arri news magazine nab issue 2005

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NEWS ARRISCAN ARRISCAN ARRI MASTER PRIMES Issue 04/2005 ARRIFLEX D-20 ARRILASER HD ARRI X 250 CERAMIC

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Page 1: ARRI News Magazine NAB Issue 2005

N E W SA R R I S C A N

A R R I S C A N

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

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

A R R I L A S E R H D

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

Page 2: ARRI News Magazine NAB Issue 2005

C a m e r a L i g h t i n g

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D-20 Field Tr ials 04

Master Primes – Technical Background 10

Ult ra Prime T2.6 8R 14

K I N G D O M O F H E AV EN 16

K I N G KO N G Embraces the ARRICAM 20

E M P I R E 22

Camerimage 2004 24

ARRICAM Lite Finder 2 25

ARRICAM Lite Shoulder Pad 2 25

When Size Mat ters 26

ARRI MEDIA, London, Launches the ARRIFLEX 235 27

“4…3…235…Go!” 28

ARRI Retro at the 35th Internat ional Film Fest ival of India 30

New 235 Accessories 31

I , R O B O T 32

ARRIFLEX 235 Xtreme Int roduces New VW Polo 34

Zoom Main Unit ZMU-3 36

External Display EXD-1 37

Follow Focus FF-5HD 37

L ightweight Follow Focus LFF-1 38

ARRI Of fers Video/HD Accessories 38

Compact Mat te Box MB-20 39

ARRISCAN – ARRILASER 40

ARRISCAN – A Successful New Concept 41

ARRILASER – The Industry Standard 44

ARRILASER HD 45

LaserPacif ic‘s ARRILASER System –Integral to Digital Intermediate Process 46

The Making of K I S N A 48

The Digital Intermediate Workf low 50

Digital Intermediate Panel at ARRI 53

ARRI Ceramic Fixtures – Pure L ight Engines! 54

ARRI Suppor ts Showlight 2005 55

ARRI L ight ing Solut ions Berl in Sets Up WDR Studio 56

Buona Domenica 57

Of f-Road with ARRI 58

Sweet (Super) 16 62

Wolfgang and Tristan Bayer Shoot E A R T H L I N G 64

Mult iple ‘Tornados’ in Florida 66

Port raying R AY 68

ARRI CSC Florida Has Got It Covered 69

ARRICAM BOOK 2nd Edit ion and ARRICAM DVD 70

New Head of Sales and Market ing 71

New Management Structure at ARRI Inc and CSC 71

DoP Jake Polonsky Reflects On Shoot ing Conman Drama H U S T L E 72

ARRI L ight ing Rental Luncheon 73

ARRI at Berl inale 2005 74

A E O N F L U X 75

Image Studio 109, Japan 76

Congratulat ions 77

A Select ion of Current ly Serviced Product ions 78ARRI Rental Germany · ARRI Media · ARRI CSC ARRI-Lighting Rental · ARRI Visual Effects · ARRI Commercials ARRI Sound · ARRI Lab – TV Drama

C o n t e n t

Page 3: ARRI News Magazine NAB Issue 2005

In the early 1930s Erich Kästner, together with one of the company’s founders, August Arnold, developed the fi rst industrially manufactured fi lm cameras using the single lens refl ex principle instead of a separate viewfi nder. For the fi rst time the cameraman could see the exact image that would be exposed onto the fi lm while shooting. This was the birth of the ARRIFLEX 35 system, with its ground-breaking technology. Today it is impossible to imagine a modern camera without this principle.

Erich Kästner passed away on January 31, 2005 at the age of 93. Countless developments bear witness to Kästner‘s vast technical knowledge and competence. Without him, many inno-vations would have been unthinkable. Well into retirement, Erich Kästner remained infl uential due to his knowledge and his personality.

The ARRIFLEX 16, which in the 1950s already became the standard for TV news and docu-mentaries, was just one of the innovative developments under his direction. In 1960 he also developed the ARRI Electronic Cam, a multiple camera system for TV studios that could be remotely operated by the director.

For over 50 years Erich Kästner was ARRI’s chief engineer, and his list of developments and improvements is long. This was honoured in 1983 with an Oscar®-statuette from the Academy of Motion Picture Arts and Sciences, which he received together with August Arnold for the design and development of the fi rst professional motion picture camera with refl ex system, and again in 1993 with the Gordon E. Sawyer Award for his lifetime achievement. In 1995 he received the ‘Pierrot’ (Bavarian Film Prize), or, as it is also called, the ‘Bavarian Oscar’. To quote the presentation speech: “Erich Kästner, in his capacity as chief designer of the ARRIFLEX camera systems, was involved in the development of these world-famous cameras from the very beginning. With his work he played a decisive role in enabling great feature fi lms and documentaries to be produced all over the world. In so doing he wrote a part of the history of fi lm, and with this award we wish to honour that.” We couldn’t agree more.

Erich Kästner’s legacy to us is an invitation to think laterally. We are therefore especially pleased to have a young team that enthusiastically follows in his footsteps and has already developed a number of innovative and sometimes unconventional concepts.

The times are changing and so are the tools: What has been merely fi lm lab service in the past is DI today. A new concept “back then”, the ARRILASER became the worldwide standard of the industry. Up to its introduction, laser sources had been employed mostly in research laboratories due to their sensitivity. The ARRILASER brought together this extraordinary technology with traditional values such as durability, longevity and simplicity into a highly regarded workhorse of the Digital Intermediate process. Just as innovative – but also a bit against the grain of rapidly changing product ranges so common today – is the ARRISCAN: LED light source instead of hot light, sprockets and pin registration instead of capstan drive, CMOS area sensor instead of CCD line.

Additionally, there are strong traditional elements that have retained their importance. We understand that cinematographers don’t want to rely on a tiny black and white monitor the size of a stamp, that they demand a viewfi nder that operates without power and displays a clearly superior image. We also understand the desire to keep each and every element of the language of fi lm – and be it something as subtle as deliberately applied selective focus. The ARRIFLEX D-20 demonstrates how old and new values can come together in harmony. This, too, is Erich Kästner’s legacy.

Klaus A. Feix Franz Kraus

Dear F r iends of ARRI ,

Klaus A. Feix

Erich Kästner with the ARRIFLEX 35 BL

Franz Kraus

PHO

TO:

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SC

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3E d i t o r i a l

Page 4: ARRI News Magazine NAB Issue 2005

Field TrialsDuring these productions the camera was subjected to mixed lighting and extreme contrast plus varying environ-mental conditions, exteriors as well as interiors. Footage was recorded on hard disk recorders as well as on the Sony HDCAM SR portable recorder, in 4:4:4 RGB or 4:2:2 YCbCr.

In the fall of 2004 and through early 2005, the ARRIFLEX D-20

fi lm style digital camera was tested on a variety of trial

productions as part of the continuing development effort.

the highlights than they would on a fi lm shoot. But the fact that regular 35 format cine lenses could be used and the D-20‘s compatibility with existing ARRI matte boxes, follow focus systems and the Wireless Remote System made the shoots very fi lm like.

Marc Shipman-Mueller

Aside from the fact that cinematographers and ARRI personnel were very satisfi ed with the D-20 image quality, the crews were impressed with the fact that they could work very much like they would work with a fi lm camera. Clearly the D-20 is a digital camera, and thus the cinematographers were using a slightly different approach to lighting, concerning themselves more with

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Page 5: ARRI News Magazine NAB Issue 2005

Since the THE PASSION OF FLAMENCO there have been several further test shoots and a series of workshops for Directors of Photography. In addition the camera has been shown at the IDIFF conference in Cannes, France in February, at Open House events held by NAC in Tokyo and at the AFC and BSC shows in Paris and London during March.

“It really is a tremendous improvement on any previous HD system I've seen, both in lens and ergonomics and image quality. Crucially, the D-20 records motion in an identical fashion to a film camera due to the mirror/shutter mechanism and it is this, as much as any increase in image resolution that is crucial to the formats' success.” DoP Oliver Curtis BSC

Comments from the Field

“D-20 is excellent in use, hardly any different from 35 mm film, and viewing a quality optical image on a ground glass look through at the point of capture will save many retakes and time.”Camera Operator, Peter Versey

“It's like a normal film camera, only digital. The great thing about D-20 is that it takes any 35 mm lenses. Depth of field, or rather lack of it, is the nicest thing about it and the way it handles flares in the same way as film.” DoP Sue Gibson BSC

The D-20 was used on a tripod … on a dolly (here with DP Sue Gibson BSC, in the background and camera operator Peter Versey) … on a crane … and hand held.

This image shows the ’natural’ motion blur that the D-20 progressive image capturing method creates.

This frame from the THE PASSION OF

FLAMENCO, directed by Tony Salmon, shows the cinematic depth of fi eld the D-20 shares with other 35 format cameras.

… which nicely shows off the D-20's ability to use any 35 format lens, including a large variety of wide-angle lenses. This is an actual frame from the D-20.

Cinematographer Sue Gibson getting a low wide angle shot, …

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Page 6: ARRI News Magazine NAB Issue 2005

Robin Vidgeon BSC tries ARRIFLEX D-20 at the BSC D-20 workshop at ARRI Media

Philip Ross DoP tries ARRIFLEX D-20 in hand held mode at IDIFF (ARRI stand).

Jean Noël Ferragut AFC shoots MAGICIANS with ARRIFLEX D-20 at IDIFF studio in Cannes

“The D-20 is what we DoPs have been asking for in a digital camera for years – film friendly, rugged construction, optical viewfinder, 35 mm depth of field and no back-focus issues. It beats other Hi Def cameras on every count.”DoP John Daly BSC

“First HD camera to feel like a film camera, Great to use 35mm lenses and to have mirror shutter based optical viewfinder.”

Camera Operator, Nicholas Beeks-Sanders

Jean-Marie Drogou AFC shoots scenes of Paris with ARRIFLEX D-20

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Page 7: ARRI News Magazine NAB Issue 2005

Stefan von Borbély, clearly enjoying his fi rst shoot with the D-20

?: What was your fi rst impression of the D-20?

SvB: It is clear that a camera that is equipped with a 35 mm-format chip, in contrast to a 2/3" chip, will provide many more creative opportunities to the cameraman or the fi lm production industry in general, especially in terms of the optics and lenses.

?: What did you think of the images you could create?

SvB: After seeing the results I was very exited by the depth of fi eld, by this extra dimension the camera gives us in con-junction with the 35 format prime lenses. I can use depth of fi eld shifts, I can create a fi lm look. The shots we got look spec-tacular, you cannot compare this with Betacam or any other 2/3" camera.

I think the big advantage of this camera is the chip. And with that chip I can create images that I have never seen

Excerpts from an interview with cinematographer Stefan von Borbély, who has al ready two D-20 shoots under his belt:

before in any video camera, regarding color gamut and the richness of the colors. And even though it is ‘only’ HD, that is, it is not 35 mm fi lm, it shows lots of detail.

?: How did the camera handle during the shoot?

SvB: Concerning the handling, especially concerning the lenses and the viewfi nder, I liked the fact that I was not forced to look at a black and white electronic image during shooting, but was able to use an analog viewfi nder, that allowed me to properly judge focus, a viewfi nder that is bright and brilliant. I really enjoyed that.

?: Did you have to change the way you expose images?

SvB: The D-20 has very rich colors, but in terms of contrast I have not seen any digi-tal camera that can reach fi lm. And I had to work differently. With this camera, you have to under expose somewhat, which is unusual for a cameraman. What I saw in

post was amazing, how much information there was in the dark parts of the image. But in the highlights digital cameras clip, you have to protect for the bright parts of the image.

?: Thank you.

D-20 Main Features

• Immediate availability of high definition & high quality image

• Film style handling, functionality & creative options, including:

– 35 mm format lenses

– 35 mm format depth of field

– 35 mm format accessories

– Optical viewfinder

– Variable speeds (1– 30 fps in HD 4:4:4 RGB, 1– 60 fps in HD 4:2:2)

– Simple operation

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Page 8: ARRI News Magazine NAB Issue 2005

The D-20 received a very warm welcome at Studio Hamburg

“An important factor in the success of our production company is the employment of superior technology which is state of the art. Therefore the D-20 is very high on our list, because it offers decisive advantages: Its modular concept based on a ‘real’ film camera opens the D-20 to a wide range of existing and proven accessories. In other words, the investment is much easier to handle since you can fall back on the extensive inventory already available in a rental, instead of newly investing in specific lenses and other accessories, like it is the case with many other HD systems. The D-20 is just a better deal. And thanks to the advanced technology and the large image sensor it offers a wide variety of professional creative options.“

Stephan Horst, vis.a.vis Filmproduktion, Berlin,

Executive Producer on the project HOCHTECHNOLOGIESTANDORT DEUTSCHLAND

During the course of the seminars for the D-20, the Master Primes and the ARRISCAN images, which had been shot or scanned were projected to get a better comparison. As a direct result of this ‘Tokyo Labs’ decided to purchase the ARRISCAN right from the showfl oor (see also page 43) to enhance their DI chain. The Master Prime workshop offered the perfect opportunity to see a side-by-side test with a lens projector between other competitive products and the Master Prime lenses: an impressive proof of the superior performance, high resolution, image uniformity and the focusing without breathing.

“ARRI in the Digital Age of Film” – this was the motto for this year’s open house – was a huge success for NAC Image Technologies Inc., as well as for ARRI as their business partner.

To contact nac image technology Inc.:

Phone: +81 3 5211 7960Email: [email protected]: Tomofumi Masuda

Mid March 2005 was the perfect timing for this year’s open House at NAC head-quarters. Many key professionals of the industry joined in to get a fi rst hand glance of the progress of the ARRIFLEX D-20 came-ra, the now completed chain of DI products ranging from the ARRISCAN to the Color Management System and the ARRILASER. Of course NAC’s own Digital High Speed Cameras, such as the fx-Cam and the HD-HS300P (a NHK project) were also in the focus of interest, along with the more ‘classi-cal’ but equally exciting products like the brand new Master Prime lens series, the ARRIFLEX 235, 435 Xtreme, mounted on an ARRIMOTION system, as well as the latest developments in lighting technolo-gies – the ARRI Ceramic lamphead and the ARRI Event lighting system.

Very well attended seminars were held during the two days of the open house to provide a more in-depth introduction and background information about all the latest technologies. It was a very well appreciated occasion not only to obtain information and to discuss the new technology among pro-fessionals, but also to get new inspirations.

NAC Open House 2005, Japan

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Page 9: ARRI News Magazine NAB Issue 2005

Out in the snow with the D-20 in Döbern, Germany, at a glass factory

One of the highlights of this year‘s CEBIT – the ARRIFLEX D-20. Prof. Dr. Hans-Jörg Bullinger (President of the Fraunhofer Gesellschaft and Chairman of ARRI's advisory board) shows the new technology to German Federal Minister of Education and Research Edelgard Bulmahn. The D-20 was right across from a large screen, where the audience was able to experience fi rst-hand results in the form of a promotional fi lm that has been shot to promote the German industry and also the Football World Cup in 2006. Parts of this project for the German Ministry of Commerce had been shot on the ARRIFLEX D-20.

Federal Minister Edelgard Bulmahn and Prof. Dr. Hans-Jörg Bullinger

ARRIFLEX D-20 with Master Prime lens at the BSC New Equipment Show

ARRIFLEX D-20 at AFC Micro Salon, Paris

D-20 at the Royal Television Society workshop

ARRIFLEX D-20 at the BSC New Equipment Show

“The D-20 is a glimpse into the future of film. When we began our project HOCHTECHNOLOGIESTANDORT DEUTSCHLAND we shot on normal HD. Since then we continuously im-proved. The ARRIFLEX D-20 boosted the motivation of the whole team: selective focus as a creative element, the optical viewfinder and the familiar handling of a film camera, all this made it fast and easy to create better images.”

DoP Frederic Doss, daylight

BSC members attending ARRIFLEX D-20 workshop at ARRI Media

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Page 10: ARRI News Magazine NAB Issue 2005

Master Pr imes Techn ica l Background

Recent technological progress in the fi elds of lens design, optical glass materials, anti-refl ex coating, optical metrology, precision machining and surface hardening have enabled ARRI and Carl Zeiss to offer to cine-matographers the Master Primes, a new range of high performance lenses with a unique combination of features. This article will look at some of those features in detail and explain the technical background.

Fast at T1.3The extreme aperture of T1.3 holds two creative promises for the cinematographer: highly selective focus and shooting in low light. However, T1.3 is not a completely new feature in the market. There have been the Zeiss T1.3 Super Speeds since the late 1970s, which were awarded a technical Academy Award in 1987. Compared to

As motion picture production methods advance, both creatively

and technically, so must the tools of the trade. Lenses are,

very much like fi lm, a decisive link in the movie creation and

production chain. They greatly infl uence the look of the

fi nal result, the working procedures, the post-production efforts

and ultimately the cost.

