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D i g i t a l S e r v i c e s

L i g h t i n g

S e r v i c e s

D - 2 0 a t the MetaV i s ion Use r Tr i a l s 04

A R R I F L E X 4 3 5 Xt reme 08

Andrew Lesn ie Lec tu res a t Be r l i na le 10

A Ques t ion o f the Lens 13

A R R I M O T I O N Do l l y Wor ld P remie re 20

A R R I M O T I O N Laptop So f tware 22

Updated A R R I C A M D o c u m e n t a t i o n 23

A R R I L D S fo r A l l App l i ca t ions 24

Updated W i re less Lens Cont ro l Sys tem 26

Dig i ta l In te rmed ia te on the MoveFotoKem 14

L ipSyncPos t 16

Wor ldwide 18

A R R I S C A N Mic ro - s cann ing and App l i ca t ion Matched Pa ramete r s 28

C o l o r M a n a g e m e n t – a Sneak P rev iew 30

Need a P i t S top? 31

G R A N D E F R AT E L L O – Big B ro the r i n I ta l y 32

SKY PANE L La tes t P roduc t In fo rmat ion 33

A R R I ’s S K Y PA N E L Receives “Honorable Mention” from L D I 34

A R R I X 5 Adds H M I F lood l igh t to the Even t Range 34

ISO 9001:2000 – A Smal l S ign w i th a B ig S ign i f i cance 35

On -Se t w i th C U R S E D 36

A R R I F L E X 1 6 S R 3 Spr in t s E f fo r t l e s s l y fo r N ike 38

Super Bowl & Win te r X -Games 40

CSC New York Ce leb ra tes i t s 5 0 T H Ann ive r sa r y 42

D I R T Y D A N C I N G : H AVA N A N I G H T S 43

Who i s Shoot ing in Canada? 44

Z A PATA Revo lu t iona r y D reams in Mex i co 46

Pa in t ing w i th L igh t 48

What ’s i t A l l About , Ash ley? 50

A R R I C A M s in Denmark 52

The Future Looks Bright for South Afr ica 52

V ive la F rance – V ive l ’ A R R I C A M 53

L A K S H YA – F i lm ing in Ind ia on H ighe r G round 56

Dig i ta l In te rmed ia te a t ARR I D ig i ta l F i lm 60

T R I X X E R 62

Dig i ta l F r u i t Show 65

German F i lms Shot Ab road 66

Tu rk i sh Success F i lm V I O Z E N T E L E 2a t A R R I F i lm & TV in Mun i ch 67

With A R R I on the Fas t Lane 68

VAN HELS ING 69

A R R I Renta l L igh t ing and G r ip on New Loca t ion 70

A R R I Milestones at bvk Convention 71

A R R I L igh t ing So lu t ions Be r l i n 72

Be i j i ng F i lm Academy, Ch ina 73

Congra tu la t ion to the W inne r s 74

I n s igh t i n to a F i lm Gen ius´ B ra in 75

BSC Opera to r s N igh t 75

Retu rn o f the A R R I - Team . . . 76

A Se lec t ion o f Cu r ren t l y Se r v i ced P roduc t ions 77ARRI Rental Germany · ARRI Media · Camera Service Center (CSC)ARRI Lighting Rental · ARRI Visual Effects · ARRI Commercials ARRI Sound · ARRI Lab – TV Drama

Wo r l d w i d e

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Dear Fr iends of Fi lm

I am delighted to present to you our NAB 2004 edition of the ARRI News. As inthe past, you will find articles on our product innovations and reports from filmproductions around the world. A special section is devoted to Digital Intermediate.DI is probably the most innovative technology in film production since computergenerated imaging. The technical building blocks for the DI process have signifi-cantly improved and matured in the past two years. Today, film scanners, IT-basedstorage systems, conforming and color grading packages along with film recor-ders offer highest image quality and reasonable throughput at affordable costs.Based on this technology, the success of DI will quickly spread across the globe.We are proud to be a driving factor in this innovation with the market introductionof the ARRISCAN.

This NAB there will be – together with the ARRILASER and the color managementsoftware – a commercial film-to-film solution available to the film industry for thefirst time ever that can form the backbone of the DI process.

As 35 mm negative film capture is the undebated quality source of the DI process,ARRI is continuously designing and improving products for film capture. This NABwe will be presenting the 435 Xtreme.

Based on the proven 435 platform, the 435X will incorporate the latest innova-tions such as the Lens Data System LDS along with a wide range of enhancementsin one package. The enhancements will address new functionalities and ease ofoperation as well as speed issues.

Despite film still being the undisputed quality capture media, digital acquisition ismaking inroads. ARRI’s approach to digital capture was first shown as a functionalprototype called the D-20 at the last IBC. Since then, various improvements havebeen implemented and a short-form film was shot. We attended several events inEurope and the USA where we presented the D-20 concept and the prototype camera. The response from cinematographers, rental and production was so encou-raging that we are pushing the project and expect to have several prototype cameras ready for pilot applications by the summer of this year.

But regardless of all the positive response we received for the good-looking imagesfrom our first film shoot we are clearly aware of the inherent technical limitations ofdigital capture and storage, today and in the foreseeable future. For this reason wecontinue to invest in R & D projects for film-based products.

Please enjoy reading our magazine. For those of you who will be coming to NABthis year: the international ARRI staff and myself are looking forward to meetingyou at the ARRI booth.

Sincerely

Franz Kraus

D-20

04 C a m e r a

Since the first appearance of the D-20 at IBC 2003 in Amsterdam there has been great

interest in the project and an enthusiastic response from the production community.

The D-20 functional demonstrator is based on a single, custom-made 6 million pixel

CMOS sensor, with an image area equal to that of a 35 mm full aperture film negative.

This novel approach allows the use of all conventional 35 mm format cine lenses.

Reflecting its ancestry and the wishes of the potential users, the D-20 is equipped with

a mirror reflex shutter and an optical viewfinder.

D-20 at the MetaVision

The next step in the development process wasto put the D-20 on a set to gain practical experience and gather user feedback. The firstof many such tests took place during theMetaVision user trials, a culmination of ARRI’sinvolvement in this European research pro-ject. The D-20 itself was developed as an integral part of the MetaVision project andrepresents the image capture front-end of thesystem, providing the required digital dataformat while at the same time supporting theneeds of a professional camera team. To verifythe concepts developed in the project, theuser trials were designed as a complete testproduction that put the MetaVision chainthrough its paces and investigated its capa-bilities in detail, including such aspects ascontrast handling, depth keying and slowmotion capabilities.

The shoot was arranged at the UK head-quarters of MetaVision project leader Snell &Wilcox across a day and a half of mixedweather in November 2003. Director TonySalmon had created the concept of a clas-sical music “promo” involving the talentedyoung violinist Nicola Benedetti, playing ashort piece by Henri Wieniawski.

The test gave the assembled high-tech geara good work out, including the D-20 func-

Director Tony Salmon (l.) andDoP Greg Minassian

tional demonstrator, the equipment for depthmapping from the BBC in the UK and the so-phisticated disk-based recording technologyfrom Snell & Wilcox. Because of the D-20’sdesign, the production was able to use con-ventional camera accessories and grip equip-ment, which were provided by ARRI Media.This was essential, as it allowed the equip-ment to be brought out of the lab and onto aprofessional outdoor set (albeit with somevery long cables!).

During the preparation day, Tony Salmontogether with DoP Graham Minassian asses-sed the shots and decided that they needed

additional lenses. Since the D-20 utilizesstandard 35 mm format lenses, ARRI Mediawas readily able to supply the lenses fromits vast inventory. ARRI Lighting Rental sup-plied all the required lighting equipment.

To support the unique features that had beendeveloped in the MetaVision project, thecamera was configured to run in a specialMetaVision mode that allowed images to becaptured at a rate of 72 fps. While the full2880∞2160 pixel count of the D-20’s imagesensor would have been beyond the datahandling capabilities of the test equipmentat this frame rate, the read-out flexibility pro-vided by the CMOS-sensor made it possibleto downscale the frame size to 1920∞1080pixel to fit the available bandwidth.

To further lessen the data load, only everythird image was stored with its full informa-tion content, representing a standard framerate of 24 fps. The intermediate frames, onthe other hand, were significantly compress-ed thus effectively reducing the required datastorage capacity.

In combination with the high quality streamof 24 fps frames, this special form of imagedata provided the basis for adding motioneffects in post-production. Using the motion

05C a m e r a

Star violinist Nicola Benedetti featuresin the MetaVision test production

User Trials

06 C a m e r a

information contained in the intermediateframes, it was possible to create a slow-motion effect at greater than 72 fps or addmotion blur to specific frames.

One of the sequences also utilised a novelmethod of depth mapping, pioneered by BBCResearch & Development (another projectpartner), using standard definition camerasmounted to the left and right of the D-20 toprovide depth information. This additionaldata was used in post-production as the ba-sis for generating keys, providing the abilityto create composites without having to re-sort to blue or green screen techniques whileshooting. This technology promises to beespecially useful for outdoor scenes.

Due to the experimental nature of the test set-up the captured images required a substan-tial amount of post-processing before it was

possible to view them in their final quality.At the time of the test production, the came-ra was not yet fitted with the live-HD outputthat was developed to provide high qualitymonitoring. During the shoot, the only liveimage the crew could view was a black andwhite respresentation of the raw MetaVisiondata. Of course, as with any conventionalfilm camera they could rely on the optical

viewfinder for an accurate representation offraming and composition. After confirmingthe quality of some exposure tests that hadbeen processed offline, the crew was surethat they “got what they saw”.

After extensive data-processing, editing andgrading, the opus finally had its premiere asa digital projection on the “big screen”. Aspart of a presentation of the MetaVision Pro-ject by Snell & Wilcox, it was shown to pro-fessionals from the production and post-pro-duction industries at the Hollywood Post Alli-ance Technology Retreat that was held in PalmSprings, California in February of this year.

Nicola Benedetti at Snell & Wilcox

Two additional cameras provide depthinformation for post production

The D-20 CMOS sensor providescapture format flexibility within the 18 x 24 mm image area: 2880 x2160, 2880 x 1620 or – as in MetaVision – 1920 x 1080 pixels Slow motion sequence captured at 72 fps

07C a m e r a

The overall reaction was very positive. Theimages show none of the typical artefactsassociated with video and the cine-lensescreate an excellent impression of depth.

DoP Graham Minassian was very enthusias-tic about this experimental camera: “I havebeen shooting with ARRI cameras for morethan 30 years, but I have used standard-resolution DigiBetas and HD-cameras as well.For the first time while shooting (digital) video, I could use an optical viewfinder, cinelenses and other accessories without any restrictions! – The D-20 seems to be a realARRI as far as I can judge from this test.”

Of course, the test production also uncovereda number of areas where improvement willbe necessary before this innovative techno-logy can be used efficiently in a professionalenvironment. Still, the tests proved that theD-20 points in the right direction in combin-ing the best of both worlds: Film-style opera-tion and high quality digital image acquisition.

Bil l Lovell, Andreas Berkl, Michael Koppetz

The MetaVision Partners

Snell & Wilcox ARRIBBC R & D INESC Porto France 2 University of Padua

Film-style depth-of-field thanks tothe large format sensor

Crew for the test shoot

Director: Tony SalmonDoP: Graham MinassianFocus Puller: Alex HoweGrip : John RakeGaffer: Bill BulpittTechnical Advisors ARRI: Bill Lovell,

Andreas Berkl

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11 1995 08 1996 07 1997 02 1998 11 1998 05 2000

ARRIFLEX 435 & 435 ES, 4 perforationFEM-1Anamorphic Viewfinder

Steadicam Magazine IVS 300 m / 1000’ Magazine Single Frame System WRC-1

Available with either 4 or 3 perforation move-ments, the 435 Extreme combines the fea-tures of the 435 ES, 435 Advanced and theFunctional Expansion Module 2 (FEM-2) inone package, resulting in the most flexiblecamera for MOS work. Still as small androbust as its first iteration, the 435 Extremeis ideal for features, commercials, music vid-eos, Steadicam, special effects or motioncontrol work alike.

Feedback from the market over the last tenyears has resulted in a multitude of new functions and options for the 435 Extreme:

• A super bright high quality viewfinder,available for either spherical or anamor-phic viewing.

• An extensive speed range from 0.1 to150 fps.

• The latest generation of the ARRI IntegratedVideo System, the IVS-2, not only shows abrilliant, bright video image, but can also superimpose camera status informationand frame lines, allows for automatic ormanual color balancing of the image andcan preview motion blur effects.

• A new ramp generator improves rampingcapabilities with faster and smootherramps. An even wider ramping speedrange from 0.1 straight to 150 fps is possible.

• With the Single Frame System the 435Extreme transforms into a single frame/ timelapse camera. The unique IntegratedCapping Shutter (also available in 4 or 3perforation) allows viewing of the view-finder and video assist image even whenthe shutter is closed.

• With the Motion Control Interface (MCI)the movement, mirror shutter and InternalCapping Shutter can be independentlyand frame accurately controlled by amotion control computer.

• Tight integration with the ARRIMOTIONsystem makes for a powerful set up thatincludes frame accurate go motion, stopmotion and ramping capabilities.

• From the ARRICAM the 435Extreme inher-ited the built in Lens Data System (LDS Ultra), which saves time and allows the assis-tant to work more efficiently on the set.

Since the ARRIFLEX 435 camera

first saw the light of day in 1995,

it has become the workhorse of the

film industry, the golden standard

for MOS camera work. Over 1,200

cameras were sold worldwide,

and 435 cameras can be seen in

use in LA, Toronto, London and

Berlin, from the deserts of Dubai to

the wide Chinese landscapes, from

Africa to Australia. Based on the

original 435 design, ARRI has con-

tinuously updated the camera to

add versatility and features, culmi-

nating now in the 435 Extreme.

Xt r e m e

A R R I F L E X 435

09C a m e r a

07 2000 11 2000 07 2001 10 2001 05 2003

ARRIFLEX 435 & 435ES, 3-Perforation

IVS II Motion Control InterfaceARRIFLEX 435 Advanced FEM-2 ARRIFLEX 435 Extreme

04 2004

• The 435 Extreme can be outfitted with anextensive range of accessories for anyshooting situation. These include 120 m /400" magazine, a 300m/1000" maga-zine, a Steadicam magazine, a 100 %Video Top, Single Frame System, MotionControl Interface, Universal Radio Module,Lens Data Displays, and ARRIMOTION.

• The 435 Extreme is of course also tightlyintegrated into the existing ARRI acces-sories, of which it shares many with the

ARRICAM, from the small and modularWireless Lens Control System, the Wire-less Remote Control (WRC-1) to the rangeof follow focuses and matte boxes.

• The electronics for lens motors have beenintegrated, and the camera side radiomodem (URM) for wireless lens and cam-era control has its own place reserved,giving the camera the smallest envelopepossible.

A R R I F L E X 435 Model Comparison

Feature 435 435 ES 435 Advanced 435 ExtremeFaster & smoother ramps •Ramps from 0.1 to 150 fps •Lens Data System •Integrated lens motor electronics •Integrated modular wireless radio (no cables) •

ARRIMOTION frame accurate ramps •ARRIMOTION stop & go motion •Speed Range 0.1 to 150 fps • •Motion Control Interface • •Slow ramp up for Steadicam& cranes • •Electronic mirror shutter • • •Spherical or anamorphic viewfinder • • • •Integrated Video System • • • •4 or 3-Perforation movement • • • •Compatible with Single Frame System • • • •

Single Frame System

IVS II

Motion ControlInterface

LDS Contacts

FEM-2

Las Vegas Shot Zuma Beach ShootMeguiars Shoot

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10 C a m e r a

Andrew Lesnie

Lectures at Berl inaleWednesday, February 11 was cinematographers day at the Berlinale, Berlin’s big film festival. ARRI had invited

Andrew Lesnie, cinematographer of THE LORD OF THE RINGS trilogy, to share some of his experiences during

two events. In the morning Andrew Lesnie appeared at the Hollywood Lectures, which were organized by Media

Business Academy. He talked about some of the organizational challenges of THE LORD OF THE RINGS in front

of an audience of producers and cameramen, and showed and commented a tape of behind the scenes foota-

ge. The tape included most of the elements he had been asked about in the past, including the Massive pro-

gram, the horse chase, the issue of scale doubles, the creation of a digital Gollum and forced perspective.

In the afternoon he gave a lecture at the for-mer convention hall known to Berliners asthe “pregnant oyster” (House of Word Culturesnow), as part of the Talent Campus series inan auditorium filled with aspiring cinema-tographers, directors and script writers. Heshowed some earlier work, including scenesfrom BABE and a documentary on weight lift-ing with the now governor of California. Whilediscussing the specific techniques he used in previous projects to translate scripts to thescreen, Andrew Lesnie explained how allthose lessons were applied in THE LORD OFTHE R INGS , and gave this advice: “Twentyyears from now you draw on lessons fromwhen you were never thinking that you wouldbe at the helm of such a huge project. I guessthe lesson here is whatever you do, do it well,since you never know when it will come inhandy”. Below are some of the questions andhis answers compiled from those two events.

?: Is THE LORD OF THE R INGS now finished?

Andrew Lesnie: No, we are still working onthe third film. This is the first film I have everworked on where we are still shooting whilethe film has actually been released to thetheatres. We are still filming miniatures, andWeta Digital is still doing effects shots, andI will go back to New Zealand in March totime the extra footage for the extended DVD.On top of the theatrical release there is goingto be an extra 49 minutes; the film is cur-

rently running 3 hours and 20 minutes, so itwill be 4 hours and 10 minutes for the ex-tended DVD. So in fact I’ve got several moreweeks work to get the third film done, andthat will be finished sometime in April, andthat will formally be the end of the projectfor me.

?: Since there were a lot of units shooting simultaneously, how did you manage that?

Andrew Lesnie: First I talked with Peter Jack-son extensively about the film and definedthe look I wanted. Then we decided with theseparate departments on what equipmentand methods to use. During shooting I triedto make their job as easy as possible whilestill keeping the look constant. Every night Iwatched the rushes from all units. Since attimes we had up to nine units going, that wasquiet a bit of film. Sometimes it was five hoursof rushes after a twelve hour day, and at theend I would look around and the few peoplethat were still there would be snoring. Thatevening or the next day I would call the otherDPs and let them know what I liked or dis-liked.

?: Did you consider shooting THE LORD OFTHE R INGS digitally?

Andrew Lesnie: I have looked at some HDcameras but did not feel they were adequate.Film is still by far the best capture medium,

11C a m e r a

and film cameras are much more practicaland versatile than digital cameras. Eventu-ally the digital systems will get there, but thetruth is that film has taken a while to get there also. I am not a film dinosaur, but I amnot a digital junkie either. I just try to pullthe appropriate resources together for theproject I work on. But I am also realistic about the fact that films go through the digi-tal intermediate process now.

?: How did the decision to use the digital intermediate process (DI) come about?

Andrew Lesnie: Peter Jackson and I decidedright from the beginning that we would digitally grade the project. When I first metPeter Jackson, the only film that had beencompletely digitally timed was the Coenbrothers film OH BROTHER , WHERE ARTTHOU. Peter and I talked about the natureof shooting our project, and my concernswere that New Zealand has very turbulentweather. I have often said that you can havesix seasons in one day; you can have every-thing from a beautiful blue sunny sky to hail-ing and then snow and then back to warmweather. And that is the nature of why thecountry has such beautiful landscapes andlooks so rich, because it has such melodra-matic weather. So if you are filming and youhave to maintain continuity over several daysand you know there is not much likelihood ofthat going to happen, then you have to start

investigating what you can put in place tomake it happen. For me, back in 1999, di-gitally timing sequences was an opportunityto allow us to keep shooting in weather thatwasn’t so terrific. On a completely practicallevel it allowed us to keep the momentum onset, knowing that I had more facilities to dosomething about it later. So that was a hard,practical consideration, but there were othersalso.

?: How did you determine if a shot in badweather could be saved by the digital inter-mediate process?

Andrew Lesnie: I did extensive tests duringpre-production to see what it would take tomatch two scenes shot in different weather,to see how much the film would hold andwhat could be restored in DI. From that I knewhow far we could go on the set. So if theweather changed and it remained withinthose parameters, we could just keep shoot-ing. We could shoot longer and grade ourway out of it.

?: What other considerations were there inregards to the digital intermediate process?

Andrew Lesnie: We knew that we would befilming sequences that would include minia-tures, aerials, life action plates, blue screenelements and digital animation, and all thesethings had to come together, even though

they were shot by several units shootingright across New Zealand. So, lets say youwanted to shoot an elvish sequence, andyou had the philosophical approach that itwas going to be cool pastel blues and dif-fused, the problem would be that if you hadall these people applying different kinds ofdiffusion or different levels of diffusion basedon the weather pattern or apply none basedon the fact that if it was blue screen, once allthat stuff came together it would be a realmess. The digital intermediate allowed us toseamlessly integrate all those elements. Weeven color graded individual elements beforethey were composited, and then graded thefinished effects shot again. This double grad-ing was able to compensate for slight differ-ences in the elements and is one of the rea-sons the effects integrate so well with therest of the footage. With the DI process I hadcomplete control over the different looksused in the films, and I was able to come upwith looks that we could not have been get-ting during principal photography.

So the major reasons for digital intermediatewere the weather, the ability to control thelook with all those different elements and thatwe had complete control over the entire pro-ject after the fact and that we were not rely-ing on the limited tools at the lab to do it.

?: So all three films used the digital interme-diate process throughout?

Andrew Lesnie: The first film was not a com-plete digital intermediate originally, maybe70 %. The problem with DI at the moment isthat all the live action stuff is scanned at 2K.As much as there are claims that when youscan in at 2K and output at 2K you aregoing to get the same looking film in all res-pects like your work print, well, it is not true.I think probably closer to 4K will give youwhat you get from your work print. I was

Franz Kraus (left) hosted the Talent Campuslecture with Andrew Lesnie (right)

Andrew Lesnie checks out the ARRICAMLITE at ARRI Rental Munich

12 C a m e r a

disappointed by the digital intermediate stufffrom the first film, and so we talked to theproduction about scanning at 4K, and it wasprohibitively expensive for the amount offootage and the amount of work we had tohave done. For the second film, Peter Doyle,who put together our color grading facilityand did all the color grading, and I inves-tigated relentlessly what can be done, andPeter eventually solved it. He found a wayof increasing the contrast and the resolutionwithout bringing up the grain. So the secondand the third film benefited from being shar-pened but still maintained a reasonablegrain structure. Before we started timing thethird film, at Peter Jackson’s request we wentback to film one, scanned in the 30 % thathad not been scanned previously and outputthe first film as a digital intermediate. So nowall three films have been completely digitallytimed.

?: How important is the technology you use?

Andrew Lesnie: I approached this film likeevery other film I have ever tackled. The actual issue of technology in film is a secon-dary consideration. For me script and per-formance are always the two overwhelmingpriorities on a film. However, when you likethe script and the script is visually suggestiveand you discuss that with the director, youstart to come up with visual concepts. Fromthat point on it becomes a technical issue ofwhat gear, what cameras, what stock andwhat technology is going to make that visioninto reality. In general, I always look for thesimplest way to solve a problem, and if some-thing can be done with a piece of chewinggum or a rubber band, that is fine.

Now on the set, there are times when I maketechnical sacrifices for the benefit of the cast.As a cinematographer I am fierce about pro-tecting the authorship of an image, but whenyou are on a working set and you becomeaware that something technical is getting inthe way of a cast member getting a perform-ance, then I would trade down the techno-logy to get the performance.

?: What can the DoP do to ensure a goodperformance?

Andrew Lesnie: We were constantly tryingto adjust our methods to ensure the bestperformance. One example is the issue of thedifferent scales. We were cheating perspec-tive and size all the time and in the beginningthe actors were performing to the scale dou-bles and not to the other actor, so conse-quently they were not giving the kind of per-formance they were hoping to deliver. Veryearly on the actors said that is something theymissed, so as the shoot wore on we tried todesign the coverage so that the actors couldperform to each other. Probably the mostsuccessful example of that is in the end of thefirst film with Sean Bean and Elijah Wood inthe forest just before the Uruks arrive. Basedon the topography of the landscape we wereable to film an entire master of the two of themwalking and talking around each other withone shot on a Steadicam. That was one of thehigh points of the entire shoot for us becausewe had pulled of a forced perspective usingthe two actors and we made it believableenough that Elijah is almost half Sean’s size.

?: Can you talk a little more about forcedperspective?

Andrew Lesnie: In the past forced perspectivehas always been done with a locked off camera. We tried to figure out a way to haveforced perspective with a moving camera.In the scene where Gandalf talks to Frodo atBagend, the table was actually two tables.Ian was actually sitting at a scaled down halfand Elijah was sitting at a scaled up half. Wewere on a dolly that was linked to the tablesto maintain the forced perspective. We used

art direction to hide where the crack is, likeputting the milk jug and other items over it.

?: How do you view the relationship betweeneffects created completely digitally and effects done in camera?

Andrew Lesnie: The beauty of this project wasthat in spite of the large number of digital effects an enormous amount of the art direc-tion was actually built, and an enormousamount of material was actually filmed. PeterJackson is very big on trying to deliver toanimators and compositors something that isreal rather than asking them to manufacturea huge amount of stuff from scratch. Some-times it is not fair to ask digital compositorsor animators to suddenly become experts inart direction, photography and performance.For instance, I think the success of Gollum wasbecause Gollum was completely acted. AndySerkis came on set to just do the voice andthen started performing the part. I think withinthe first hour everybody, including the ani-mation team, was suddenly doing a huge rethink on how Gollum was going to be ap-proached. The bonus of Andy Serkis wasthat not only is he an actor, but he is physic-ally extremely dexterous, he is very acroba-tic. He was able to perform a lot of that stuffthat Gollum does. So on the second day thatAndy was on the set the animators arrivedagain but this time they had all their DVcameras and they were filming Andy fromdifferent sides, and two of those cameraswere chasing his facial expression. I think thesuccess of this character is because he wasperformed. Despite all the visual effects inTHE LORD OF THE RINGS, it really is a cha-racter driven film.

Andrew Lesnie and Manfred Jahnat ARRI Rental Germany in Munich

13C a m e r a

A Question of the LensFor 14 months Andrew Lesnie supervised the cinematography of up to 9 units that were

simultaneously shooting the three THE LORD OF THE RINGS movies in New Zealand. We

caught up with him during the Berlinale film festival in Berlin to talk more into detail about

some of the technical aspects of the THE LORD OF THE RING's cinematography.

Andrew Lesnie: Definitely the Ultra Prime40mm. Ironically, it was the last to arrive, butit quickly became the close up lens of choice.Peter’s idea of a close up is essentially justthe eyes and the nose, and the 40 was per-fect for those shots. We often ended up tak-ing the matte box off since it was cutting thelight from the actors, we were so close. Thesefilms are a testament to the fantastic closefocus performance of the Ultra Primes. Theproblem, of course, when shooting so closeis that your depth of field is very small, so Iwould try to build up the stop to give my focus puller a fighting chance. Another prob-lem was that during hand held shots we keptbumping into the actors with the support rods.So the assistants made rubber bumpers outof hard foam for the rods to protect the actors.

