are the most important exhibitions at which you canfind out about ARRI products and services.

03.06. – 05. 06. Show Tech Berlin

13.06. – 15. 06. Showbiz Expo West Los Angeles

01.07. – 04. 07. SMPTE Sydney

14.10. – 17. 10. Satis Paris

09.10. – 11. 10. LLB Stockholm

16.10. – 19. 10. Koba Seoul

16.10. – 20. 10. IBTS Milan

20.10. – 23. 10. Asia C.S.+B. Kuala Lumpur

24.10. – 26. 10. LDI Las Vegas

30.10. – 01. 11. Broadcast India Mumbai

Key Contacts

Support CameraGünter ZoehD-089-3809-1209

Camera Rental,MunichRobert WiesmannD-089-3809-1325

Lighting Rental,MunichHubertus Prinzvon HohenzollernD-089-3809-1345

ARRI TVFranz KrausD-089-3809-1512

ARRI DigitalfilmAngela ReedwischD-089-3809-1574

ARRI Lighting RentalTim RossGB-0181-561 6700

ARRIFLEX CorporationFranz WieserUSA-0914-353 1400

CSC Camera ServiceCenterNeil BahnemannUSA-0212-757 0906

ARRI CanadaPenny WatierCDN-0416-255 3335

ARRI ItaliaMassimo LobefaroI-02-26 22 71 75

ARRI SoundMax Rammler-RogallD-089-3809-1628

LaboratoryJosef ReidingerD-089-3809-1339

ARRI contrast GmbH,BerlinLaboratory, Sound,VideopostproductionPeter PetersenD-030-3 000 91-11

ARRI GB LtdNick ShapleyGB-0181-848 8881

ARRI MediaSimon BroadGB-0181-573 2255

Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 MünchenEditor, editorial office, text: Editor J. Thieser, Marita MüllerWith additional text by: Rolf Thissen, Roland Breitschuh, Philipp Timme, Rob de Wind,Geoffrey Simpson, Romain GeibArtwork: Uwe Heilig, Hans Schmid, München Printed by: rapp-druck GmbH, FlintsbachLitho: EDTZ, Ottobrunn

Technical data are subject to change without notice

http://www.arri.com

Arnold & Richter Cine Technik, Türkenstraße 89, D-80799 MunichPhone D-089-3809-0, Fax D-089-3809-1791

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