Lens Check (left)

UV Hardening (right)

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Page 11: ARRI News Magazine NAB Issue 2005

those, the new Master Primes produce a substantially improved picture at T1.3 – with even illumination across the entire frame and no visible light fall-off towards the corners. Also, the Master Prime image at T1.3 is impressively crisp and sharp. This performance is achieved by an optical design which employs more lens elements than used in previous cine prime lens gene-rations from Zeiss, some of them aspherical. Additionally, a signifi cantly bigger lens barrel allows for larger lens elements, which also greatly improves performance.

A World’s First: No Breathing at allFor the fi rst time in the history of cine equip-ment lenses have been created that do not breathe at all. ‘Breathing’ here means a slight change of a lens’ angle of view during a focus pull. A normal behavior with almost any lens, but an unwelcome one. Imagine a focus pull where the angle of view slightly widens because of breathing – and a microphone suddenly shows up at the edge of the frame.

To avoid breathing, the lens designer needs to compensate the variation in the angle of view through a lens group, which moves during focus pulling in a precisely controlled manner. Although this adds to the optical and mechanical complexity of the lens, it eliminates hassles during production and post-production, and avoids distracting the

movie watcher with unwanted effects. The Master Primes do not breathe, allowing cinematographers to concentrate more on actual cinematography than on compen-sations and workarounds for equipment fl aws.

Critically Sharp – Even Up CloseThe optical performance of cine lenses is normally optimized for ‘infi nity’. As a rule of thumb, ‘infi nity’ is everything beyond 100 × the focal length of the lens. So, for a 40 mm lens, ‘infi nity’ is the range of 4 meters (13 feet) and beyond.

Up close, the performance of a ‘normal’ lens drops. This is most noticeable in the corners of the frame, especially at wider apertures. This reduction in sharpness

and contrast may be more objectionable with some subject matters than others. Conventional lens designs, where the entire optical system is moved for focusing, all exhibit this drop in performance up close. In a lens design with fl oating ele-ments (FE), some optical groups or elements vary their position relative to each other in a precisely controlled fashion, thus com-pensating for the drop in sharpness which would occur otherwise when pulling focus well under one meter (3.3 feet) or under 20x the focal length of that lens.

Carl Zeiss has used fl oating elements suc-cessfully throughout the ARRI / Zeiss Ultra Prime range of lenses, enabling remarkably high close-up sharpness and contrast,

The Zeiss Dual Floating Elements principle

Rear Element

Front Element

Floating Lens Group 2

Floating Lens Group 1

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Page 12: ARRI News Magazine NAB Issue 2005

something which the cinematographer can use to his/her advantage or modify to his/ her liking with the multitude of softening techniques available.

The same fl oating elements design principles were used for the ARRI/ Zeiss Master Primes. Here the fl oating elements design is com-bined with another moving optical group, the previously mentioned group that cancels out breathing. The movement of both these fl oating elements is carefully choreographed to ensure optimum close focus performance while completely eliminating breathing from the whole focus range. This new design is called Zeiss Dual Floating Elements™ (patent pending).

Chromatic PrecisionAs a glass prism splits a beam of white light into a spectrum of colors, so do lens elements. It is the very craft of the lens designer to combine various types of optical glass in well-calculated shapes so that their individual color spectra cancel each other out as much as possible. The level of perfection needed has gone up signifi cantly in recent years, since imper-fection in this fi eld, called ‘chromatic aberrations’, produce visible color fringes around high contrast contours in the image. Color fringes make for poor chroma keys, complicated and expensive post-production and hence low cinemato-graphic quality.

For higher levels of chromatic correction, both elaborate optical design, as well as exotic glass types with ‘anomalous partial dispersion’, like fl uor crown and barium dense fl int are required. Some of these exo-tic glass types are almost as heavy as steel, some as expensive as gold, but together they ensure the high accuracy with which chro-matic aberrations are corrected in the Master Primes.

The Accurate Shape of Things to ComeAs more and more visuals in modern movies are created by combining real world picture elements with computer generated imagery (CGI), special atten-tion is needed to enable the perfect fi t of the two.

From the perspective of the lens maker, this fi t can be aided by two aspects: excellent chromatic correction and high geometric precision. Excellent chromatic correction, as discussed in the previous paragraph, means minimized color fringes and a cleaner image. Geometric precision means low geometric distortion, that is the ability to accurately project the shape of things in front of the lens onto fi lm.

With a high quality lens, a window or a door in a room will appear on fi lm with straight outlines, not those heavily bent lines noticeable on TV news, where contours of buildings, doors or hallways are distorted by zoom lenses with poor geometric per-formance. Those distorted contours would not match with computer generated objects with their immaculate geometry.

Offering a wide angle of view in a lens as well as undistorted geometry (so called ‘correct rectilinear perspective’) is a very challenging task for a lens designer. It is all the more challenging if at the same time high speed is to be achieved, like the wide open T1.3 aperture of the Master Primes. Here again, exotic glass types are indis-pensable. But even this is not suffi cient. Specially shaped lens surfaces had to be considered to enable the combination of geometric accuracy and high speed. Consequently, Master Prime lenses utilize aspheric lens elements, which are produ-ced with an extremely elaborate polishing processes, and which must be tested with a complex holographic technique.

As a result, the Master Prime lenses project images from the real world accurately onto fi lm while delivering sharp, well defi ned contours, both of which greatly ease combining real shots with CGI content.

ContrastIn a real world lens, which is well shaded with an accurately adjusted matte box, light enters from the front and most of it travels towards the fi lm. However, some of this light is refl ected from internal optical surfaces as well as from inner housing surfaces. Eventually it may reach the fi lm via unintended paths as veiling glare, fl are or refl exes. And then there is another unwanted effect the lens designer has to battle: light may be re-entering the lens from the rear as a refl ex from the bright fi lm surface. This light then may get refl ected from one or some of the lens element surfaces and bounce back onto the fi lm. The fi lm frame ‘looks at itself’, like the mythological Greek character of Narcissus, who gave this effect its name: ‘narcissism’.

All these refl ex variations, summarized under the term ‘false light’, deteriorate the contrast of the image, either locally or over the entire frame. Reducing the level of false light, thus increasing image brilliance and crispness, requires a multitude of well orchestrated measures.

Optical anti-refl ex coating is an important one of these. Here Carl Zeiss, the inventor of anti-refl ex coating back in 1935, applies the Carl Zeiss T*, the most advanced anti-refl ex coating currently available in cine lenses. It employs up to 9 ultra-thin layers of optical materials, applied in a vacuum onto each lens surface.

In addition to the T* coating, Carl Zeiss uses several types of black paints with different refractive indices to blacken lens

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Page 13: ARRI News Magazine NAB Issue 2005

What is an Aspherical Lens?

The illustration shows the basic principle of how an aspherical lens works. Sphe-rical lenses are subject to ‘spherical ab-erration’, which means that they cannot focus all the light rays of a given color onto the same plane (Webster's Dictio-nary defines ‘Aberration’ as a departure from the expected or proper course). Therefore additional lens elements are needed to compensate, making the lens heavier and introducing other perfor-mance issues. The further away a light ray is from the optical center, the more pronounced this aberration becomes, making this a crucial issue for fast lenses with their larger diameter elements. Aspherical lenses, on the other hand, are lenses with complex curved surfaces, offering excellent aberration correction and thereby providing superior reso-lution performance. Aspherical lenses can be made smaller, lighter and, in general, better than similar lenses which employ only spherical elements.

Lens Coating

element rims with maximum light absorbing effect. Additionally, Zeiss uses the Master Prime ‘wide body’ lens barrel to incorporate light traps for further reducing false light levels.

The combined effect of all these measures can be seen when test projecting the Master Primes: in a perfectly darkened test room,

the Master Primes show deeper blacks than all other cine lenses we have examined to date. With Master Primes, the darkest part of the image is really black, not merely a very dark gray.

On fi lm, this quality of the new Master Primes shows up in deep shadows: Master Primes ‘peek’ deeper into shadows than other lenses. They make dark details visible inside shadows, which would be masked by false light in other lenses. The resulting images look more brilliant, more ‘true-to-life’.

The above is just a selection of benefi ts provided by the new ARRI / Zeiss Master Primes. First industry users were wildly enthusiastic about the new creative capa-bilities offered, and the Master Primes are well on their way to becoming the new benchmark of the industry and to foster further development of fi lm stocks and cameras.

Kornelius J. Müller / Carl Zeiss

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Page 14: ARRI News Magazine NAB Issue 2005

With the new ARRI/Zeiss Ultra Prime T2.8/8R, ARRI introduces a unique extreme

wide-angle lens that further extends the focal range of the Ultra Primes to a

total of 16 lenses from 8 mm to 180 mm. The Ultra Prime 8R is an unusual specialty

lens of stunning optical quality with a revolutionarily small form factor.

UP10

Ult ra Pr ime T2.8

UP8R

The Ultra Prime 8R is perfect for commercials, features and music videos because of its rectilinear design (the ‘R’ in its name stands for ‘rectilinear’). In contrast to a fi sheye lens, a rectilinear lens keeps straight lines straight and creates an image that covers the entire ANSI Super 35 aperture. Both the Ultra Prime 10 mm and 12 mm are also rectilinear wide-angle lenses. The Ultra Prime 8R is ideal for wide establishing shots inside buildings or cities, sweeping vistas, the interior of cars, exhilarating high-speed POV shots, small rooms, unusual angles and many, many more applications where a new and fresh look is required.

With the Ultra Prime 8R, Zeiss used the latest technological advances to keep the high optical and ergonomic standard of the Ultra Primes in an 8 mm design. This was no easy feat since the wider a lens gets, the more diffi cult it is to keep image quality at an optimum. This explains why many lens manufacturers shy away from building extreme wide-angle lenses. Building such a lens in a rectilinear design is even more diffi cult.

The front element of the Ultra Prime 8R is a radically shaped aspherical lens element that is produced using semiconductor tech-nology, resulting in high optical quality while substantially reducing size and weight. In fact, the Ultra Prime 8R is smaller than the 10 or 12 mm Ultra Primes – a revolutionary size for an 8 mm lens – and weighs only 2/3rds of the 10 mm’s weight. A small extreme wide-angle lens not only speeds up work on the set, it can also be employed in unusual places. It gives the cinematographer ample room to place lights when working close to the actors and allows the lens to skim past objects that are very close to the optical axis for shots that were not possible before. As an extra benefi t, the Ultra Prime 8R can be used on the ARRIFFLEX 16 SR3 (when the viewfi nder is rotated up for clearance, of course).

Special optical glass with anomalous partial dispersion, a fl oating element, exotic glass

materials and internal focus-ing do their part to ensure that the Ultra Prime 8R shares the family traits of its siblings. Like the other Ultra Primes, the Ultra Prime 8R• covers the whole ANSI Super 35 image area (24.9mm × 18.7mm / 0.980" × 0.7362"),• is super color matched to guarantee seamless cuts between scenes and to avoid time consuming color matching in post,• has minimized chromatic aberration and almost no geometric distortion,• shows maximum contrast and resolution consistently over the entire focus range including unrivaled close focus perfor-mance,• has an even illumination of the whole Super 35 fi eld,• shares special light absorption techniques and the Carl Zeiss T* multi-layer anti-refl ex coating for negligible veiling glare,• provides smooth, round and organic out of focus highlights at all T-stops through 9 precision iris leafs,• has the focus and iris rings in the same position as the other Ultra Primes for fast and easy lens changes and • shares the same robust and reliable construction that is appreciated by rental houses since it minimizes downtime.

Because the Ultra Prime 8R has an extremely wide angle of view, it does not work with most regular matte boxes, necessitating a new front shade for the ARRI Lightweight Matte Box LMB-4. With this new shade, the LMB-4 becomes the LMB-4A. When mounted on the Ultra Prime 8R, the LMB-4A can accept two 6.6 x 6.6 fi lters. A new set of masks allows the LMB-4A to still pro-vide ample fl are protection for the longer Ultra Primes.

8R

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Page 15: ARRI News Magazine NAB Issue 2005

Ernst Abbe, Carl Zeiss and Otto Schott pose for this image taken with a fisheye lens. Note how the vertical lines behind them are curved, but how the general shape of their distinguished heads is preserved.

The same three guys photographed with a rectilinear lens. The vertical lines behind them now look straight, but the shapes of Ernst and Otto's heads are stretched.

The Zeiss Optical Museum in Ober-kochen, taken with a fi sheye lens. Again we can see how straight lines bend. Note espe-cially the way the center column looks.

The optical museum photographed with a rectilinear lens, keeping straight lines straight.

ARRI/Zeiss Ultra Prime T2.8/8R

with feet scale K2.47612.0

ARRI/Zeiss Ultra Prime T2.8/8R

with meter scale K2.47613.0

Lightweight Matte Box LMB-4A K2.47633.0

Wide angle replacement shade

for LMB-4 K5.65585.0

LMB-4A step down ring

to 134 mm for Ultra Prime 8R K2.47635.0

Mask set for LMB-4A

for 12 and 14 mm prime lenses K2.47634.0

Specifications for ARRI/Zeiss Ultra Prime T2.8/8R

Lens type: Distagon T*Aperture: T2.8 to T22Close focus: 0.35 m/1'Length (lens mount to front): 130 mm/5.1"

Outside front diameter: 134 mm/5.3"Weight: 2 kg/4.4 lbsHorizontal angle of view: 114° for ANSI Super 35 Silent camera aperture (24.9mm x 18.7mm/0.980" x 0.7362") 112° for DIN Super 35 camera aperture (24mm x 18mm/0.944" x 0.7087") 107° for Normal 35 Academy camera aperture (22mm x 16mm/0.8661" x 0.6299")

The Ultra Prime T2.8/8R extends the range of Ultra Prime lenses at the extreme wide end. Together with the 10, 12, 14 and 16 mm Ultra Primes, these lenses provide the most complete wide-angle selection in any modern prime lens set. Thus the Ultra Primes now offer 16 different focal lengths for every cinematic need, from the only telephoto lens designed specifi cally for motion pictures, the Ultra Prime 180 mm, to the new Ultra Prime 8R, giving you the fl exibility to get the coverage you want.

Marc Shipman-Mueller

What i s ‘Rec t i l i near ’, what i s a ‘F i sheye’?When a lens projects a three dimensional scene onto a two dimensional piece of fi lm, not all geometric properties of the original scene can be maintained. This is essentially the same problem as mapping the shape of the continents of our three dimensional globe onto a two dimensional map. The choices of lens design, focal length and distance to the subject determine the character of this mapping, which is commonly referred to as perspective, one of the cinematographer's most important tools. For wide-angle lenses, the lens designer must make a choice between a rectilinear or a fi sheye lens design, with different consequences for per-spective. The most obvious differences can be seen by how straight lines and objects at the edge of the frame will appear.Since the human eye judges distance by the way elements within a scene diminish in size and the angle at which lines converge, most lenses are designed to duplicate those ‘natural’ geometric relationships on fi lm. This is called a rectilinear perspective, and to achieve it the lens will stretch the image so that vertical, horizontal and diagonal lines that we perceive as being straight are reproduced as straight lines on fi lm.There is, however, a limit as to how wide a lens with a rectilinear perspec-tive can be, based on the limited amount of space available in front of the camera, and on various optical problems that get increasingly unwieldy as the angle of view increases. The 122° diagonal angle of view of the Ultra Prime 8R is already at the limit, making it a unique and unusual lens for the cine as well as the still photography fi eld.For this reason many extreme wide-angle lenses are designed as fi sheye lenses. A fi sheye lens can have a wider angle of view than a rectilinear lens. But it maps the scene to fi lm differently than we perceive the world around us, because the focal length is actually changing within the image. The farther a straight line is from the center of the frame, the more it will be rendered as curved, and objects at the edges of the frame will be heavily distorted with the typical fi sheye look.A rectilinear wide angle lens on the other hand renders all straight lines in the subject as straight lines in the image, though there is linear stretching applied to the image that increases as an object gets closer to the frame edge. This effect tends to exaggerate perspective, i.e. it will make rooms appear larger than they are, enhancing the illusion of depth. However, a circular object, like a ball or a person's head, located near the edge of the frame will appear to be somewhat enlarged and will have an oval shape.Neither fi sheye nor rectilinear extreme wide-angle lenses represent reality in quite the same way as we see it, but they provide two different ways to manipulate perspective, to change the illusion of space and distance.To the right are some sample images taken with a rectilinear and a fi sheye still photography lens to illustrate the two different looks.