?: Did you use any kind of filters?

Andrew Lesnie: Almost none. One of theproblems was that we had so many unitsshooting at the same time that keeping a fil-ter based look consistent would have beenhell. Once I had defined the basic look of thefilm, I told the other units to keep it as simpleas possible and to not use filters unless I spe-cifically ask for them. I also gave them abasic rating; we shot 200 ASA film at 160ASA, and the 500 stock at 320. For colorcorrection we used 85B and 81EF filters. Forthe beauty shots on Liv Tyler and Kate Blan-chet I used a black net.

?: That was attached to the back of the lens?

Andrew Lesnie: No, I had done some testspreviously and found that it does not make anydifference if you have the stocking in front orbehind the lens, except it is a lot easier to putit in front of the lens. I like to use good silkstocking, and pull it really, really tight over thelens and then fasten it with a rubber band.The effect is very subtle and people are notreally consciously aware of it. It is better thanputting a piece of glass or acrylic in front of the lens, since those are prone to flaring. Obviously you have to keep an eye on theambient light and use a matte box to keepstray light out, otherwise that can light upthe stocking, and you should watch out forhalation when you have a candle or otherlight sources in the shot.

?: Was that also used for blue screen shots?

Andrew Lesnie: We started out not using itfor blue screen, but then we did some tests,and the special effects supervisors told methat they prefer the net on the lens. Eventhough the net makes it harder for them toget a clean matte, it is ten times harder toreplicate the net’s effect. Subtle diffusion effects have not been successfully replicateddigitally. So we ended up shooting life ac-tion as well as blue screen beauty shots withthe net on.

?: How important is the lens choice thesedays when you can do so much in post?

Andrew Lesnie: It is the most important choiceyou make in the whole camera system. First,different lenses give you a different feel, adifferent style. And second, some lenses aremore user friendly, more practical, and thusallow you to work more efficiently.

Andrew Lesnie on the set ofTHE LORD OF THE R INGS

?: Lets start with the lenses you used on THELORD OF THE R INGS .

Andrew Lesnie: I used Zeiss Standard Speedsand Zeiss Ultra Primes, plus Cooke and An-genieux zooms. In addition we had a coupleof Canon 150–600 zooms and some Canontelephoto primes. We started with the ZeissStandards and some Ultra Primes, but I knewthat there were more Ultra Primes coming, andARRI was nice enough to provide us withprototypes of the new lenses, so we had a fullset. I like to shoot with new lenses, as thecoatings are better and I knew that we wouldput the gear through some hard times, so Iwanted to start at the best possible point –with brand new lenses.

?: Why did you choose the Ultra Primes?

Andrew Lesnie: I had early on decided that I wanted a soft look to the T H E L O R D O FTHE RINGS, but I did not want to compromseresolution. The Ultra Primes have great reso-lution and very little distortion on the widerlenses. Plus, I knew that Peter Jackson hadplanned all kinds of photographically chal-lenging setups, so I needed a lens that canhandle that. I shot extensive tests with variouslenses, and decided to use the Ultra Primes.Unfortunately they were so new that a full setdid not exist, so we supplemented with theStandard Speeds, but swapped the StandardSpeeds for Ultra Primes as soon as more Ultra Prime focal lengths became available.

?: Was your lens choice influenced at all bythe fact that you had planned to put a largeportion of the trilogy through the digital inter-mediate process?

Andrew Lesnie: No, not at all. I did of coursea lot of testing, and I knew that it was crucialto deliver a healthy and sharp negative to theprocess, but otherwise I just used the lenses I thought appropriate for the project.

?: Did you end up with a favorite lens?

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14 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

Filmmakers interested in creating a digitalintermediate, with all the advantages themethod affords – secondary color correction,repositioning and resizing of shots, flips, flops,blow-ups and speed changes – are takingtheir projects to FotoKem. And, unlike manyfacilities offering such services, FotoKem’slab is only yards away from the digital suite.

“We do the processing right here,” says BillSchultz, Senior VP and General Managerof the digital services department. “We cando color corrections in the DI suite and lookat a film test four hours later. If somebodywants to compare the digital output with afilmed out version, we can A/B it right herein the DI suite, with film projection on oneside of the screen and digital projection onthe other.”

FotoKem relies on two constantly runningARRILASER systems to shoot the digital workout to film. The facility chose ARRILASER,Schultz says, “because of its speed and effi-ciency. They both have the speed packagethat allows them to record even faster. Wecan record a full-aperture 35 mm color pic-ture at full density at 2.1 seconds a frame.For material that started out as High Defini-tion, it’s more like 1.7 seconds. One of themhas a module that allows us to record out to5245 (Kodak’s low-speed camera negative)because some clients who didn't shoot film

originally want to introduce a little bit of thatnatural film grain in their picture at this stage.We´ve been offering film-recording servicesfor several years now and we continue todo that in addition to using the ARRILASERon shows that come here for DI work wherethe image are recorded to 5242 or 2242,Kodak’s intermediate duplication stocks.”

“We evaluated ARRI against everybody inthis market,” he adds. “Arri has the best mar-ket penetration and the best market accept-ance. And, in virtually every objective test weput the ARRILASER through, it met or exceed-ed our expectations.”

“We knew that FotoKem has looked at otherfilm recording technology,” says RichardAntley, ARRI’s domestic Product Manager forthe ARRILASER,“ so we were delighted tohave the opportunity to prove the advantagesof the ARRILASER system.”

Of course, before the project gets to the ARRI-LASER, it must be brought into the digitaldomain. Most feature films still originate onfilm, so a key link in any DI chain happensat the scanning stage. It is essential to cap-ture as much of the information from the ori-ginal negative, to take full advantage of theincredible range of today’s motion picturefilm stocks, in order to get maximum benefitout of the digital manipulation. FotoKem

uses an Imagica XE CCD scanner, most frequently translating the film frames into 2K10-bit-log files in the DPX format. Schultzstresses the importance of capturing so muchinformation.

“The biggest advantage [of our scanner]over a telecine type device,” he says, “ismaintaining the full latitude of exposure.Sometimes the original film might not havebeen exposed in the best possible way. Ifyou lose the information during the scan youcan‘t get it back. If you capture the wholelatitude of the negative, then we can get itback.”

After scanning, the images go through a digital dust-busting and clean-up phase sothat negative dirt, scratches and tears andother defects in the original negative canbe repaired.

Often, shots are scanned from originalcamera rolls rather than cut negative. Whenthis is the case, they must then be conform-ed to match the edit decision list.

FotoKem utilizes its own proprietary soft-ware during the scanning process to encodethe DPX files with metadata including timecode information, which facilitates a speedyauto-conform of shots once they are scannedinto data format.

Now in its fortieth year as a major Hollywood-area film lab, Burbank-based FotoKem

continues to grow its menu of services to reflect the needs of today's productions.

Naturally, FotoKem continues to maintain the top-notch film lab, its core business since

1964, but cinematographers and directors looking to take advantage of the latest

digital tools know they can also find what they need at FotoKem.

Foto KemDigital Intermediate on the Move

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15D 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

Quantel’s iQ plays a key role in what hap-pens next. This versatile machine can takein an EDL and the shots in data form andautomatically conform the entire show in amatter of hours. FotoKem also uses the iQ’sinternal color package-Q-Color--to make thecoloring adjustments. Schultz is impressedwith the iQ’s versatility as well as its abilityto handle the picture information as log data,without ever having to convert it to linearform. “We maintain the entire 10-bits of DPXinformation,” he says. “That means we canretain ten stops of latitude through the wholeprocess, which is a huge benefit when com-pared with devices that require conversionto linear space. The way we work, all theinformation that was on the original negativecan be put back onto a negative.”

iQ, he adds, “has enhanced ability beyondthe traditional windows [used in some othercoloring grading consoles] which allows youto draw a basic shape -- an ellipsoid, a circleor a square – around an object and then cre-ate roto splines. That gives you a great dealof flexibility. You can change the shape ofthe object frame by frame and affect thethings inside, or just isolate a particularcolor inside. The iQ also has editing functionswithin it so I can cut /paste a change at the

touch of a button. I don‘t have to go out ofthe coloring package and into an editingpackage to edit something.”

The decisions made by skilled colorists andfilmmakers in the digital suite, must naturallybe visible during the session. Decisions based on a monitor or even a poorly cali-brated projector will not appear on film asthey do in the session. FotoKem uses a 2Kdigital projector from Digital Projections,which is based on Texas Instruments newestDMD engine. The digital images are alsoprocessed using proprietary lookup tables toensure that what you see projected digitallyis what you will get back on film.

Often filmmakers take full advantage of hav-ing their film already in the digital realm andadd effects or fixes that might not have other-wise fit into their budgets. Those working atFotoKem can take this work down the streetto the well respected effects house Keep MePosted, which FotoKem recently acquired.FotoKem therefore can offer extremely com-

petitive pricing by packaging DI and effectswork together.

FotoKem has begun by offering DI servicewith a single room and is networked in sucha way that a possible expansion to two, oreven three, DI rooms would be a relativelysimple expansion from a data standpoint.But even if the company expands, Schultzdeclares, it still isn't looking to do this kindof work in a high-volume, factory style. “Ourmandate,” he says, “is to provide best clientservice and best quality. We don‘t have amandate for being the biggest or havingthe most business, just the best quality andthe happiest clients.”

Jon Silberg

There seem to be as many applications for the ARRILOCPRO 35 projector as there are units in use.This compact projector has been used in productionto watch film dailies at remote locations through-out the world and has been adopted by postpro-duction departments for use in print inspection andcolor timing. FotoKem’s LOCPRO gets the most usefrom the company’s film timers.“We keep our LOCPRO in the Digital Film Servicesdepartment,” says Schultz, “but the timers like itso much they use it more than we do. It has such astable color temperature that they can put up acheck print, and adjust the color using filters – maybe it needs a point of this or a point of that –

and they know that they’re seeing an accurate representation of the image.”And, he adds, they can do this without tying up a projection room. “One of the really nice featuresis the still frame capability,” he adds. “They canpick one frame out of a scene and hold it as longas they need to and then move onto the next scene.It’s very efficient in that way. ”The LOCPRO can alsoproject 3-Perforation 35. “Projecting 3-Perforation isstill a challenge for most places,” Schultz explains.“We can do it with a couple of menu changesand that can be very helpful for the filmmaker whooriginates material in that format. Schultz sums up:“It’s just a great little machine.”

Bill Schultz, Senior Vice President and General Manager of Digital Services

Walter Volpatto, IQ colorist

LOCPRO 35

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16 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

Located in the heart of London’s Soho, Lip Sync Post is the post-production arm of the

Lip Sync Group of companies, one of the capital’s most successful independent

media groups. In February of this year, the Group celebrated its eighteenth birthday.

Lip Sync Post has always recognised the importance of wise investments in both staffand new technology and in 2001, respond-ing to increasing client demand, made thedecision to create a digital lab.

Lip Sync Director Peter Hampden, who co-founded the company with MD Jon Diamondexplains, “Increasingly, we’re seeing mate-

rial created in a wide variety of digital for-mats for eventual theatrical release on film.It’s an area in which we have particular expertise. Our significant investment in the digi-tal lab means that we are now able to pro-duce top quality digital intermediates forgrading and compositing in-house, offer high-end bureau scanning, and output to film viaour benchmark ARRILASER recorders.”

As the foundation of its digital intermediate(DI) process, Lip Sync Post took delivery ofits first ARRILASER system for 35mm film out-put in October 2001, followed by a secondsystem the following year. Subsequently thecompany has completed its DI chain and installed a multi-resolution grading and com-positing suite featuring Quantel’s iQ. For increased productivity, high speed versionsfor both ARRILASERS have also now beenordered.

The facility offers both major studio and in-dependent clients the advantages of an all-encompassing post-production service with

audio mixing, on-line editing, and graphicsand animation services, available in-houseif needed. Such an umbrella offers specificclient benefits, both in terms of creative con-trol and cost-effectiveness.

One of the first film projects output on ARRI-LASER was THE DAY I WILL NEVER FORGET,a compassionate examination of the custom

TROL LYWOOD

Director Madeleine FarleyCinematographer Rob BennettEditor Helen Lindley

Lip Sync PostDigital Intermediate on the Move

17D 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

of female genital mutilation in Kenyan society, directed by Kim Longinotto. Shot onSuper16 mm film, the 90 minute documen-tary went on to win considerable recognitionat many international film festivals includingawards at Amsterdam (Amnesty InternationalAward,) Hong Kong, (Humanitarian Award,)Emden (Award of the German Unions Asso-ciation,) and Gent (Canvas Prize).

Less than nine months after installing its firstARRILASER, Lip Sync Post output its millionthframe on a last-minute shot for the most recent Bond movie D I E A N O T H E R D AYfrom Eon Productions.

Toronto 2003 saw Lip Sync Post, now withits second ARRILASER, making significantcontributions to four entries in this prestig-ious international festival: T O U C H I N G T H EVO ID (dir. Kevin Macdonald) with cinema-tography by Mike Eley is a highly acclaimeddocumentary/drama based on the book bymountaineer Joe Simpson. The film recreatesthe harrowing true story of Simpson andclimbing partner Simon Yates’ 1985 ascentof the sheer face of an Andean mountain.

Originally shot on 35mm and HD CAM, withlightweight 16 mm equipment used for thehigh-altitude climbing sequences, TOUCHINGTHE VOID was output to HD for editing be-fore the final output to 35 mm at Lip Sync Post.Macdonald was delighted with the result,describing it as “Seamless – you’d be veryhard pushed to identify individual formats.”The title sequences for the film were also de-signed in-house by the Graphics department.

TOUCH ING THE VO ID has now becomethe most successful UK documentary film ofall time and is enjoying considerable boxoffice success throughout the world. Winnerof the London Evening Standard Best BritishFilm of 2004, the movie also recently pickedup the Alexander Korda Award for Best Brit-ish Film at the 2004 BAFTA Awards.

Also at Toronto 2003, director Penny Wool-cock showed PR INC IP LES OF LUST whereLip Sync Post contributed the 5.1 surroundmix and designed the title graphics. Subse-quently, Woolcock returned to the facility forher film of John Adams’ opera THE DEATHOF K L INGHOFFER , based on a true story ofthe murder by terrorists of wheelchair-boundLeon Klinghoffer. For this project, originallyshot on Super16 mm and transferred to HD,Lip Sync Post was responsible for designingthe titles and graphics sequences. As HowardWatkins, Head of Graphics explains, “Graph-ics are used throughout the film to highlightkey events during the two-day hijacking. They’redesigned to give a newsy and contemporaryfeel to complement the drama which has evenmore significance today than when it wasoriginally staged.” Following output to 35mm,the film debuted at Sundance, was subse-quently screened on UK television, and wonThe Prix Italia 2003 for Best Arts Film.

INTERM ISS ION (dir. John Crowley,) a grittyIrish urban love story starring Colin Farrell,not only caught the imagination of audien-ces in Toronto but went on to win Best FirstFilm at the Galway Film Fleadh and scoop atranche of prizes at the 2003 Irish Film and

Television Awards. Best Irish Film, Best Script(Mark O’Rowe) and Best Supporting Actor(David Wilmot) were awarded to the filmwhich has become the Irish Film Board’s big-gest grossing movie in its ten years of ope-ration. Shot on Super16mm and transferredto HD, the final 35mm output was courtesyof Lip Sync Post which also contributed tenFX shots to the movie.

TROLLYWOOD, (dir. Madeleine Farley) whichmade its debut at the Berlin Film Festival ear-lier this year, is a powerful and poignantdocumentary feature examining the lives ofthe homeless in Los Angeles. Many keep alltheir worldly possessions in supermarket shop-ping trolleys – or use the carts to earn a liv-ing by recycling trash. Shot on Super 8 mm,Super16 mm and DV, T R O L LY W O O D wasfully post produced at Lip Sync which provid-ed the film editing, sound mixing, titles de-sign and final 35 mm film output.

FA K E R S (dir. Richard Janes) was shot onanamorphic Super16 mm and transferred toHD. Set in present day London and 1911Italy, the film is a pacy tale of blackmail andforgery in the international art world. LipSync Post designed the 2D and 3D animatedtitle sequence, and provided the output to35 mm film.

In addition its work on full length featuresLip Sync Post, in association with its agencysister company Lip Sync Creative, has estab-lished a considerable reputation for the pro-duction and reversioning of 35 mm theatri-cal trailers and opening titles for major

LIP SYNC POST – Gets lit upto celebrate 18th birthday

CANTERBURY TA LES ( T I T L E SEQUENCE )

Series Producer BBC, Kate Bartlett FAKERS

Director Richard JanesCinematographer Balazs BolygoEditor Adam Green

TOUCHING THE VO ID

Director Kevin MacdonaldCinematographer Mike EleyEditor Justine Wright

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18

studios. This area of activity usually involvesa good deal of departmental cooperationacross the fields of graphic design, sound,editing and film.

While S T U A RT L I T T L E 2 (Columbia Tristar)required no less than 99 separate versions,with extensive 2D and 3D compositing and5.1 sound mixing, most productions are rath-er less demanding! Over the past 18 monthsLip Sync Post has provided such a servicefor a host of features including S TA R T R E K :NEMESIS (UIP International,) PANIC ROOM,P E T E R PA N (Columbia Tristar,) and, mostrecently, T H E PA S S I O N O F C H R I S T (Icon/Cineserve).

Head of Post Production Kevin Phelan con-cludes, “In today’s demanding and competi-tive environment it’s important to invest equal-ly in technology and in people to provide acreative and competent response. Quality isthe key, irrespective of budget. Our existingclients are already reaping the benefits ofthis approach and prospective clients arefinding our proposition extremely compel-ling.”

David Watsonon behalf of Lip Sinc Post

THE PASS ION OF THE CHR IST ( F RENCH T I T L E )

Director Mel Gibson

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

Animal Logic / Austral ia… who also had “The Matrix-Reloaded” as one of their projects.

“The mainstay of daily work is to record visual effects sequences thatare created by Animal Logic for feature films, but as a film bureauservice, we also have to meet the needs of our external clients. Sowe cater for commercials (video to film transfers, or kines) from PALthrough to HD (as data), short films shot on a variety of formats, digitalopticals for features that we handle ourselves in the Bureau, throughto entire features as digital intermediates. Recording a full 20 minutespool of negative for a feature is a relatively easy task on the ARRI-LASER.”

Chris Swinbanks, Supervisor, Animal Logic

Weta Digital / New Zealand“During the post produc-tion of THE LORD OF THER INGS Trilogy, Weta Digital’s I/O dept. hasrecorded over 10000000frames, utilizing their twoARRILASER film recorders. Theyhave become an integral part inthe whole movie making process.Their speed, functionality and re-liability has enabled us to deliver

unparalleled images every day, every week for the last three years”.

Pete Williams, Head of Digital Imaging, Weta Digital Ltd.

Moving Pictures Company / London“The ARRILASER recordersat MPC are essential for ourDigital Intermediate work.They provide the fast through-put required when shootingout a complete feature film.The recorder calibrations areextremely stable guarantee-ing the output digital negativeaccurately represents theimages graded within the Digi-tal Lab.”

Martin Parsons

COUNTRY OF MY SKUL L –

Courtesy of the International Distributor, The Works.

The MPC Laserteam

ARRILASER Team at Weta from left: Roman Gadner, Mohan Ramachandran,Pete Williams, Nick Booth

19D 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

Technicolor / Los Angeles“S C O O B Y D O O 2 has a vibrant and colorful produc-tion design. The ARRI filmrecorder faithfully capturedevery nuance and kept thelook crisp and clean.”

Trent Johnson, digital colortimer Technicolor

Hualong / China Bei j ing“As the largest digital film productionin China, Hualong Film Digital Produc-tion Co., Ltd (China Film Group), pur-chased the first ARRILASER in 2001.Over the past 3 years, ARRILASERNo.98 had been involved in many jobsincluding HD transfer and Special Ef-fects record out on film. Besides one ofthe best production crews, ARRI film cameras and the ARRILASER made upa major tribute to the recent success ofthe special effects in WA R R I O R S O FHEAVEN AND EARTH finished and re-corded out via ARRILASER at Hualong.”

Hualong

Prasad / IndiaThe first and so far only in-stallation of the ARRILASERin India is at Prasad EFX’sstate-of-the-art Digital FilmLab in Mumbai. It was usedwith great efficiency andsuccess for the first completeDigital Intermediate filmfrom Prasad EFX called

KHAKEE. The ARRILASER was preferred for this project because ofthe excellent quality of output and the outstanding speed of recording.

Rajkumar Santoshi, Director of K H A K E E , said at a press conferencein Mumbai: “The fast turnaround, excellent quality of output and thededication of the team has convinced me to take the Digital Interme-diate route again in future.”Cinematographer K.V.Anand was equallythrilled with the results and said “The final output was simply outstand-ing. Currently the film LAKSHYAis taking the digital intermediateroute at Prasad.”.

Prasad EFX currently uses theARRILASER for various otherfilm transfers including filmsshot on HD Format.

ARRI LASER Operator at

Hualong: Mr. Wang Jupeng

Tokyo Lab / Japan AKAI TSUKI (RED MOON)

“The story of a Japanese woman who livedaggressively during World War 2 for herfamily and at its best for herself. The firstfull-length feature film in Japan that tookthe digital intermediate process over theentire footage using ARRI equipment. Prin-cipal photography was done mostly inChina using ARRI cameras and lightingequipment.

“The original negative was scanned on aTelecine (not a film scanner) in 10bit andprocessed in post production for composit-ing and color control. First all data werestored on large volumes. But subsequentlythe film had to be transferred to HD tapesfor a long term storage because of a of de-lay in the production schedule due to theSARS disease outbreak in China.

“The final film-look was created digitally tobetter control its special tonality, which wasas essential as its subject. Unlike othercountries the digital intermediate process was rarely used before foran entire film in Japan. However, more than 10 features a year wereacquired here using HD cameras and are finally recorded onto filmwith the ARRILASER for theatrical release. Now AKAI TSUK I widelyimpressed Japanese film producers with its new approach.”

Kazuhiko Endo on behalf of Tokyo Lab

Salamandra / Russia“Since July 2003, the date of ARRILASER installation, we alreadymade three movies in the Digital Intermediate process. ANTIKILLER 2,recorded out on film in September and October 2003, is a sequelof the first action gangster movie by the same name. It was made byEgor Konchalovsky, the son of the well-known Russian director Andron Konchalovsky(Tango & Cash, 1989), who pre-viously made a lot of jobs inthe film and TV field.

This movie was released in Russiaon the 174 screens – an A-ratedmovie in Russia. It will be shownon TV in a serial version in thenext two months and is alreadysold to the US-market for a releasein a customized theatrical version.The film features the largest implementation of stuntmen’s works inRussian movies and contains extensive visual FX like 3D-dissolves,explosions, compositions and particle generation.

Following this, we finished the movie THE GODDESS using the DIpath and we are currently working on the next DI production calledFATHER .”

Vadim Yashuvov, Tech Expert, Salamandra creative lab

Filming AKAI TSUKI withthe ARRIFLEX 535B

Salamandra Laser team: Maxim and Olga Razmyslova

Prasad Laser Team

20 C a m e r a

ARRIMOTION Dol ly World PremiereThe ARRIMOTION dolly, now available from ARRI rental houses and from NAC in Japan, has made

its maiden voyage in Berlin this spring. Q~bus, a communication and media production

company, used the ARRIMOTION dolly for one shoot in a series of spots for a trade show exhibit.

Cinematographer FranciscoDomingues and motion controloperator Franz Wittmann discuss the next move

One of the spots required motion control,showing a business traveler in a hotel work-ing on various telecommunication devices ina two hour period that had to be compressedinto 45 seconds. To make the shoot finan-cially feasible Q~bus decided to shoot ontheir own blue screen stage, but bringing inand shooting with a traditional motion con-trol system would have been too time con-

suming. ARRI Rental in Berlin offered theARRIMOTION system with the brand newdolly option, since it is small and quickly set up.

On the day of shooting the move was firstrecorded piece by piece. The dolly travelhad to take exactly 45 seconds, which waseasily done with the ARRIMOTION Jogbox.

Then the dolly move was played back, whilethe operator performed the pan. Then dollymove and pan were played back while thedolly column lift was added, followed by thetilt. This ability to record each axis separa-tely while others are playing back is called“multi tracking”, and with it moves can becreated that no operator could ever hope toperform live. Unique to the ARRIMOTION

21C a m e r a

Setting dolly speed is simply done with the Jogbox

system is that each playback axis can playback at a different speed, making it for instance possible to play pan and tilt backat a quarter speed while carefully opera-ting and recording focus.

Cameras operator Robert Cöllen commented:“The system’s ability to learn moves that Iperform gave us more spontaneity and flexi-bility than on a traditional keyframe basedmotion control system. Using the ARRIHEADwith the motors attached feels just like usingit without motors. In fact, it is better since I

can set the gear ratio more precisely andwith a wider range. This was very usefulsince I had to lay on top of the dolly to oper-ate, and I set my gear ratios to be just per-fect for each axis.“

After the move was recorded, first the hotelroom set including hotel furniture and bluescreen walls was shot in one clean pass with-out the actor, and then the actor was shot inthe set working in various parts of the room.Since each action performed by the actoronly happens during a small part of the move,

22 C a m e r a

Camera operator Robert Cöllen dials in the move

ARRIMOTION Laptop Software

Since the ARRIMOTION system has been introduced its capabilities have

been continuously enhanced. First there was the basic ARRIMOTION

system, a small and portable motion control system for location work that

utilizes a regular ARRIHEAD and ARRI cameras.

It allows the operator to work with all the familiar tools to record and play back a movewith absolute precision. Then the ability tocontrol the ARRIMOTION system from afluid head was added, an option that waswelcomed especially in Europe where fluidheads are used more frequently. This wasfollowed by the modification option for aPanther Evolution dolly, which opened up awhole new dimension for the ARRIMOTIONsystem.

Until now the method for creating a movewas based on recording the actions of ahuman operator, storing those and then play-ing them back. Record /playback is the preferred method for a lot of location worksince it is very fast and easy, and the ARRI-MOTION system provides some tools for refining this process. It is possible, for instance,to record one axis at a time (with the optionof playing another back at a diminishedspeed) to created a layered move, or to playmoves back at different speeds. With theARRIMOTION Laptop Software, though, adifferent method of move creation and editingis available now, called “keyframe editing”.

Creating a move through keyframe editingconsists essentially of moving the rig (camera+ lens + dolly) to a position and storingthe rig’s position. Then the rig is moved tothe next position, and that is recorded, andso on. All those positions are keyframes, andthe ARRIMOTION Laptop Software will inter-polate the in-between positions. Even thoughkeyframe editing isslower than the record /playbackmethod, it allows for more precision,and all individualparts (axis) of a movecan be edited at anytime later down toeach individual frameto refine or modifythe move. Keyframe

editing is the preferred method for miniatureand table top work.