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Page 16: ARRI News Magazine NAB Issue 2005

Kingdom of

Ridley Scott’s and Branko Lustig’s Film on ARRI Equipment

KINGDOM OF HEAVEN is set in the 12th century at the time

of the crusades. Orlando Bloom (TROJA, THE LORD OF THE RINGS)

stars as the young blacksmith Balian of Ibelin who sets out

on a dangerous journey to the Holy Land. There he falls in love

with the mysterious Princess of Jerusalem, and in the big

battles of Jerusalem turns out to be a respectable and brave

knight. Plenty of other stars can be seen in this feature as well:

Liam Neeson ( LOVE ACTUALLY) as Knight of the Cross

Godfrey of Ibelin, Balian’s father. Jeremy Irons (THE MAN WITH

THE IRON MASK, LOLITA) as Tiberias, Edward Norton

(THE ITALIAN JOB, FIGHT CLUB ) as King Baldwin IV and Eva

Green (ARSENE LUPIN ) as Sybilla.

H E AV E N

Director Ridley Scott

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As with other previous projects, the entire camera, lighting and grip equipment for this new fi lm by producer Branko Lustig and director Ridley Scott came from ARRI Rental Germany. Men and equipment where put to a real test in the sands of the desert and the salty waters of the seaside. Cinemato-graphy was done by DoP John Mathieson (GLADIATOR, HANNIBAL), Oscar nominee for PHANTOM OF THE OPERA.

Branko Lustig, the executive producer of a long line of Oscar nominated and Oscar winning fi lms like SCHINDLER’S LIST, GLADIATOR and BLACK HAWK DOWN, looks back on a relation- ship with ARRI lasting for more than 30 years: “I feel at home with ARRI. Whenever we needed something, no matter what time of the

day, we just called up and got it. They have been ready for us anytime. The cooperation with ARRI Rental was perfect, no problems whatsoever in spite of our high demands.“

Shooting started January 2004 for seven months in Spain and Morocco. A whole ‘caravan’ of 17 trucks transported all the camera, lighting and grip equipment to the different locations: across the Pyrenees to Spain, three months later across the Atlas Mountains to Quarzazate, an oasis in the Moroccan desert, and fi nally, for the last two weeks, to Essaouira on the coast of Morocco.

Torture Test for the Crew and the Equipment Transportation was one of the major challenges. Branko Lustig says: “We moved

from Spain to Morocco, where we kept the same equipment package. When we arrived in Morocco, our equipment was already there, so we didn’t have to lose any valuable time with waiting. Communication between our team and the multiple ARRI Rental depart-ments worked out very well, fi rst and foremost with Thomas Loher as directing manager, and also with Manfred Jahn, Technical Director Camera Rental, Hubertus von Hohenzollern, Head of Lighting Rental and Carl Christian von Hohenzollern, Head of Grip Rental. The technical support was perfect.“

The project was additionally supported by Heinz Feldhaus, who has known Branko Lustig for almost 40 years and worked with him on more than 50 projects: “I have been

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Page 18: ARRI News Magazine NAB Issue 2005

to Morocco 13 times, on different locations and different projects, but K INGDOM OF HEAVEN has defi nitely been the best orga-nized production so far.“ Heinz Feldhaus continues: “Unfortunately the equipment was constantly exposed to the dust of the desert. But thanks to the service technicians it was always in good shape.“ The ARRI service team, Stefan Baur and Felix Lindlbauer, were on location the whole time and made sure that all camera and grip equipment remained in perfect working order. The sand of the Moroccan desert found its way in every tiny crack which on some days caused 24 hour shifts for the service team.

Hubertus von Hohenzollern, Head of Lighting Rental, explains: “Naturally the desert sand

ended up in all lamp heads and ballasts. This was manageable as long as shooting took place in the desert, since the sand was dry. The trouble really started on location on the seaside. The sand clotted up due to the humidity and caused the equipment to fail. There was no other solution for the lighting technicians than to clean all equipment on location to bring it back to work.“

Just the tracking vehicle, which was specifi -cally designed by a company called Movie-Checker, unfortunately didn’t survive the shoot and fell victim to a fi re. Just before that a Giraffe crane and a stabilized camera head was mounted on the vehicle. It was a shoot in the toughest conditions for the ca-meras as well: For the fi rst time the ARRICAM

system was employed in the desert. And also for the Angenieux Optimo 17– 80 Zoom this was a premier.

Another fi rst was the trailer, that for K I N G D O M O F H E AV EN was specifi cally converted by ARRI Rental into a portable movie theatre which was on location the entire time. The trailer was equipped with the ARRI LOCPRO 35 location projector and original theatre seating for watching dailies in movie theatre atmosphere.

In conclusion Branko Lustig says: ”I’ll be working with ARRI Rental Germany again, if another project in Europe comes up. I almost feel like I wouldn’t want to work without ARRI ever again.“

The release is scheduled for May 5th 2005 in Germany and May 6th 2005 in the US.

Andrea Rosenwirth

Branko Lustig and Heinz Feldhaus

A trailer was equipped with the ARRI LOCPRO 35 for watching dailies

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Page 19: ARRI News Magazine NAB Issue 2005

Equipment

Camera 1st Unit– 1 × ARRICAM ST– 2 × ARRICAM LT– 2 × ARRIFLEX 435 Xtreme– Cooke S4 Primes with Lens Data System and

Cine Measure Tape System– Zeiss Variable Primes with Lens Data System– 2 × 24 – 290 Angenieux Optimo Zooms– 2 × 17 – 80 Angenieux Optimo Zooms

Camera 2nd Unit– 1 × ARRIFLEX 535 B– 2 × ARRIFLEX 435 Xtreme– 1 × ARRIFLEX 35-3C– Cooke S4 Primes– 24– 290 Angenieux Optimo Zoom

Grip– 1 × Giraffe Crane– 1 × GF 8 Crane– 3 × Dollies– 1 × Scorpio Head (3-axis)– Strada Crane– Flight Head– 1 × Tracking Vehicle, a mobile camera platform

custom-made by Movie Checker

LightingHMI:– 200 W – 18 K (at least 3 × each)Tungsten:– 150 W – 24 K (at least 3 × each)– 2 × Full-Wendylights

Trucks and Generators– 11 × 12 t Lighting and Grip Trucks– 2 × 7,49 t Camera Trucks– 1 × LOCPRO Trailer– 3 × Generators (2× 140 K, 1 × 216 K)– 10 × Portable Generators

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Page 20: ARRI News Magazine NAB Issue 2005

The custom build cable cam rig used on KING KONG

Through its unique features, the ARRICAM system has established itself as the premiere camera for shooting features

and commercials, including such blockbusters as HARRY POTTER 3, TROY, KING ARTHUR and I ROBOT. When

considering what camera to use to shoot Peter Jackson's latest epic, a remake of KING KONG, cinematographer

Andrew Lesnie chose the ARRICAM system, supplied by ARRI Rental Germany. This continues the very positive relation-

ship ARRI Rental Germany had established with Andrew Lesnie while supplying all fi ve tons of camera gear for Peter

Jackson's Oscar winning LORD OF THE RINGS trilogy. The ARRICAM system is accompanied in New Zealand by

ARRIFLEX 435 and 235 cameras.

?: After working on the LORD OF THE RINGS, which was an enormously large production in all aspects, do you enjoy working on a ‘normal’ sized production again?

Andrew Lesnie: KING KONG is not as logistically vast as LOTR, but I would not classify it as a ‘normal’ sized production. It is a new project with

KING KONGembraces the ARRICAM

its own set of challenges. We have a main unit (running two or three cameras on a regular basis) and a second unit, as well as an aerial unit and an FX elements unit. The variety of looks we’re trying to achieve is considerable, and it involved much testing. Because so much of the fi lm is effects-driven, I’ve spent much more time designing the lighting to be ‘organic’ in terms of integrat-ing smoothly with CG environments.

Two of the ARRICAM cameras used on KING KONG

?: Why did you chose the ARRICAM system?

AL: The crews are conversant with the technology, and the gear is sturdy enough for Peter Jackson, who really likes to keep the camera moving.

?: I understand you also have the ARRIFLEX 235, and you had a prototype even before it was commercially available. What do you use it for?

AL: It’s great to have a lightweight 35mm camera you can throw on your shoulder and have all the benefi ts of modern camera sys-tems onboard without a bunch of cables com-ing out the back. It’s very liberating, espe-cially coming from a background of current affairs and documentaries.

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Page 21: ARRI News Magazine NAB Issue 2005

Cinematographer Andrew Lesnie checking out the ARRICAM LT at the ARRI Rental

AL: We had the opportunity to shoot vaude-ville, chorus line and big musical numbers as part of the story.

?: What was the most diffi cult shot?

AL: We wanted to stage a tracking shot directly in front of, and behind, running characters. Key grip Tony Keddy used typical New Zealand ingenuity to create a simple but effective cable cam that worked superbly.

?: You rented again from ARRI Rental Ger-many in Munich. Is New Zealand not very far away from Munich?

AL: ARRI has been very supportive, and local tech support is provided by Welling-ton-based technician Peter Fleming.

?: Are you going again with the Digital Intermediate?

AL: As with LOTR, we are again shooting Super 35 and going out as an anamorphic D.I.

?: Thank you.

Some making of footage featuring the ARRI cameras on King Kong can be seen on the ARRI web site at www.arri.com/entry/arri_big_ape.htm or on the King Kong Production Diary at www.kongisking.net/kong2005/proddiary/

Marc Shipman-Mueller

?: What lenses do you use?

AL: I am using LDS Ultra Primes and Optimo zooms. The zooms are sharp and very fast, making them ideal for working with Peter. The Ultra Primes’ sharpness helps offset the slight decay in resolution created by the D.I. pro-cess, and they’ve handled pointing straight at hot practicals and fi lm lights very well.

?: Are you using the Lens Data System?

AL: The Lens Data System has two functions on this fi lm. Firstly, it’s a lot easier to get a heads-up on any potential system failures, because the information regarding each camera is displayed (and recorded) on the video assist image, as well as quickly letting me know what focal lengths and/or aper-tures are on each camera. Secondly, the system assists the data collection needed to help digital post-production.

?: What are the specifi c cinematographic challenges on KING KONG?

AL: KING KONG encompasses a large range of scenarios, from jungles to city-scapes. We have a vast New York back lot, shooting day and night, and have had the pleasure and pain of shooting in very claustrophobic ship cabins and corridors.

?: What was the most fun shot on KING KONG for you so far?

ARRICAM Main Features

• Size and weightThe ARRICAMs are part of the smallest and lightest complete 35 mm sync sound camera system available.

• Two camera conceptThe Studio camera is extremely quiet and fully featured, and the Lite camera is better for hand held and Steadicam shots than any all-in-one camera can be.

• ARRI quality viewfindersArguably the brightest, highest quality view-finders in the film industry.

• Ease of use Careful attention to ergonomic considerations and special requirements in movie making, as well as thoughtful user interface design make the ARRICAM easy and fast to work with, even at night in the rain after a long day on the set.

• ModularityViewfinders, magazines and accessories can be used on both cameras, and the cameras can be outfitted with accessories based on the shooting needs.

• And last but not least, the famous ARRI reliabi-lity that is an absolute necessity for such missi-on critical undertakings as movie making.

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Page 22: ARRI News Magazine NAB Issue 2005

EMPIRE

Daniele Nannuzzi used the ARRICAM

on the historical epic EM P I R E, an

American TV series, six episodes of

which were shot in just 17 weeks at the

Manziana- and Fiumicino-Studios

in Rome. The $ 40 Million Walt Disney

production was directed by Kim Manners,

Greg Yatanes and John Grey. Shortly

before shooting was completed Mauro

Sembroni of ARRI Italia had the chance

to speak with Daniele Nannuzzi.

Filmed with ARRICAM LT and ST

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?: From early on you were infl uenced by the work of your father, the famous DoP Armando Nannuzzi. At the age of 17 you were assistant cameraman on well-known fi lms like BA L L A N D O BA L L A N D O or I L MONDO NUOVO by Ettore Scola. In recent years you worked with a lot of great DoPs, among them Carlo Di Palma, Alex Tompson, David Watkins, Leo Barboni, Pasqualino de Santis, Ennio Guarnieri, Tonino delli Colli and Rivardo Aronovich. Considering your extensive experience in feature fi lm, how was it for you to work on the TV project E M P I R E?

Daniele Nannuzzi: The project con-sisted of six episodes by three different directors. The diffi culty was not only to match the ideas of these three directors

to an uniform photographic concept, but also to make the production company happy at the same time. Here my experi-ence with major feature fi lm productions came in handy. We shot up to 15.000 feet every day. And I don’t want to omit the opportunity to thank our magnifi cent team for all the work. We also got tremendous support by Luciano Vinciguerra at Arco Multimedia Group, Mauro and Fabrizio Bianchetti and Manuela Pasqualetti.

?: It was the fi rst time you worked with the ARRICAM. How was the experience?

DN: LT and ST are excellent cameras – and very fl exible. The system allows for

countless ways of image composition and is supplemented by plenty of accessories. Besides that both cameras are perfectly quiet. I was particularly impressed by the brightness of the viewfi nder and the quality of the video assist. After conducting a whole series of lens tests before shooting started, I decided on the Ultra Primes and used the complete range from 10mm to 180mm. Some scenes where planned as highspeed shots, that’s why the ARRIFLEX 435 was part of our camera package as well.

?: An important topic in Italy right now: did you ever work with 3 perforation before?

DN: No, this was the fi rst time. But I see a future for 3 perforation, especially in TV production.

?: Did you also employ ARRI lighting on this project?

DN: Obviously ARRI lighting is nothing new to me. However I was really impressed by the new ARRILUX 400 and its accessory. For some scenes the softtube and the shutter have been very useful and helped to speed up work. I think this system is handy and innovative.

?: Thank you for this conversation. And good luck with your future projects.

Mauro Sembroni

Steadicam-Operator: Alessandro Bolognesi

Second Unit DoP’s: Giuseppe Berardini Roberto Marsili

Focuspuller: Andrea Doria Emiliano Leorini

DoP Daniele Nannuzzi (left)

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Page 24: ARRI News Magazine NAB Issue 2005

Cameraimage 2004 took place from November 27th to December 4th in Lodz, Poland. Among the guests have been David Lynch, Oliver Stone, DoP Rodrigo Prieto, who photographed the epic feature ALEXANDER, David Watkin (OUT OF AFRICA), Vilmos Zsigmond (THE WITCHES OF EAST-WICK), Laszlo Kovacs (GHOST BUSTERS), Jost Vacano (DAS BOOT) and Michael Chapman (TAXI DRIVER). Those familiar with the festival noticed that the number of visitors increased year by year. A fact ARRI is particularly pleased about, since the Munich company has been there from the very beginning.

A short fi lm was produced during the festival. Sometimes up to four units were working simultaneously, with the support of ARRI. The ARRICAM Lite and Studio, the ARRIFLEX 435 Xtreme and 235, LDS lenses and a prototype of the 35mm Master Primes were employed, among other equip-ment. Shooting was supervised by well-known DoPs and executed with a lot of effort. Some units pulled out all stops and employed speed ramps, shutter ramps, time lapse, and they extensively worked with the Lens Data System and the Wire-less Remote Control.

In charge of this Clap Project was Slawomir Idziak, who was very pleased about ARRI’s support. The fi lm was then screened at the

celebration concluding the festival – with great success.

Another event caused lots of interest: the ARRI workshop with Rodrigo Prieto on Thursday, December 2nd 2004. He not only spoke in detail about shooting his latest feature, ALEXANDER, directed by Oliver Stone, but also demonstrated how to light a fi lm set. For this workshop Prieto used the ARRICAM Studio. And for lack of a director’s fi nder the ARRIFLEX 235 was employed as well. Prieto’s commen-tary: “The fi rst director’s fi nder you can shoot with…“

The interview with Oliver Stone and Rodrigo Prieto about ALEXANDER was especially well attended. It fi tted perfectly that this inter-view was held right in front of the ARRI booth, since they had up to 14 ARRICAM Studio and Lite cameras on this feature.

The program was completed by the ARRI/Zeiss workshop, which was held six times by Kornelius Müller (Zeiss). In his lecture Müller impressively demonstrated the fea-tures of the Master Primes in comparison to the Ultra Primes and the Cooke S4 prime lenses. Rodrigo Prieto, who attended one of the workshops, was excited about the Master Primes and would have liked to do tests with them right away.