In addition to the ability to create and editmoves based on keyframes, the ARRI-MOTION Laptop Software has all the fea-tures of the ARRIMOTION Jogbox acces-sible in a simple to use graphical user inter-face. It can perform keyframe editing on moves created by the record /playback method, thus combining the ease of record /playback with the precision editing ability of keyframe editing.

And since the ARRIMOTION system is tightlyintegrated with ARRI cameras, the creationof any imaginable type of ramp is now pos-sible. A speed/shutter, speed/iris or shutter/iris (depth of field) ramp can be combinedwith a slowing down or speeding up of anyother axis, like pan, tilt, dolly forward or re-verse or dolly up or down. This opens upcompletely new possibilities for commercials,where any time based special effect can nowbe created very easily. The ARRIMOTIONLaptop Software offer the option to automatic-ally keep the exposure constant during anysuch ramps, eliminating the need for complexcalculations.

Moves can be created and edited in an on-line mode, while connected to the rig, or inan offline mode which allows the preparationof move data in pre-production or when noton the set. The ARRIMOTION Laptop Soft-ware also allows for easy move data man-

agement, as movescan be stored, re-called, renamed andbacked-up.

only that part of the move was played back,a film and time saving ARRIMOTIONfeature called ’part move’.

Julia Peters, the assistant director, adds: “I was concerned at first since motion‘control always takes so long and is an arduous, very technical process. But theARRIMOTION system was up and runningin no time, and when we were shooting itwent a lot faster than I expected. Whileshooting it is a lot less technical, and wecould concentrate more on the actor’s per-formance and the script. I want to shootnow only with ARRIMOTION!”

Interestingly, the cinematographer FranciscoDomingues had investigated shooting onHD, but found that for his planned shoot-ing ratio on this project (between 1:8 and1:20) it was actually cheaper to shoot16mm. “All that extra footage people tendto shoot when they have a video camerais costly in post production, and film givesthe whole shoot more focus.” he explained.“I also needed the ability to go high speed,and the 16 SR3HS Advanced we usedgoes up to 150 fps.“

“We were very pleased, since the ARRI-MOTION dolly made this shoot possible”said executive producer Sven Haas “andwe certainly will use the dolly for similarprojects in the future.“

ARRIMOTION LaptopSoftware LSW-1K2.52137.0

23C a m e r a

Updated ARRICAM DocumentationSince its introduction in 1999, the ARRICAM system has quickly become the premium choice for cinematographers

worldwide. Since then we have listened carefully to feedback from the field and analyzed the camera's

performance on a multitude of sets. As a result we have introduced numerous additions and improvements.

To increase the system’s breadth and flexibil-ity we have added parts like the UniversalViewfinders, extra magazine adapters or theRemote Control Station. Based on populardemand we have introduced improved cam-era displays and wireless camera remotecontrol. And we have further extended revo-lutionary tools like the Lens Data System,adding lens information to the video assistimage and creating a smaller Lens DataDisplay.

In the past months we have updated the ARRICAM documentation accordingly, soanyone can easily navigate the extensivelist of ARRICAM components.

A short description of each ARRICAMcomponent, plus various useful overviewgraphics and tables can be found in theARRICAM System Guide, which also has abrief description of the major technologieslike Lens Data System and In-camera SlateSystem and a list of ARRICAM cables.

The ARRICAM Studio and Lite Quick Guidesoutline the most important operations likeloading magazines, threading film, chang-ing fps and shutter angle and operating thevideo assist, while the Accessory Quick Guideprovides short descriptions on how to oper-ate the most important ARRICAM accessories.

Last but not least, an exhaustive descriptionof every ARRICAM feature can be found in the updated User’s Guide, which is theultimate ARRICAM reference.

All those documents can be downloaded from the ARRI web site at http://www.arri.com/entry/products.htm, then click on the DOWNLOADS link.

Ident Number:

ARRICAM System Guide K5.58314.0ARRICAM Quick Guide Studio K5.58311.0ARRICAM Quick Guide Lite K5.58312.0ARRICAM Quick Guide K5.58313.0Accessories

ARRICAM User’s Guide K5.58508.0

24 C a m e r a

The ARRI Lens Data System (LDS) expands with two new entry level options that make the ARRI LDS the most

complete system on the market, providing time and money saving lens support no matter what the camera

or lens. The ARRI LDS now consist of three scalable and compatible variations: the new LDS Archive and LDS

Datamount allow the use of the vast inventory of existing lenses and cameras, while the top of the line LDS

Ultra continues to deliver more features and faster, simpler operation than any other system.

ARR I LDSfor Al l Appl icat ions

What is the Lens Data System?The ARRI Lens Data System (LDS) collects essential lens and camera information anddisplays it to the camera assistant either ona dedicated remote display or on the videoassist. This information includes focus, iris,zoom, depth of field, hyperfocal distance,close focus, fps, shutter, battery voltage, foot-age, film reserve, take length, etc. The LDScan speed up work and assist the cameracrew in the following situations:

• When the camera is in a remote situation(like a crane, Steadicam, car rig, etc) all lensand camera information can be relayed tothe camera assistant either via cable or wire-lessly. This is much more reliable, preciseand convenient than witness cameras, plusprovides more information.

• The Lens Data Display shows depth of fieldas a graphic and numerically. This is helpfulwhen planning a shot and gives confidencethat you’ve got the take, even if an actorovershot a mark. Having the precise depthof field information is particularly useful onzooms for which depth of field tables are notavailable. Because the small Lens Data Dis-play fits neatly on the back of the matte boxhood, it is naturally in the Focus Puller’s eyeline.

• Setting up speed/ iris ramps is quicker because the LDS automatically recognizesthe lens’ iris stops, saving the time normallyspent teaching stops or loading lens tables.

• The film set becomes calmer. The Director,Producer, Continuity and others can see andrecord relevant information from the videoassist without the need to interrupt the camera department.

• The lens information that is recorded onthe video assist tape becomes an accuratelog which can be used for second unit work,re-shoots and pick-ups.

• By integrating the Cinematography Elec-tronics Cine Tape Measure, the LDS can showa readout of the measured distance in addi-tion to the focus setting. The unique FocusTracking feature zips the lens to the measureddistance simply with the push of a button.This is particularly useful in situations wherefocus is hard to judge by conventional means.

To summarize, using the ARRI LDS allows thewhole crew to work faster, more confidentlyand therefore more efficiently. Originally avail-able only with the ARRICAM system, the LensData System has been continually expandedto include other cameras (the 435 Extreme

was added recently), and now two variationshave been added that expand the system toany camera and any lens.

LDS for Any Camera with Any Lens – The LDS ArchiveLens information is selected from a pre-pro-grammed list of lenses in the Lens Data Dis-play. Utilizing up to three ARRI lens motors,the Lens Data Display and a Lens Data Box(ARRICAM), 435Extreme or the new UMC-3

25C a m e r a

* LDS Archive functionality is a free software update to LDD-FP, FEM-2, Studio and Lite Lens Data Boxes(LDB and LDB-2)

Lens Motor

WirelessLens Control

System

UMC-3

Any Camera

WirelessLens Control

System

Ident Number: LDS Datamount Standard K5.52254.0

Overview of LDS Variations

Feature LDS Archive LDS Datamount LDS Ultra

Works with any camera + – –Works with any lens + + –Depth of field display + + +Wireless Lens Data Display + + +Focus tracking + + +Simplified speed / iris ramps + + +Rapid lens change / auto lens recognition – + +Lens & camera info on video assist – + +Camera status displayed – + +Works without lens motors – – +Manual follow focus supported – – +Price FREE* LOW REASONABLE

LDS Archive wirelessly with any camera LDS Archive wirelessly with ARRICAM or 435

Any Lens

ARRICAM StudioARRICAM Lite435 Extreme

Lens Motor

(works with any camera), all lens informationis displayed. The great advantage of the LDSArchive is that it works with any camera andany lens, wired or wirelessly, as long as lensmotors are used. However, in contrast to LDSUltra it does not support manual follow focus,camera status information and video insertion.Some time saving is lost through having toload the lens data after each lens change andhaving to calibrate the lens motors.

LDS for LDS Cameras with any Lens – The LDS DatamountThe LDS Datamount allows any lens, includ-ing most zoom lenses, to work with LDS cameras. The basic setup is very simple: the PLmount of the lens is exchanged for the LDSDatamount which has an embedded minia-ture chip and LDS contacts. This gives anylens LDS functionality, including the capabi-lity to insert LDS information in the video assist,but does not permit the use of a manual follow focus – as with the LDS Archive, lensmotors must be used (and time spent to cali-brate them). However, using an LDS Data-mount does preserves the ability to changelenses relatively quickly, as the camera recog-nizes the lens automatically.

LDS for LDS Cameras with LDS Lenses – LDS UltraTrue LDS lenses have built-in encoders whichautomatically provide the rest of the systemwith full lens information through contacts fittedin the lens mount. This means that as soonas the lens is attached to the camera the sys-tem is ready to go. There are no cables toconnect and no motors to fit and calibrate –LDS Ultra is plug and play. LDS Ultra is avail-able when using LDS Ultra Prime lenses, LDSCooke S4 lenses or LDS zooms on an LDScamera (ARRICAM Studio, ARRICAM Lite or435 Extreme). LDS Ultra also supports theCooke S4i lenses with complete plug and playfunctionality.

26 C a m e r a

And since we are not satisfied with just mak-ing the system smaller, lighter and increasingthe battery life substantially, we have addedfeatures that have been requested by manycustomers, including the ability to see theLens Data Display (LDD-FP) now wirelessly,the option of using two hand units mountedto the same main unit, improved radio trans-

mission and, if used wired with the Lens Data System and an external distancemeasurement device, automated focustracking.

Haydn Parnell, Senior ElectronicsEngineer at ARRI MEDIA in Lon-don, who has been beta testingthe new radio modems sinceSummer of 2003, reports that:“In my opinion this newWLCS system is far superior

to the existing system. Ournew systems have been exten-

sively used on large feature films,for example TROY, A LEXANDER

and W I M B L E D O N . I have talkedto Focus Pullers who have workedon these productions, and they havefound that these new radio modemshave a lot less RF break-up and seem

to have a greater reliable distance ofoperation. Many of these Focus Pullers

now demand that they use this new sys-tem on all future jobs.“

Here is a short run down of what is new:The heart of the system is the new WirelessMain Unit WMU-3. It accepts the hand con-trollers for focus and iris (WFU-1, WFU-3),

Taking advantage of advances in radio, battery and circuit board

technology, the ARRI Wireless Lens Control System (WLCS) has

been completely overhauled. The result are a number of new

components that make the ARRI WLCS into the smallest and most

flexible wireless lens and camera control system on the market,

while at the same time maintaining backwards compatibility with

most of the existing components.

Updated Wireless Lens Control System

The Wireless Lens Control System fully configured with LDD-FP

27C a m e r a

installed, is slightly thinner and has a differ-ent shape, so it conforms to the camera out-line when attached to the 435Extreme. Butit can of course as easily attach to the Uni-versal Motor Controller UMC-1.

Prototype attached to the FEM-2 on a 435AdvancedPlease note that the WMU-3 and URM-3 areequipped with a new type of radio modemthat is also used in the Studio and Lite LensData Box2 (LDB-2). Unfortunately, this modemis not compatible with the old radio modemin WMU-1, URM-1 and the original Studioand Lite Lens Data Boxes. It is possible, how-ever, to install the new radio modem intothose units. More information can be foundin ARRI Technical Note P-1030 “New Wire-less Radio Modem” in the download areaof the ARRI web site or from your local ARRI service center.

Ident Numbers:Wireless Main Unit (WMU-3) K2.52240.0Wireless Battery Unit (WBU-3) K2.52238.0Wireless Accumulator Charger K2.52266.0(WAC-3)

Wireless Expansion Bracket (WEB-3) K2.52241.0Wireless Zoom Unit (WZU-3) K2.52267.0Wireless Focus Unit (WFU-3) K2.52268.0Universal Radio Module (URM-3) K2.52262.0Wired Handgrip Attachment (WHA-3) K2.52264.0

zoom (WZU-1, WZU-3), camera remotecontrol (WRC-1), the Lens Data Display forFocus Puller (LDD-FP) and it communicateswith the camera and other Wireless MainUnits. Up to three Wireless Main Units cantalk to one camera at the same time, a use-ful feature when the assistant needs to pullfocus, the director wants to zoom and the sec-ond assistant needs to control a speed ramp.

To ensure that the contact between cameraand assistant does not get interrupted, thenew radio modem has a more robust trans-mission. In addition, the WMU-3 is half thesize and half the weight of the WMU-1, mak-ing it much easier to hold for long periods oftime. If used just with a Wireless Focus Unit,it is tiny and very comfortable in the hand,helped also by the ergonomic hand strap. Inthis configuration the new, higher capacitybattery (WBU-3) will last up to 16 hours.

Unique to the WMU-3 is the ability to acceptthe Lens Data Display for Focus Puller (LDD-FP) and to accept two control units at onceusing the Wireless Expansion Bracket (WEB-3).It is possible, for instance, to use the LensData Display for Focus Puller (LDD-FP) togetherwith a Wireless Focus Unit (WFU-1 or WFU-3). Another possible combination is theWireless Remote Control (WRC-1) with aWireless Focus Unit (WFU-1 or WFU-3).

The Wireless Zoom Unit 3 WZU-3 is used tocontrol zoom. Zoom speed can be adjustedand zoom limits can be easily set. The WZU-3is similar to the older WZU-1 except that itis lighter than the WZU-1 and the position ofzoom knob and the LENS limit controls arereversed. The reversed zoom knob is in theperfect ergonomic position for the assistant’sthumb when the WZU-3 is used on WMU-3,WHA-2 or WHA-3. The WZU-1, on the otherhand, has the zoom knob in the best positionfor use with the larger WMU-1 or WMU-2.

The Wireless Focus Unit WFU-3 is used tocontrol focus and/or iris. Focus and iris canbe assigned freely to hand wheel and slider,and electronic lens and knob limits can beeasily set. In addition it is possible to set

mechanical knob limits. The WFU-3 is similarto the WFU-1 except that the WFU-3 is lighterthan the WFU-1 and the index marker of the WFU-3 can be rotated 180° for better viewing. This movable index marker is espe-cially useful when the WFU-3 is mounted onthe WMU-3, WHA-2 or WHA-3, since theresulting remote control is so small that itcan easily be swapped between the left andthe right hand and it can be held at many dif-ferent angles.

The Wired Handgrip Attachment WHA-3,just like the WHA-2, allows all hand con-trollers except the LDD-FP to be connectedwith a cable to a 435Extreme or to an ARRI-CAM Lens Data Box.

In addition the WHA-3 has a button on theleft side for focus tracking. Focus trackingbased on measured distances is availablewhen using an ARRICAM with the Lens DataDisplay for Focus Puller (LDD-FP) and a com-patible distance measuring device (currentlythe Cinematography Electronics Cine TapeMeasure).

Last but not least the Universal Radio ModuleURM-3 is a radio modem that allows thecamera to communicate with the WMU-2 orWMU-3. The URM-3 is similar to the URM-1,except that it has the new radio modem

WEB-3WBU-3 WZU-3 WFU-3WMU-3

WMU-3, WBU-3, WZU-3, WFU-3 WMU-3, WBU-3, WRC-1-2 WEB-3, WFU-3

28 D i g i t a l S y s t e m s

New technologies in the ARRISCAN

Micro-scanning and Appl icat ion Matched ParametersThe new ARRISCAN comes with some brand new technologies and methods, one of them we call ‘Micro-scannig’.

The ARRISCAN uses a custom designed CMOS area sensor, which is optimised for speed and quality.

The sensor has a basic resolution of 3K ∞2K pixels. With our new technique the resolution is actually, and most

of all correctly and not virtually doubled to 6K ∞ 4K pixels. Even though one could be tempted to think

that this is a blow-up process, it is NOT.

Micro-scanningThe 6K files grab the maximum resolutionout of a film frame and from this format anykind of output format can be downsampledin highest quality. To achieve the max reso-

the productivity of 1 fps@ 3K, and 2K downsampled from 3K.

Image examples of the various resolutions innative 3K mode and micro-scanning modeare available for download on our website.

Application Matched ParametersOne size fits all – this might be true for somefashion articles, but in real postproductionlife the calculation is a lot different. In orderto adapt the ARRISCAN exactly to your work-flow and production needs application matched parameters can be selected accord-ingly. You are able to define the resolutionin which will be scanned and the quality thatis needed for a certain job: A 2K resolutiongenerated from a 6K file will offer best

lution, the sensor is shifted in sub pixel unitsby means of piezo actuators, and additionalsub-images are grabbed at intermediatepositions. This process is highly sophisticatedand absolutely accurate and reliable, anytime, any material.

A set of special digital image filters was designed to scale down to the conventional2K or 4K image formats. These digital filterkernels have been optimised for excellentsharpness and alias suppression at the sametime.

This high quality scannig gives a produc-tivity of 0.25 fps @ 6K, 4K down sampledfrom 6K and 2K down sampled from 6K.In native sensor mode the ARRISCAN offers

How to make a 6 K Image with a 3 K Sensor >>>

first

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29D i g i t a l S y s t e m s

quality but will trade off some speed (0.25 fps),whereas a 2K file generated from a 3K native sensor resolution gives you goodimage quality in a higher productivity (1 fps).

Time saving potentials are even greater. Notonly the resolution can be chosen but alsothe density range needed: If the film materialshows densities up to 1.6 above base den-sity a single exposure with the LED illumina-tion might be fully sufficient. Very dense filmstock (densities of 2 and more above basedensity) can also be handled by using amultiple exposure with the LED illumination(please also see ARRINEWS article in ARRI-NEWS issue 09/03).

Another big advantage of the ARRISCANconcept is the CMOS sensor itself. Every pixel could be addressed independently,meaning that only a portion of the sensor canbe read out for a quick view. Reading onlyparts of the sensor is of course much fasterthan reading the whole 3K by 2K native sen-sor resolution and results in a higher pro-ductivity.

Reliable CalibrationCalibration should be reliable but at the sametime intuitive and very easy to use – this isan integral part of the ARRISCAN philosophy.

Starting from a base calibration the scannerlights (LED illumination) are calculated. Theoperator just needs to indicate and definewhere the base is by using a marquee. Thismethod also ensures that the light levels –even on a per color basis – are set to theoptimum value for the film stock in use.

If a facility is used to do a line up framecalibration (for example 18 % grey) theoperator just needs to set the marquee tothe line up frame and can then decide where the code value for this area shouldbe (for example 445).

All calibrations can be done in advance forcertain film stocks and their characteristic.By saving these calibrations the operator isable to reload the calibration settings when-ever there is the need to scan this certain kindof film stock. The result of the calibrationsettings is a reproducible image scan, whichis crucial for digital intermediate applications.

Reliable results strongly depend on reliablecomponents – and the ARRISCAN compo-nents have been selected exactly to this re-quirement:

• LEDs will always be electronically levelledin the way the calibration setting demands

it. The illumination is constantly monitoredto preserve a long term stability in lightquality.

• The CMOS sensor is brought to ‘workingmode’ by an initial machine calibration.During this procedure all components arechecked for functionality, and the CMOSsensor is brought to an ideal temperature.

• The micro scanning device positions thesensor precisely to the demanded position.This position is kept rock-solid for a split second then repositioned again.

• All information (including focus and baseinformation) is saved in a history database.

The ARRISCAN concept and technologiessupports the digital intermediate workflowin an unparalleled and efficient way.

ARRISCAN will be available for your production starting in June 2004.

Elfi Bernt

Please take a look at the new ‘Digital Systems’Website: www.arri.de

com

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30 D i g i t a l S e r v i c e s

Color Management – A Sneak PreviewThe already well known ARRI CMS (Color Management System) available

for the ARRILASER since 2002 is now moving straight into the field of color

grading systems. Together with our partners – Barco, DaVinci, Discreet,

Iridas, Nucoda, Pandora and Quantel – the out of gamut LUTs have

been shown since IBC 2003 and are part of these grading systems already.

The next step is obvious: pre-visualization Lookup Tables.

Out of gamut LUTin HD-Suite

Preview Lookup Tables inproduction environment

Logarithmic WorkflowWhen working in a logarithmic color spacefiles need to be displayed correctly on agrading monitor. Without a powerful lookuptable grading with these files is nearly impossible.

Using the ARRI preview 3D Lookup tableseliminates this problem: What you see onthe grading monitor is, how logarithmic fileswill appear when printed on film by the ARRILASER. The monitor can either be cali-brated to D55 or D65 whitepoint.

31D i g i t a l S e r v i c e s

Preview 3D LUTs work in close combinationwith the correct settings on the ARRILASERand laboratory side:

• A Recorder Aim File, Negative film stockand print film stock must be set, as well as

• a correct print process on Vision material(LAD 1.09, 1.06 and 1.03)

Four preview LUTs are now available• Kodak Intermed 5242 – Kodak Vision

2383 (LAD print)– for HD monitor preview– or Sony GVM monitor

• Fuji Intermed Filmstock 8502 – Kodak Vision 2383 (LAD print)– for HD monitor preview– or Sony GVM monitor

These new preview Lookup Tables will beshown at NAB 2004 together with our partners.

Linear WorkflowWhen working in a linear color space youdon’t need a preview 3D LUT on the gradingmonitor. The out-of-gamut LUT is still of greatimportance, because it indicates non repro-ducible colors on film.

However, this workflow needs the correctrecorder and grading monitor profile on theARRILASER side:

• Recorder profile: ARRILASER calibrated, Negative Film Stock(for example: Kodak 5242) and print film stock (for example: KodakVision 2383)

• The corresponding grading monitor profileneeds to be taken for the ARRILASER(Sony HD Monitor or Sony GDM FW900)

• ARRI ALICE & CMS software• a correct print process on Vision material

(LAD 1.09, 1.06 and 1.03)

“Out-of-Gamut LUT” – what does it meanThe ARRI “Out-of-Gamut” (OOG) 3D LUTsmark all those colors that cannot be repro-

duced correctly on print film due to thedifferent color gamuts. All “In-Gamut” colors,which are reproducable on film, are shownas grey on your grading monitor, whereasall “Out-of-Gamut” pixels are shown as colored areas. The saturation of the markingcolor increases with the distance of the under-laying image pixel to the gamut boundary.Consequently a “just Out-of-Gamut pixel”will appear pale, a clearly out of gamut pixelwill be highly saturated in it’s original color.So the result is a convenient and easily recog-nizeable gamut warning.

Elfi Bernt

Need a Pit Stop?ARRI has started to offer a

worldwide application support for

the Digital Intermediate chain.

As digital workflows are getting

more and more complicated,

they need to be monitored and

controlled accordingly.

ARRI has taken it’s responsibility to offer anew and unique service on a worldwidebasis to support, enhance and improve thehybrid production pipeline.

The ARRI specialists have all worked in production for a long time and will help toimprove the existing pipelines for Film to Digital and Digital to Film. This service alsocontains a close monitoring of film labsusing the already well known ARRI Aquamat.

Thilo Gottschling… has gathered experience inpostproduction at ARRI Film&TVservices as a scan and record-ing operator before he joinedthe ARRI digital Systems department to ana-lyse and refine methods for calibration andoperation of the ARRILASER. Today he is oneof our prime contacts for application supportaround our postproduction products.

Roman Gadner… Roman is currently workingfor Weta and is available forARRI on a freelance basis. Hehas been working on LORD OF

THE RINGS as scanning and recording super-viser for the past two years. Before he was aservice technician for the ARRILASER and is very knowledgeable about both operationand functionality of the ARRILASER and quality assurance tools.

Elfi Bernt

Starting in January 2004 the first clients have already made use of ARRIs expertiseand knowledge, the latest very successfulapplication support has just finished in Chinaat Hualong:

“Suggested by ARRI Digital System Dept.,Roman Gadner had visited Hualong recentlyto give a training course on CMS and to assist them to make their workflow moreperfect. Due to Roman’s excellent job atHualong, Mr. Huang Yaozu/CEO and Mr.Wang Jianxiong/CTO are all very satis-fied with the image quality of ARRILASERwith the CMS, and many thanks for Roman’ssuggestion on the quality control of thelaboratory workflow, which was also veryhelpful.”

Hualong

ARRI Application Support worldwide

32 L i g h t i n g

GRANDE FRATELLO, produced at the Cinecittàstudios in Rome, is, with the special requirements of a reality TV show, a fascin-ating application for the SKY PANEL. Dueto the good relationship between Stefano diMartino (ARRI Italia, Rome) and the DoP ofGrande Fratello, Marco Incagnoli, it waspossible to visit the location and have a con-versation with Mr. Incagnoli and the sceno-grapher Emanuela Trixie Zitkowsky.

?: On behalf of ARRI Lighting, I want osay how pleased we are to have this op-portunity to meet with you and Emanuelato get an inside view to your work. First ofall I think our readers are very couriousabout your and Emanuela’s background.

Marco Icagnoli: After my education at theScuola Nazionale del Cinema in Rome Istarted in the movie business as a cameraassistant. As a freelancer I worked for severalproductions until my start at RAI, the publicItalian TV and Radio station. At RAI I alsostarted working with digital equipment. In1986 I became a Director of Photographyfor a RAI entertainment show called M I X E R.I gathered experience during a wide varia-tion of applications, such as live transmissions,TV events like concerts and entertainmentshows, as well as in the field of Reality TVshows in which I currently work.

I am also teaching at the Accademia Cine-matografica Dell’Immagine in L’Aquila andI am the Vice President of Associazione Itali-ana Autori della Fotografia Cinematografica,the Italian association of Cinematographers.

Emanuela Trixie Zitkowsky: The movie busi-ness has a long tradition in our family, myfather is also a scenographer, so I followedin his foot steps. I studied at the Accademia diBelle Arti in Milano. At the moment I am work-ing as a freelancer for several productions.

?: It is the 4th season of GRANDE FRATELLOat Cinecittà. A reality production has somevery special requirements to your work – canyou give us details?

Marco Icagnoli: It’s very different from othershows because we are working with nonprofessionals and very spontaneous situa-tions, so the lighting must have a very ‘for-giving’ character. The whole facility consistof different rooms and locations – indoor isinvolved as well as outdoor. And if one of ourcharacters is moving from an indoor to anoutdoor area or vice versa, it must be possibleto follow him or her with the same camera.

One of our biggest problems in the beginningwas also to find the right two-way-mirror forshooting through. From the Spanish Big Brother production we knew that this was a

problem, but finally we’ve found the rightmirror in Italy with only 2 stops light reduction.

?: This ‘indoor-outdoor-situation’ presents aproblem for the lighting?

Marco Icagnoli: Indeed, our target was tocreate the same lighting atmosphere through-out the whole facility. Because of the changingsituation between indoor and outdoor areas,we decided to illuminate the whole housewith daylight. This makes it easier to do thetransition between the different areas withoutadjusting the white balance of the cameras.