Claus Richter

SOC Cammy Award for the ARRICAM

The ARRICAM System, designer Fritz Gabriel Bauer and Chief Engineer Walter Trauninger were honored on Saturday evening November 6th at the Hollywood Roosevelt Hotel by the Society of Operating Camera Men. The black tie affair, which honors technical achievements in motion picture equipment, recognized the signifi cant impact on fi lmmaking made by the ARRICAM Studio and ARRICAM Lite camera systems.Due to a family tragedy, Mr. Bauer was unable to attend and ARRI, Inc. Vice President Bill Russell accepted the award on his behalf. Mr. Russell noted that Fritz Gabriel Bauer is “that rare combination of artist and engineer” and that Mr. Bauer, a cameraman in his own right, was pleased to be honored by his peers.Chief Engineer Walter Trauninger said: “The recognition given to our ARRICAM System is very gratifying and much appreciated.” Mr. Trauninger also accepted the award on behalf of his colleagues who had contrib-uted so much to the ARRICAM project.

Bill Russell, Vice President ARRI Inc, David Diano, President of the SOC and Walter Trauninger, Head of Business Unit camera for ARRI, with the SOC Cammy award

Rodrigo Prieto Slawomir Idziak Oliver Stone and Rodrigo Prieto

Camerimage2 0 0 4

Franz Kraus (left) and Fritz Gabriel Bauer with the Golden Frog

Golden Frog

A Golden Frog was presented to Mr. Gabriel Bauer for the ARRICAM System during the

Camerimage 2004.

Golden Frog for the ARRICAM

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Page 25: ARRI News Magazine NAB Issue 2005

ARRICAM L ite Finder 2

Shoulder Pad 2 K2.47529.0

All standard ARRI viewfi nder features have been incorporated, including camera

left or right viewing, automatic or manual image rotation adjust-ment and a swing-in ND 6 con-trast fi lter. In response to custo-mer requests, the viewfi nder

arm now shares an important feature with all modern ARRI

viewfi nders: it telescopes to move the eyepiece farther from or closer to

the camera. This allows all operators to fi nd just the right eyepiece position for more comfortable viewing and is a welcome addi-tion for left eyed camera operators.

Both the Universal Lite Finder and the Lite Finder 2 share the same superior optical quality of all other ARRI viewfi nders. Both also use the Studio extensions. They also both use the Lite video assist, Lite Mask Frameglow and Lite Universal Viewfi nder Bracket. By exchanging their viewfi nder arms, a Lite Universal Viewfi nder can be convert-ed to a Lite Finder 2 and vice versa, using a system that is familiar from the ARRIFLEX 435/535B viewfi nders.

The ARRICAM Lite Finder 2 is a small and lightweight spherical viewfi nder

based on the Universal Lite Finder design. It is brighter than the original

Lite Finder which it replaces, and provides compatibility with the same

extensions used by all other current ARRICAM viewfi nders.

ARRICAM Lite Finder 2 K2.54176.0

The Shoulder Pad 2 is a new refi nement to the ARRICAM system, ensuring that every operator can assemble just the right camera confi guration. The Shoulder Pad 2 is design-ed for use with the ARRICAM Lite and the Lite Steadicam magazines when shooting hand held. It makes the camera assembly a bit shorter and moves the balance slightly forward, which is great for shooting with prime lenses. The Shoulder Pad 2 provides a different camera balance from the Shoulder Pad 1, which can be used with the ARRICAM Lite Shoulder Magazines.

ARRICAM L ite Shoulder Pad 2

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Page 26: ARRI News Magazine NAB Issue 2005

®

Small things are often the ones that make life easier. In a very short time the ARRIFLEX 235 turned out to be one of

them: Introduced at Cine Gear 2004 in Los Angeles for the fi rst time, the concept of this new small companion camera

to the ARRIFLEX 435 Xtreme was honoured by a jury of experts at cinec in September. The hard facts are impressive:

the entire 2005 production of around 200 cameras is completely pre-ordered and sold out. ARRI’s Director for Sales and

Marketing, S. Giordano, now has the pleasing task to

plan an increase in production capacity. Accordingly

there are enthusiastic comments by cinematographers

who already had the chance to work with this camera in

all parts of the world and in a variety of conditions.

The concept hit a nerve – here are some fi rst hand

experiences we would like to share.

The ARRIFLEX 235 rented out from CSC in November 2004 to shoot a

commercial for Home Depot

Around the World with the new ARRIFLEX 235

When S ize Matters

“For this one,” said Thomas Stokowski, “we had what I would consider the perfect

combination of equipment for a commercial without original sound, a

ARRIFLEX 435 Xtreme and a 235.”

The proud recipients of the 2004 cinec award

The 235 development team proudly holds one of the fi rst 235 production models and the cinec award

On Sunday the 19th of September 2004 the cinec award was presented by the Bavarian Society for Advancement of Film Technology (FGF) for innovative and trend-setting products and developments in the motion picture technology industry. Aside from other exiting products, the ARRIFLEX 235 camera and the ARRISCAN film scanner won the awards in the Camera Technology and Post Production categories respectively.

Cinec AwardWalter Trauninger, Head of the Camera Business Unit, Klemens Kehrer, 235 Project Manager, and Marc Shipman-Mueller, Technical Marketing Camera, accepted the 235 award on behalf of the whole 235 development team. Speaking for everyone involved in the project, Marc Shipman-Mueller thanked the jury and said that he hoped the customers will have as much fun shooting with the 235 as the developers had developing it.

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Page 27: ARRI News Magazine NAB Issue 2005

“I have just completed a 10 day commercial shoot for Toyota around Australia, doing a lot of handheld work with two ARRIFLEX 235 cameras. The director was Lance Kelleherfrom Eight Films. Marc Spicer, A.C.S., operated the B-camera, while I took care of the first unit. Lance and I wanted a very spontaneous shooting style. We even shoot some big action sequences unrehearsed.

“I have never had a more flexible 35 mm camera on my shoulder.“ Steve Windon A.C.S.

But the post guys at Fin Design were really happy to run with it. I have never had a more flexible 35 mm camera on my shoulder, and the camera department just loved it.”

Steve Windon A.C.S. (in 2004 Steve also shot ANACONDA for Columbia pictures with some ARRICAMs from ARRI Rental in Munich)

ARRI MEDIA’s Camera Controller Mike Rosario with DoP Martin Kenzie and Camera Operator

Ben Wilson (left to right)

ARRI MEDIA, London, launches the ARRIFLEX 235

Century, the private members club in London’s Soho district was the venue for camera rental company, ARRI MEDIA’s launch party celebrat-ing the arrival of ARRI’s most recent fi lm camera the ARRIFLEX 235.

Industry press, along with Directors of Photo-graphy, Camera Operators, Focus Pullers, Clapper Loaders, and Producers were treated to a Champagne reception followed by an opportunity to get up close and personal to the compact, fully featured 35mm camera. Head of Technical Camera Operations, Andy Subratie and his team set up two cameras and were on hand to

demonstrate the benefi ts and attributes the small camera has to offer.

First impressions of those in attendance were of surprise at just how small the camera is and how well balanced it felt when sitting on the shoulder. Clarity and brightness of the viewfi nder was often mentioned with comments that it was like looking through a window.

Directors of Photography were keen to comment on the newest edition to ARRI MEDIA’s camera inventory.

“The first thing that comes to mind is that with such a low profile, this camera will be fantastic for ‘in car’ shoots.”DoP Steve Blackman

“A lovely toy! I will expect to see it every working day as a standard piece of equipment.”Camera Operator, Ben Wilson

“Designed to fulfill the expectations of the Cinematographers of the future by freeing the Cinematographers of today.”Camera Operator, Rodrigo Gutierrez, Associate BSC

“A great act of faith by ARRI proving that they still have faith in the future of film.“ DoP Robin Vidgeon BSC

“An extremely versatile camera! Great for Steadicam, great for handheld.”DoP Martin Kenzie, Associate BSC

DoP Nina Kellgren tries the camera for size, assisted by ARRI MEDIA’s Head of Camera

Technical Operations, Andy Subratie

“A camera you can shoot in the same fluid and responsive style as 16 mm but with all the beauty of 35 mm – the must have camera!”DoP Nina Kellgren BSC

“The camera I’ve always wanted. To share the same accessories as the 435 and the ARRI range is phenomenal.” DoP Oliver Curtis

“I was quite impressed working with the ARRIFLEX 235 on a very tiny small set. It allowed me to really focus on the frame and relieved me from the usual bulk of a handheld 35 mm camera. I just fell in love with it.”

Calum McFarlane A.C.S. – He already tested one of the prototypes when filming CAVE in Bucharest.

Main Features of the ARRIFLEX 235

• Size: 415 mm (L) × 245 mm (H) × 268 mm (W)

• Weight: 3.5 kg / 7.7 lbs

• Compatible with 435 accessories

• A perfect companion for the ARRIFLEX 435 Xtreme

Speed Range: 1 – 60 fps forward 20 – 30 fps reverseMirror Shutter: 45° – 180° mechanically adjustableMovement: 4 or 3 perforation availableTemperature Range: –20°C to +50°C (+4°F to +122°F)Viewfinder: Super bright and ergonomic swingover viewfinder arm extends spherical and anamorphicVideo Assist: ARRI IVS quality and features minimum weight optimally integrated no 100 % video top necessaryOn Board Battery: pulls seven 60 m / 200 ft rolls

UMC-3 and Lens Data System functions possible

Extreme light setup – very low and slim modes possible

Magazine compatibility with ARRIFLEX 435

DoPs enthusiastic about the 235:

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Page 28: ARRI News Magazine NAB Issue 2005

The ARRIFLEX 235 and its unique features were used on a high budget,

high tech commercial in Bahrain to fi lm footage of the latest BMW/ Williams

Formula One race cars.

Each year in January the new Formula One cars are being fi lmed. This footage is used throughout the year for television shows and commercials, not only by the Formula One organization itself but also by the companies who sponsor this high speed, high octane sport.

After months of planning and testing, three tons of fi lm equipment from FGV Schmidle and ARRI Rental Germany arrived at the Bahrain International Circuit and the 30 person fi lm crew went about to set up the

cameras in the pit stop garage next to BMW/Williams. In order to get every angle and every sponsor's logo just right, the crew was divided into seven teams. After each round the cars went to the pit stop, and the camera teams relocated to get another angle. Director Tobias Heppermann notes, “The availa-bility of these cars is very limited, so you have to plan carefully to ensure that you get sexy shots of the cars and of the sponsor's logos. From then on you have to trust your crew.” Technical director

Holger Fleig pulls focus with the ARRI Wireless Remote System

The 235 on a stabilized head attached to a BMW M5

Jürgen Weißenfels with a 1000 mm telephoto lens on the track

Emanuel Max. Schwermer, BVK, ads, “When you shoot Formula One, you are trying to create shots that get the excite-ment of the sport across. To do this, we brought a nice little equipment park. We had fi ve 435s, two 235s, a set of Ultra Primes, four 150-600 zooms, all three 1000 mm telephoto primes in existence in Europe, two 24-290 zooms, a 6 mm fi sh-eye, various wireless remote systems, a T-rex super scope system, a Century Mark II snorkel, a Steadicam and the new SCORPIO stabilized head.”

“4…3…235…2 8 C a m e r a

Page 29: ARRI News Magazine NAB Issue 2005

how light it is, we knew this was it!” For that shot the engineers at BMW/ Williams F1 created a camera mount that attaches to the fragile front end of the car. First a light-weight remote head was considered for the pan, but that would have been too heavy. After two months of experimentation and design work, they decided to use a T-rex system that could pan and rotate the image. The camera, various custom made brackets, the T-rex system, four lens motors (iris, focus, pan [swivel-axis], roll), two video transmit-ters (one primary and a backup) and an on-board battery were assembled, and then everything was carefully tied down and secured. “At these speeds you do not want anything to come off,” added Emanuel Schwermer.

While Marc Webber piloted the Formula One car, a BMW M5 followed with Tobias Heppermann controlling pan (swivel-axis) and roll, and Emanuel Schwermer pulling focus. “The whole thing was a little crazy,” said producer Oliver Bauss, “but even though Tobias and Emanuel got shaken

around in the M5 quiet a bit, we got the shot. The only problem we have now is, how do we top this next year?” That of course is a challenge to the engineers at ARRI as well as to the crew of this shoot, who are already thinking up new and exciting angles and strange and unusual camera rigs for future shots.

More information and some of the resultsof this shoot can be found at these two websites:

http://www.arri.de/entry/235races.htm

http://bmw.williamsf1.com

Marc Shipman-Mueller

Stefan Biebl on a close shot of Marc Webber

getting in the car

Emanuel Schwermer and Sebastian Grundt check out the 235/T-rex assembly

The 235 on the new BMW/Williams Formula One car

The 235 on the new BMW/Williams Formula One car

To ensure visually interesting material, various cameras with long lenses were stationed along the track. One 435 went in a helicopter and one was placed close to the track, sometimes with the 6 mm fi sh-eye and at other times with a Century Mark II snorkel and an Ultra Prime for remotely operated drive-by shots. One 235 was used on the electronically stabi-lized remote head attached to the back of a BMW M5 that would drive on the track in front of the Formula One cars. “This head,” explains master rigger Robert James Bova, “is one of the fi rst of the new electronically stabilized SCORPIO heads. It can take a lot of weight, but the lighter the camera, the better the stabilization. So the 235 was ideal.”

The 235 was also used on a Steadicam that was piloted by Stefan Biebl, who was very pleased. “I would be happy if I could shoot only with the 235 from now on,” he said. His assistant, Holger Fleig, used one of the various ARRI Wireless Remote Systems that the production brought with them to pull focus and to run the camera.

“We are always thinking of how to get a camera on the Formula One car in an unusual angle,” said Tobias Heppermann, “but the race cars are so light that it is diffi cult to put any weight on them. About two years ago we thought up this move: a pan with a camera mounted to the nose of a race car. At the time it was not possible, but when we saw the 235 and

…Go!”2 9C a m e r a

Page 30: ARRI News Magazine NAB Issue 2005

One of the venues of the festival was the freshly renovated Old GMC building

In December of 2004 ARRI was invited by the 35th International Film

Festival of India (IFFI) in Goa to present a so called ‘Retrospective’ of all our

products and services. In four presentations on consecutive days, Marc

Shipman-Mueller gave an overview of ARRI‘s history, products, company

structure, subsidiaries and future plans through a mixture of projected fi lm,

projected DVD material and PowerPoint presentations.

ARRI Retro at the 35th Internat ional Film

Fest ival of India

After the presentations there were many lively discussions regarding such wide ran-ging topics as 3 perforation, Super 35, Digi-tal Intermediate, generational loss in analog post versus digital post, advantages of fi lm vs. video, etc. The Retrospective was follow-ed by two well attended hands-on work-shops on the ARRIFLEX 235, given with the support of our India agent, Mr. R.K. Potdar of S.R. Electronics.

While the participants learned about ARRI and ARRI products, we learned a bit about

production reality in India. Production me-thods for many Indian projects, for instance, are very basic. The majority of the approxi-mately 740 features each year is shot with-out sound in Normal 35 with anamorphic lenses and minimal post-production. Most release prints are made directly from the cut camera negative. But a new guard of fi lmmakers is starting to change that. They are shooting Super 35 with spherical len-ses, recording sync sound and using the Digi-tal Intermediate process. These fi lmmakers differ from the traditional Indian fi lm-maker in that they are also looking for internatio-nal distribution, and so they concentrate on a strong plot, tight narrative structure and have almost no large musical numbers in their fi lms.

During the festival we were able to catch up with two of those pioneers of Indian fi lmmaking, Bobby Bedi and Bharat Bala, and asked them about their latest projects. Bobby Bedi is the producer of the highest budget Indian movie so far called RISING and of the internationally acclaimed BANDIT QUEEN. Bharat Bala is the director of the movie HARI OM, which was screened at the festival. Also present at the interview was Mr. R. K. Potdar.

?: Mr. Bala, tell us about your latest movie.

Bala: HARI OM is a French/Indian copro-duction that tells the story of Hari Om, a rickshaw driver who gets into trouble with the rickshaw mafi a. While fl eeing, he meets up with a French woman who is running away from her boyfriend. It is a road movie

with humor and some romance. We shot from October to November in 2003.

?: What camera did you use?

Bala: We used a 535B with Cooke S4 lenses, plus an ARRIFLEX 35 III for a lot of the car rig sequences. Using the 535B is somewhat unusual, as most Indian movies are shot without original sound, usually with an ARRIFLEX IIC, 35 III or 435. We deci-ded to use a sync sound camera to get a more authentic feel. Shooting sync sound is relatively new in India, it has only started being adopted in the last three to four years. But the demand is increasing, and we now have some 535B and ARRICAM cameras available. I used Fuji fi lm stock for a more de-saturated look and shot in Super 35.

?: Why did you choose to shoot in Super 35?