?: What kind of lampheads do you use andwhat requirements do they have to fulfill?

Marco Icagnoli: Because GRANDE FRATELLOis home for the inhabitants 24 hours a dayand altogether for 110 days, it is very impor-tant to avoid heating up the facility with thelampheads. We decided to use fluorescentfixtures in combination with the SKY PANELSto achieve our desired ‘forgiving’ light.Another advantage of the Sky Panel is that itworks absolutely noise free which is veryimportant for a reality TV show. And also itwas a question of the available space.

Admittedly we first had a problem with thesoftness of the fixtures, so we use additionalarchitectural tungsten lights to create the desired depth to make the picture more intersting.

?: Where do you use the SKY PANELS?

Emanuela Trixie Zitkowsky: We use theSKY PANELS in the Space Suite. The wholehouse has a very modern interior designwith a special suite which is designed in akind of a ‘space’ look. With such an installa-tion you always have the problem that thefixtures are visible in the image. So they al-so have to match to the surrounding interiordesign. The SKY PANEL fits perfectly tothe design in the space suite. For all the

G R A N D E F R AT E L L O – Big Brother in Italy

The ARRI SKY PANEL lights up Italian TV Show

Since ARRI Italia S.R.L. is one of

the biggest resellers of the ARRI SKY

PANEL we were highly interested

to learn more about the applications

and the customers for the SKY PANEL

in Italy. One of those customers is the

Italian Big Brother Show GRANDE

FRATELLO.

Stefano Di Martino, Marco Incagnoli, Emanuela Trixie Zitkowsky, Antonio Cazzaniga, Timo Müller (f. l. t. r.)

An Interview with Marco Incagnoli DoP of G R A N D E F R AT E L L O and Scenographer Emanuela Trixie Zitkowsky

33L i g h t i n g

fluorescent light sources we had to designown housings to match our room-design.

?: How many of the SKY PANELS do youuse in the house?

Emanuela Trixie Zitkowsky: We are currentlyusing 8 SKY PANELS which are visible inthe images we are shooting for GRANDEFRATEL LO.

?: Apart from the ‘space-age design’ of theSKY PANEL, what is your experience inworking with them truly ‘around the clock’?

Marco Icagnoli: It is in every sense of theword a cool light which doesn’t heat up thesurrounding area. But we also love it for itslow maintenance, its stable color tempera-ture, and its soft and glare free lighting characteristic. As I mentioned before, we arerunning this show 24hours per day and alto-gether over 110 days. As a consequence, it is very important for us to reduce mainte-nance wherever it is possible to keep theconditions of isolation from the environment.

?: What other fixtures do you use for GRANDE FRATEL LO?

Marco Icagnoli: Inside the house we are only using fluorescent lighting, some tungstenfixtures to accentuate and the SKY PANELSfor the space suite.

For the theatre where we do all the eventsaround GRANDE FRATEL LO we are using alot of ARRI tungsten lampheads, mainly theARRI 650, 1000, 2000 and the 5K versions.We are very happy with the quality of ARRIlighting products and are always looking for-ward for new products to realize new shows.

Thanks a lot for your time!

Timo Müller

We have listened very carefully to all com-ments and decided to do some redesign tothe SKY PANEL to make it even more flexibleand lightweight. Based on ARRI’s experiencein extruded aluminum profiles, the new ver-sion comes in an aluminum profile housingwhich is even lighter in weight and moresturdy at the same time. Also the cable man-agement and the connectors have been im-proved. With regard to the handling, a BabyPlate slide in support, the adjustable stirrup,and a more flexible accessory holder wasincorporated.

Sky Panel TungstenAt NAB 2004, ARRI Lighting now introducesthe 3200K version of the SKY PANEL, whichwas highly demanded by our customers’feedback. The 3200K version is again aunique development between Osram andARRI, which is exclusively available fromARRI Lighting. The tungsten version of theSKY PANEL is identical to the daylight ver-sion except for the color temperature andfeatures the same advantages in lightingand design.

SKY PANEL Latest Productinformation

Since the SKY PANEL was first introduced at the CINEC 2002,

ARRI got some very good feedback from its customers for this unique

and new fixture – thanks for that to all of you.

Sky Panel at a glance:

• Shadow-, reflex- and glare-free soft light• 5600K / Ra > 92

3200K / Ra > 90• TL > 10.000 h• Light output not related to ambient temperature• Full intensity at all positions• Instant light – no warm up required• Cool light• No mercury• Aluminum extrusion housing• Modular system• Wide variety of configurations• 20 – 30V DC• Dimming 100 % – 50 %• Flicker < 1,5 %• Operating frequency 60 – 70 kHz• Protection class 1• IP 54• 480 mm (L) ∞ 395 mm (W) ∞ 50 mm (H)• Weight: 5,8 kg• Optional DMX

34 L i g h t i n g

The ARRI X5 EVENT models, available in bothentirely silver or black, have been developedfor all kind of background, cyclorama andfloodlight purposes within the EVENT range.Like all other models in the EVENT range, theARRI X5 EVENT features the unique EVENTconnector, built-in igniter and a decorativesingle color finish including barndoors.

As the basic ARRI X5, the X5 EVENT can also be fitted with the entire range of acces-sories, especially with the black reflectorand the frosted UV safety glass.

Utilizing HMI daylight lamps with 575 watts,the ARRI X5 EVENT can be driven by the 6-channel 19” Electronic ballasts EB 575EVENT SIX and as well with the latest inballast technology, the EB 200/575/1200Multifunctional Electronic ballast.

Sven Beyer

ARRI X5 adds HMI floodl ightto the Event range

Technical Data:

Dimensions (mm): 208 L ∞ 376 W ∞ 480 HWeight: 7.5 kgLamp socket: G 22Lamp: HMI 575W/SE Single ended

ARRI’s SKY PANEL receives “Honorable Mention” from LDI

Ident-Nr. L1.82221.E silver Ident-Nr. L1.82225.E black

For the first time, a flood daylight lamphead,

based on the ARRI X5 has been added to

the EVENT Lighting range.

For the debut of the new ARRI SKY PANELat the LDI Show in Orlando, USA, ARRIhas already received the “Honorable Men-tion” Award from the LDI organizers in thecategory of ETS-LDI 2003 Debutinglighting products.

Considering that ARRI’s SKY PANEL hadto compete with effect lighting and the latest lighting controllers in this category,the honourable mention of LDI proves therespect afforded to the engineering anddevelopment of this unique product.

Sven Beyer

35L i g h t i n g

ISO 9001 :2000 – A Small Sign with a Big Signif icanceStandards for ARRI Lighting products

Over the last couple of years ARRI has mademajor investments into new production proces-ses, facilities and the testing of the products.As one consequence of this, a new labora-tory was installed at the lighting products fac-tory in Stephanskirchen featuring the mostelaborate testing equipment available. It isused for research as well as for testing theseries manufacturing output. One of the moreobvious results has been included in the recentredesign of our lighting webpage that now features all important data together with a

vast resource of drawings and even an inter-active lighting calculator.

By making best use of our testing facilitieslighting fixtures the factory in Stephanskir-chen has now earned a special certificatethat ensures constant and superior quality –the ISO 9001:2000 and the “TÜV” plaque.One of our partners on this path to qualitywas the German TÜV, a highly - regarded independent testing and assessment orga-nization. They thoroughly inspected our manu-

facturing and testing procedures and finallyapproved everything. So from January onwe are allowed to carry the indication “TÜV-auditieres Prüflabor” (approved testing labo-ratory) and also the ISO 9001: 2000 sign onall of our lighting products. In fact, the Ger-man “TÜV” is so proud of us that they evenselected our facilities for the cover of the firstissue of their magazine this year. For you asour customer this sign stands for our commit-ment to enduring quality products.

J. Thieser

Rain Test Freeze Test (down to –22° F)

It may look like a small sign but it bears a big significance – not only to us. It is a certificate of craftsmanship,

quality and - last but not least - of product safety: the ISO 9001: 2000 standard.

36 Wo r l d w i d e _ U S A

On-Set with CURSEDDirector Wes Craven has re-teamed with screenwriter Kevin Williamson in the current production of CURSED.

The duo broke new ground in the slasher-film genre with SCREAM in 1996, and hopes to do the same with

CURSED, a werewolf-themed horror film starring Cristina Ricci, Portia de Rossi, Skeet Ulrich, Omar Epps,

Shannon Elizabeth and Scott Foley. The film is a modern take on the werewolf myth, framing up both a fight

for survival against the beast as well as the dangers of its curse. ARRI was able to visit DP Robert McLachlan

and 1st AC Michael Endler on set during principal photography to talk about this shoot.

?: Did Wes Craven have a specific film-lookin mind when he came to you to shoot thisproject?

Robert McLachlan: This movie had actuallyalready been shot once by another DP lastspring but the studio decided to completelyrewrite it, and almost start from scratch whenI came on. They planned to save about 10minutes from the first go around which waslittle enough that we had carte blanche interms of the look. The only request from Wesand the studio was to shoot a much darker,scarier movie with the goal of ‘less is more’for the werewolf sequences. Apart from that,I just aimed to make it feel as natural as pos-sible because I believe a movie is only asscary as it is real. Other than checking yourdisbelief in werewolves at the door, the restof the world that a movie like this takes placein should feel as natural as possible in orderto engage the audience. The only constraintwe had was that the first shoot had been donein Panavision anamorphic, because Wesloves the format with the extra crispness andclarity you get with it. I had never shot in ana-morphic. It is conventional wisdom that Pana-vision is the camera to use when shootinganamorphic. But I’m a big ARRI fan and knew

that I wanted to shoot this project using ARRIcameras. I also wanted to keep my businessat Clairmont Camera, a company that hasalways given me superior service over theyears. We had been testing the Hawk lensesat Clairmont, and they are fantastic. Mike[Endler, 1st AC] and I started some incrediblyin-depth tests to compare them to Primosand the other lenses. Initially, we weren’t sosure of the Hawks from a purely technicalstandpoint, but when we actually shot withthem, we were very impressed. They don’tflare at all.

?: How does director Wes Craven feel aboutthe material that you have been shooting?

Robert McLachlan: Wes was really happywith the look. This is his first ARRI picture.Most of the shows I’ve done have been onARRIFLEX 535s, this is my first ARRICAMshow. I think by having a Studio with anARRICAM LT and an ARRIFLEX 435 onyour camera package, you have everythingcovered really well. It’s the ideal scenario. In the past, I’ve used the new Zeiss seriesand the new Cookes on some shows, depen-ding on the project, and they’re both abso-lutely stunning as well.

DP Rob McLachlan

37Wo r l d w i d e _ U S A

?: Describe the different camera techniquesthat have been used on the film, and someof the more unique things that your crew hasbrought to this picture.

Robert McLachlan: My favorite thing I’ve doneon this film is to use the ARRI Lens ControlSystem and control the speed of the cameraby ramping down to 6 frames per secondand be able to compensate exposure withthe shutter instead of the iris. We ended upgetting a great image with that after we print-ed it back to 24 fps. From the part of thepicture lit with the Clairmont Strobes you geta super sharp image due to the 50,000thof a second exposure. From the side that's litconventionally and exposed at 6 fps, whichis one 12th of a second exposure, you get aslightly blurry image. So the combined resultworked very well for some of the werewolfattack scenes, creating a very expressionis-tic, violent, yet horribly beautiful image. Theeffect is quite lovely, it almost looks like aFrancis Bacon painting if you do it right.

Michael Endler: This effect visually enrichesthe werewolf sequences.

?: What camera gear and lighting equip-ment are you using?

Michael Endler: An ARRICAM ST (ACamera),LT (B Camera), and occasionally an ARRI-FLEX435 and an ARRIFLEX35-III, along withall the bells and whistles. To make our pro-cess more streamlined, we needed to makesure the accessories worked from camera tocamera, and Clairmont has done some modi-fications in some instances to make that hap-pen. The maintenance has been a breeze,prepping the cameras every morning at thestart of day. We keep on looking for some-thing to go awry [laughs] but we haven’tyet, they’re very dependable cameras, andI’m comfortable working with them. We’reshooting on 5218 Kodak film stock, and thelook is absolutely gorgeous.

Our first step was to find out what kind ofanamorphic lenses they offered in a PL mount

to fit them. So Clairmont set up a meetingfor me to come in and do some tests to deter-mine which lenses would work best. Everylens is different, and you really have to getto know them. In that respect, we had to getextra prep time. Production and Clairmontgave us the invaluable hands-on time withthe equipment to complete our tests beforeprinciple photography started. That allowed us to gain the confidence to do agood job.

Robert McLachlan: I think one of the reasonsWes is so happy is that compared with allof the other anamorphic shows he’s done,the focus on this film has been impeccable.He tells me this after dailies every night. Thisis a testament to Michael, the fact that we’vehad no problems, it’s gone over really wellwith him [Wes].

?: What has been the biggest advantage toworking with the ARRI cameras?

Michael Endler: The remote lens focus sys-tem truly has given me the freedom to getinto a position where I can watch the actorsand their subtle movements, and maintainfocus on them when there is not enough room

for me to stand next to the camera. It is indis-pensable with Steadicam, handheld or oncrane with a remote head. It is very reliableand easy to use.

With the nature of the visual style Rob is imple-menting, we’re putting the camera in allsorts of configurations. We’re giving it a runfor its money. Whether we’re going hand-held with a Hawk Prime lens or the Cooke18 – 100 zoom with a Kish Optics anamor-phic adapter on the rear – the Studio camerais performing very well, it’s one of the quiet-est cameras. This is one of the biggest aspectsfor me, and the sound guys love it as well.Technically, I'm getting to like the camerasmore and more, as well as the weight of the LT for handheld and Steadicam work.So being able to go from the studio modeto a handheld configuration and then Steadi-cam quickly and easily is a huge advantagetime-wise when you’re on the set. The videoassist on the camera has been a lifesaver, wecan change the optics out to a 100 % videosignal when we use the crane or the Steadi-cam, it’s a very bright image, which is veryhelpful for the director and department headswatching the monitors. The camera operator,Casey Hotchkiss has commented that theviewfinder optics are very bright, which is aplus, because he’s able to see focus veryclearly. This film has been great; everythingis going smoothly in terms of equipment fromClairmont Camera. The camera package hasperformed very well.

CURSED is slated for release through Dimen-sion Films in 2004.

Karen Raz

CAMERA CREW

“A” Camera:DP: Rob McLachlanOperator: Casey Hotchkiss1st AC: Michael Endler2nd AC: Jimmy Ferguson

“B” CameraDP: Rob McLachlanOperator: Allen Easton1st AC: Bill Coss2nd AC: Jennifer Tanksley

1st AC Michael Endler

38 Wo r l d w i d e _ U S A

ARRIFLEX 16 SR3 Sprints Effor t lessly

Ridley and Tony Scott’s LA-based production company Little Minx@RSA

recently utilized two flexible Super16 mm ARRIFLEX 16 SR3 camera bodies

to capture fast moving action for a new North American Nike commercial.

Directed by Matt Kirkby, the 30-second commercial follows the comedic

adventures of a 65-foot centipede – a costume worn by 13 hired US

Olympic runners – sprinting through the streets of downtown Los Angeles.

The commercial features Nike’s top of the line Shox shoes, advertising

how the versatile footwear can adapt to the most stressful of situations and

keep on performing.

ARRIFLEX 16 SR3 with Canon Zoom

Centipede emerges from subway to the shock of commuters

39Wo r l d w i d e _ U S A

for Nike

“We needed handheld cameras that couldstand up to a lot of punishment while run-ning around shooting all day in the city,” saysKirkby on the ARRI equipment. “When yougo into a production war zone like this youneed your equipment to work without a hitch.”

The shoot commenced once Kirkby securedpermits to film on the streets of Los Angeles.However, it proved impossible to lock offstreets for shooting in the active metropolis.“It was mayhem,” explains Kirkby, filmingamid thousands of people on the busy streets.“We had to brainstorm each scene quicklyand shoot everything as fast as possible. ARRI’s16 SR3 cameras were light plus the formatgave the commercial a more filmic look. Wewanted it to feel very real, very honest. Using35mm cameras, hand held over the day wouldhave been too heavy for us.” Cinematogra-pher Max Malkin lensed the commercial, fix-ing one of the SR3’s onto a steadicam forsmooth movement when required. A long timeARRI user, Malkin was prepared for a stress-ful day of production: “We were shootingfrom the hip and adapting to the environmenton the fly,” recalls Malkin, using two Canonzooms attached to each camera body duringthe shoot: a 7 – 63 mm T2.6 plus the 11.5 –

138 mm T2.5 for visual flexibility. “I live andswear by ARRIFLEX because they can takea licking and keep on ticking. As a camera-man you use equipment until it fails you andthis rarely, if ever, happens with an ARRI-FLEX. They stood up to the test on this shoot.”

Malkin loaded Kodak Vision Negative Film7274 for the commercial, capturing richblack shadows and clean white highlightsby shooting at its rated two-hundred speed.“We used no artificial light due to the timeconstraints and the location of the shoot,” explains Malkin.“Los Angeles is a sunny locale.Silver reflector board bounced appropriatelight sources when we were out of directsunlight.”

Ramping up to 150 fps was an option forthe production team, but Kirkby and Malkindecided to stay at 24 fps to keep the energy

and movement alive. “We had an extra stopto ramp faster but we realized the spot neededenergy,” explains the cinematographer.“We didn’t want slow motion because thecommercial would have been less effective.”

The finished commercial is testament to theeffective ability of ARRI’s 16 mm cameras:“These cameras are sturdy,” insists Malkin,recently shooting another Nike commercialusing an ARRIFLEX16SR3 alongside directorJake Scott, son of Ridley. “You can run withthese cameras, knock them around and neverworry about them falling apart on a largecommercial shoot. That confidence meansyou’re more apt to capture quality footagewhen the pressure’s on, especially when clients are there watching your every move.”

Simon Wakelin

Cinematographer Max Malkin

Centipede races downtown with Nike runner Centipede sprints through crowds of unsuspecting people to demonstrate the effectiveness of Nike's Shox shoes

PHO

TOS

: S

IMO

N W

AK

ELI

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40 Wo r l d w i d e _ U S A

Super Bowl

The host city for the Super Bowl changeseach year and 2004 belonged to Houston,Texas. The American passion for football is renowned, but the championship gamealways takes the excitement to a new level.Television networks begin broadcastingfrom the site days in advance – covering notonly the upcoming game, but also the rela-ted events, venues and personalities in townfor the festivities. ESPN created a special

Sports Center set for its Super Bowl coverage– with power and lighting for the entire broad-cast compound supplied by ARRI Group Com-pany Illumination Dynamics.

As large as the Super Bowl was in Houston,Illumination Dynamics (ID) faced an evengreater challenge a few hundred miles awayhigh in the Rocky Mountains. Working inbelow freezing temperatures for most of Jan-

uary, Illumination Dynamics crew (led byDirector of Broadcast Services, Bill Kanne)spent hundreds of man-hours installing thepower and distribution system that wouldtransform the pristine Aspen, Colorado skislopes into the mecca for the world’s bestwinter extreme sportsmen.

Winter X-Games are the ultimate competi-tion for winter action sports worldwide, fea-turing more than 250 athletes from acrossthe globe competing for medals and prize money. 2004 marked the first time an X-Gamesevent featured live telecasts of the competi-tions – including the first ever night time events.X -Games aired on ESPN, ESPN2 and ABCSports, while ESPN International distribu-ted the Games to more than 110 millionhomes in more than 145 countries and terri-tories around the world.

For both the safety of the athletes and theunforgiving nature of live broadcast, the reli-ability of the power supply was a criticalconcern. The experience of the ID techniciansas well as the state of the art generators anddistribution systems ID provided, deliveredfive flawless days and nights of uninterrup-ted power.

For the Aspen ESPN facilities, IlluminationDynamics powered fifteen mobile televisiontrucks, four satellite uplink trucks, eleven office trailers, supplemental power to hotel

SUPER… EXTREME… two superlatives often over-used by broad-

cast promoters hoping to attract a larger television audience

share. But for the National Football League’s SUPER BOWL –

the annual championship game between America’s two rival

football conferences watched by more than 100 million

viewers, and for ESPN’s WINTER X-GAMES (“X” for “Extreme”) –

SUPER and EXTREME are not exaggerations.& Winter

41Wo r l d w i d e _ U S A

rooms setup as production offices, cateringtents, concessions, media tents, press tents,athlete lounge tents, interactive village, awardsstage, and the ESPN host set and SportsCenter set (including the lighting packages.)On the mountain itself, ID supplied powerto the repeater control towers, warming tents,photo finish, start gates, spectator lighting,video walls,Musco towers and Fly Cam equip-ment.A total of 12,000 gallons of fuel wasconsumed by power generation over the course of the Games.

A veteran of many Summer and Winter X - Games throughout the United States, BillKanne has the experience to put 2004 intoperspective. “The events we do with ESPNare always exciting, but the Winter X -Gamesare especially challenging due to the terrain,the temperature and the pressure of live tele-vision.Our crew and equipment worked espe-cially hard to insure the entire event wentsmoothly.”

X–Illumination Dynamics (ID) was established in LosAngeles, California and Charlotte, North Caro-lina, in 2001 by industry veterans Carly Barber andJeff Pentek. Its acquisition by Camera Service Cen-ter in 2002 made it the newest member of the ARRIGroup. In a very short time, Illumination Dynamicshas become an innovative industry leader in provi-ding lighting, grip, power distribution and gene-rators to the motion picture, live broadcast and spe-cial event industries.

Illumination Dynamics carries a full line of ARRIHMI and tungsten lighting, American grip standsand hardware, UL-listed outdoor power distribu-tion systems, Peterson cable ramps, theatrical lighting,truss, grip trucks of all sizes, and movie-silent gene-rators ranging in output from 200 amp to 3000amp – both towable and drivable. Illumination Dynamics specializes in paralleling technology andoffers 1400 to 3000 amp redundant ‘Twin Pack’power systems.

Games

Bill Kanne

42 Wo r l d w i d e _ U S A

CSC New York Celebrates i ts 50 th Anniversary

In 1954 the Clapp family opened Camera Service Center on West 52nd Street in midtown Manhattan.

50 years on, with the headquarters two blocks away on West 54 th Street, CSC is now a member of

the ARRI Group. As well as in New York the company now has facilities in Florida, Los Angeles and

North Carolina. It is one of the largest full service motion picture equipment rental groups in the world,

able to supply cameras, lighting equipment, cranes, dollies, motion control, remote camera heads,

location trucks and generators as well as expendable stores items.

Hardwrick Johnson, who started at CSC 42years ago. Hardwrick is joined by CameraDepartment Manager Charlie Tammaro (28years service), lighting and grip rental agentGeorge Harris (38 years service) and last butnot least camera rental agent Tibor Sandswho was one of New York’s most famous ca-mera assistants for 30 years before joiningthe team at CSC. In addition to this venerableline up, Bruce “Sam” Halton and Lou Peter-son have been the mainstays of the lightingand grip warehouse for 37 and 25 yearsrespectively.

Reflecting on his years at Camera ServiceCenter and all that he and his colleagues,past and present have experienced in thattime, Hardwrick said “If I had been told,when I joined the company in 1962, that itwould grow to the size it is now there’s noway that I would have believed it. It’s amaz-ing. Truly amazing.”

Simon Broad

It is unusual for a rental company to be inbusiness for 50 years. It is even more unusualthat many of the key personnel have workedin the company for almost as many years.The Clapp family is still represented at CSCin New York by camera rental agent JohnClapp. In the rental department, or ‘WarRoom’ he is the youngest member of anamazing team whose combined experiencein the film industry exceeds 140 years! Theyare lead by Vice President of Operations

1970

2004

George Harris, Hardwrick Johnson, Reggie Lake, Bruce „Sam“ Halton, Greg Clapp, Waverley Taliaferro (f. l. t. r.)

Hardwrick Johnson, George Harris, Tibor Sands, Lou Peterson (standing),

Charlie Tammaro (sitting), John Clapp,Bruce „Sam“ Halton, (f. l. t. r.)

43Wo r l d w i d e _ U S A

DIRTY DANCING: HAVANA NIGHTSChooses ARRI Camera Package from Camera Service Center (CSC) Flor ida

Inspired by the 1987 smash hit DIRTY DANC-ING, D IRTY DANCING: HAVANA NIGHTS,chronicles the burgeoning – and taboo – romance between two young dancers in1950’s Cuba – Katey Miller, a wealthy Ame-rican transplant played by newcomer Romo-la Garai, and Xavier Perez, a Cuban waiterplayed by ‘Y Tu Mama Tambien’s’ Diego Luna. As the pair unites on the dance floor,the streets of Havana buzz with political un-rest, soon to erupt in revolutionary violencethat will sweep the nation and the world.

The compressed 45-day shooting schedule –paltry compared to many film productions –was a major hurdle for the HAVANA NIGHTScrew. The film’s location – with Old San Juan,Puerto Rico standing-in as Havana, Cuba –also posed a challenge. The narrow, wind-ing streets were completely inaccessible bytruck, requiring the crew to transport every-thing by dolly or foot, and the capricious suncast only one hour of usable light each day.

In addition, all production equipment had tobe shuttled from the U.S.. Fortunately, CSCFlorida was on hand to deliver the goods. Tohelp capture the film’s steamy Latin dancescenes as well as the beautiful tropical set-ting, DoP Tony Richmond enlisted the help ofCSC Florida to provide the film crew with an

ARRI camera package consisting of twoARRICAM Studio cameras, an ARRICAM Lite all with Speed Boxes, ARRIFLEX435ESAdvanced cameras, a slate of Cooke LDSS4 Prime Lenses, Cooke Zoom lenses and Optimo Angenieux Zoom lenses, as well asthree Lens Data Systems.

The lightweight ARRICAM on Steadicamand Technocrane proved invaluable whenfilming the high-energy dance sequences,and was small enough and quiet enough tobe able to maneuver itself discreetly into themore intimate scenes without distracting theactors and actresses. Richmond also madegood use of the ARRI Wireless Lens ControlSystem, which enabled him to control alllens functions remotely while viewing givensequences from optimal vantage points.

“DIRTY DANCING: HAVANA NIGHTS, whichwrapped at the end of 2003, was a greatway to close out our first year,” said CSCGeneral Manager Ed Stamm. “We reallyappreciate the way the Florida film commu-nity has embraced our being here, and lookforward to serving this region of the UnitedStates as well as the burgeoning Latin Ame-rican film market in 2004 and beyond.”

Karen Raz

Since opening its doors just one year ago, Ft. Lauderdale’s Camera Service

Center (CSC), an ARRI Group company, has been busy with a slate of

feature film projects, including the adventure /crime drama HAVEN, the

action/adventure film INTO THE BLUE, the HBO movie KING SOLOMON’S

MINES, and most notably, the Guy Ferland-directed DIRTY DANCING:

HAVANA NIGHTS, shot by DoP Tony Richmond (LEGALLY BLONDE, THE

KIDS ARE ALRIGHT), which opens in theaters February 28.