Bala: Most movies in India are being shot in Normal 35 with anamorphic lenses in the 2.35 scope format. We decided on a 1.85 aspect ratio to ensure that HARI OM is viable on the international market. We decided in pre-production on the Digital Intermediate process, which was done by Prasad Lab. At that point using Super 35 was a natural decision, as it gave me more negative area and more freedom in post.

?: How was your experience with Super 35?

Bala: We had no problems at all, and the camera worked great, even under the harsh conditions in India. We did a little bit of pioneering work, since Super 35 is very new to India. Neither the camera rental house, nor the lab had much experience with it, so it was a fi rst for all.

?: If you were shooting an anamorphic movie, would you also use Super 35?

Bala: Most defi nitely yes. My background is in advertisement and there I am used to shooting with normal (spherical) lenses. They are smaller, lighter and there is a larger

Bharat Bala, Marc Shipman-Mueller and Bobby Bedi during the interview at the IFFI cafe.

Marc Shipman-Mueller explains the 235 camera

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Page 31: ARRI News Magazine NAB Issue 2005

variety available. Most importantly, they are faster than anamorphic lenses, so we can use a smaller lighting package and work faster, which saves money. From now on, I think I will shoot every movie in Super 35.

?: Mr. Potdar, how common is Super 35 in India?

Potdar: HARI OM is one of the fi rst Super 35 movies shot in India, together with RISING. Another one is SHABD, an ana-morphic Super 35 short fi lm by Pritish Nandy Communications, Mumbai under the Direction of Mrs. Leena Yadav and Director of Photography Mr. Aseem Bajaj. Since these fi lms were done successfully last year, we now have fi ve other produc-tions shooting in Super 35 this year, and we are expecting more in the future.

?: So you see new, modern shooting techniques being adopted more in India?

Potdar: Yes, on the camera side fi lmmakers are looking at Super 35 and shooting sync sound, and on the post-production side they are looking at the Digital Intermediate process. We now have four ARRILASERs in India. I am also happy to say that I think 16 mm will pick up in India. Some people are going to Singapore to have Super 16 processed, and the local labs are also interested.

?: Mr. Bedi, you also chose Super 35 for RISING. Tell us a bit about that project.

Bedi: RISING is one of the highest budget Indian movies done at 10 Million US Dollars. It was shot using 535B cameras, plus some 435 cameras. We shot in the 2.35 scope format, and used the Digital Intermediate process. The squeezing of the image for anamorphic projection was done during the Digital Intermediate process.

?: What were the advantages of shooting in Super 35?

Bedi: Using normal (spherical) lenses allowed us to get the most out of the light. We saved lighting time since the lenses are faster, and that saved us money. Also, the lens quality is better and it makes the camera lighter and easier to handle. And there is a greater variety of lenses available. Ultimately, from a producer’s point of view, you can just use less light and work faster, that is all I need to know.

?: Thank you, gentlemen.

Marc Shipman-Mueller

235 Shoulder Magazine SHM-2The new 235 Shoulder Magazine SHM-2 is an ergonomic 120 m/400 foot magazine with the same ‘dolphin’ shape as the popu-lar 60 m/200' Shoulder Magazine SHM-1, but with a longer running time. The SHM-2 is ideal for hand held use or whenever a low profi le camera is needed. The 235 Shoulder Magazine SHM-2 can also be used on the ARRIFLEX 435.

235 Steadicam Magazine 120/400 STM-1The new 235 Steadicam Magazine 120/400 STM-1 is designed to keep feed and take up spindles exactly above each other when used on the 235, a crucial requirement for Steadicam work. The 235 Steadicam Magazine 120/400 STM-1 can also be used on the ARRIFLEX 435, even though the spindles will not be on top of each other in that case.

These two new magazines complete the list of magazines that can be used with the ARRIFLEX 235:

• 235 60 m/200' Shoulder Magazine (SHM-1)

• 235 120 m/400' Shoulder Magazine (SHM-2)

• 235 120 m/400' Steadicam Magazine (STM-1)

• 35-3/2C 60 m/200' Single compartment magazine

• 35-3/2C 120 m/400' Single compartment magazine

• 435 120 m/400' Single compartment magazine

• 435 120 m/400' Steadicam magazine

Long Eyepiece Extension LEE-1The Long Eyepiece Extension (LEE-1, 270 mm/ 10.6 inches) complements the already existing Medium Eyepiece Extension (MEE-1, 125 mm /4.9 inches) for the 235. With the LEE-1, the 235 can be used on a geared head or when the operator prefers a longer extension for special shots. Scene contrast can be judged through a fl ip-in ND.6 fi lter and a quick focus check can be done with a 2 × magnifi er.

15 mm Rod Reducer Sleeve Set for 235 SBR-1A set of reduction sleeves allows the 235 Side Bracket to accept 15 mm support rods. This allows all the legacy accessories made for 15 mm rods to be mounted on the 235.

235 SBR-1 Support RodsSpecifi cally for use with the 235 and the Side Bracket SBR-1, two new sets of support rods have been developed. Made out of aluminum with a high strength, specially hardened surface coating, these rods have less than half the weight of traditional support rods.

The 165 mm /6.5 inches long rods can be used with the MB-20 and shorter prime lenses like the old-style Standard or Super Speeds, while the 185 mm / 7.3 inches long rods work with the MB-20 and modern lenses like the Ultra Primes, Master Primes or Cooke S4 lenses.

After the successful launch of the ARRIFLEX 235, the smallest and lightest

35 mm camera yet, ARRI is introducing a variety of new accessories for the

235, including two new 235 magazines, a long eyepiece extension, a

method to mount 15 mm support rods to the 235 Side Bracket and special

lightweight 19 mm support rods for the 235 Side Bracket.

235 Shoulder Magazine SHM-2 235 Steadicam Magazine STM-1 235 Long Eyepiece Extension

K2.55016.0 K2.55008.0 K2.55012.0

15 mm Rod Reducer Sleeve Set for SBR-1: K2.55020.0 19 mm Support Rods, 165 mm /6.5 inches long: K2.55023.019 mm Support Rods, 185 mm / 7.3 inches long: K2.55024.0

New 235 Accessor ies

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There’s always an interesting perspective when shooting 2nd Units, namely who’s going to shoot what.

Sometimes it’s plainly obvious and other times it’s surprising. The opening shot to I , ROBOT is just such an

example. Simon Duggan ACS, the fi rst unit DOP and I joked about this shot months after I had shot it

for the fi lm. When Simon read the script, he immediately relegated this “oner” shot to Second Unit. When

I read the script, I thought to myself, “How are THEY” going to shoot that?”

The shot, per the script, opens the fi lm as Will Smith’s POV. He is traveling down a nighttime highway in the pouring rain. A car passes Will and he casually looks over to see a 10-year-old girl in the front passen-ger seat waving to him. Suddenly that car is struck by an out of control truck that has skidded across the median. It slams into the girl’s car that slams into Will’s. Both cars, now locked together, domino off a bridge and splash into a large body of water. The air bag explodes in Will’s face and we see his hands trying to frantically clear it. His car is sinking fast. He looks left and sees

the girl trapped in her car that is still locked to Will’s. Her father is in the drivers seat with a broken neck. Will looks around frantically. Suddenly he hears a loud thump on his trunk lid and looks around to the rear window. He sees a silhouette of two legs. The legs jump onto his roof. Will looks back to the girl as the water quickly rises. Immediately, Will looks back to his passenger window and a robot pokes it’s head down into view. Will yells, “Save the girl.” And looks over to the girl. Water has completely submerged the cars. The girl is trapped under water and beating on the window. Will whips his vision back to the robot looking in through the passenger win-dow and again yells in garbled underwater tones, “Save the girl.” The robot smashes the window, reaches in and grabs Will instead. The robot pulls Will out through the window and Will watches at the two cars, one with a 10-year-old girl still in it, descend into the depths and disappear.

Fortunately director Alex Proyas decided to begin using the shot at the moment the two cars hit the water. So we, on 2nd Unit, had the job of creating this POV “oner”.

Firstly Kimble Rendal, the 2nd Unit Director, and I did some dry land video tests to align the angle of the cars, the people, etc. We then had to fi gure out a safety escape hatch for our 10 year old star and how we would hide the safety diver who would also be in her car. Next task was, how to shoot Will’s hands clearing the airbag, yet give the camera operator room to facilitate the rest of the

I , R o b o t

Karl Herrmann

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and deemed it a usable site. The hydraulic car-sinking rig was spotted, placed and bolted to the fl oor. The entire facility, inclu-ding the ceiling, was blacked out with a special lightweight, waterproof blacking cloth usually used by gardeners. Below this was hung the rain making system, which was also blacked out to avoid refl ections in the car windows as they sank. A scaffold ramp system was built to allow access to the cars once the tank was fi lled with water. Due to the nature of the 240-degree swings involved with the shot and the wide angle Zeiss Ultra Prime, we had only one place to put the scaffold ramp system without it being seen!

We mounted the cars on the rig and fi lled the tank with 95 degree water. A large screen monitor was placed at the edge of the tank to assist everyone during rehearsals.

Timing during the shot was critical for all departments considering we had a 10-year-old girl in an enclosed, submerged automobile. Add to that, the fi nal moments of the shot required the grips to slip a under water green screen in between the cars during the shot to facilitate the fi nal pull away with the girl disappearing into the depths.

We rehearsed the shot for several days to work out the timings: rain effects, robot proxy action, cars sinking, air bag exploding, actions of hands on the air bag, camera pans, camera tracking, etc. etc. We then put our actress into

shot? After several goes at this Alex signed off on the shot and we were on our way.

I immediately made a call to Denny Clairmont with a series of “What if” and What about” type of questions. We bounced around a number of camera possibilities but ultimately came to the ARRIFLEX 435 for a number of reasons. Because the camera operator would have to do multiple 240 degree whip pans both above and below water during the shot we needed a camera with a superb video tap as operating off several small video screens inside the car was our only hope of doing this shot.

My next call was to Pete Romano at Hydro-fl ex, who I’d known since our early days together at Industrial Light and Magic. The new 435 housing had just been completed and it allowed us to run our underwater video monitors for viewing. We ordered two com-plete plug and play ARRIFLEX 435/Hydrofl ex systems for switchover speed in consider-ation of our 10-year-old actress.

The camera had to be rigged onto a trolley system that was built and attached to the roof of the car, but stayed well out of the shot. The ARRIFLEX and housing also had to be counter weighted for shooting underwa-ter at the latter part of the shot, which made it very heavy and bulky during the opening moments when the camera was out of the water and the car was just beginning to sink.

We surveyed an oceanographic research tank used by the University of British Columbia

the car and three takes later we had the shot in the can!

As things happen, the shot got chopped up in editorial and never played in the fi nal fi lm as a “oner”, but it sure was mag-nifi cent in dailies! Without the genius of the ARRIFLEX 435, the superb, non-fl aring Ultra Prime lenses, a GREAT video viewing system and Hydrofl ex this shot would have never happened.

Karl Herrmann, DOP, 2nd Unit and VFX

ARRIFLEX 435 in critical mission under water

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Steadicam operator Volker Kreinacke tracks the female protagonist as she hurries out of her apartment.

United Visions, a Berlin based production company, created a fi lm for the world premiere of the new VW Polo that

was introduced in early April 2005 at the AMI car show in Leipzig. The project was codenamed LOLA, since the spot

was loosely based on the successful German fi lm RUN LOLA RUN, except that in the VW spot the female protagonist

did not have to run throughout the whole fi lm, like poor Franka Potente did in RUN LOLA RUN, but was able to

drive around in an attractive new VW Polo. United Visions hired director Daniel Steinmetz, cinematographer Thomas

Stokowski and fi rst assistant Emanuel Schwermer, BVK, a seasoned car commercial team. “For this one,” said

Thomas Stokowski, “we had what I would consider the perfect combination of equipment for a commercial without

original sound, an ARRIFLEX 435 Xtreme and a 235.”

ARRIFLEX 435 X treme In t roduces new VW Po lo

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Page 35: ARRI News Magazine NAB Issue 2005

Main Features of the ARRIFLEX 435 Xtreme

• Super bright high quality viewfi nder, available for either spherical oranamorphic viewing.

• Extensive speed range from 0.1 to 150 fps.• The latest generation of the ARRI Integrated Video System, the IVS-2,

shows a brilliant, bright video image, and can superimpose camera status information and frame lines, allows for automatic or manual color balancing of the image and can preview motion blur effects.

• A new ramp generator improves ramping capabilities with faster and smoother ramps. An even wider ramping speed range from 0.1 to 150 fps is possible.• With the Single Frame System the 435 Xtreme transforms into a single

frame time lapse camera. The unique Integrated Capping Shutter (ICS, also available in 4 or 3 perforation) allows viewing of the viewfi nder and video assist image even when the shutter is closed.

• With the Motion Control Interface (MCI) the movement, mirror shutter andInternal Capping Shutter can be independently and frame accurately controlled by a motion control computer.

• Tight integration with the ARRIMOTION system makes for a powerful set upthat includes frame accurate go motion, stop motion and ramping capabilities.

• From the ARRICAM the 435 Xtreme inherited the built in Lens Data System(LDS Ultra), which saves time and allows the assistant to work more effi ciently.

• The 435 Xtreme can be outfi tted with an extensive range of accessories for any shooting situation. These include a 120m/400’ magazine, a 300m/1000’ magazine, a Steadicam magazine, a 100% Video Top, the External Display EXD-1, Single Frame System, Motion Control Interface, Universal Radio Module, Lens Data Displays, and the ARRIMOTION system.

• The 435 Xtreme is, of course, also tightly integrated into the other ARRIaccessories, of which it shares many with the ARRICAM, from the ARRI/Zeiss optics like Ultra Primes and Master Primes to the Wireless Remote System and the full range of ARRI Studio, Compact and Lightweight follow focus units and matte boxes.

• The electronics for lens motors have been integrated, and the modular radio(URM) for wireless lens and camera control has its own place reserved, giving the camera the smallest envelope possible when the radio is used.

Cinematographer Thomas Stokowski operates the 435 Xtreme 'A' camera, while Volker Kreinacke operates the 235 'B' camera.

The shoot was located in Cape Town, South Africa, a popular spot for car commercials in January because of its good weather and professional support. “We were able to shut down whole city blocks at a time,” explains Thomas Stokowski, “and often the police were able to clear the streets for us so we had free rein to get the shots we needed.” When asked about the equipment used, he contin-ued “The ARRIFLEX 435 Xtreme, our ‘A’ camera, was on a Gyro-stabilized head which was mounted on a Maxi Giraffe crane, which itself was attached to a tracking vehicle. An Optimo 24-290 zoom was used on the 435 Xtreme, as well as a T-Rex system. The 235 was used on a Steadicam and hand held, and I brought a complete set of Ultra Primes from 10 to 180mm. These two cameras are a brilliant combination for commercials, and I would not want to be without either one.”

Volker Kreinacke, the Steadicam operator, adds: “The 235 beats any other camera on a Steadicam! The way the viewing system is designed, it takes no time at all to switch from shoulder to Steadicam confi guration. Usually a camera would be dedicated to

Steadicam since the switch takes some time, but now with the 235 it is as if we have an additional camera that we can use for hand held and as a ‘B’ camera when we want, since we can pop it on and off the Steadicam in no time. Also the video assist is super bright, which makes our lives a lot easier.”

“I have been all over the globe with 435s,” says Thomas Stokowski, “and they are the most reliable cameras. I particularly like the viewfi nder. That is what I have to look through all day, so I appreciate the image quality and how bright it is.” The 435 Xtreme is the premiere camera for commercials and feature fi lms these days because of its extensive range of features packed into a small camera body, and Emanuel Schwermer notes that “the cool thing about the 435 Xtreme is that you can ramp faster than with any previous model of 435. Having the electronics and the radio integrated into the camera body also helps, since it means less clutter and is very convenient. When using the ARRI Wireless Remote System, it is great not to need an extra box and extra cables. And in my experi-ence the ARRI Wireless Remote System has the most stable and robust transmis-sion of all wireless systems out there.

We did not use motion control on this spot, but I love the fact that the 435 Xtreme can easily connect to a motion control system. We can use the same camera for life action and motion control, which simplifi es my job as an assistant and saves production time and money.”

Marc Shipman-Müller

The 435 Xtreme in the background is equipped with a T-Rex system, while the 235 in the foreground is just about to fl y in low mode on a Steadicam.

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Zoom Main Unit ZMU-3

A new member of the ARRI Wireless Remote System is the Zoom

Main Unit ZMU-3. It is shaped like a classic handgrip zoom controller

and has the classic zoom knob that assistants‘ thumbs all over the

world are familiar with.