DoP Tony Richmond

44 Wo r l d w i d e _ C a n a d a

Who is Shooting in Canada?

Director Raja Gosnell looks at the on-board monitoras Steadicam/camera operator Jim Van Dyjk rollscamera for a take. Script Supervisor Portia Belmontlooks on.

ALASKAA recent show to make use of the scenery ofthe chilly north was ALASKA, shot by GlenMacPherson CSC. The ARRICAMS provedto be a versatile tool used handheld or onSteadicam, running through the forest orwading through streams. Larry Portmann(1st AC) became quickly familiar with allaspects of the cameras’ functions and ope-rations as well as the programming of theWireless Remote Control system that wascarried for the show.

A chase scene across a stream was one ofthe first scenes shot, using a Steadicam inlow-mode with the LT camera a few inchesfrom the rushing water below. A spray deflec-tor was mounted to the front of the lens to remove any splashes. They also used an STin the same configuration later on when theneed to run 60 fps came up. “We used thesame bracketry for mounting both camerasto the rig, which was very convenient”saidLarry. For this type of shooting, the ARRICAMLT was used mainly for its quick transitionsbetween handheld and Steadicam mode.Greg Beaton (1st AC) says: “The ARRICAMSwere such a time saver, not only going fromhandheld to studio or Steadicam. Downtimewas also minimized by having all the infor-mation the visual fx guys needed right thereon the monitor from data display line of theIVS”. “They would just take a picture rightfrom the monitor for all the circle takes” saidLarry. Both the ST and the LT provided aneasy flexibility between vari-ous configurati-ons, both being used for Steadicam work andhandheld as well.

SCOOBY DOO TOOLarry Portmann just wrapped SCOOBY DOOTOO with Oliver Wood. ARRICAM ST andLT systems were used as well as the WRCsystem, all new to the DP. The WRC-1 camein handy for several shots that couldn’t havebeen accomplished without. In one scene,

shot in downtown Vancouver, the ghostpterodactyl is seen lurking in an alley-wayand then takes flight across a busy street(Georgia) into an art museum (the Vancou-ver Art Gallery). They needed to get thePOV of the ghost pterodactyl as it took offand flew. The ARRICAM LT was hung froma cable that lifted it from the street level upto 80 feet in the air and was then “flown”towards the museum. The WRC-1 was usedto ramp the frame-rate of the camera andcorrect for exposure simultaneously duringthe shot and this was accomplished wireless,from the ground. They got the shot they nee-ded in four or five takes. They also did a similar shot where a mechanical pterodactylflies over a bridge and lands on the top ofan armored truck. Again, a POV was nee-ded with a speed ramp and exposure com-pensation during the shot. The WRC-1 didthe trick. “We couldn’t have done it anyother way,” said Greg Beaton, who alsoworked on SCOOBY DOO TOO.OliverWood is currently finishing photography ofTHE BOURNE IDENTITY 2 in Munich, alsousing the ARRICAM system.

10. 5The movie of the week 10.5, about the pre-dicted “big quake” to hit California, wasfilmed in the dusty desert-like region south-east of Vancouver, B.C. They took advanta-ge of the terrain that closely resembles thedeserts east of Los Angeles where many fleeafter the big one hits. A base camp set wasbuilt surrounded by the “tent city” where therefugees were looked after. The cameratruck was even part of the set, camouflagedto look like a military vehicle. 10.5 was pho-tographed by the Australian DoP, David Fore-man. ARRIFLEX 535B’s and 435’s were thecameras of choice. The Clairmont Image Sha-ker was used to simulate tremors and earth-quakes. This device simulates all the move-ments of a quake without moving the camera.

Patrick Stepien (1st AC) first used the ARRI-CAM system on PERFECT SCORE, shot byClark Mathis, and is currently using both theARRICAM ST/ LT on WHITE CHICKS,

Cameras are set up at the Old Mining Town.Operator Gary Viola and 1st AC Greg Beatonman the LT.

The ST lined up on a VXF shot where Scooby andShaggy rummage through bottles a fridge.

With its wide variety of land-

scapes and climates, Canada

provides a versatile backdrop

to film makers from around the

globe. For many years, the

Clairmont Camera Rental com-

pany has had track record of

providing continued customer

satisfaction using the ARRI tech-

nology across North America.

We’ve asked Jon Johnson,

General Manager of Clairmont

Camera Vancouver, to give us a

glance at the type of shows they

service, and how they overcome

the challenging climate.

Operator Keith Thompson and 1st AC JohnSeale Jr. set up the LT with a Variable Prime fora shot chasing the Mystery Machine down thestreet with our heroes hanging out the back.

1st AC Larry Portmann swings on board monitoraround for the Director to see the shot.

directed by Keenan Ivory Wayans and photo-graphed by Steven Bernstein in Vancouver,B.C.

Saint Sinner1st assistant Jessica Moskall used the ARRI-CAM system on the feature film SAINT SIN-NER, Directed by Josh Butler with DP BarryDonlevy. In this movie, a 17 th century monkmust travel through time to the present dayand stop two female demons he may haveaccidentally released.

Jessica describes how the scene was shotwhere the monk travels through time and isdisoriented on arrival: “The ARRICAM STwas on a Steadicam and the director, JoshButler, wanted the camera to circle aroundthe monk several times while a speed rampslowed the action. We used the LDS systemto compensate for the frame-rate changewith an automatic iris adjustment. Josh hada specific moment when he wanted to trig-ger the ramp, and only he knew when totrigger.“ Jessica remembers asking the direc-tor if he wanted ‘the power’ to control thespeed change. The SCB was connected viacable to the ARRICAM ST and attached to

the back of the Steadicam operator. All Joshhad to do was follow closely behind the Steadicam operator and when the time wasright to ‘push the grey button’. Jessica remem-bers how thrilled the director was to havesuch precise control. “He really was exci-ted, almost giddy to ‘have the power’.” Jessicahas since worked with ARRICAMS on thefeature STEALING CHRISTMAS with DP Gor-don Lonsdale, and is currently prepping atest package with an ARRICAM LT for anupcoming movie.

Car commercials, lots of car commercials…“In the rainy seasons, the toughest chal-lenge for the assistants is to keep the geardry while filming torrential downpours. InVancouver, we have become experts at this.As an assistant it is always cool to see theequipment pushed to it’s fullest not only tech-nically but also creatively. I find that is whenour input is requested. DP’s will consult us asto which gear will give them the most ad-vantages and most often, it is the ARRIFLEX435 that is the camera of choice for com-mercials.” – Andrew Lavigne 1st AssistantCamera. Jorma Kantola (1st AC) just retur-ned from a two-week car commercial shootin minus 40° Celsius temperature in DawsonCity, Yukon, 1800km north of Vancouver.“The whole scenario for the commercial is aguy ice fishing, and then the ice starts tobreak up and he has to jump in his car andrun for it before the car goes in the water.”

“We had a 435 on the nose mount of thehelicopter, shooting in minus 40° C weather,the chopper couldn’t shut its props off. Col-der than minus 32° C, the fuel starts to gel,and that can’t happen. We had to keep theengine running. It’s minus 40° C to beginwith, add the wind chill from the blades and

factor in the chill at the nose mount, the camera was probably shooting at minus 50or 60 up there and it ran like a charm. Weran the camera with the RCU from insidethe chopper. It was amazing how thosethings held, I thought the little readout wouldfreeze, because light meters do, but it didn’t.We ran the whole 10-hour plus day on oneof those Clairmont 30 V batteries, kept in abattery bag and that was it. With the 435,when you punch 120 fps, boom you get120.”

“The hardest part is just battling that cold.The film would get so fragile. I snapped thefilm twice, just loading the 435. You justhave to be so careful; we probably held themag outside for too long. Walking twentyfeet from the camera truck to the camera andthe mag would freeze. We kept the mag case right next to the camera to minimize thefilm’s exposure to the cold. Once it was inthe camera, there was no problem at all”.

Clairmont Camera Rental supplies an entirerange of film and digital cameras through-out North America. They have offices in LosAngeles, Vancouver and Toronto.

Sebastien Laffoux

45Wo r l d w i d e _ C a n a d a

46 Wo r l d w i d e _ M e x i c o

ZapataZAPATA, EL SUEÑO DEL HEROE (Zapata, the heroe´s dream) was shot on

locations in the state of Morelos, southern Mexico, mostly on the Hacienda

Coahuixtla, an abandoned and decaying sugar mill.

Revolutionary Dreams in Mexico

Vittorio Storaro (DP), Wilma Gomez (first camera assistant)

Geronimo Denti (second camera operator)

47Wo r l d w i d e _ M e x i c o

The movie tells the story of Emiliano Zapa-ta´s life, a peasant who became the leaderof the southern revolutionary army whichfought for “tierra y libertad” (land and free-dom) and during the Mexican Revolution(1910 –1917) together with other revolution-ary forces (most notably Pancho Villa´s)overthrew the dictator Porfirio Díaz. Afterthe formal end of the revolution Zapata con-tinued his fight against oppression remain-ing true to his ideals – “it is better to die onyour feet than to live on your knees” – andwas gunned down in an ambush in 1919.After his death Zapata´s ghost was seen riding the hills of Morelos.

The production´s Mexican Director AlfonsoArau, who also wrote the script and co-produced the movie, gained internationalrecognition in 1992 with his film L IKE WATERFOR CHOCOLATE. The Director of Photo-graphy of Z A PATA was no other than Mr.Vittorio Storaro himself, who has won threeOscars (APOCALYPSE NOW, RE DS andTHE LAST EMPEROR) and received the ASC´sLifetime Achievement Award for his work in2001. Other members of the crew were Alfredo Betró, Storaro´s trusted longtime firstcamera operator, first camera assistantWilma Gómez and Eugenio Zanetti, whowon an Oscar for Art Direction on the filmRESTO RAT ION. Gerónimo Denti, a highlytalented and one of Mexico´s best knownyoung Directors of Photography, whose cre-dentials include various comercials, musicvideos and the feature DE IDA Y VUE LTA(2000), was chosen by Vittorio Storaro tohandle second unit photography.

Geronimo Denti (second cameraoperator), Alfredo Betro (first camera operator)

Budgeted at 10 million US $, ZAPATA wasmainly shot with two ARRIFLEX 535Acameras and a ARRIFLEX 435 ADVANCEDcamera for some high speed and helicoptertakes.

The ARRIFLEX 535A cameras were equipedwith ARRIFLEX 535B viewfinders and Inte-grated Video Systems (IVS). “The IVS pro-duces a bright and clear video image, whichhelps me a lot to judge composition andlighting on the video monitor” says VittorioStoraro. Another accessory used on the cameras was the Wireless Focus and Iris UnitWFU-1, which according to Vittorio Storaro“is truly helpful and one of the best productsARRI has developed in the last couple ofyears”. Alfredo Betró notes that “Vittorioalways keeps the iris control close to his lightboard allowing him to make instant adjust-ments to the overall exposure”. Both ARRI-FLEX 535A cameras had a 3-perforationmovement and a Univisium film gate with its2:1 aspect ratio, which in Storaro´s opinion“is the right balance between the new widescreen television systems and cinema. It allows television and cinema audiences to seemovies exactly the way they are composedby the director and the cinematographer.Apart from that, the Univisium format usesthe entire frame area what results in a won-derful quality of the screened image”. Geró-nimo Denti also pointed out that “the absenceof any other format marks and the totalyblackened area outside the Univisium formatin the viewfinder helps the camera operatorto concentrate on the composition of theshot”. The 3-perforation movement savednegative costs and in Storaro´s words “givesus an advantage in creativity because wehave 25 percent more time in every maga-zine”. Presently ARRI offers the ARRIFLEX435 ADVANCED camera in a 3-perforation

version and the ARRICAM cameras can beconverted by an ARRI Service Center from4-perforation to 3-perforation and back. Vittorio Storaro pointed out that when it comes to motion picture cameras “my firstchoice are always ARRI cameras”.

The two ARRIFLEX 535A cameras were provided by Technovision (France-Italy). TheARRIFLEX 435 ADVANCED camera wasrented out by the Mexico City based rentalhouse CTT Exp. & Rentals.

The sets of ZAPATA were lit with only a fewtungsten fixtures which were put on dimmersand controlled by Vittorio Storaro from asingle control board.

The film was shot with Kodak 5218, 5245,5246 and 5274 film stock and was proces-sed at Technicolor in the US. Postproductiontook place at Mexican and US facilites.

ZAPATA is scheduled for release in Mexicoin April 2004 and later on in other countries.

Thomas Brünger

Vittorio Storaro (DP)

Wilma Gomez (first camera assistant), Vittorio Storaro (DP), Geronimo Denti (secondcamera operator)

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

The location, although cramped, providedthe perfect Victorian setting for an adapta-tion of Edgar Allan Poe’s T H E T E L L - TA L EHEART. An intriguing tale of a man who be-comes obsessed with the stare of his elder-ly neighbor’s vulture-like eye. The man be-comes so disturbed that he kills the old manand hides the body under the floorboards,but when the police arrive he is convincedhe can hear the heart beat of his victim.

ARRI Lighting Rental agreed to supply all of the lighting equipment for the productionwhen approached by Producer Brian Free-ston and couldn’t resist the opportunity to visit the set. With the take complete we gotour chance to talk to Jack Cardiff and ChrisPinnock, who has worked with Cardiff sincethey met on the TV mini series FAR PAVI L IONSin 1984.

Jack Cardiff has worked with directors suchas Alfred Hitchcock, King Vidor, John Hustonand John Boulting on films with stars includ-ing Ingrid Bergman, Vivien Leigh, HumphreyBogart, Errol Flynn, Marilyn Monroe, FrankSinatra and Kirk Douglas to name but a few.

Jack Cardiff OBE, BSC reflects on some of hisexperiences while on location shooting a short filmwith Operator Chris Pinnock.

But it was his work with Michael Powell and Emeric Pressburger that earned him the reputation as one of the great cinema-tographers – A MATTER OF LIFE AND DEATH(1946), BLACK NARCISSUS (1947, whichearned Cardiff an Oscar) and T H E R E DS H O E S (1948). With a career that hasspanned many decades of cinema hehas seen many advances. Cardiff admitsto being fascinated by the technology avai-lable today. “Today there are fewer pro-blems. When I started film stock was muchslower. I had to get so much light on it, itwas very difficult to get any modelling. Tech-nical things were much more difficult, theyhad to be laboured through. Now it’s somuch easier.” And how does he feel aboutlighting styles today? “I think lighting in themain has got much better in the sense thatbefore it was very artificial, so much moreartificial than it should have been. Theyused a lot of lights, which weren’t alwaysnecessary. Now they photograph a film so that it all looks perfectly natural. Thelighting is always very well disguised,that’sthe big difference now. The standard ismuch higher.”

Paint ing with A modest room above a

pub in Islington, London,

is probably the last place

you would expect to run

into a legendary cinema-

tographer but this is exacly

where the great Jack

Cardiff was to be found

while working on his

latest short film, not bad

for a Director of Photo-

graphy approaching 90

years of age. Cardiff,

Pinnock, and the Director

Stephanie Sinclaire, were

all in the small room

busily preparing for one

final take before break-

ing for lunch.

49Wo r l d w i d e _ G B

Going back to the T H E T E L L - TA L E H E A R TCardiff and Pinnock talk about how theydecided to light the piece. Pinnock explains“It’s a fairly straightforward shoot as it most-ly involves night interiors. We decided in pre-production that we should see one windowthat would let in the moonlight. As it’s a Vic-torian piece we’ve had to recreate the effectof gaslights but generally the lighting is verylow key. The biggest lamp we’ve used is a5K. ARRI Lighting Rental gave us a compre-hensive range to choosefrom.” And have they had to overcome any problems? Pinockcontinues, “There was one scene wherea ray of light illuminates the eye of the oldman. We tried a couple of things, one was a Light Flex which didn’t actually do what wewanted it to do, it didn’t look right. In theend we actually used a ladies compact mir-ror. We broke the glass and just used a smallpiece of the mirror, maybe an inch or so. Jackcame along with it and said“ Have a gowith this instead, I tried it over the weekend.’We put a light into the mirror and from themirror reflected the light back onto the oldmans eye. It gave us much more exposureand worked very well.”

Pinnock has carried out all the operatingusing a Moviecam Compact and Zeiss len-ses supplied by Movietech. “It’s a very tightspace which always makes things harder butI enjoy any project that gets me behind a camera. Jack has let me do a lot on this pro-duction and others in the past, which is great

as it’s where I’ve gained a vast majority ofmy experience. Jack has been a true inspi-ration throughout the years I have workedwith him.”

Before they return to resume shooting we enquire if Cardiff has any advice for aspiringcinematographers. “What I would say be-fore anything and I’ve said this so many times, is study painting extensively. When I was very, very young I was travelling withmy parents who were on stage. We weregoing to a different town every week so I was at a different school every week. Onone occasion the teacher took us to a pro-vincial art gallery. I had never at that timeseen a painting in my life, never. I went insidethis gallery with the other children and suddenly I was surrounded by paintings, I couldn’t believe it. I was bowled over to seeall this colour and I fell in love with them.I made up my mind from then onwards thatevery time we went to a new town the firstthing I would find out was where the localgallery was. In the end, after some years, Igot to recognise certain painters, Rembrandtand Caravaggio, and I fell so in love withpaintings that it was my life. I realised thatwhatever the painting was, whether a land-scape or portrait, it was light that was theimportant thing. That set me off watching thelight and later, much later, I got into Turner andrealised that he would have been the bestcameraman. He used wonderful lighting.I would say to young people to make a studyof light and analyse it, learn how the direc-tion of light, the reflections from light andshades affect everything. You can advanceyour knowledge and advance your workenormously, it’s terribly important. Paintingto me is the great teacher for young people.”

Michelle Smith

Actor Steven Lord, Jack CardiffOBE, BSC, Operator Chris

Pinnock & Director StephanieSinclaire (f. l. t. r.)

Jack Cardiff

Although Cardiff is amazed by what can bedone today he reflects on how he use to likesolving problems himself. “When I workedon RED SHOES with Michael Powell I remem-ber when Nijinsky use to jump he seemedto hover in the air. I wanted to achieve thaton film so I suggested that when he was danc-ing and he jumped, that he jumped as highas he could. As he reached the peak of hisjump I speeded the camera up. I had a gadgetdevised to change the camera speed during a scene. I went from 24 fps to 48 fps, it lookedmuch better and it was great fun doing it.”

PHOTO: COURTESY OF MARK T I L L IE & DRAGONFLY F I LMS LTD

Light

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

Few movies so completely captured the eraof the swinging sixties as Michael Caine’sALF I E . Now nearly forty years later, the filmreturns newly minted for a new generationwith Jude Law in the starring role of the wom-anizing Alfie.

The Paramount Pictures production, workingtitle ‘Untitled Charles Shyer Project’, is pro-duced and directed by Charles Shyer, whoalso wrote the screenplay with Elaine Pope.He has described their version of ‘Alfie’ as,“A different character for a different socialmindset. I feel Elaine Pope and I got inspiredby a great movie – re-visited the originalsource material, the play and the novel – andthen sort of went off on our own.”

The new film is set in New York and Alfie isan Englishman who loves life in the Big Apple.When he isn’t riding around the city on hisvintage Vespa scooter Alfie works as a limou-sine driver, but mostly he likes nothing betterthan spending his time with the ladies.

We joined DoP Ashley Rowe on set to findout about his approach to the project.

ARRI Media (AM): The production pays hom-mage to the 1960’s classic, do you feel thatthis is an added pressure and therefore moreof a challenge?

Ashley Rowe: It’s hard to remake a classic.Although Jude’s character is similar to that

of Alfie played by Michael Caine this Alfieis more likeable, he comes over as a softer,more contemporary fellow. The original filmwas shot using single shots, sometimes track-ing for Alfie’s pieces to camera. With modernfilm techniques close-ups are used more often,sometimes too often, so we tried to coverscenes in one shot and keep coverage to aminimum.

AM: How did you go about making this work?

Ashley Rowe: Firstly, we did some tests withJude and found that it only seemed to workreally well when we shot the pieces to camerain one single set-up, static or moving with him.Normally when shooting a long scene youwould shoot from lots of different angles tomake the scene cut, but it looked odd whenwe cut to another position and he turned tothat camera. It looked more like a multi-camerastudio set-up. The style felt more real withone camera taking him from one place toanother, as if he was talking directly to you.

AM: You’re using a lot of Steadicam shots inthis production, how’s that going?

Ashley Rowe: Normally we would hire Steadi-cam on a daily basis but because of our approach to this production we have hiredfor the duration of the shoot as this enabledus to do complex camera moves wheneverwe wanted. Our Steadicam Operator VinceMcGann, who is also operating second

camera, moves his Steadicam as if on a dolly–rock solid. Having him here means we canget all the complicated camera moves whenrequired.

AM: Although principal photography takesplace here at Pinewood and also in Man-chester I believe you are leaving for NewYork in a few days to complete the shootthere?

Ashley Rowe: Yes that’s correct, we areshooting most of our exteriors in New York.Although we have hired from ARRI Mediahere in the UK, CSC will supply the cameraequipment in New York. However, we aremaking sure that our lenses go with us. We’vebeen shooting with Zeiss Ultra Primes; thewhole set, and doubled up for the secondcamera. My Focus Puller Ian Clarke nettedall our lenses. In order to meet the schedulehe would of had one day to check the len-ses if hired in the US, to net new lenses andre-test would be impossible so we’re takingthem with us.

AM: You’re using the ARRIFLEX 535B andMOVIECAM SL, why did you select theseparticular cameras?

Ashley Rowe: I have been using two 535Bs,one for A camera and the other for B camera,plus a MOVIECAM SL for Steadicam andhand-held work. Vince prefers the MOVIE-CAM for Steadicam due to balance. Both Ian

Director of Photography Ashley Rowe BSC, talks about his most recent project.

What’s i t al l about, It’s not every day you get to interview one of the UK’s leading Directors of Photo-

graphy in the truly opulent surroundings of a sophisticated uptown New York

apartment, but that’s the magic of the movies! The DoP is Ashley Rowe, whose

credits include THE AFFAIR OF THE NECKLACE, THE GOVERNESS and most

recently CALENDAR GIRLS, and the place is a sound stage at Pinewood Studios.

51Wo r l d w i d e _ G B

and myself love using ARRI gear from ARRIMedia as we find everything’s compatibleand ARRI Media have given us such greatservice over the years.

I’ve been using the 535B for a long time now.When I’m shooting I like to light and operate.In fact, I light and operate on everything I do.I love the viewfinder system, it gives an excel-lent clear image and I like the way the eye-piece flips over to the other side and extendsfor use in tight places. On this particularshoot it has proved invaluable for the scenesin the limousines and town cars.

AM: You’ve chosen a contemporary look forthe lighting, what were your thoughts behind this?

Ashley Rowe: The Director Charles Shyerhad a very strong vision for the film, monthsbefore we started shooting he sent over lotsof images that he had researched and sourc-

ed because he liked the mood and atmos-phere they conjured up. Jude’s character meetsand interacts with six different women, allquite different from each other and all withcompletely different lives. Sophie Bercher,the Production Designer, came up with somevery strong, very stylistically different environ-ments for each character and each of thesebrings a different style and colour to reflecttheir personalities. What I did was to light itaccordingly, to complement Sophie’s designs.

AM: Are you planning to use any othercamera techniques?

Ashley Rowe: Apart from finding interestingways to photograph Alfie’s pieces to camera,I’m using various equipment, including aTechnoCrane, Libra mount, macro lenses,shift & tilt lenses, and the Strada Crane Sys-tem to achieve some shots.

We are using digital fx to transition between

scenes. I have 3-dimensional models for ourwindow backings for some of our studiobuilds like Alfie’s interior apartment as weare shooting so many different times of dayand seasons it is the only way to ring thechanges with lighting.

AM: How have you found your experienceworking on this film?

Ashley Rowe: Because this film is different toanything that I’ve done before, actors talk-ing to camera, the shooting style we’ve usedhas been a new experience and it’s alwaysenjoyable to do something you haven’t donebefore. It has been fantastic working withJude Law, who I think has brought somethingnew to this film. Charles Shyer never sawthis as a remake but more of a re-invention,hopefully this will be reflected in the finishedfilm.

Judith Petty

DoP Ashley Rowe, BSC

PHO

TO:

DA

VID

APP

LEB

Y

Ashley?

52 Wo r l d w i d e _ D e n m a r k _ S o u t h A f r i c a

Kameraudlejningen ApS is a camera rentalfacility based in Copenhagen founded 12years ago. Offering rental equipment servicetogether with its daugther company Lysudlejn-ingen ApS it covers all types of film-equip-ment from 35mm cameras to grip and light-ing equipment and supports productions inall of Scandinavia.

The first two ARRICAM cameras – a ST anda LT – were delivered in the beginning of2004. Both cameras have been in product-

ion from the moment they arrived. At pre-sent they are on the set of YOUNG ANDERSEN,a big feature about the life of the famousdanish poet Hans Christian Andersen, pro-duced by Tina Dalhoff for Nordisk Film Pro-duction A/S with DoP Nicolaj Brüel and Director Rumle Hammerich.

“From the outset we where very focused onthe new in camera slate system and the pos-sibilities this system offers. To date this systemhas fullfilled our expectations. From all sides

A R R I C A M s in Denmark

The Future Looks Bright for South Afr icaDue to the growth of the rental industry within South Africa, Media Film Service recently

invested in ARRI lighting equipment.

Media Film Service hasn’t looked back since it launched in 2000. Starting out asan ARRI product driven rental facility thatwas fully supported by ARRI Media Londontheir relationship has since gone from strengthto strength and has grown to include ARRILighting Rental London, so that as well ascamera and grip products Media Film Ser-vice can offer the latest lighting equipment.

Media Film Service has experienced rapidgrowth, expanding to new premises in Cape Town and establishing branches inJohannesburg and, more recently, Durban.In order to meet the growing demand of business they recently invested heavily in ligh-ting equipment, purchasing an extensiveselection of lights from ARRI (GB) Ltd, inclu-ding the ARRI Compact 200W, 1.2kW& 6kW, ARRISUN 12 Plus & 40/25 andPocket Par 125W. Jannie van Wyk, MDof Media Film Service, explains why theychose ARRI products “ARRI is our only choi-ce for the majority of our equipment. Thereasons are that ARRI lighting equipmenthas just what it takes to survive in one ofthe most diverse and harsh climates. ARRI

have given special detail to handling andstrength of equipment, their ballasts are super reliable and back-up prompt.”