Contrary to its classic exterior, under the hood it is equipped with the latest techno-logy. Zoom speed can be precisely adjusted and zoom limits can be set. A large bar graph shows the zoom ring position, the zoom speed and various status messages, and a ZAP button allows for a quick focus check. A switch changes the running direc-tion of the attached lens motor. Of course the RUN switch can start fi lm cameras, but the ZMU-3 can also start/stop some high end video camcorders and control the zoom motor on various video lenses.

If only zoom is required, the ZMU-3 can be connected with a cable directly to an ARRI CLM-1 or CLM-2 lens motor and to the camera. If focus and/or iris are also to be used, the ZMU-3 can become part of the cabled ARRI Lens Control System (LCS) or of the ARRI Wireless Remote System (WRS) by being connected to a Universal Motor Controller UMC-1, Universal Motor Con-troller UMC-3, Lens Data Box or FEM-2.

For wireless use, the ZMU-3 becomes part of the ARRI Wireless Remote System. Via the Wireless Zoom Bracket WZB-3 it

attach es to the Wireless Main Unit WMU-3. The special shape of this bracket allows the assistant to position the ZMU-3 in rela-tion to the WMU-3 to suit his/her personal preference.

The ZMU-3 fi nally allows an ARRI LCS and WRS compatible zoom controller to be attached to the tripod handle. This can be done with the rosette on the right side of the ZMU-3 (M6 thread).

With its classic shape and modern electron-ics, the ZMU-3 is a welcome addition to the ARRI Wireless Remote System.

The ZMU-3 in a basic wireless confi guration

A wireless confi guration with the Lens Data Display for Focus Puller is also possible

Ident Numbers:

Zoom Main Unit ZMU-3 K2.65003.0

Wireless Zoom Bracket (WZB-3) K2.65017.0

Cable ZMU-3 to CLM-2 (1.3m/4.3feet) KC 91-S K2.65008.0

Cable ZMU-3 to LCS short (0.8mm/2.6feet) KC 92-S

K2.65009.0

Cable ZMU-3 to LCS long (10m/33feet) KC 93-S K2.65010.0

Cable ZMU-3 to WRS (0.3m/1foot) KC 105-S K2.65036.0

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External Display EXD-1

The EXD-1 is a small, universally usable re mote control for all models of 16SR3, 435, 535 and 235 ARRIFLEX cameras. It duplicates most of the functions of the built-in camera display, including changing of camera speed and shutter angle and various other parameters. Additionally, camera speed, shutter angle, a footage counter and a take counter can be displayed. In order to run ramps, though, the Remote Control Unit RCU-1 or

Wireless Remote Control WRC-1 is needed.Since the EXD-1 is small and lightweight, it can be mounted anywhere on the camera. It is particularly useful for cameras that have a display on only one side, like the 235, 435 or 535B. With the 120 mm/4.7 inches long Universal Mounting Arm it can also be quickly and easily repositioned. The arm mounts on any camera or handle that has a 3/8-16 threaded hole.

The EXD-1 cable (0.5 m /1.6 feet) KC 100-S, K4.65207.0 plugs directly into the CCU plug of most cameras, as well as into the REMOTE plug of the 235. The EXD-1 cable can be extended with the existing RCU-1 Extension Cable (20m/60 feet) KC-41, K2.47350.0. In that case the EXD-1 acts as a remote control that allows the assistant to control the camera and monitor the camera‘s functions.

The FF-5HD has a longer swing arm for better gear positioning with HD lenses. A lower gear ratio is also better suited for the smaller lens diameter of HD lenses and/or for cine lenses with a compressed focus scale. The FF-5HD can be mounted directly onto lightweight rods through a snap-on mechanism, ensuring simple and fast setup on the set. With an adapter it can also be snapped onto 15 or 19 mm support rods. The FF-5HD can be equipped with driver gears for all popular types of HD and cine lenses. The drive gears can be attached on both sides of the swing arm.

Since the FF-5HD shares the accessories of the ARRI follow focus FF-4, it can easily be equipped with a right and left focus knob, short and long focus whips and a focus crank. The follow focus body has been designed long enough so the same focus knob can be used camera left and right.

With the FF-5HD, the typical quality of ARRI camera accessories is now also available for video cameras.

The EXD-1 provides a left side display for the ARRIFLEX 235 or a right side display for the ARRIFLEX 435 Xtreme

External Display EXD-1 K2.55013.0Universal Mounting Arm 120K2.65020.0

The FF-5HD is a new follow focus that has been designed specifi cally

for video lenses or cine lenses with a small diameter barrel.

Follow Focus FF-5HD

Follow Focus FF-5HD with left hand knob K2.4762XX

Overview New Camera Accessories ZMU-3 MB-20 LFF-1 WRS EXD-1 FF-5HD

35 mm • • • • • • 16 mm • • • • • • Video / HD • • • • •

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Lightweight Follow Focus LFF-1

ARRI Offers Video/HD Accessories

The Lightweight Follow Focus LFF-1 is a compact and lightweight modular follow focus for hand held use. It has

been designed for small and lightweight cameras like the 235 or ARRICAM Lite, but can be used on any camera when

weight and size are an issue. The LFF-1 can be purchased either as a basic set or piece by piece.

At the 2005 NAB trade show, ARRI is launching a line of accessories that brings the

legendary ARRI robustness, quality and support to high end video cameras. Since

professional video cameras made their way into rental departments, professional

accessories had been requested and adapted to the respective needs.

The LFF-1 shines through its simple yet fl exible design. Its swing arm can be rotated a full 360 °, and the drive direction can be quickly reversed by fl ipping the unit over. That way, the LFF-1 can be used above or below the lens, on camera right or left, with the drive direction preferred by the assistant. Through the use of high precision parts, gear play has been minimized for a secure feel when pulling focus.

The LFF-1 can be mounted on many cameras in many positions. It attaches to a single 19 mm support rod via the Rod Mounting Bracket (RMB-1) or to a 15 mm support rod via the RMB-1 and the 15 mm Rod Reducer Sleeve set.

Compatibility with the focus knobs from the Lightweight Focus Drive (LFD) system opens up all the existing follow focus accessories to the LFF-1, like a left and right focus knob, fl at and beveled marking disks, the ‘L’ shaped focus crank, short or long focus whips, etc. A large selection of precision focus gears for many cine and video lenses is also available, including a special gear for lenses with axial movement of the focus ring.

Filling the need for a robust and modular compact matte box that can accept wide angle lenses like the Fujinon 4,5 × 13, the ARRI MB-20 can be attached to the camera in multiple ways, including a swing-away bracket and a clip on adapter, and provides two rotating fi lter stages for 5.65 × 5.65 fi lters. Complementing the MB-20, the new follow focus FF-5HD makes working with video lenses easier through a longer swing arm, a lower gear ratio and a selection of video gears. Both units can be used for video and for cine work.

In addition the software of the ARRI Wire less Remote System (WRS) has been updated to also support video camcorder start/stop and control of video lenses via the Universal Motor Controller UMC-3 or the Zoom Main Unit ZMU-3.

The ARRI Wireless Remote System can now be used on a variety of high end video cameras

Ident Numbers:

Lightweight Follow Focus Set for 19 mm (LFF-1/19) K0.60021.0

15 mm Rod Reducer Sleeve Set for SBR-1 K2.55020.0

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Compact Matte Box MB-20With the MB-20, ARRI is introducing the most fl exible compact matte box available to the fi lm and video production industry today. The MB-20 is an all-new fl exible compact wide angle matte box that accepts all HD zooms like the Canon 4.7 × 11 or the Fujinon 4,5 × 13, HD primes, small cine zooms and most cine prime lenses, includ-ing wide angle primes up to 14 mm.

The MB-20• has been designed for fi lm and video

cameras,• allows more mounting options,• accommodates a wider range of fi lters

sizes,• offers a minimum of two rotating fi lter

stages,• works with more lenses than other compact

matte boxes,• has the fl exibility to accommodate a wide

range of lens options,• and provides an upgrade path as wider

HD lenses come to market.

In addition, the MB-20 has the legendary reliability, robustness, quality and support of all other ARRI products.

Mounting OptionsThe MB-20 can be attached using 15 mm lightweight rods or 15 mm or 19 mm studio rods. In addition, it can be clipped directly onto the lens or attached to the ARRIFLEX 235 Side Bracket. Switching between these mounting options is quick and easy.

Modular Filter StagesIts modular construction allows the MB-20 to accept different fi lter stages, so it can be quickly confi gured for different applications.

• The basic compact stage holds two fi lters up to 5.65 × 5.65 or 5 × 6 and one 138mm round. 5.6 × 5.6 fi lters have gained popularity recently because they can be rotated even with wide angle lenses, are smaller and easier to handle than 6.6 × 6.6 fi lters and are less

expensive than comparable round fi lters.• All fi lters can be individually rotated• Rotation can be locked off• Combo fi lter trays accept different fi lter

sizes vertically or horizontally• New lenses and special features can be

easily accommodated with new stages for the MB-20

• A large selection of step down rings is available for different lens front diameters

Other Options:A selection of new fi lter trays allows the MB-20 Compact stage to accommodate smaller fi lters, including

• 4 × 5.65 fi lters mounted horizontally or vertically

• 5 × 5 fi lters• smaller round fi lters and various others

The MB-20 can be equipped with a top, bottom and two side fl ags.

MB-20 at a glance

• One matte box for fi lm and video applications

• ARRI reliability, robustness, quality and support

• Multiple purpose use: attaches to standard rods, lightweight rods or clips directly to lens

• All fi lter stages rotate

• Offers the use of top, side and bottom fl ags simultaneously

Ident Numbers:MB-20 set for lightweight support rods K0.60022.0

MB-20 set for 235 Side Bracket SBR-1 K0.60023.0

MB-20 set for 19 mm support rods K0.60024.0

MB-20 set for 15 mm support rods K0.60025.0

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Two Products – One Solution

Commercials, feature films and even elaborate-

ly produced TV shows are discovering relatively

new terms in the ever changing language of

cinematography – creative color timing and a

digitally perfected picture. More down to earth,

this process is simply called DI – Digital Inter-

mediate, meaning that creation and finish are

still on film, but everything in between is perfec-

ted electronically. ARRISCAN and ARRILASER are

the cornerstones of this process, together with the

ARRI Color Management System.

A R R I S C A N – A R R I L A S E RThe Circle is closed

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COMPARISON

LED White Light Source

long lifetime need to be exchanged after a certain time

spectral consistency change of spectral characteristic over time

cold light heat dissipation

precise closed limited controlloop control

ARRI designed CMOS Other sensors like CCD

parallel signal read-out partial read-out

flexible output modes through less flexible out- active-pixel-technology put mode

non-destructive read-out mode only single read- out possible

allows for ‘double exposure’and high speed ratesat minimum power dissipation

ARRISCAN – a success fu l new conceptWith the ARRISCAN, a completely new scanner technology was introduced into the market in July 2004. Its new approach was soon verifi ed out in the fi eld with real world demands. Over the last 6 months a lot of valuable feedback and suggestions from the fi rst customers was collected. All together they have scanned literally millions of frames for several prestigious productions including KING KONG at Weta Digital FX in New Zealand.

The reproducibility of the ARRISCAN’s results for the digital domain is highly appreciated, as are the superior characteristics in terms of image quality and color rendition. Among others, these features prove the advantages of the new concept over competitive products.

Revolutionary Light Source• First of all, there is the revolutionary light source: By using LEDs instead of traditional

‘hot’ white light sources the ARRISCAN is clearly superior. LEDs offer a narrow spec-tral emission of light. Every wavelength in red, green and blue is targeted to a corre-sponding spectral sensitivity of fi lm dyes. Additionally the LEDs are used in a so-called pulsed mode. This means the LED is just briefl y fl ashed as often and intense as appropriate or needed. The intensity of the LED is permanently controlled by a closed loop regulation and an eventual aging of the light source (which occurs over a time span of several of years) can be compen-sated automatically.

This allows not only the adaptation to sen-sitive archive materials, but also makes it possible to capture the full dynamic range of fi lm – all densities, no compromises, no pre-selections, no trouble in post production.

• Consistency over time is crucial to get the same output whenever rescans are done and also during the course of a project. Even though intensity control, long lifetime and cold light emission are already great advantages, the biggest advantage for LEDs is their spectral stability over time. This is a real time and money saver.

CMOS – the Eyes of the ARRISCAN• The second highlight of course is the new

CMOS sensor, specifi cally designed by ARRI. It is not a stand-alone unit that ‘just’ captures light – it offers advanced techno-logies for resolutions up to 6k and is the key to pristine image quality. Microscanning and multiple exposures capture the full resolution and dynamic range of fi lm.

The CMOS sensor in the ARRISCAN is optimized for speed and quality, and is free of artifacts (like blooming or fading, well known from other devices). Since this CMOS is an area sensor this also guaran-tees perfect geometry – there is no need to cope with distortions.

Rock Solid Precision• Instead of a capstan drive, the ARRISCAN

offers a rock solid fi lm transport and mechanical pin registration (similar to ARRI fi lm cameras) based on ARRI’s long expe-rience in handling fi lm. The 35 mm gate is optimized to tolerate fi lm shrinkage and the demands of non-standard fi lm dimen-sions and splices. A new 16 mm gate is ready and beta-tested.

ARRISCAN fi lm transport

• 2-, 3- and 4 perforation positioning

• mechanical pin registration with digital motor control for constant fi lm safety

• super fast change from 35 mm to 16 mm (and vice versa)

• ARRI’s fi lm transport know-how

GLOSSARY

Microscanning | The CMOS sensor is shifted in sub pixel units by means of piezo actuators, and additional sub-images are grabbed at intermediate positions.

CMOS vs. CCD | The light sensitive devices in other commercially availbale film scanners are either CCD line sensors or Avalanche diodes (for flying-spot-systems). CMOS sensors offer a different kind of signal processing: The photo-induced charge is not transferred as in a charge-coupled devices (CCD), but transformed to a voltage and amplified right in the respective pixel (‘active pixel’). As a consequence, the sensor element can be read out multiple times without clearing the already captured photo information – this feature is also utilized for the double exposure mode.

Double Exposure | Each frame of the film is ex-posed twice with different exposure levels. Both of these images are digitized and composed to one output image. This method is used to cap-ture the full dynamic range of a film frame and also ensures excellent signal quality (signal to noise ratio). The output of this method is a true 16 bit image file that can be stored as TIFF or converted to 10 bit log file formats like Cineon.

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• An in-house programmed Linux software with an SQL database rounds up a con-sistent workflow and takes care of saving and restoring jobs. Version 1 already answered the needs of the industry in an unparalleled way. Since January 2003, intensive research with our clients clearly showed the path for today’s needs in the DI workflow. The new software for the ARRISCAN is a very comprehensive pack-age to truly fulfill all needs like job-list handling, IP calibration, EDL importer, keycode functionality, auto-calibration of magnification, etc.

Elfi Bernt, Product Manager ARRISCAN

Customers already using both workhorses – the ARRISCAN and the ARRILASER – are:

DryLab / Oslo

Weta / New Zealand

Mikros Image / France

Vision Globale / Canada

HIT / Korea

Tokyo Labs / Tokyo

ARRI Digital Film / Germany

Mikros Image / France:

“The ARRISCAN offers an outstanding image quality that has not been available with older technologies before. Mainly there are two good reasons for this – a very high resolution of up to 6k perfectly matched by the capability of adapting the scanning method to get really all the information that a film can hold. This is clearly the result ofthe long-term collaboration between leading European institutes active in the archiving and restoring field and ARRI. And on the other side there is this ‘calibrating’ approach that guarantees for the first time a constant colorimetrical and geometrical quality and stability for film scanners.

Almost needless to say that the ARRILASER had changed the way we treat film today. Being a long-time user of this machine, we were able to see the great competence of the ARRI staff in this field. To offer a complete chain for input and output now means a great comfort for us and also the security for our customers to bring forth the best in their images.” Gilles Gaillard,

Head of Digital Cinema, Mikros Image

The ARRISCAN and ARRILASER Crew at Mikros Image

Weta D ig i ta l FX / New Zea land:

“After months of evaluation tests, we decided on the ARRISCAN as our next generation film scanner. The scanning speed was an exiting feature but not if it compromised the image quality. Our tests showed there was zero compromise.“ Pete Williams adds: „Working alongside our existing ARRILASERs the ARRISCAN now gives us a fully integrated scanning and recording pipeline.”

Pete Williams, Head of Weta Digital FX,

Scanning and Recording

The ARRILASER Team at Weta who worked on THE LORD OF THE R INGS trilogy from left: Roman Gadner, Mohan Ramachandran, Pete Williams, Nick Booth

F i rs t Users on the

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ARRISCAN

The concept of the ARRISCAN already con-vinced the jury of the Bavarian Society for Advancement of Film Technology (FGF) for innovative and trendsetting products. Coming from all parts of our industry, the highly pro-fessional jury honored the ARRISCAN with a Cinec Award. Dr. Johannes Steurer, Head of the business unit DI Systems and Dr. Hans Kiening (ARRISCAN project manager) – who appeared appropriately attired for the Oktoberfest season in the traditional Bavarian Lederhosen – accepted the award.

HIT / Korea:President Kim of HIT says, “I am happy that my decision was proven right and I believethat we will get and stay in a predominant position in the market over the Imagica, which has been dominating the market so far and also the Filmlight which was introduced just before ARRISCAN.“

Vince Kim, one of the ARRISCAN operators, says, “Before installation, we were question-ed with anxiety from many people in the industry and there were a lot of critical rumors. However, today I am very happy with ARRISCAN because of the quality of the scanned images, and the reliability and ease of operation. The ARRISCAN has user friendly inter-faces and seems to be a maintenance-free machine!”

Tokyo Labs / Tokyo

Tokyo Labs has purchased the ARRISCAN in March 2005, right after an Open House Show initiated by ARRI's local dealer NAC.

“Tokyo Labs is more than happy with the speed of the ARRISCAN and it's image quality especially considering sharpness. They were able to introduce major improvements in scan job turnaround time and clients have already indicated that the scan quality that is provided now by Tokyo Labs has greatly improved.“

K. Endoh, nac Image Technology incorporated on behalf of Tokyo Labs The first day photo of AS10 at Tokyo Labs with Mr. Kinoshita (center) and his digital team.

Vince Kim, Senior Operator, Song Min, Operator and Roman Gadner, ARRI Application Support (f.l.t.r.)

Cinec Award for the ARRISCAN

ARRISCAN Unique Features

• LED illumination for color consistency over time – no spectral aging

• fast scanning speed: 1 fps in 3K –> 2K and 4 s/frame in 6K –> 4K

• Multi-Unit Consistency: Scan to Scan & Unit to Unit

• mechanical pin registration for image steadiness

• 35 mm & 16 mm (optional)

• Workflow with EDL support, Keycode reader

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With the full dynamic range transferred into the digital realm the colorist in the post production has a maximum of flexibility in the creative field, as well as in technical aspects, but needs to be sure to get all this work and information through to the final result. The ARRILASER is able to output digi-tal images even in 4K quality at an unsur-passed speed of 2.9 s/frame – no compro-mises in resolution need to be made.

ARRILASER – The industry standardUtilizing the powerful light sources of the ARRILASER, the full contrast coming out of the grading session can be transferred to the intermediate film. To make sure that all the colors of the grading session will show up identically in the film projection, ARRI offers the Color Management System (CMS) in the form of preview LUTs for most of the available digital grading systems – a com-prehensive system that covers the needs of input and output of film for today’s Digital Intermediate workflow.

Martin Parsons, Moving Picture Company, UK

As one of the early ARRILASER customers, he can confirm:“Once again the ARRILASER recorders have provided top quality, reliable outputs for high-end creative work at The Moving Picture Company (MPC). We have now shot out literally millions of frames from MPC‘s film visual effects department, digital intermediate lab and commercials. The ARRILASER recorders have always been extremely stable with next to no downtime and importantly always provide the highest quality images that MPC demand.“

Martin Parsons (second from left) and the ARRILASER team at MPC

Film recording is always the last link in the chain, and time schedules usually get tighter and tighter towards the end. Therefore it is extremely important that once the recording has started, it just runs through – reliably and with a proven quality. This is only one of the ground-breaking concepts that has made the ARRILASER an industry standard worldwide over the last 5 years.

Sibylle Maier

ARRILASER Workflow Advantages:

• Best image quality to preserve the complete dynamic range of film throughout the complete input- and output-line.

• Job and Queue Management:Easy operation for job setup and film handling

• Highly efficient integrated image processing

• 2000 ft magazines

• High throughput with maximum image quality

• Reliable quality

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The new ARRILASER HD uses camera negative fi lm stock to record on. This fi lm material adds grain to the output in a very natural way. Images coming from digital acquisition will automatically get the desired and precious fi lm look. As a part of this comprehensive bundle, the ARRI Color Management System with its special profi les for camera negative ensures that the video-tape will be adequately reproduced on fi lm. A very easy job setup, all necessary equipment for the recorder calibration (i.e.a densitometer), exact description as well as workfl ow and application guidance offered by ARRI make the ARRILASER HD a

The new version of the ARRILASER relies on the proven quality of the

ARRILASER family, but provides a novel solution not only for video

post production houses that are looking to enhance their product

range, but also for recording operations that need a separate machine

to film out video, animation work, or to give HD-productions this

special film-look – all of this at a very reasonable price.

ARRILASER HDLaser Recording at a CRT Price – The Perfect Solution to Shoot out HD-Material on Film

New Member of the Family ARRILASER HD Features:

• Records only on camera negative film + sufficient dynamic range for HD acquisition and /or HD post production + moderate film grain structure generates a film look

• Same image quality as the other ARRILASERs on camera negative

• Same recording speed as the fastest ARRILASER + 1.9 s/frame for HD recording

• HD resolution fully supported + HD images of 1920 pixels can be recorded without rescaling

• ARRILASER Interactive Configuration Editor (Alice) included + With image viewer for easiest operation

• ARRI Color Management System (CMS) for camera negative included + perfect color reproduction for HD + easy operation with included densitometer and color control tools

• Quickstart function + standardized jobs can be started with just one button

• 1 week application guidance included

• Easy operation and reliable output quality by standardized workflow guidelines

• Upgrade or exchange paths to other ARRILASERS models

perfect product, even for newcomers in the recording business.

However, the ARRILASER HD still delivers the well known quality, records at the same speed as the other ARRILASER models and most importantly, it uses the same techno-logy. The only difference is that lasers with reduced power can be used, since camera negative fi lm has a higher sensitivity com-pared to intermediate fi lm stock – this is the reason why the ARRILASER HD can be offered at a price comparable to CRT recorders.

Sibylle Maier

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INTO THE BLUE, an exciting thriller set on the ocean and underwater at exotic locals including the Bahamas and the Cayman Islands, was directed by John Stockwell (BLUE CRUSH) and stars Paul Walker (THE FAST AND THE FURIOUS) and Jessica Alba (HONEY). Cinematographer Shane Hurlbut (CRAZY BEAUTIFUL) shot the film with an eye toward capturing every detail of the lush environments. The film also offers extensive underwater cinematography by Peter Zuccarini.

From the outset of production it was clear that this film was a perfect candidate for digital intermediate color correction rather than traditional film timing. The vast amount of location shooting presented the produc-tion with “some very difficult lighting and color issues,” says Bruce Markoe, MGM‘s

Executive Vice President of Feature Post Production. “Doing a digital intermediate gave us the opportunity to enhance the images, smooth out areas of concern and balance the picture to a much higher degree than would have been possible using tradi-tional timing.”

“Water can photograph differently depend-ing on reflections and angles,” Markoe says. “It can look blue one minute and gray or brown the next.” And the underwater shots, he adds, weren‘t done in a tank where the filmmakers could maintain total control. One of the keys to creating the excitement in the film came from the realism that only true underwater photography can offer. “They shot in the ocean and again it was extremely important to be able to balance out the lights and reflections and deal with

the contrast issues inherent in underwater photography. We wanted to make a film that was consistently beautiful. It was a very critical thing for us to be assured that the sky and the water and the actors‘ skin tones would all look consistently beautiful.”

LaserPacific scanned the original Super 35 format negative and then colorist Frank Roman handled all the elaborate work in-volved in color correcting the film. During the process, the film was also blown up digitally from the Super 35 size it originated into the anamorphic wide screen format for theatrical presentation. A digital blow-up saves the generation loss inherent in per-forming this step the more traditional way using an optical printer.

When this work was completed the results were then filmed out using one of LaserPacific‘s three ARRILASER recorders. “As with all of our digital intermediate work,” notes Doug Jaqua, Vice President of Engineering, “the efforts and talents of the filmmakers and colorist in the suite can

When the makers of MGM‘s sumptuous summer flick, INTO THE BLUE,

wanted a facility to do their digital intermediate work they chose LaserPacific,

Hollywood. LaserPacific has been a technology trailblazer in the television

world since the early 1980s, and has, in the past four years, grown into a major

player in the realm of feature film finishing. LaserPacific became a wholly

owned subsidiary of Eastman Kodak in 2003.

LaserPacific's

ARRILASERSystem

LaserPacific uses ARRILASER

Integral to Digital

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only be truly realized with the finest film recording.”

Fortunately, Jaqua says, the company‘s ARRILASER film recorders were up to the task. “In terms of all the things involved in a DI workflow,” he says, “the ARRILASER is really a workhorse. It does exactly what you think it‘s going to do. All three of our ARRILASER systems function beautifully and run in lockstep with one another. They are reliable and they provide repeatable results, which is absolutely necessary. If the focus changes one day or the geometry changes, then the filmmakers couldn‘t have the confi-dence they‘d need.”

“The ARRILASER outputs frames lickity split,” he adds. “We can record at 2 - 4 seconds per frame with confidence that we would always be able to deliver film to the clients that meet their stringent requirements.”

LaserPacfic’s history with the ARRILASER goes back five years to when the company was first planning to offer digital inter-

mediate services, carefully analyzing film recorders knowing that they must be able to offer clients top-notch film recording to become a serious player in the future of DI.

“ARRI,” says Jaqua, “was really the first com-pany to introduce a film recorder that made sense for us.” In addition, LaserPacific decided to utilize ARRI’s color management systems and it’s graphical user interface, known as ALICE. “ALICE,” says Jaqua, “is a wonderful thing because it lets you pre-visualize what’s going to happen on film. It helps reduce the questions before you actually go through the process of record-ing, processing and printing your film.”

Jaqua notes that the ARRILASER system’s ability to alter the dot pitch of its output makes it the only laser recorder capable of shooting at a resolution of 2048 across the Academy frame.

“Other systems,” he elaborates, “give you 2048, but that is across full aperture. That’s something that many people don’t know.

The actual amount of resolution they’re really getting in the picture area is more like 1828. The ARRILASER lets you leverage 2K into the active image area, and that also means better resolution.”

More and more clients today want to be able to work in 4K for all or part of their shows, and LaserPacific has been ready to service that request since its first ARRILASER was up and running. “We expect to end up in the 4K world because we can,” Jaqua says, “so it will become the de facto stand-ard and ARRI positioned itself early to allow for that option. Because we can output at different resolutions, including true 4K, we can give clients the ability to experiment and see for themselves exactly what works best for their needs.”

Jaqua admits that “film recording isn’t one of the sexier aspects of movie making; it’s very scientific and extremely exacting, but it’s also a very important part of filmmaking today. It’s actually a fairly gutsy business to be in,” he adds. “In some ways we have to be the gatekeeper of the image. We are translating digital information into densities on the negative and you’ve got to be 100% sure that the machine’s going to do what you think it’s going to do. Repeatable results are super important, day to day, job to job. But if you are lucky enough to get to sit in the screening room and hear the ‘oohs’ and ‘aahs’ when the image is projected, that’s when you know that it’s all worked.”

ARRI CSC Florida supplied the complete camera package for INTO THE BLUE com-prising 3 perforation ARRIFLEX 535B and 435 cameras.

Jon Silberg

Doug Jaqua, Vice President of Engineering

for all Film Recording on MGM Feature INTO THE BLUE

Intermediate Process

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KISNA, THE WARRIOR POET is a technically highly acclaimed film in India. One of the reasons for this is the stunning images and the overall technical excellence. This is attri-buted to the great cinematography by Ashok Mehta and the careful Digital Intermediate Process handled by Prasad EFX, Mumbai.

KISNA is the story of a young Indian, played by Vivek Oberoi, who defies his family and shields a British girl – his childhood friend Catherine (portrayed by Antonia Bernath) – from an enraged mob of nationalists. Catherine happens to be the young daugh-ter of a ruthless British Deputy Commissioner (Michael Maloney). The Indians attack the commissioner‘s house and KISNA takes it upon himself to save Catherine from their clutches.

Subash Ghai, the director of KISNA, is one of India’s leading filmmakers and has al-ready been responsible for many box office hits. About KISNA he explains “The driving element was to do something totally differ-ent from what I have made before and this

interesting story that I heard from a young British boy – these were the inspirations for KISNA. The boy’s grandfather had been a deputy collector during British Raj and had fond memories of his Indian Staff and col-leagues. That let me think that even though we have grown up disliking the British, there still was a time when they mingled with our people. That is how KISNA was born.”

The film was shot mostly outdoors in historic, picturesque and stunning locations that only India could offer, including Deoprayag, Rishikesh, Haridwar, Ranikhet, Mukteshwar and New Delhi. The indoor shots were done in studios in Mumbai. DoP Ashok Mehta used the ARRICAM system with Hawk Lenses, a Phoenix Crane, flicker free ARRI Lights and shot the project on Kodak 50, 200, 500 ASA Vision raw stock. Regarding KISNA he remembers: “I thoroughly enjoyed working in this project. When we did the color timing at Prasad EFX I was really amazed at the vast potential and creative freedom the DI route offered. I got whatever I had in my mind.”

The Making of KISNADigital Intermediate in India

DoP Ashok Mehta

DoP Ashok Mehta, Director Subash Ghai with members of the production team

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“I enjoyed working on the ‘Lustre’ very much. It is not only a new tool for color cor-recting, but it is also designed specifically for DI process and enables me to keep the ‘data’ looking like film – something both of us, Mehta and myself, were keenly interest-ed in. It also gave me the tools to fix any consistency problems and to maintain the viewers attention to the story. DI allowed me to take the image to the next level. For instance, I was able to do a much better work on the composites of our fire shots, where I could treat the background sepa-rately. When we put the shots together, everything matched seamlessly. This has been a big problem for composite shots in the past. Overall it was a very good pro-ject to be involved with and I really enjoyed working on KISNA.”

Ken Metzker also adds: “I have a special praise for the ARRILASER film recorder that we used on this project. At Prasad we have come to appreciate the ARRILASER’s

consistency and low maintenance. We are really impressed how it maintains the in-creased contrast ratio of the film. For most of the DI projects we definitely do want to keep the film look. In fact many DoPs and directors have told us that they do not want anyone to know that it is a DI project. All they want is the consistency and control of DI.”

KISNA has been highly acclaimed for its technical superiority by the media in India. Film industry professionals including techni-cians and leading stars have already been calling up Ashok Mehta and Ken Metzker to congratulate them on the excellent work that has gone into this project.

Mohan Krishnan/Sibylle Maier

Ken Metzker Colorist for KISNA at Prasad EFX adds: “KISNA was an excellent project to work on because of three factors: Ashok Mehta, is one of India‘s finest cinemato-grapher; the very stylized color timing was very interesting, and above all I was able to utilize the DI process to color time the film to bring forth its best qualities.”

“Ashok Mehta was a great DP to work with. With his years of experience he was able to communicate where he wanted to go. With this I was able to spend more time perfecting the matching and working on shots that needed more effort – such as some river shots, which definitely needed a conversion for the muddy water to a green/blue tone, depending on the time: Neutral we used for the present, sepia for the past, and blue for the last part of the film, as the story becomes more tense. This stylized color timing greatly aided in emphasizing the emotions and to move the story forward. I am very happy with it.”

DoP Ashok Mehta Ashok Mehta shooting in New Delhi Director Subash Ghai (left) and DoP Ashok Mehta

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Images turn digital: ARRISCANThe level of quality is primarily increased by an improved film scanner. The loga-rithmic 10 bit scans correspond with the actual density of the film stock and cover the complete dynamic range of the film negative. These high-quality images are not converted: they remain without any compression throughout the whole process. The high quality is based on images scann-ed at 3 K or 6 K. As a clear advantage this results in better image sharpness. The image data is then stored and archived on hard drives and backup copies.

New Colors: Digital Color TimingThe digital platform “Lustre“ by Discreet Logic is an open, resolution independent system, which allows mixing and matching of different formats and materials. In addi-tion to all the possibilities of a modern color timing it offers new features like “Power Mattes“, animated masks, which can be created quickly and so far have been only available in digital compositing.

Useful Preparation: the ‘Color Guide’For a typical 90 minute feature film project it takes about 8 to 9 weeks from scanning

to delivery of the final negative. This includes the creating of a ‘Color Guide’, which is done once the scanning has been completed. The ‘Color Guide’ represents a visual guideline for the color scheme and look of the film, not unlike a moodboard. It contains every scene of the film, each scene as master and 2 to 3 close ups from different angles. This is approximately 15 minutes of film total. The ‘Color Guide’ is assembled in about 2 weeks with the creative input of DoP and director. Aside from time considerations the advantage is clear: the Color Guide helps to tell the film’s story.