Media Film Service has also invested heavi-ly in new generators, distribution and trucksas they are well aware that these items arethe backbone to any lighting company andessential to support their product portfolio.Corrie van Wyk, National Lighting Techni-cal Manager, joined Media Film Servicerecently to assist with the national growthof the lighting department and is confident

in the service offered, “Media Film Serviceis committed to bringing customers the latestin technology. We now have very capable,well-trained personnel and a reliable depart-ment. We can and will deliver.” Jannie vanWyk agrees, “We can now offer our clientsthe best equipment and unsurpassed service,anywhere in the country. We can deploy ourresources from one, or all of our branches toensure a seamless supply and delivery of ser-vices. Media Film Service believes in the in-dustry and are committed to continued invest-ment.”

With branches in Cape Town, Johannesburgand Durban, Media Film Service now offersa national supply of the latest ARRI equip-ment, backed-up by professional teams.

Michelle Smith

Media Film ServiceCape Town +27 (0)21 5113300Johannesburg +27 (0)11 262 5560Durban +27 (0)31 579 2278

On location in Cape Town during production of the feature film SLIPSTREAM

we have only recieved positive feedback”,remarks Thomas Kristensen, owner of bothrental companies. Camera departmentcommented: “We love the modularity,ergonomic shape and light weight”, andthe sound department added "remarkablelower noise level compared to formerblimped cameras!”

The post department adds: “The in cameraslate reader system is less sensitive toover exposure, bleech bypass and scrat-ches at the edge of the neg. All of whichcould be a problem with the old timecodesystem”.

Thomas Kristensen

Producing Young Andersen with the In Camera Slate System

DOP Nicolaj Brüel and actor Simon Thaulow

PHO

TOS

: A

AV

ATS

MA

RK

Contact: kameraudlejningen@kameraudlejningen.dkphone + 45 7020 3400

Steadicam operator Jakob Bonfils

53Wo r l d w i d e _ F r a n c e

Vive la France – Vive l’ ARRICAMFor Technovision 2003 was the year of the ARRICAM:

the camera system was used on five major productions

and a total of six cameras have been in operation.

At each production Technovision was on location and

could experience the camera team’s first impression.

First result: the crews were impressed by how quiet the

camera runs, since a lot of shooting in France is

done with original sound – and here from now on the

ARRICAM sets the standard.

U N L O N G D I M A N C H E D E F I A N Ç A I L L E S

by Jean Pierre JeunetThe first visit, to the set of Jean Pierre Jeunet(also AMÉL I E POULA IN ) leads to a militarytraining ground near Poitiers. U N L O N GDIMANCHE DE F IANÇAI L LES is a six monthproduction between August 2003 and Feb-ruary 2004. Fields have been dug up to represent the trenches of World War I, thefim’s main location.

Work conditions have been extreme: for onemonth 37000 litres of water per hour werepumped onto the set in order to impressive-ly recreate the desired atmosphere. Thetwo ARRICAMS had fewer problems withall this water than crew and actors: neither

the LT on a Technocrane nor the ST on Valentin Monge’s Steadicam (1. AC: EricVallé) caused any trouble.

Alain Gauthier (Technovision) spoke to DoP Bruno Delbonnel, Steadicam operatorValentin Monge and his assistant cameramanEric Vallé.

Alain Gauthier (A.G.): You have now beenshooting in mud and rain for already oneand a half months.What can you tell us aboutworking with the cameras under these con-ditions?

Eric Vallé: Before we started shooting wedidn’t know much about the ARRICAM in

extreme conditions.We were worried becauseof the torrential weather, there is quite a bitof electronic in these cameras after all. Butduring one and a half month of shoting inthese conditions there was not a single pro-blem. That’s unbelievable!

A.G.: How did the new camera system workout for you?

Eric Vallé: Handling and the accessories arevery well thought out. When working withJean Pierre Jeunet you always have to reactvery quickly. With the ARRICAM changingthe camera setup in a few seconds is reallynot a problem anymore.

Bruno Delbonnel was already the Directorof Photography on A M É L I E P O U L A I N .

A.G.: You have worked with the ARRIFLEX535 and the Panaflex. You choose the

DoP Bruno Delbonnel

54 Wo r l d w i d e _ F r a n c e

ARRICAM for U N L O N G D I M A N C H E D EFIANÇAILLES. Where do you see differences?

Bruno Delbonnel: I like the ARRICAM view-finder a lot. It shows the colors as they are,and its brightness is extraordinary even whenthe iris is closed all the way. The viewfinderof the Panaflex was rather disappointing, incomparison. And the viewfinder extensionof the ARRICAM is very handy, because itallows me to check te image and to controlmagnification precisely at any time.A.G.: What was the decisive factor whenselecting the camera system?

Bruno Delbonnel: Another factor was the selection of lenses. I didn’t want the image tobecome as hard and contrasty as on AMÉLIEPOULAIN. After doing comparison tests with thePrimos I decided on the Cooke S4s. Besideswe needed very short focal lengths.And abovethat all requirements for this shoot were bestmet in the combination ARRICAM LT and ST.

A.G.: Did Jean Pierre Jeunet’s way of work-ing change since AMÉL I E POULA IN?

Bruno Delbonnel: Not really, just that he workseven closer to the actors now. On AMÉLIEPOULAIN we mostly kept a distance of 50cm,which already caused some problem for the sound department. We frequently usedthe 25mm lens. On UN LONG DIMANCHE DEFIANÇAILLES we now use even shorter focallengths from 16mm to 21mm. The minimumdistance to the actor is barely 25 cm. It isgenerally true for Jean Pierre Jeunet thathe goes to the limits with the equiment. With-out the ARRICAM ST it would have beenvery difficult for the sound department.

A.G. to Valentin Monge: You use the ARRICAM ST on Steadicam and not the LT. How come?

Valentin Monge: When we started shootingwe didn’t have the LT. So I started out usingthe ST and kept it the whole time. This showsthat the camera perfectly fits the Steadicam.It is very well balanced, fast to re-configureand the wireless Lens Control System makesa Steadicam operator’s life easier becauseof less cabling.

I L S SE MAR I ÈRENTby Yvan Attal

It is still night at 7:30 AM in November. Thereis rain when we arrive. But here again the rain is generated by three trucks and goeson the whole day. Apart from the ARRICAMLT, an ARRIFLEX 35 BL 4s is used. AlainGauthier spoke to DoP Rémy Chevrin andSteadicam operator Loic Andrieux.

A.G.: What do you think of the ARRICAMLT? You worked with the ST on commercialsalready.

Rémy Chevrin: One word: outstanding. I doa lot of handheld work from the shoulder onthis film, and I appreciate how compact andhandy it is, and the weight, of course.

A.G.: Was the small size of the camera help-ful in confined sets?

Rémy Chevrin: Sure. Especially when shoot-ing in a Mercedes Coupé, I really got to appreciate the small shoulder magazine. Butaside from that: the control panel worksvery well, the built in contrast filter, the dim-mer for the frameline illumination…

A.G.: Why do you use the LT as your maincamera?

Rémy Chevrin: 70 percent of this film is shothandheld or on Steadicam. I didn’t evenconsider another camera, particularly be-cause of the scope lenses. In any case, 7 kgon your shoulders the whole day is betterthan 12 kg. As far as sound is concerned theLT was perfect, even in interiors. We used ahome built soft blimp for sequences where wehad to come very close to the actors.

A.G.: A question for Loic Andrieux: Steadi-cam operators often have a precise idea ofwhat a perfect camera should look like. Doesthe LT meet this idea?

DoP Rémi Cheverin Steadicam Operator Loic Andrieux

55Wo r l d w i d e _ F r a n c e

well thought out, and I particularly apprecia-te its brightness, which is excellent. I alreadylearned to like this on the film M O I C É S A Rby Richard Berri. At that time I used the LT.The shoulder set is done very well. And because of the weight, the LT is perfect for Stea-dicam, with very comfortable handling.

Vincent Gallo, 1. AC: The camera is unbe-lievably reliable, we haven’t had one prob-lem during 12 weeks of shooting. For methis is really a blessing. Besides, the IVS isvery good. Our director Patrick Timsit usedthe video monitor quite frequently and wasvery impressed by it.

L E RETOUR DE JAMES BATA I L L Eby the Poiraud Brothers

A.G.: Why did you choose the ARRICAM LT?

Philippe Lesourd, DoP: The most importantreason: 80 % of the film was shot with origi-nal sound and handheld, this just cried outfor the ARRICAMLT. Our sound engineer Bri-gitte Le Thaillandier conducted a mercilesstest. And then we booked the LT. Also becau-se for several weeks of handheld shootingI didn’t want to use a heavy camera at anycase.

RRRRRR . . . .by Alain Chabat

Natascia Chrosciski, executive manager ofTechnovision France spoke to DoP LaurentDaillant.

N.C.: What were your reasons for choosingthe ARRICAM LT?

Laurent Daillant: 30 to 40 percent of the filmwere planned to be shot on Steadicam.Alessandro Brambilla, our Steadicam opera-tor, wanted to have this camera at any case.And as far as handling, weight etc. is con-cerned it turned out to be this good that you

couldn’t see a difference between Steadicamshots and normal shots.

N.C.: Did you work with the camera also ina traditional way?

Laurent Daillant: During shooting, I specific-ally noticed the viewfinder, the high qualityof the video assist, and the fact that the ac-cessories are very well thought out and easyto use.

N.C.: In one word, you are convinced?

L.D.: Definitely. By the way, on my next pro-ject with Stewart Howell I plan on using itagain.

N.C.: Thanks a lot, Laurent.

Alan Gauthier

Loic Andrieux: For me it was the first timeshooting with the ARRICAM. Previously I haveseen it on a film with Michael Ballhaus, therewere two STs. The ARRICAM LT really is ingenious, thanks to its light weight it canbe easily balanced without any force. Thiscamera is fun to work with.

Rémy Chevrin: I personally think for the LT,there should be a way to mount the maga-zines in topload position. This would be beneficial when shooting handheld in con-fined locations.

A.G.: Thank you both and all the best foryour film!

L 'AMÉR ICA IN

by Patrick Timsit

A.G.: This film is a comedy, and as itseems, it runs very smoothly.

Pierre Morel: It does … but we changed framing and jumped the line of action quitea bit, often three or four times in one scene.This way we got to appreciate how easy itis to re-configure the ARRICAM. My ACswere especially found of its easy handlingand its reliability. For my part, I like the view-finder the best: the magnification ratio is

UN LONG DIMANCHE DE FIANÇAILLES(A Long Sunday of Engagement) Director JeanPierre Jeunet, DoP Bruno Delbonnel, Produc-tion Warner.

1 ARRICAM LT and 1 ARRICAM STILS SE MARIÈRENT... (They have Married)Director Yvan Attal, DoP Rémy Chevrin, Production Pathé.1 ARRICAM LT

L´AMÉRICAIN (The American)Director Patrick Timsit, DoP Pierre Morel, Production Cipango Films.1 ARRICAM ST

LE RETOUR DE JAMES BATAILLE(The Return of James Bataille)Director: Poiraud Brothers, DoP Philippe leSourd, Production Entropie.1 ARRICAM LT

RRRRRR...Director Alain Chabat, DoP Laurent Dailland

f.l.t.r. DoP Pierre Morel, 1st assistant Vincent Gallo

56 Wo r l d w i d e _ I n d i a

L A K SH YA was shot entirely on location inIndia – in the Himalayas in and around Leh,Ladakh at 11,500 ft to 18,000 ft (where thehighest crane shot ever done for a narrativefeature film at 17,796 ft above sea level wascarried out), New Delhi, at the IMA (IndianMilitary Academy) in Deradhun and on setsin Film City in Bombay. Los Angeles basedcinematorapher Christopher Popp remem-bers the challenges of this partially extremeshooting quite well:

LAKSHYA is done in the 35mm anamorphic(2.40:1 aspect ratio) format, which is thestandard aspect ratio for all Bollywood films.I love this aspect ratio since it allows you to

do complex compositions and capture inti-mate moments with two characters in a tightclose-up in one frame. You can also controllayers of focus on different planes, and it allows you to spread the action across theframe and have wide vistas. Our main cam-era, which for 85 % of the film was a singlecamera which I operated myself, was anARRIFLEX 535B with Hawk anamorphic prime lenses, 35 mm to 135 mm, and an Angenieux Zoom 50 mm – 500 mm whichwe got from Prasad Labs in Mumbai. When-ever we needed matching coverage, webrought in additional cameras – usually 35IIIsand 435s with Hawk lenses from Ravi Pra-sad Unit in Chennai.

The typical mainstream Bollywood film has vibrant and saturated colors, night exteriors have a blue key

light and a yellow fill light. The character’s are usually way over the top super heroes, back-up dancers

suddenly materialize and start singing, and every film has a happy end.

DIL CHAHTA HAI, director Farhan Akthar’s first film, was a milestone in India because it had its roots in

traditional Bollywood Cinema but was more reality based, which he wanted to continue in his second film

LAKSHYA. This film’s fictitious story follows the experiences and the coming of age of the main character

Karan Shergill (played by Hritik Roshan) and has the Kargil war of 1999 between India and Pakistan as

backdrop. The three-hours narrative feature was shot in Hindi with a budget of US$ 7,000,000 in 146

shooting days and is now going through the Digital Intermediate Process at Prasad Labs in Mumbai, India.

LAKSHYA – Filming in India

57Wo r l d w i d e _ I n d i a

Key Grip Sanjay Sami

A good portion of the film is supposed tohappen in Kargil and the Drass area in Jammu-Kashmir close to the Line of Control (LoC),a 450 mile line that is supposed to indicatethe boundary between the part of Kashmircontrolled by India and the part controlledby Pakistan. Since there were still shellingand terrorist attacks going on in that region,the production decided to shoot that part ofthe film in and around Leh at 11,500 ft at theeastern side of Jammu-Kashmir close to China.The only way to get equipment in was by roadsand passes that lead through the Himalaya.

We spent 4month up there and had to shootmajor night exterior battle scenes as well as a lot of day exterior and interior scenes.Detailed pre-planning was essential to shootin a place like this, especially when truckswith equipment and generators needed twoweeks to arrive from Bombay.

DoP Christopher Popp on Giraffe Cranewith ARRIFLEX 535B

Car done by Key Grip Sanjay Sami at 15,0000 ft.In the background director Farhan Akthar (sitting)with actor Hrithik Roshan (standing).

Crane shot at 17,796 ft, Key Grip Sanjay Sami at base with grips and DoP Christopher Popp on the crane with the ARRIFLEX 535B

on Higher Ground

58 Wo r l d w i d e _ I n d i a

The cliff face built in Film City in Mumbai with thetwo overhead silks in position and two constructioncranes with silks on the left

Sitting in the car is actor Sushant Singh,standing in the car is actor Hritik Roshan,to his right is key grip Sanjay Sami and at the camera setting up a shot is DoP Christopher Popp (f. l. t. r.)

10° F. Of course, just getting the equipmentup there was a challenge. Then sudden gustsof wind came in and threatened to topplethe crane. We also had to be done by acertain time, since we were losing the light.An interesting fact about this shoot is thatwe beat our own record which we had setup in Warila by doing the possibly highestcrane shot ever done for a narrative featurefilm at approx. 17,300 ft. With this shot,we broke our own record a week later byalmost 500 feet.

Another important scene takes place at asheer cliff that our heroes have to climb tosurprise the intruders on the peak. The scenewas broken down into segments. One, whereour heroes arrive at the bottom of the cliffand look up in awe, which we shot in Ladakh,and some dramatic climbing action wherewe had to see our heroes clearly on the wall.It would have been impossible to shoot thatsegment for real in Ladakh. A cliff face thatmeasured approximately 100’ ∞ 55’ wasbuilt on scaffolding and dressed with painted

fiberglass panels in Film City in Mumbai. Thecliff face had two side panels and a frontpanel on the ground. All the panels werepainted blue to work as blue screens. Thecliff and a mountain range were added inthe CG realm.

Before shooting commenced, it was impor-tant for me to find out what the different labs’results looked like. We decided to have thenegative, dailies and the release prints doneby Prasad Labs in Mumbai. During produc-tion, an ARRILASER was installed at PrasadLabs in Mumbai and the decision then wasmade to do a DI (digital intermediate) for thecolor correction and release prints in April2004 – a very important decision for the lookof the film.

For L A K S H YA, I used 4 different Kodak filmstocks: 5277, 5284, 5246 and 5218. Eachemulsion has a different inherent look, whichI used in combination with different lightingstyles to visually represent our hero’s journey.The low contrast and desaturated look stands

I was trying to shoot the day exteriors inbacklight, 3/4 backlight or sidelight, to givethe mountains some texture. I used SunPATHsun-tracking software, a compass and clino-meter in order to calculate where the sunwould be at a certain time and we then brokedown sequences to shoot specific angles atcertain times of day. The idea of wide shotsand vistas was not only to show how beau-tiful Ladakh was, but to also make it a char-acter in the film and to put our charactersinto the environment with a sense of scale.

During shooting we had everything that youcan imagine, ranging from temperatures of115°F with extreme humidity and dust stormsback in Delhi to living and working at highaltitudes with thunderstorms, snow and hail –sometimes all in one day. Most of our loca-tions in Ladakh were all windy and extremelydusty. One of the bigger challenges though,was to set up a 24’ Giraffe crane, 12 ∞12muslins, and several cameras to shoot oneof the most important scenes above the Tang-langla Pass at 17,796 ft above sea level at

59Wo r l d w i d e _ I n d i a

CAST AND CREW

Production: Excel Entertainment Pvt. Ltd in co production with UTV IndiaDirector: Farhan AktharSecond Unit Director: Chris AndersonDoP and Camera Operator: Christopher PoppFirst AC: Anand Kumar2nd AC/Loader: Ravi KiranAssistant to DoP: Ayananka BoseGaffers: Mulchand Dedia, Kamlesh Sadrani Key Grip: Sanjay SamiSPX Supervisor: Angelo Sahin from AustraliaVisual FX supervisors: Craig Mumma, Marc Kolbe from LA, USA

The Adjutant Major welcomes the newcadets at the Indian Military Academy

Karan Shergill (Hritik Roshan) at Humayun’s Tomb in New Delhi.

Camera set up in Warila at approx.17,300 ft

for our hero’s indecisiveness. Once he madeup his mind about life, I switched to 5284which has a little bit more contrast and satu-ration. When war breaks out, I switched to 5246 rated at 250 ASA for day exteriorsand interiors and 5218 rated at 500 ASAfor night interiors and exteriors. The overallquality of the imagery in the film goes froma soft appearance to a little sharper, to reallysharp and snappy and then back to a softertone. So does the lighting, which progressesfrom an extremely soft diffused lighting, overa more directional lighting to a really con-trasty, harsh lighting style and then back.

The three-hours narrative feature film willbe released in India, Asia, Europe and inselected theaters in the US on June 18th.

A native of West Germany, became inter-ested in photography at the age of eightwhen he observed his father developing a black and white picture in the lab ofthe family photo store. After studying pho-tography, he trained as a camera opera-tor and 1st AC at German TV’s (ZDF) Department of Education. Christopher thenworked as an additional cinematographerand operator on documentaries in Egypt,Libya, Kenya, the Soviet Union, GreatBritain, Israel, Italy, Switzerland, France,Canada and the United States. He has also worked on features, TV features, andTV series in Germany. He shot the TimeLapse sequence for the Canadian-Germanco-production THE MUSIC OF KURT WEILL:SEPTEMBER SONGS, which won an Inter-national Emmy award for Best Performing

Arts Picture in 1996 and a Gemini awardfor Best Photography in 1997. He was also the additional cinematographer onWAR S YMPHONIES : S HOS TAKOV ICH ‚another Canadian-German co-productionwhich won an International Emmy awardfor Best Arts Documentary in 1999 and a Golden Prague for Best Photography in 1998.

In 1996 came to Los Angeles to study cinematography at UCLA. The followingyear he was accepted into the cinemato-graphy program at the renowned Centerfor Advanced Film and Television Studiesat the American Film Institute (AFI).

For the cinematography of his thesis filmShadows‚ he received the Gregg TolandHeritage Award from the American Soci-ety of Cinematographers (ASC) for Out-standing Achievement in Cinematographyin February 2000.

Christopher Popp

DoP Christopher Popp takes a reading at 14,000 ft

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

Henning Rädlein, Head of ARRI Digital Film,explains: “Shooting is done with top of theline cameras and lenses on 35 mm film. Afterthat we leave film and enter the digital domain. Here we have all the possibilities,because in the digital world, creativity isalmost without limits.“

The technical tools make it possible to selec-tively correct the color of individual elements,to create a continuous weather condition, tomatch different film stocks and to seamlesslyadd visual effects. Work is done in realtime,is immediately viewable and is reversible.

The Route to Digital IntermediateIt is recommended to start out separating thenegative material and to splice it from camera stop to camera stop, according to theEDL coming from the AVID. This way the color timer already gets the scenes in the rightorder and a consistent lighting scheme canbe created while scanning the negative.Zooming and framing is done during the digitizing of the material. The scanned imagesare saved uncompressed on a disc recorder.Online editing is based on the AVID EDL.Fades, motion events, freeze frames and

A2 RACER and POLLY B LUE EYES – Reports from the FieldRecently two German feature productionswent the digital route at ARRI: POLLY BLUEEYES (Production: Equinox Film; Director:Tomy Wigand; DoP: Gernot Roll) and A2RACER (Production: Constantin Film; Direc-tor: Michael Keusch; DoP: Hannes Hubach).

Each one of them is special in its own way:POL LY B LUE EYES because of its classicnarrative and a very sophisticated and subtlecolor scheme. The other one, A 2 R A C E R(based on a computer game of the samename) because of a very complicated shoo-ting.

A2 RACER

As the title indicates, the film is about a high-way chase, shot with two units and a total offive cameras (1. Unit: 535 B, ARRICAM LT,435; 2. Unit: 435, ARRIFLEX 35 III andARRIFLEX 35 IIIc) on numerous locations inLuxembourg. “Some of the scenes were film-ed on a highway that had been closed downfor shooting. So we had to take them as weshot them, without any consideration of theweather. And we knew already on location

Digital Intermediate

Digital technology is increasingly changing all areas of film postproduction worldwide. That’s why Digital

Intermediate (DI), also known as Digital Lab, is a central topic. “Based on numerous positive experiences among

cinematographers, directors and producers, DI is becoming the preferred standard for the postproduction of

feature films,” says Franz Kraus, executive director of the ARRI AG. “It´s not only about the creative aspects and

the possibility to realize a uniform design concept, but also about the cost/ benefit ratio and the consistency for

postproduction and distribution.

Actress Susanne Bormann

Actor Matthias Schweighöfer

insertion of visual effects can be done easilyand without loosing any resolution. Follow-ing the online editing the creative color grad-ing is done together with the Director of Pho-tography. Selective color correction makesit possible for the color grader to create anindividual look. The Noise Reducer allowsto even the modification of the structure of thefilm grain afterwards. For the final recordingon the ARRILASER to 35 mm Intermed Posi-tive or Intermed Negative the ARRI ColorManagement is employed to transfer the color palette designed on a monitor back tofilm, according to the principle “What yousee is what you get“.

ARRI Digital Film uses two ARRILASER to record on 5242 Intermed (Positive or Nega-tive), 5245 camera negative or 5231 black-and-white negative in all formats (1:1,66,1:1,85, 1:2,35, Super 35, Cinemascope).

Additional benefit: apart from the 35 mmDigital Intermediate film for release prints,an HD master is created that can be used forversioning and trailers, for release on DVD,in TV or on videotape, in both PAL and NTSC.

at ARRI Digital Fi lm

61Wo r l d w i d e _ G e r m a n y

that the lighting had to be modified in post,“DoP Hannes Hubach explains. “The weatherconditions were vastly different from scene toscene because we worked with several units.DI is perfectly suited to give the sequences acontinuous weather look and to modify thelighting (which in Luxembourg on location isalways rather flat) making it warmer and increasing contrast.“ In addition the cars in thefilm are very important, they are treated almostas main characters.Their presence had to beemphazised by enhancing their color.

It soon became clear to Constantin Film thatDigital Intermediate would be the perfect wayto level out this difficult material. “Apart fromthat the producers didn’t want A2 RACER tolook like a typical German comedy …“ Hannes Hubach adds.

Beyond that there is an enormous number ofmotion events in the film. To recreate them intraditional post in the lab would have meanta tremendous effort in editing, which wouldhave been very difficult or not doable at allby going the analog route.

“ARRI Film & TV is the only company in Ger-many which can supply Digital Intermediatefrom start to end, with support from the filmlab and digital lab to test screenings in theirown theater. Everything is under one roof,“Hannes Hubach says.

Polly Blue EyesLike many of their colleagues, Hannes Hubach as well as DoP Gernot Roll andTomy Wigand, director of POLLY BLUE EYES,advise against cutting corners during shoot-ing, inspite of the possibilities digital post hasto offer.

“Right from the beginning I wanted to do digital post,“ Tomy Wigand explains, andBernhard Köllisch, producer at Equinox, agrees. “The plan became more fleshed outwhen Gernot Roll joined us. He said rightaway that DI would be the perfect way torealize his concept technically and creative-ly. That’s why Gernot Roll deliberately plann-ed the scenes on the set in a way that theircolors could be enhanced and refined in postwith DI, just because each part of the framecan be manipulated separately,“ Tomy Wigand continues. “All this wouldn’t have been possible the traditional optical analogway. This way the film’s color and lightingstyle is now very distinguished and subli-me – and still has a very natural look to it.“

Tomy Wigand wanted a film without seasons,but because of financial and time constrainswas forced to work in winter. “DI and theARRI Color Management made this possiblewithout problems, because we could mani-pulate areas of an image and even changethe film grain.“

Birgit Steffan, Senior Colorist at ARRI Film &TV, did the color grading on POL LY B LUEEYES: “It was ideal that the color scheme wasalready in the negative, meaning implement-ed on set, and we didn’t have to create any-thing artificially afterwards. Because wecan’t conjure anything into the image whichisn’t already there. However, with DI theimage can be formed and manipulated verywell, which isn’t possible the optical route.We didn’t have to fix anything in post, wejust created a continuous weather situaton.“

Gernot Roll kept pointing out to Tomy Wigand and Birgit Steffan: “We have to increase the contrast as much as possible.“Already on location he set up his lightingaccordingly. He had production purchaseold streetlamps from the GDR, which thenwere set up on exterior night shoots. Later, incolor grading, Birgit Steffan digitally chang-ed the light to a warm shade of gold. Mean-while Tomy Wigand completely swears byDI: “Visually the finished film has a muchmore uniform look. I even think, the enhancedcolors of POLLY BLUE EYES couldn’t havebeen achieved with the traditional lab.“

And why ARRI? Tomy Wigand and GernotRoll agree on that one: “In Germany, ARRI

DoP Gernot Roll (left)and Director Tomy Wigand

is one of the few, if not the only, service pro-viders that offers the complete chain anddoes it well: shooting with 3-perforation cameras, lighting and grip from ARRI, filmlab, scanning, digitizing and the completedigital post including recording on film withthe ARRILASER – everything from one hand.“

Jochen Hähnel

Other Credits

WIE FEUER UND F LAMME

AL L THE QUEEN’S MEN

MONDSCHE INTAR I F

BOOK IES

TATTOO

TRUE

FRAG I L E

SAMS 2

THE STORY OF THE WEEP ING CAMEL

POL LY B LUE EYES

A2 RACER

TR I XXER

7 DWARFS

THE LAZARUS CH I LD

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

Not much fun these days for the Monk with the Whip, the Frog with the

Mask and the Black Abbot: London’s underworld is shaken by mysterious

murder around venerable Blackwhite Castle. The rogue murderer is loose,

called TRIXXER! Scotland Yards puts its best men on the case: new inspector

Very Long and chief inspector Even Longer, whose old beloved colleague

Rather Short fell victim to the TRIXXER.

Long and Even Longer are on their way toBlackwhite Castle, where they meet the Earlof Cockwood who appears to be a perfectlynormal aristocrat dedicated to traditionalpug breeding. However, behind the facadehe operates an international girl trade, ex-porting girl groups to the whole world. TheTR I XXER is after him, as he is after the restof England’s underworld, sending one rogueafter another to kingdom come. During theirinvestigations in Blackwhite Castle (which isso venerable that everything inside the radiusof one mile is just black and white) chief inspector Even Longer’s interest soon focuseson attractive Miss Pennymarket, while theT R I X X E R puts everything on stake to gainpower over the underworld…

An amazing job for director Tobi Baumannand his stars Oliver Kalkofe, Bastian Pastewka,Thomas Fritsch, Olli Dittrich, Anke Engelke,

TRIXXER

Not based on a novel by Edgar Wallace

63Wo r l d w i d e _ G e r m a n y

Thomas Heinze and Wolfgang Völz, amongmany others, whose schedule on 43 shoot-ing days in London, Munich and Prague wasfilled with countless locations, stunts, quotesfrom other films and musical numbers.

“T R I X X E R is our ultimate homage to EdgarWallace movies of the 60s“, says BastianPastewka. “Oliver Kalkofe, Oliver Welke andme, we worked together on the script forT R I X X E R . Of course we also cast ourselves,just in case.“

“When writing the script I never expectedthat somebody would ever turn all thesecrazy ideas into reality,“ Kalkofe remembers,“but it actually happened! And even betterthan we imagined.”

Producer Christian Becker (BANG BOOMBANG, WHAT DOESN’T F I T-WE MAKE F I T ,THE JESUS V IDEO), chief executive officerof Munich based production company Rat-Pack, and his team put two years intensework into the realization of the writer’s phan-tasies and ideas. “From early on it becameclear that such an elaborate production withnumerous large setups and appropriatebuilding crews would be hard to do in Ger-many,“ says Christian Becker. More than 100workers where building ten sets on three soundstages which, together with the Pragueharbour and a castle south of Prague, trans-ferred the whole filmcrew into another worldfor weeks.

Unquestionably a visual highlight is theBlackwhite Castle and its interiors, designedand crafted with much attention to detail:secret passageways, a dungeon (a replicaof the prison from S I LENCE OF THE LAMBS),revolving bookshelves and fireplaces, hiddenstairs and drop pits. And over and over againthe Earl of Cockwood’s trademark: pugs!

Only a competent service facility like ARRIcould be considered for this production. Andso the Munich company supplied lightingand camera equipment (including the ARRI-MOTION), sound and lab services, editingfacilities and of course services in the boom-ing areas of Digital Intermediate and DigitalVisual Effects. Postproduction was done exclusively uncompressed (10 bit), from theAVID high-resolution project to the design of the visual effects, as well as in the DigitalLab. There Birgit Steffan was in charge ofthe specific look, like in the Blackwhite Castlesequence, which had to live up to its name,even though it was shot in color. Extraordnaryaccuracy was necessary to prevent color shift-ing in the image and to ensure the continuityof this „tinted black-and-white look“. Visualeffects supervisor Dominik Trimborn was respon-sible for the effects and supervised shootingtogether with Michael Lanzensberger. It tookthree months to shoot all 130 visual effects

shots, to the full satisfaction of the productionwhose line producer Simon Happ was a com-petent partner. Even the opening credits weredesigned at ARRI, with lots of humor by titledesigner Lutz Lemke. Computer animation artistMarkus Drayss animated the RatPack logo withthree-dimensional life which can now be seenin TRIXXER for the first time.

Digital TRIXXER: Visual EffectsVirtual Sets:Twenty scenes of a wild bicycle chase throughthe dark maze in Blackwhite Castle werecreated completely in digital. The only real objects were the actors on bicycles infront of a green screen. It was particularilychallenging to keep the continuity of eachof the scenes, which not only had to be photo-realistic, but also had to match other realscenes. So the huge virtual maze had to bedesigned based on a small real set. “Westarted out with a small space and had to

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

invent the cellar of the castle around it,“ saysMichael Koch, computer animation artist.And he adds “after the digital set design wepaid particular attention to interesting light-ing effects and the integration of green screenelements. We did this with suitable virtualobjects in the foreground (crates, barrels etc.)and with interaction: during the chase thecharacters fire their pistols several times, withbullets hitting the virtual three-dimensionalcrates and causing virtual flying sparks andbreaking wood.“

“Postproduction started out with a layout ofthe complete chase sequence, which alreadycontained a basic version of the three-dimen-sional backgrounds. Changes like the merg-ing of two originally separate scenes couldbe quickly done with the help of a virtual fastpan. Once the version was approved thenext step could follow, until the final imagewas completed, which was enhanced drama-tically by interactive lighting effects on thecharacters and additional camera shaking.The elaborate sequence was completed bytwo multi-layered compositing shots withcharacters driving all over.“

Creature crawlingA tasty job quite literally was it to create a cockroach which crawls over sleepingKalkofe’s face and disappears into his openmouth where it finally gets swallowed.

After the camera move was determined, an exact object match moving of OliverKalkofe’s chin was calculated to have thecomputer generated roach crawl along.The model of the roach consisted of severalnurbs shapes and could be moved with aso-called ‘animation rig’.

The actual animation of the insect with classickey framing was relatively difficult, since sixlegs and the antennas had to be controlledseparately with inverse kinematic. It wasobviously necessary to adapt the lightingthrough Maya to match the real subject. Thenthe beauty, specular and shadow passeswere rendered separately to maintain as

much flexibility as possible for compositing,which was done on Shake.

„T R I X X E R “ opens on May 20th 2004 inGerman theatres.

Jürgen Schopper/Co-Author: Nicole Giesa

Credits ARRI Digital Film

VFX and DigiLab Supervisor Dominik TrimbornVFX Producer Henning RädleinCreative Consultant Jürgen SchopperSenior Compositing Artists Abraham Schneider, David LaubschCompositing Artists Marco Jacob, Ines Krüger, Alexandra Kirchdörfer,

Christian Wieser3D Artists Markus Drayss, Michael Koch, Alexander NowotnyTitle Design Lutz LemkeScanning Steven Stueart, Sascha StillerDigital Lab Colorist Birgit SteffanHD Spirit Assistent Boris LinkTechnical Supervisor Digital Lab Christian GrafwallnerHD Online Matthias Brauner, Marcus Schmidt, Ulrich HochleitnerHD Assistent Michael Hackl HD Retouching Marcus SchmidtARRI Laser Recording Alex Klippe, Sascha Stiller

65Wo r l d w i d e _ G e r m a n y

Digital Fruit ShowWherever you are, with Froop is always party time! Based

on this slogan the agency londonproject and filmcorps

production developed the scenario around a museum attend-

ant who compensates for his boring job by throwing a

wild party with Müller Froop yogurt, which brings his world

completely in disorder.

To bring these two lines of action togethervisually, ARRI Digital Film had the task toserve the juicy fun out of the cup digitally.

Digital artists from Grad3 created the com-puter animated fruit elements and sent themto the Inferno in separate layers. There Mich-ael Lanzensberger and Stefan Tischner tookcare of the compositing and the color match-ing of computer generated images to the realsequences. To ensure a perfect match bet-ween the computer generated and real ele-ments, the 3-D camera data of the anima-tion was imported to the Inferno and opti-mized afterwards. Further more it was ne-cessary to touch up the eyes and teeth of theactors digitally, and to generate a sequencewhich wasn’t even shot this way: a handopens the lid of the yogurt cup. The finalimage was put together from separate ele-ments: a hand, the digital lid of the cup, thecup itself and the background. The fruitylook of their product was very important to

agency and customer. To emphasize ‘fruitin-ess’ it close attention was paid to the colordesign of the cherries, the mist of cherryscent and all other 3-D elements. After severalshifts on the Inferno and in 3-D everyonewas happy with the branding of the pro-duct. A long party which was worthwhile!

Jürgen Schopper

Credits

Production: filmcorpsAgency: londonprojectDirector: ENNO

VFX Producer: Friederike OberlinComputer Animation: Grad3Inferno Artists: Michael Lanzensberger, Stefan Tischner

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

Recently the features N A P O L A (Produc-tion: Olga Film; Director: Dennis Gansel; DoP: Torsten Breuer) and T H E N I N T H D AY(Production: Provobis Film, Director: VolkerSchlöndorff, DoP: Tomas Erhart) were shotin Prague and Luxembourg respectively. Lisa Film production shot the TV feature THE RETURN OF THE DANCING MASTER

(Director: Urs Egger; DoP: Martin Kukula)in Sweden and Austria, and new episodesof the TV series HOTEL TO DREAM OF (Director: Otto W. Retzer, DoP: Marc Prill).in Thailand.

All productions have one thing in common:the equipment was supplied by ARRI Rentalin Munich and postproduction was donecompletely or in parts by ARRI Film & TV inMunich.

We wanted to know the reasons for choos-ing a location abroad.

Wolfgang Plehn, production manager atProvobis (THE NINTH DAY) explains it this

way: “We used two locations abroad forthe film. Prague and its surrounding were cho-sen because of the sets. It had logistical rea-sons to build the concentration camp in Pra-gue. The structure there, as far as buildingand production design is concerned, hadadditional financial benefits. And we couldfall back on Barrandov Studio’s huge col-

lection of historical costumes. Luxembourg,on the other hand, just had to be a locationbecause after all the story is set in Luxem-bourg.”

“ARRI Rental has branches in Prague andin Luxembourg. From the producer’s pointof view this has several advantages. To useARRI for postproduction is the obvious thingto do. It is beneficial to leave the completeprocess under one roof, from negative develo-ping to answer print. And besides, the film is funded by the FilmFernsehFonds Bayern(Bavarian funds for film and television) andso the money should stay in Munich. Buthere is the decisive factor: the quality is justextraordinary. The rushes are perfect, from

a good film lab and a telecine which wasdone very carefully.”

Harry Kügler, managing director at OlgaFilm (NAPOLA): “In Germany we couldn’t findany original locations for our film, that’s whywe decided to shoot in the Czech Republic.In addition, there were some important financial reasons: to build sets there is justso much more inexpensive than in Germany.”

“Our partner for equipment rental and filmlab was ARRI, because they have world-wide experience and ensure a high inter-national standard. The collaboration wentvery well.“

Thomas Hroch, managing director of LisaFilm productions explains: “With our pro-ductions HOTEL TO DREAM OF –MAURIT IUSand H O T E L T O D R E A M O F – T H A I L A N Dwe followed a tradition which was startedsuccessfully 40 years ago by Karl Spiehs,the founder of our company: to bring for-eign and exotic countries into German and Austrian living rooms. The production

German Fi lms Shot AbroadAn increasing number of German films is shot outside Germany, in part or

completely. There are several reasons for that: better locations, new

ways of financing projects, more reasonable shooting conditions or simply

because the script demands it. However, when it comes to choosing a

service provider for the project producers rely on well-tried relationships,

which is true for selecting a rental partner as well as a post production

facility. As a consequence, ARRI has serviced numerous German film and

television productions shooting abroad.

“ARRI Rental has branches in Prague

and in Luxembourg. From the

producer’s point of view this has

several advantages.” Wolfgang Plehn

THE RETURN OF THE DANCING MASTER , DirectorUrs Egger (right) and DoP Martin Farkas

“In Germany we couldn’t find any

original locations for our film, that’s

why we decided to shoot in the

Czech Republic.” Harry Kügler

THE NINTH DAY , Director Volker Schlöndorff, Carsten Danch and DoP Tomas Erhart (f.l.t.r)

67Wo r l d w i d e _ G e r m a n y

THE RETURN OF THE DANCING MASTERwas shot in Sweden and Austria, becausethe story is based on the novel of the samename by Henning Mankell. In this interna-tionally cast, polished production we paidparticular attention to authenticity and rea-lization close to the novel.”

“There has been a close collaboration withARRI ever since Lisa Film was founded. Therewere other postproduction providers Lisa Filmhad worked with, of course. But we like tocome back again and again. ARRI and itsstaff simply takes good care of us. That ’s whysince recently, EVENT Film, a 100% subsi-diary of Lisa Film, is located on the ARRI pre-mises. The advantage is that all AVID andediting facilities are under one roof and wedon’t have to waste time with transportation.For Lisa Film, ARRI is a reliable partner.”

Angela Reedwisch

“There has been a close

collaboration with

ARRI ever since Lisa Film

was founded.” Thomas Hroch

Turkish Success Fi lm

VIOZENTELE 2at ARRI Fi lm & TV in MunichIn Turkey, as everywhere, American mainstream production

dominates the theatres. But a local competition is also developing,

whose success has not limited to the local market.

With VIOZENTELE 2 – TUUBA the Turkishproduction company BKM Films managed toproduce a sequel to a film which in 2001was very successful also outside Turkey. Notonly was shooting done with ARRI camerasand lighting, ARRI Film&TV in Munich sup-plied film laboratory services, as well, in spiteof the location in eastern Turkey close to theIraqi border.

Cinematographer and codirector O. FarukSorak swears by ARRI technology: “I useonly ARRI camera and lighting equipment.To me the ARRIFLEX is like an old reliablefriend. From early on I used ARRIFLEX II Ccameras on every production. Today wework with the 35 III, 435 and 535.“

For VIZONTELE 2 the experienced DoP, whosuccessfully works in feature films and com-mercials, chose HMI fresnels and ARRISUNfixtures because of their reliability and effi-ciency. Cooke S4 prime lenses as well asZeiss Ultra Primes were used on the job. Asrawstock he selected Fuji 64 D for daylightand Fuji 500 D for night and magic hourshooting. Release prints were done on KodakVision Color 2383.

Shooting took place in Van, in the far eastern part of Turkey, close to the Iraqi bor-der. To meet the high demands, productiondirectors and cinematographer had on thequality of the film, the laboratory had tocomply with the international standards.ARRIFilm & TV in Munich was chosen. “We arevery happy with the lab,“ says Faruk Sorak.“The rushes are beautiful and we were espe-cially pleased by the AVID editing.“ Produc-tion manager Birol Akhbaba was in chargeof communication between production andARRI the whole time, and during shootinghe personally brought the exposed negativeto Munich twice or three times a week.

The final color grading, done at ARRI Film& TV by Mary-Ann Oteman, convinced notonly DoP and director completely but theproducers, as well.

VIOZENTELE 2 – TUUBA has been released in Turkey, Germany, England and The Nether-lands. In Turkey it has already had more than3 million visitors, thus promising to becomeone of the most successful films in Turkey, just like it’s predecessor.

Angela Reedwisch

HOTEL TO DREAM OF , Director Otto W. Retzer (right), DoP Marc Prill (left), and actor Ralf Bauer

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

With ARRI on the Fast LaneWhat started out as a highway racing game for the computer screen can now be seen on the big screen.

A2 RACER, a German / Luxembourgian coproduction between Constantin Filmproduktion

and Delux Productions, brings the computer game of the same name to the screen, with plenty

of highspeed, car racing, collisions and cars tumbling through the air.

With this title its an easy guess that most ofproduction took place on a highway. As loca-tion the newly built but not yet opened high-way section between Luxembourg and Saar-brücken could be used: 12 kilometers ofempty highway, south of Luxembourg, readyfor car chases! An additional “highway inoperation“ was locked off for night shoots.

But Luxembourg has not only excellent high-ways to offer. Above all it became an idealshooting location because of the perfect con-ditions for filmmakers it offers. DoP HannesHubach can only recommend this locationand has praised it especially for “the verygood shooting conditions and the very pro-fessional teams“.

The rest is done by the Film Funding Law(Tax Shelter), modern sound stages and goodlocations. Delux Productions for examplemaintains a set Venice, spreading out 4000square meters, which was built for the pro-duction SECRET PASSAGE. BYE - BYE BLACKBIRD( Samsa Film ) and T H E M E R C H A N T O F VENICE (Delux Productions/Spice Factory/Shylock Films) are just two productions ofthe recent past, besides A2 RACER shootingwith equipment from ARRI Rental. The increa-sing production volume and the desire to offer services close to the customer led to theopening of the Luxembourgian branch ofARRI Rental in July 2003.

A2 RACER couldn’t have done without serviceon location, because shooting wasn’t easy,neither on cars nor on cameras. ‘Put thepedal to the metal’ could have been the

slogan for the shoot, according to HannesHubach. The ARRICAM LT, intended forSteadicam and handheld shots, turned out to be as robust as the 535B and the two 435’ workhorses’. “A modular camera systemproved to be the best choice once again.Since we were often shooting with three orfour cameras simultaneously it was possible tointerchange all components without problem.”

The ARRI Ultra Primes matched the Ange-nieux Optimo Zoom perfectly. However,because of it’s inertia the Angenieux couldn’tbe used on some of the extrem chase scenes.In case of an abrupt stop the zoom wouldhave popped out of the PL-mount like a corkof a champagne bottle.

Most of the around 50 cars didn’t see the endof shooting. Scenes like the one with fivepolice cars crashing into each other, or theone with a car truck full of Audi TTs ‘loosing’its freight in full speed, may explain someof the damage.

The Audis in the sequence mentioned werestolen on the go, meaning they drive back-wards off the truck, make a 180 degree turnand escape from their pursuers. To shootthis sequence five cameras were used simul-taneously: two cameras inside the Audi, onelooking forward, one looking back. The thirdcamera was mounted onto the top platformof the truck. Camera four was following theaction parallel on a camera car, and camerafive was shooting from the opposite side of thehighway, rigged to a remote crane, which inturn was mounted to a Dodge pickup truck.

The ramping of the 435 was perfect for the ‘in-camera effects’. The camera speedchanges on the push of a button and the resulting change in exposure is compensat-ed ‘invisibly’ with the mirror shutter: thisway cars could easily be ‘sped up’ out ofthe frame.

Hannes Hubach goes on raving: “All came-ras were modified to 3-perforation, that wasbrilliant. Especially at car action sequenceswhere we frequently shot with rigged remotecameras and small 400 ft mags we gainedso much time, because we didn’t have to re-load so often (400 ft in 3perforation at 24 fpslast 5.6 minutes). Let alone the savings inrawstock, which is 25 %.“

With the film speeding to the theatres, ARRIin Luxembourg is now on the fast lane, asconfirmed by Steffen Ditters, head of branch:“ARRI Rental’s Luxembourgian branch is notonly a flexible supplier of equipment andprovides facilities for camera tests. We alsocan take care about logistics. For example ifcustomers want to use the ARRI film lab inMunich, they just leave the negative with us.We manage transportation, developing andoptionally Telecine at ARRI in Munich. Therushes are then delivered back to Luxem-bourg.”

DoP Hannes Hubach concludes: “Camera,lighting, grip and lab work from ARRI – forme it is an invaluable advantage to geteverything from the same source.“

Andrea Rosenwirth

69Wo r l d w i d e _ G e r m a n y

lern continues. “Production could have accessto all equipment needed, at any time, evenin the middle of the night. There was no wasteof time due to transportation.“

“Two third of VAN HELSING was shot onsound stage, on set, location, and at night,and only one third was shot at daylight,“dimmer board operator Mike Wächter ofARRI Rental explains. “It was crucial to DoPAllen Daviau to work with light which comesclose to natural light sources. The light of fire, candles and torches had to be createdas realistic as possible.

We achieved these specific effects with tungs-ten light, controlled by dimmer racks. Forthat purpose lighting fixtures consisting oftwelve E27 sockets on flexibles arms havebeen custom built. We could control eachof these twelve circuits separately. Some-times up to 60 of these units have been used,and the technical limits of the ARRI boardswere pushed close to their ends.

The 250 watt light bulbs in use have beenpainted with a specific varnish. This waythe color temperature of fire could be recre-ated very accurately. With up to 500 diffe-rent lighting settings that have been storedfor these ‘medusa’ units, the flickering wasabsolutely realistic.”

When shooting began the ARRI ‘team’ oflighting technicians consisted of just oneperson, but was joined very soon by threemore German and up to eight Czeck spe-cialists. The complete VAN HELSING crewconsisted of 400 persons, with additional

up to 300 extras and about 50 stunt people;in short, a major production which dependson perfect planning and control.

Mike Wächter adds, “All tungsten light, be iton sound stage or on location, was hookedup to dimmers. That way the entire lightingcould be controlled by computer, from thesmallest bulb to 300 watt fresnel fixtures toDinolights and tungsten 24Ks. On soundstages there was a total of up to 500 circuits.

In the Transsylvanian village most of the action scenes like the attack of Dracula’sbrides were shot. We had six motorizedARRI 12 kW HMI Fresnels on a crane 105meters high – this way we were able tolight the entire village.

A real ’highlight’ – in the true meaning ofthe word – have been the ‘Lighting Strikes’.For the first time in Europe 500K power have been employed for them. Up to fourLighting Strikes could be perfectly controlledwith the dimmer boards.“

No wonder that the American electricians,as well, have been positively surprised bythe extraordinary lighting output of ARRIlights. Originally the lighting planning calledfor a higher number on lighting fixturesthan was necessary eventually.

Hubertus Prinz von Hohenzollern concludes,VAN HELSING put huge demands on our team,equipment and logistic. We are very happythat we could meet these expectations.“

Andrea Rosenwir th

Director of Photography Allen Daviau, who worked on such films as E.T. THE EXTRA

TERRESTRIAL, EMPIRE OF THE SUN, THE COLOUR PURPLE and BUGSY, nominated for an

Academy Award several times, is known as being very demanding when it comes to

creating particular moods in lighting. To the set of VAN HELSING, a Universal production

which was shot early 2003 in Prague, ARRI Rental delivered about 200 tons of lighting equipment. The complex action

adventure story is set at the end of the 19th century. Hugh Jackman stars as the vampire hunter Gabriel Van Helsing

who by order of the Vatican has to fight famous film monsters like Dracula, the Werewolf and Frankenstein’s monster.

Co-starring are among others Kate Beckinsale as Anna, Richard Roxburgh as Dracula, Shuler Hensley as

Frankenstein’s monster and David Wenham as Carl.

To depict Dracula’s ballroom as authenticas possible a cathedral in downtown Praguewas converted into a filmset. The Czeck ministry of culture gave permission to removeor cover up crucifixes, Christ figures andmadonnas for filming. Shooting also tookplace in a Czeck museum where some ofthe exhibits even became part of the set.Other locations have been the Barrandovand the Prag Studios, as well as a transsyl-vanian village which was built for this pro-duction.

“This production put huge demands on thelighting department of ARRI Rental“, saysHubertus Prinz von Hohenzollern, head oflighting rental in Munich. “The set was litwith up to 2 megawatts of lighting. Morethan ten trucks full of lighting equipmentwere in use. Furthermore our grip depart-ment supplied three Chapman-dollies, oneFisher dolly and a Foxy crane, among others.

In addition to the Czeck generators, ARRIsupplied up to four generators from 80Kup to 200K. Due to their good sound insul-ation they could be used directly on location.”

“ARRI’s lighting and grip rental warehousein Prague was on hand during the entireproduction“, Hubertus Prinz von Hohenzol-

VAN HELSINGARRI Renta l l igh ts up Dracu la’s darkness

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

shop add to the features, as does a Budgetcar rental office. Hubertus von Hohenzollern:“Now we can realize customer requests rightaway, like special lights, special rigging ora special truck setup.” The new building offers the space to load or unload seven trucks

Since September 2003 the lighting and grip departments of ARRI Rental

have found a new home in a 2600 square meter building in the AGROB

Media- and Businesspark in Ismaning, north of Munich.

ARRI Rental Lighting and Grip

Hubertus von Hohenzollern, head of lightingrental, explains: “The move was absolutelynecessary because the old building couldn’tkeep up with our requirements. In addition,there are a lot of benefits in favor of the Isma-ning location.” The Media- and Businessparkis an attractive part of the media locationMunich. During the past five years, around50 companies, most of them in the mediabusiness, moved to the AGROB area. ForARRI Rental, one fits to the other: From thebeginning the management of the AGROBMedia- and Businesspark was open to allrequests. With neighbours like Plazamedia,Janus Film, DSF or Home Shopping Europe,ARRI is in a perfect surrounding and even hassome of their clients right on the premises.Further advantages: a good infrastructure andthe vicinity of the airport.

The warehouse was completely rebuilt according to ARRI Rental’s requirements. Areconstruction that was worth the effort: clientscan now expect a bright space full of light.And a warehouse of 2300 square metersholds several hundred tons of lighting andgrip equipment. A carpenter’s workshop, anelectronic workshop and a metalworking

The ARRI Rental Team

at New Location

simultaneously, three of them in a loadingbay.“ The whole handling got easier andthus saves the client’s time,” says Carl Chris-tian von Hohenzollern, head of grip rental.

A change of location for the good, whichhas drawn even wider circles: new rentalbranches in Prague and Luxembourg havebeen added, each of them perfectly placedon its location. ARRI Rental Prague movedinto a building on the premises of PragueStudios, and the Luxembourg branch is locat-ed right next to Delux Filmstudio.

Carl Christian von Hohenzollern concludes:“With Ismaning we now have the perfect location for our pool of lighting and gripequipment, with the corresponding shopsfor repair and service, as well as with ourcentralized expendable purchase. This allows us to supply to our branches quickly,efficiently and economically.” His brother,Hubertus von Hohenzollern, adds: “Thanksto the relocation, ARRI Rental can further increase its efficiency, which directly bene-fits our clients.”

Andrea Rosenwir th

71Wo r l d w i d e _ G e r m a n y

70 directors of photography and camera assistants came together in Berlin on January 10. and 11. for

the annual general meeting of the German Association of Cinematographers (bvk). The annual reception

and the presentation of the ARRI D-20 technology project was the highlight of the weekend.

Michael Koppetz demonstrated the D-20system and explained the further steps in development. Particularly the opticalviewfinder, the spinning mirror shutter andthe compatibility with the whole range of435 accessories created lively interest inthe study.

Falko Ahsendorf, the reelected bvk presi-dent, mentioned a catalog of specificationsfor a future ‘electronic camera’ which wascompiled by bvk members already yearsago. Now they are very pleased to seethat all major specifications from this cata-

log are met by D-20. “With D-20 the cine-matographer will receive a tool with theproven features of a film camera, for crea-tive imaging and reliable production inan electronic medium,“ he explained.

An exciting contrast was created by twohistoric cameras by Helmut Ammon, whoshowed two exhibits from his extensivefilm technical collection – an ARRI 16mmcamera from 1926 (the original!) and anARRIFLEX 35 II from 1941 (the legendaryhandheld camera). The ‘other end’ oftechnology in modern camera design wasimpressively shown with the ARRICAM ST.

Paul Ivan and Marc Shipman-Mueller were on hand for specific questions andtechnical explanations on the ARRICAM.Lighting for the small exhibition was pro-vided by ARRI Lighting Solutions Berlin.

Dr. Michael Neubauer (bvk) and Paul Ivan (ARR I )

ARR I Milestones at bvk Convention

DoP Falko Ahsendorf, Michael Koppetz

DoP Jost Vacano, Michael Koppetz, DoP Rüdiger Laske (f. l. t. r.)

DoP Wolfgang Treu and DoP Jost Vacano

Paul Ivan, Camera Operator Christian Klopp,1st Assistant Markus Otto (f. l. t. r.)

Helmut Ammon between history and present

The new elected board of the bvk:

Falko Ahsendorf, President (Hamburg), Rolf Coulanges (Stuttgart), Johannes Kirchlechner(Munich), Viola Laske (Wiesbaden), Uli Schmidt(Berlin), Markus Schott (Cologne) and Gert Stallmann (Berlin).

The next general meeting will be held in Munich in January 2005 for the 25th anniversary of the bvk.

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

Among other projects, two new studios couldbe equipped, about 600 and 1200 squaremeters in size, on the premises of Mosfilm inMoscow, the largest area for film productionin Russia. Lighting fixtures, lifting and riggingequipment have been installed with instruc-tion and under supervision of the ARRI pro-ject office in Berlin. The new studios havealready been used for a television series in120 episodes, produced by Russian WorldStudios (A Media) in cooperation with SonyPictures Studios. Last year another 300 squaremeter studio for a Russian television station inthe Ostankino broadcast center in Moscowwas also supplied with ARRI Studio lights.

The visit of Klaus Wowereit, GoverningMayor of Berlin, to the Baltic States was an occasion for Sigrid Müller to meet with Unolita, the local partner, in Vilnius, the capital of Lithuania. The planning, installingand handing over of a new studio for film,

television and commercials was agreed on.As the first studio in the Baltic States it willbe set up according to international stand-ards and will meet all corresponding require-ments. The Governing Mayor of Berlin andthe Mayor of Vilnius, Mr.Zuokas, presentedthe award ‘Entrepreneur of the Day’ to ARRILighting Solutions for an active commitmentto Lithuania.

Many SolutionsUnder One Roof

In the shortest time Berlin has developed into a hub between East and West. One year after

establishing ARRI Lighting Solutions at Mediacity, the new location has turned out to be a huge

gain. From here, all services from project management up to the realization of complete lighting

solutions can be offered worldwide. For Sigrid Müller and her project and sales team, the first year was

extraordinarily successful, in spite of the overall economic situation. This way the extension to the East

can be felt not only politically but also ‘lighting wise’.

Sigrid Müller, Dr. Wolfram O. Martinsen, Berlinmayor's Middle and Eastern Europe Coordinator,Gintas Gaizauskas, Unolita Director

CAD blueprint, prepared by ALS (top left); Photograph of the object on location (top right) ; 3D model of the studio, modelled by ALS (bottom left) ; Photo realistic representation of the studios (bottom right)

ARRI Lighting SolutionsBerl in

ARRI Lighting Solutions office in the Mediacity Berlin

73Wo r l d w i d e _ G e r m a n y _ B e i j i n g

ARRI’s first studio project in Romania will be the installation of a studio for the StateUniversity in Bucharest by the middle of thisyear. Currently mostly customers from theNear East, Vietnam, India, Russia, the Ukraineand from Kazakhstan put in requests for newstudio projects.

However, ARRI Lighting Solution is also successful in established centers for film andTV. Such as with a studio of 150 squaremeters for the University of London, and justrecently with four newscast studios for RTL in

Hamburg, which were equipped with ARRIlighting, rigging and boards.

The setup of a larger television studio for theWDR in Cologne, which is expected to beput in operation late this summer, will be aparticular challenge. The turnkey solution isnot only about installing a fully automaticstudio with ARRI lighting,100 telescope arms,dimmers, track systems and boards, it is also about subsequent service, consultingand training.

ARRI Lighting Solution’s project team, locatedat Mediacity in Berlin, is ready to assist allinterested clients.

Norbert Wunderlich

Professor Zhang, Professor Mu Deyuan, Dean of Cinematography, Alan Mordue,Don Harris, Sales Manager - Film Equip-ment, ARRI (GB), Guo Dong Mei. (f.l.t.r.)

Beij ing Fi lm Academy, China

As China’s exclusive higher educational institution in film arts with a history spanningover fifty years, the BFA’s achievements have earned it an international reputationwhich has attracted aspiring filmmakersworldwide.

The cooperation agreement initiated byFranz Kraus, ARRI’s Managing Director andProfessor Ji Zhi-wei, Chairman of the BFA,offers support by supplying ARRI Lightingequipment to the academy and was signedby Professor Zhang, President of the BFA,

Alan Mordue, ARRI’s International SalesManager- Lighting and Guo Dong Mei(Pearl) of Jebsen, ARRI’s Lighting Distributorin China.

As commented by Alan Mordue, “It is agreat privilege for ARRI to be involved withthe Beijing Film Academy. We hope that the film-makers of tomorrow enjoy using thelatest ARRI technology and we look forwardto working closely together in the future.”Following the official signing there waschampagne toast and an exchange of gifts.

Contact: Tel.: +49 30 678233 0 Fax: +49 30 678233 99e-mail: arri-solutions@arri.de

Shooting of episodic television show Poor NastjaLighting instal lation in the Russian World Studios AMedia, Moscow

ARRI is delighted to announce that in January an agreement

was signed with the largest film school in Asia, the Beijing Film Academy.

74 Wo r l d w i d e

Claus and Michael Rosenløv with Mogens Gewecke (center), Bico Denmark

Daisaku Kimura

Congratulat ion to the

Winners

Alexander Korda Bafta AwardTOUCHING THE VOID, DoP Mike Eley, for outstanding British film of the year

Michale Balcon AwardWorking Title Films for outstanding Britishcontribution to cinema

Royal Television Society AwardDoP Chris Seager BSC, for Cinemato-graphy for the television drama series STATE OF PLAY

The Orange British Academy Film AwardFilm: THE LORD OF THE R INGS: THE RETURN OF THE K ING, Barrie M.Osborne/Frances Walsh / Peter JacksonScreenplay (Adapted): Frances Walsh, Philippa Boyens, Peter JacksonCinematography: Andrew LesnieAchievement in Special Visual Effects: Joe Letteri / Jim Rygiel / Randall William Cook/Alex FunkeOrange Film of the Year (public vote): THELORD OF THE RINGS: THE RETURN OF THE KING

Golden Globe AwardsTHE LORD OF THE R INGSBest Motion Picture – Drama

Best Director – Peter JacksonBest Original Score – Howard ShoreBest Original Song – INTO THE WESTby Annie Lennox, Howard Shore and Frances Walsh.

ASC Award (TV Network)DoP Pierre Gill for CBS miniseries HITLER: THE RISE OF EVIL

OSCAR THE LORD OF THE R INGS

Art Direction: Grant Major, Set Decoration:Dan Hennah and Alan LeeBest Picture: Barrie M. Osborne, Peter Jackson and Frances WalshCostume Design: Ngila Dickson and Richard TaylorDirecting: Peter JacksonFilm Editing: Jamie SelkirkMake Up: Richard Taylor, Peter KingMusic (Score): Howard ShoreMusic (Song): INTO THE WEST , Music and Lyric by Frances Walsh, Howard Shore and Annie LennoxSound Mixing: Christopher Boyes, Michael Semanick, Michael Hedges and Hammond PeekVisual effects: Jim Rygiel, Joe Letteri, Randall William Cook and Alex FunkeWriting (Adapted Screenplay): Screenplayby Frances Walsh, Philippa Boyens &Peter Jackson

Medal with Purple RibbonDaisaku Kimura

Marburger KamerapreisSlawomir Idziak (PSC)

Bayerischer FilmpreisActor: Christian Ulmen for HERR LEHMANNActress: Johanna Wokalek for H I ERANKLChildren’s Feature: Ullrich Limmer for SAMS IN GEFAHRVGF: SAM Film (Ewa Karlström and AndreasUlmke-Smeaton for D I E W I LDEN KER LEAudience Choice: GOOD -BYE L EN INActress in a supporting role: Johanna Gastdorffor DAS WUNDER VON BERNDocumentary feature: Byambasuren Davaaand Luigi Falorni for D I E GESCH ICHTE VOMWE INENDEN KAMELScreenplay: Hans - Christian Schmid and Michael Gutmann for L ICHTERCinematography: Franz Rath for ROSENSTRASSEDirecting: Sönke Wortmann for DAS WUNDERVON BERNProducers: Claussen & Wöbke for L ICHTERHonorary Award: Sir Peter Ustinov

Klukpris (DFF)Claus and Michael Rosenløv

CameraimageGolden Frog: Cesar Charlone forCITY OF GODSilver Frog: Piotr Kukla for TWIN S I S TERSEduardo Serra for G I R L W I TH A PEAR L EARR INGSpecial Jury Award: Bajerski and PaelSmietanka for SQU INT YOUR EYESHonorary Award: William FrakerSpecial Award for Duo Cinematographer -Director: Russel Boyd and Peter Weir

Förderpreis Michael BallhausThe Chao Ngo

Peter Jackson

75Wo r l d w i d e

BSC Operators NightElstree Film & Television Studios

Known as one of the most prestigious and popular award ceremonies in

the UK calendar, the BSC’s Operators Night was as usual a grand affair.

With over 240 cinematography professionals in attendance who enjoyed

the festivities and honoured those presented with awards.

President of the society, Director of Photo-graphy, Phil Méheux BSC, made a very wittyspeech welcoming everyone to the function.Citations for the awards were read, includingan amusing speech by Danny Shelmerdineculminating in the presentation of the 1stAssistant Cameraman’s award to John Deaton.

The John Alcott award went to Horst Berg-mann, former ARRI Camera Sales Director who retired last year. This was in recognition

for his contribution to the film industry andhis support of the BSC. He was presentedwith this by Renos Louka, Managing Direc-tor of ARRI (GB).

Fritz-Gabriel Bauer received the Bert EaseyTechnical Achievement Award for his design of modern motion picture cameras.

Judith Petty

President of the BSC, Director of Photography, Phil Méheux, Managing Director ARRI (GB) Renos Louka, Winner of the John AlcottAward 2003, Horst Bergmann (f. l. t. r.)

Other awards presented on the night were:

• Guild of British Camera TechniciansAwardsPeter Taylor, Camera Operator of the Year

• Best Cinematography AwardConrad Hall ASC, ROAD TO PERD I T ION

• Lifetime Achievement AwardOssie Morris OBE, BSC

For the first time ever the German Film-museum (Deutsches Filmmuseum) in Frank-furt is presenting an exhibition about lifeand work of the great film director StanleyKubrick. With the chronological display ofa huge selection of props, material, lenses,photographs and ARRIFLEX cameras fromhis estate, which was not accessible untilnow, the show follows Kubrick’s creativecurriculum vitae, from his work as a youngphoto journalist in New York (1945) to hislast film EYES WIDE SHUT (1999) whichwas only released after he had passed awayat the age of 71.

The preparation of the collection from theestate and the conception of the exhibitionwas done in close collaboration with Christiane Kubrick and Jan Harlan.

ARRI congratulates Hans-Peter Reichmann,curator of the project, along with BettinaRudhof and Falk Horn, curators of the asso-ciated German Architecture Museum (Deut-sches Architektur Museum) and everybodyinvolved with the successful show. As asponsor, ARRI is proud to be a part of it.

Insight

German Filmmuseum in Frankfurt

Stanley Kubrickinto the Brain of a Film Genius

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

This is probably every ambitioned digitalartists’s dream: one day to work on a biginternational feature film project, with plentyof budget for visual effects.

One of them is Klaus Wuchta, film compo-sitor and digital artist at ARRI Digital Filmsince 1995. At ARRI he is specialized in com-mercials, but outside ARRI he could alreadygain experience on major feature film pro-ductions which were heavy on the visual effects side. ARRI offered him the opportunityto take time out with the prospect of comingback to the „old job“ in Munich afterwards.Like his fellow ARRI colleagues Alex Lemkeand Harald Brendel Klaus Wuchta was re-cently working on THE LORD OF THE RINGS,PART I I I (Producer and Director: Peter Jackson)in New Zealand. He was brought in by Alex

Return of the ARRI-Team ...Lemke, an experienced ARRI visual effectsspecialist himself, and in New Zealand fromthe beginning. Harald Brendel, formerly thetechnical supervisor at ARRI Digital Film, tookon the challenge and contributed his know-ledge as software engineer to THE LORD OFTHE RINGS. On behalf of ARRI he meanwhileworks at Warner Bros. in Los Angeles on asoftware solution for Digital Intermediate.

Its hard to compare this experience with the lonely work in commercials. Such a bigproduction is interesting and workwise sodifferent from work in Germany. Here theteam is much smaller and everyone has todo much more. In New Zealand I was a littlewheel among 400 others. My job was com-positing, meaning I worked mainly withShake, a 2D software: in THE LORD OF THER INGS, PART I I I I worked on the giant spi-der Shelob and the Army of the Dead. Onthese huge projects everything has to beplanned very accurately to make productionas effective as possible. There I could learnhow to realize and organize things, and Icould get a lot of good stuff out of it for mywork,“ Klaus Wuchta remembers.

With all this knowledge in his pack KlausWuchta came back to Munich. Here he not

In mid-December the wait had an end: The long

expected 3rd part of THE LORD OF THE RINGS was

presented to clients, friends and staff of ARRI in a

special screening in the ARRI Theater. Before the

screening began there was a particular highlight

expecting the audience: digital artists Alex Lemke,

Klaus Wuchta and Harald Brendel talked about

their contribution to the epos. With their stories they

gave a glance behind the scenes, which was

received with great interest. And many became even

more curious to see what’s going on in Middle Earth.

only inspires his colleagues with his knowhow, but also gives local projects and cus-tomers the chance to participate in his exper-ience. Right now at ARRI he is working onthe visual effects for the feature D I E S I EBENZWERGE-THE SEVEN DWARFS (Production:Zipfelmützen Film, Director: Sven Unterwaldt,DoP: Jo Heim), and on THE LAZERUS CHILD(Production: Illusions Entertainment, Director:Graham Theakston, DoP: Lukas Strebel).

Both films will be released in October2004.

Jochen Hähnel

Klaus Wuchta

Cam

era

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CSC)

ARRI

Med

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Title Production Company DoP Equipment

THE UPSIDE OF ANGER Upside of Anger Ltd Richard Greatrex BSC Moviecam Compact & SLCREEP Creep Films Ltd Daniel Cohen ARRICAM ST / LT, 3 PerforationPASSER BY BBC Television Tim Palmer 16SR3 AdvancedLADIES IN LAVANDER Ladies in Lavender Ltd Peter Biziou BSC ARRICAM ST / LTDEAD FISH Dead Fish Ltd Fraser Taggart ARRICAM ST / LTUNCLE ADOLF Lietuvos Kino Oliver Curtis BSC 16SR3 AdvancedMAN TO MAN Skyline (Man to Man) Ltd Laurent Dailland ARRICAM ST / LT, 3 PerforationTHE LIBERTINE Libertine Productions Ltd Alexander Melman 2 x ARRICAM LTSILENT WITNESS 8 BBC Television Gordon Hickie 16SR3 Advanced

Title Production Company DoP Gaffer Equipment Serviced by

ALFIE (NY SHOOTING) Paramount Ashley Rowe ARRICAM LT, 535B CSC NYED Viacom Productions Mike Slovis ARRICAM ST / LT,

3 Perforation CSC NYHAVEN My World Ent. Michael Bernard Harold Skinner ARRICAM ST, 435 CSC Florida +

Illumination Dynamics, NC

THE INTERPRETER Universal Darius Khondji ARRICAM ST, 435 CSC NYINTO THE BLUE Mandalay Shane Hurlbut 535B, 3 Perforation,

435 CSC FloridaMRS HARRIS HBO Steven Poster David Lee Lighting Illumination

Dynamics, LASEX & THE CITY HBO John Thomas Mike Marzovilla ARRI 16SR3, Lighting CSC NY

Florian BallhausTHE SOPRANOS HBO Phil Abraham Kevin Janicelli Lighting, Grip CSC NY

Alik SakharovSTAY 20th Century Fox Roberto Schaefer Mo Flam ARRICAM LT, 535B,

Lighting CSC NYTHIRD WATCH NBC Glen Kershaw Joe Sciretta Moviecam, Lighting,

Grip CSC NY

77S e r v i c e s

A Select ion of Currently Serviced Product ions

ARRI

Rent

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rman

y

Title Production Company Director DoP Equipment

ALIEN VERSUS PREDATOR Lonlink Productions Paul W.S. Anderson David Johnson LightingBEYOND THE SEA Quality International Kevin Spacey Eduardo Serat ARRICAM ST / LT, 435, GripBOGINYA Slovo Filmproduction Renata Litvinova Vladislav Opeljanz 535ADAS DUO – DER BIGAMIST TV 60 Filmproduktion Peter Fratzscher Wolf Siegelmann 16SR3 Advanced, Lighting, GripDER NEUNTE TAG Provobis Volker Schlöndorff Tomas Erhart ARRICAM LT, Lighting, GripDER UNTERGANG Constantin Filmproduktion Oliver Hirschbiegel Rainer Klausmann ARRICAM ST / LT, 435, 3 Perforation

Lighting, GripKINGDOM OF HEAVEN 20th Century Fox Ridley Scott John Mathieson ARRICAM ST / LT, 435, Lighting, GripTHE MERCHANT OF VENICE Delux Productions Michael Radford Benoit Delhomme ARRICAM ST / LT, 435, Lighting, GripSAMT UND SEIDE NDF Sebastian Monk Sabine Mayr 16SR3, Lighting, GripSCHNEELAND Geißendörfer Film Hans W. Geißendörfer Hans-Günther Bücking 535B, 435 AdvancedTRISTAN & ISOLDE Apollo Media / QI / Kevin Reynolds Arthur Reinhart ARRICAM ST / LT, 3 Perforation,

Stillking Films Lighting, GripUNTER VERDACHT IV Pro GmbH Friedemann Fromm Jo Heim 16SR3, Lighting, GripWILLENBROCK UFA Filmproduktion Andreas Dresen Michael Hammon ARRICAM LT, 3 PerforationVERAS WELT Schiwago Film Joseph Vilsmaier Joseph Vilsmaier 16SR3, Lighting, Grip

ARRI

Lig

htin

g Re

ntal

ARRI

Com

mer

cial

sAR

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isua

l Eff

ects

78 S e r v i c e s

Title Director DoP Gaffer

KING ARTHUR Antoine Fuqua Slawomir Idziak James McGuireFAT SLAGS Ed Bye John Sorapure Martin Healey/Andy LongTHE MERCHANT OF VENICE Michael Radford Benoit Delhomme David SmithPROOF John Madden Alwin Kuchler BSC Reuben GarrettLADIES IN LAVENDER Charles Dance Peter Biziou BSC Andrew HamiltonSILENT WITNESS VIII Ashley Pearce Gordon Hickie Keith WoodwardTHE LONG FIRM Billie Eltringham Sean Bobbitt Brian BeaumontROSE AND MALONEY Andrew Grieve Tim Palmer Andy Long/Dave OldroydBAD GIRLS – SERIES 6 Jim Loach John Record Darren HarveyFAMILY BUSINESS Tom Shankland/ Simon Kossoff BSC Ian Barwick

Sahra HardingMAY 33RD David Attwood Ulf Brantas Stewart KingTHE WEB OF BELONGING Chris Menaul David Katznelson Otto StenovDEAD RINGERS Jonathan Gershfield John Sorapure Martin HealeyWHEN I'M SIXTY FOUR Jon Jones John Pardue Jim BebeTHE ALLSTAR COMEDY SKETCH SHOW Matt Lipsey Francis De-Groote Brandon Evans

Project Production Company

PLAYMOBIL 2004 e+p commercial PERSIL SENSITIVE GEL + PERSIL MEGAPERLS ”KURZWASCHFORMEL” e+p commercial SMINT ”SIEGERTREPPE” GAP Films Commercial Prod.HUG ”SOFA“ GAP Films Commercial Prod. CORTAL CONSORS ”FONDSSPAREN“ GAP Films Commercial Prod. RENAULT ”EINE KUNST FÜR SICH” Palladium Commercial Productions DIBA ”NATIONALMANNSCHAFT” HelliVentures Filmprod.PROVINZIAL ”FUSSBALL” JBF Filmproduktion MC DONALD´S ”MC DEAL”+ MC DONALD´S ”NEU DELUXE” Rapid Eye Movement Filmproduktion

Renault

Provinzial

Title Director Production Company Service

THE LAZARUS CHILD Graham Theakston The Lazarus Child Production Digital VFX, Digital Lab, Title Design

TRIXXER Tobi Baumann Rat Pack Filmproduktion Digital VFX, Digital Lab, Title Design

7 DWARFS Sven Unterwaldt Jr. Zipfelmützen Film Digital VFX, Digital Lab, Title Design

SOMMERSTURM Marco Kreuzpaintner Claussen & Wöbke Digital VFX, Title DesignNAPOLA Dennis Gansel Olga Film Digital VFXSHADOWS OF TIME Florian Gallenberger Diana Film / Fanes Film Digital VFXGERMAN CINEMA AT AFI FEST Jürgen Schopper Export Union des Deutschen

Films Trailer DesignC(R)OOK Pepe Danquart DOR Film West Digital VFX

AFI

Cortal Consors

ARRI

Lab

–TV

Dra

ma

Title Production Company

GERMANIKUS Constantin FilmproduktionLATTENKNALLER Hager Moss FilmABGEFAHREN Clasart FilmTRIXXER Rat Pack FilmproduktionTHE LAZARUS CHILD The Lazarus Child ProductionSHADOWS OF TIME Diana Film / Fanes Film

Featuref i lms for Theater Re lease

Title Production Company

DAS DUO 7/ 8 TV 60 FilmproduktionDIE KIRSCHENKÖNIGIN NDFHOTEL TO DREAM OF 1/ 2 Post One / Lisa FilmHEIMAT III Edgar Reitz FilmproduktionSTAUFFENBERG teamWorxSUGAR GRANNY – GIB DER OMA ZUCKER Teamfilm ProduktionUNTER VERDACHT Pro GmbHIM ZWEIFEL FÜR DIE LIEBE TV 60 FilmproduktionDIE RÜCKKEHR DES TANZLEHRERS Post One / Lisa Film

Featuref i lms for TV Re lease

Title Director Production Company

DER UNTERGANG Oliver Hirschbiegel Constantin FilmproduktionVOM SUCHEN UND FINDEN DER LIEBE Helmut Dietl Diana FilmMODIGLIANI Mick Davis Frame WerkDIGITAL JESUS John Irvin Frame WerkDREI TAGE LEBEN Oliver Schmitz Hager Moss FilmPRAGER BLÜTEN Johannes Grieser Hofmann & VogesFASZINATION NATUR II Gogol Lobmayr Film Production Gogol LobmayrPOLIZEIRUF 110 – DER SCHARLACHROTE ENGEL Dominik Graf MTMDALLAS Robert Pejo MTMMARGA ENGEL III Karsten Wichniarz NDFEIN ENGEL NAMENS HANS-DIETER Hajo Gies NDFNAPOLA Dennis Gansel Olga FilmBERGKRISTALL Joseph Vilsmaier Perathon FilmWEISSBLAUE WINTERGESCHICHTEN Bettina Braun Post One / Event FilmHOTEL TO DREAM OF – THAILAND Otto W. Retzer Post One / Lisa FilmUNTER VERDACHT IV Friedemann Fromm Pro GmbHDER NEUNTE TAG Volker Schlöndorff ProvobisEIN MANN GEHT UNTER Detlef Bothe Reich & GlücklichDIE BEAUTY-QUEEN Jorgo Papavassiliou sanset FilmVERAS WELT Joseph Vilsmaier Schiwago FilmATHINA UND HERAKLES Sebastian Harrer SLM FilmproduktionNIKOLA Michi Riebl / Christoph Schnee Sony Pictures FFPOHNE WORTE Joseph Orr / Mobi Baumann Sony Pictures FFPDER VERFÜHRER Christoph Stark teamWorx GRÜSSE AUS KASCHMIR Miguel Alexandre TV 60 FilmproduktionDAS DUO – VERPASSTE CHANCE Thomas Jauch TV 60 FilmproduktionZUCKER Dani Levy X Filme

79S e r v i c e s

ARRI

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Bertelsmann

Expo Calendar 2004

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

2004

April 19 – 22 NAB Las Vegas

May 19 – 23 Koba Seoul

May_June 31 – 03 CALM Beijing

June 02 – 04 Japan SMPTE Tokyo

June 06 – 08 TV & Film Festival Shanghai Shanghai

June 11 – 12 Cine Gear Los Angeles

June 25 – 27 Crashtest / Testing Expo Stuttgart

June 15 – 18 Broadcast Asia Singapore

June 15 – 18 Expo Cine Video Mexico City

June 17 – 19 BTT Mainz

June 24 – 26 World Lighting Fair Tokyo

August 10 – 12 Siggraph San Diego

August 25 – 28 BIRTV Beijing

September 10 – 14 IBC Amsterdam

September 12 – 15 Plasa London

September 18 – 20 cinec Munich

October 22 – 24 LDI Las Vegas

November 02 – 05 TRBE Moscow

November 03 – 05 Satis Paris

Nov_Dec 17 – 04 Interbee Tokyo

November 27 – 04 Camerimage Lodz

December 08 – 10 DV Expo West Los Angeles

Key Contacts

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CSC Camera Service Center Simon Broad, Hardwrick Johnson +1 - (0) 2 12 - 7 57 09 06sbroad@cameraservice.comhjohnson@cameraservice.com

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

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

http://www.arri.com

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

Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 München Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita MüllerWith additional text by: Andreas Berkl, Elfi Bernt, Sven Beyer, Simon Broad, Thomas Brunger, Alan Gauthier, Nicole Giesa, Jochen Hähnel, Paul Ivan, Hualong Kazuhiko,Thomas Kristensen, Michael Koppetz, Sebastian Laffoux, Bill Lovel, Timo Müller, Dr. Michael Neubauer, Judith Petty, Karen Raz, Angela Reedwisch, Andrea Rosenwirth, Prof. Jürgen Schopper, John Silberg, Michelle Smith, Chris Swinbanks, Simon Wakelin, David Watson, Pete Williams, Norbert Wunderlich, Vadim YashuvovArtwork: uwe heilig werbeagentur, München Printed by: rapp-druck GmbH, Flintsbach Litho: EDTZ, Ottobrunn

Technical data are subject to change without notice