The color impression between the scenes can be controlled in great detail, and thus the color scheme can be prepared and implemented very accurately. From this 15 minute long Color Guide a recording on film is made for theatrical screening. That way a ‘release print’ with the essential scenes is available, long before the final release.

Precise control even before the work beginsRetouching the images is can be done by several operators on multiple systems, using

The circle is now complete

The complete chain of high definition

post production takes place nowa-

days in the digital realm, from editing

and color timing to the creation and

integration of visual effects and titles.

The key to accessing this potential

is the Digital Intermediate, a superb

process in terms of both quality and

creative possibilities. “Shooting on

film“ as the classic way of capturing

images is the last area where analog

technology is superior to digital – as

has been repeatedly proven in tests

shots and image analyses. For this

reason the first digital ARRI film-style

camera, the ARRIFLEX D20, is target-

ed towards high-end TV productions

rather than feature films for theatrical

release.

The Digital Intermediate

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so-called ‘proxies’. These are images in the size of about 1K, allowing for fast process-ing. Thanks to the optimized retouching tools all the steps done on the low-res images are available as metadata, which is then applied to the high-res images up to 4K. At ARRI Digital Film, proprietary software is used to create a ‘cut file’ from the AVID EDL (Editing Decision List). The cut file is a EDL specifically configured to map the scanned images to the ‘Lustre’. The AVID take-names remain unchanged. For double-checking, the AVID playout is imported into the Lustre, where in split screen mode it can be compared with the cut file.

Color timing and color schemeIn digital grading it makes sense to distin-guish between the following three steps:In step 1, the primary grading, RGB color values, so-called printer lights, are deter-mined. This is a process similar to the clas-sic film lab color timing. Thus there is no need for the DoP to learn a new terminolo-gy. The only difference to the film lab: the process is faster. The DoP asks for some-thing like “add half a point blue“, and right away the result can be seen on monitor. In

addition, the contrast of the individual shots is matched at this step already.

Step 2 brings in the Color Guide, meaning the established look is applied to the pri-mary grading and possible mismatches are corrected right away.

Step 3 is the fine tuning: image areas are defined with the help of keying and so-called ‘shapes’, a tool for masking which is common in digital compositing. It is also possible to import digital mattes created externally. Specific effect filters can be applied to the whole image or to defined parts of it, depending on the customer’s requests. Sharpening or softening can be added, and it is even possible to create a virtual focus pull.

Once the grading is completed and the result is as desired, a 10 bit log master is rendered (presently at 2K) and subsequent-ly archived. As the end result the complete feature film is now available in best possi-ble quality for film recording. The linear HD master can be derived from it as well, if necessary at a later point.

Working EfficientlyIn addition to the grading tools described above, the system offers the possibility to scan and pan, which even works in real time when in 2K mode. Features for fast zooming, rotating and transforming are provided for easy repositioning of each scene. The fast and reliable tracking func-tion is essential for stabilizing the frame and for working with travelling mattes.

Switching from 1K to 2K is possible at any time, as is replacing the EDL quickly and efficiently. The final color timing is done literally while the final edit is still being worked on.

Another feature of the ‘Lustre’ system allows working based on scenes, which means that scenes of the same color scheme can be directly modified and compared to each other, independent of their position in the timeline of the program. This is very helpful e.g. in scenes with several charac-ters in dialogue where continuity needs to be maintained between these characters’ different color schemes.

Workflow

DoP Jürgen Jürges

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What you see is what you getFor a long time it was impossible to match the image on a monitor to the image on screen. Thanks to the proprietory ARRI CMS 3D LUT (look up table) it is now pos-sible for the first time to exactly render the look of a release print on a monitor or a 2K digital projector.

A DI Locpro film projector with brightness and color temperature according to the SMPTE norm is available in the same screening room for double checking with the digital dailies.

Use and UtilizationFrom the digital master several multiple negatives are recorded. Now the final program is on film again and on one uncut negative, since all editing was already done in the digital realm. This negative can be used to strike 800 to 900 release prints – an increase in image quality for the audi-ence, thanks to the ARRILASER.

To create the HD master used for all TV and DVD releases, an additional scene-by- scene grading is done. This grading con-siders the fact that at a home screening there is more ambient light, and compen-sates accordingly to maintain the look of the theatrical release print. Finally, the TV release tape is created from the HD master in a tape-to-tape transfer on telecine. This way all market segments gain from the increased image quality of a post produc-tion done in the digital realm.

Prof. Jürgen Schopper/ Florian “Utsi“ Martin

DoP Jürgen Jürges

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

The ARRI Cinema on Munich’s Türkenstrasse was filled to the last seat

when the ‘Digital Intermediate’ panel took place on February, 7th 2005.

The future of color grading for theatrical releases – this was the central topic

of this event. The evening was hosted in cooperation with ARRI by the

German associations of cinematographers (bvk), directors (BVP) and

producers (BVP), whose areas the new technology mainly affects.

As the leading facility in technology and post production, ARRI presented not only the “hottest topic“ in the post production of theatrical productions to the audience of film makers, but also showed the newest techno-logy, in parts live from an editing suite, and staged an open panel discussion with pro-fessionals talking about their experiences. The event was presented by Elfi Bernt, Product Manager Digital Systems at ARRI.

Following an introduction by ARRI’s Man-aging Director Franz Kraus there was a presentation of “Lustre“, Discreet’s new color grading system, which was used for the color grading of LORD OF THE RINGS, and which now was employed at ARRI for the first time on Helmut Dietl’s new feature VOM SUCHEN UND FINDEN DER LIEBE (ABOUT THE LOOKING FOR AND FINDING OF LOVE).

First of all Henning Rädlein, Head of ARRI Digital Film, introduced the post production team working on this film and then gave a brief introduction to workflow and the applied technologies, starting with the ARRISCAN, to “Lustre“ and the ARRILASER. The tremen-dous variety of creative options in digital color grading was demonstrated on work samples and clips from the film.

After that, a panel of industry professionals shared first hand experience and advice: director Helmut Dietl, producer Norbert Preuss and the cinematographers Martin Langer and Tom Fährmann talked about their experience with Digital Intermediate and about what they expect from this system. These talks, together with the following lively Q & A, gave a thorough idea of the crea-tive options and the advantages and dis-

for many films to employ digital color grad-ing. The analog route is still an excellent technique, which has proved itself over decades.

In a direct line from the Lustre suite straight to the ARRI cinema’s screen, color grader Florian “Utsi” Martin demonstrated the daily working routine with the new digital tech-nology. He used samples from the short LA MER by Frank Griebe and Nadja Brunck-horst to show impressively how fast and easy it is to modify parts of the image and to create a completely new look. Florian Martin is one of the profound experts on the Lustre system. He worked with it on all three LORD OF THE RINGS episodes in New Zealand. After completion of VOM SUCHEN UND FINDEN DER LIEBE (ABOUT THE LOOKING FOR AND FINDING OF LOVE) he currently works at ARRI on TRISTAN UND ISOLDE, an inter-national feature film project with 20th Century Fox as executive producer. His know-how also put him in charge of training the ARRI color graders on the Lustre.

The event was concluded by a well attended get-together in ARRI’s Studio 2.

Jochen Hähnel

advantages of analog versus digital post production. Because digital technology will also become increasingly influential in the laboratory, Josef Reidinger, head of the ARRI film lab, was on stage as well. In combina-tion with a primary color grading version of the Discreet Lustre and the ARRISCAN it will be possible in the future to offer digital opticals like fades, motion events, frame duplication etc. digitally.

In one point all experts agreed: in spite of the tremendous potential of DI the DoP still needs to deliver good work, because digital post production mustn’t become just a tool for fixing negligence in shooting. “Don’t be sloppy on set. Remember: whatever is not on the negative can’t be conjured afterwards,“ said Helmut Dietl. “DI is not for trouble shooting, it is for giving each film the perfect finish – a bath in milk and honey, if you like. That’s the way these new tools should be used.“ And the director admits that “once you work with Digital Intermediate, you will come back again and again – you’ll get addicted.“ Like producer Norbert Preuss and the two cinematographers on stage Dietl clearly warned that one can easily be misled to “play around“ by the endless possibilities of DI. Apart from that it isn’t even necessary

Digital Intermediate Panel at ARRI

Henning Rädlein, Helmut Dietl, Josef Reidinger, Prof. Slansky, Franz KrausFlorian “ Utsi“ MartinProf. Jürgen Schopper, Klaus A. FeixJosef Reidinger, Henning Rädlein, Helmut Dietl,Norbert Preuss, Martin Langer, Tom Fährmann, Elfie Bernt

Page 54: ARRI News Magazine NAB Issue 2005

Ceramic technology provides an

interesting solution for professional

lighting designers. Specifi cally,

ARRI fi xture designs using this tech-

nology, dramatically reduce trans-

mitted heat; provide 3200K light,

offer long lamp life and draw

minimum power.

The popular ARRI X-Light fi xture,

with its unique refl ector

confi guration resulting

in a 130 degree hori-

zontal beam spread,

optimizes Ceramic lamp technology.

Add the option of a new ARRI acces-

sory and design applications are

further increased.

ARRI Ceramic fixtures –

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Page 55: ARRI News Magazine NAB Issue 2005

pure l ight engines!

The Ceramic Intensifi er is constructed as a fl ared mirrored box. This pattern creates additional light output as a result of multi-ple refl ections. Utilizing special computer simulation tools, ARRI found just the right scheme to achieve maximum light gain. Now, a fi xture using a 250W Ceramic lamp is comparable to a fi xture using a 2000W halogen lamp. An 87.5% power savings! Remarkably, this design matches the light output and light fi eld characteris-tics of an ARRISOFT 2000.

The Intensifi er is attached to the fi xture by simply sliding it in the accessory slot of the ARRI X Ceramic 250. Additionally, popular front diffusion cloth and fabric grids are attached to the Intensifi er’s front lip by Velcro for further light control.

The ARRI X Ceramic 250 with the Intensifi er was recently chosen for a newly built news studio in New York City. This fi xture was

chosen on behalf of its long lamp life of 4000 hours resulting in a savings of relamping labor by a factor of 10!

Additionally, ARRI Lighting has devel-oped a Fresnel style Ceramic fi xture, which has been used as a test fi xture in recent projects. Modeled after the ARRI 2000 tungsten Fresnel design, the Studio Ceramic 250 evolved into an optimized and balanced lamphead. User benefi ts are similar to the ARRI X Ceramic 250 design: lamp performance equal to a 1kw halogen lamp, cooler housing temperatures, lower power con -sumption, higher lamp life, ‘hot’ restrike, integrated ballast, 3200K color tempe-rature, and a Color Rendering Index >90.

ARRI Ceramic Technology – a new choice!

Timo Müller/John Gresch

Intensifi er for ARRI X Ceramic 250

Intensifi er with fabric grid

ARRI suppor ts Showlight 2005

‘Showlight 2005’, the renowned trade -

show for theatre and event lighting pro-

fessionals, will be held from May 22nd

to 24th at the Prinzregententheater in

Munich. Parts of this event, namely the

areas AV-Media and exhibition lighting,

are sponsored by ARRI, among others.

Apart from product presentations held by close to 40 companies and manufacturers, ARRI introduces its range of theatre lighting and shows new technologies like the ARRI X Ceramic 250. Experts from all over the world will hold lectures on lighting topics. Scheduled are lectures by Rick Fisher, Richard Pilbrow, Durham Marenghi, Ken Billington, Per Sundin, Nick Schlieper and Roger Simonsz, to name just a few.

HD projections, which are also supported by ARRI, will be complemented by a live demonstration of the newest technology, the ARRIFLEX D-20. Further informations about the trade show and other related event canbe obtained at www.showlight.org.

Sven Beyer

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ARRI Lighting Solutions (ALS)

develops perfect solutions for fi lm

and TV studios in close cooperation

with the customer. The ALS team

provides individual consultations,

both national and worldwide, and

supplies complete packages.

Obviously the spectrum of ALS goes

far beyond sole lighting solutions. As

part of the ARRI Group of Companies

ALS is backed up by ARRI’s extensive

know-how in all areas.

A recent project was commissioned by WDR, one of the most important public broadcasting stations in Germany. The pro-ject team in Berlin was asked to replace the complete lighting and studio equipment in WDR’s Studio C with new state-of-the-art systems. Re-lighting of the new studio has to be easy and fl exible, with as little staff as possible – that was one of the broadcasting station’s main requisitions for this project. Among others, the MORGENMAGAZIN (Morning Show) live broadcast is produced in this studio in a two week turnaround, from Monday to Friday. Therefore the Berlin team had to set up a semi-automatic lighting ceiling, which will be extended to full-automatic in a second step.

For this studio ALS planned and supplied not only ARRI Studio lampheads with all cables and boxes, but also took care of distribution, lighting control and dimmer boards for 144 circuits, telescope arms and controller for the hangers. The equip-ment further includes a power trail system for 90 movable hangers and their control-lers. In short: planning, set up, project management – the whole package came from one supplier.

Now the telescopic hangers can be controlled very comfortably thanks to a

ARRI Lighting Solutions, Berl in, Sets Up WDR Studio

dynamic, topographic representation of the studio on the control board. Up to 200 lighting settings can be stored for later use.

The even light distribution of ARRI Lighting, which is confi rmed in tests, was the deci-sive factor for WDR to select it for the new studio. Studio C is now equipped with 50 ARRI Studio 1000, 40 ARRI Studio 2000 and fi ve ARRI Junior 650. An additional 20 ARRI CYC Doubles are provided for back-ground lighting and the lighting of curtains.

Not just the lighting equipment was re-placed, but new studio gear was set up as well. It consists of telescopes, a rigging system with movable hangers and a system of horizontal trails.

Once again this commission by a major public broadcasting station was evidence to the know-how of the latest ARRI Group member. And projects in the Middle East and Eastern Europe are prove to the inter-national experience of the ALS team, realizing studio projects around the world for ARRI.

Contact:Phone + 49 (0) 30 678-233-0Fax + 49 (0) 30 678-233-99

Norbert Wunderlich

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Famous Italian Sunday afternoon showequipped with ARRI light and ARRI X Ceramic

BUONA DOMENICA is one of Italy’s TV productions with the highest share

over the last years. The new editions of this sunday afternoon Canale 5

entertainment program are very successfully staged in the Mediaset Elios

studios of Rome by DoP Massimo Pascucci, the well-known lighting designer

Gianni Mastropietro and scenographer Mario Catalano.

“The lighting project has started several months before the actual beginning of the production, with an in-depth study of different types of lighting systems, in order to reach a new and unique atmosphere,” explains Massimo Pascucci. However, his collaboration with Gianni Mastropietro already began over 15 years ago, when he still was one of the students of this Italian master of lighting, who was also responsible for many famous TV programs.

For BUONA DOMENICA the decision was made to integrate the lighting system as visibly as possible into the scene. ARRI lumi-naries were not only considered the ‘best looking models’ for this purpose, but also offered some important technical features for this show: They proofed to be very fl exible with the power distribution, are very effi cient in respect of their dimensions and are good looking and sturdy at the same time.

The studio has also been designed for maximum fl exibility and fast changes of the scene: from talk shows to dance shows,

musicals, stand-up comedies and theatrical performances – everything should be possible. To create a charming and diffused light on stage, ARRI STUDIO 1000 W Fresnels are used. For special lighting effects and to create an optical center, a circular truss with ARRI JUNIOR 300 W Fresnels was placed over the middle of the main aluminium structure.

One of the requests of Maurizio Costanzo, the host of the show, was to create an atmosphere like the one for a live talk show. Consequently scenographer Mario Catalano created the stage like an arena where the speaker is in the centre of the studio and the audience all around. For Pascucci this is one of the keys to success for this produc-tion: “A sunday show has to catch the whole family. And the idea to recreate an arena keeps the speaker and all the persons on stage surrounded by the audience – just like members of the family.”

However, one of the really new highlights – in the truest sense of the word – is the ARRI

X 250 Ceramic. Massimo Pascucci had an easy game to convince the host Maurizio Costanzo to use them to light the area where he interviews a lot of the celebrities from cinema, TV and politics: Costanzo was mainly impressed not by the performance of ARRI X 250, not by the light output, but very clearly by the low heat emitted from the luminaries – truly no sweat in front of the cameras.

Stefano Di Martino / Chiara Riboldazzi

BUONA DOMENICA

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Dana Brown stepped up to the task of cre-ating a movie around the race after direct-ing the surfing documentary STEP INTO LIQUID. To oversee the cinematography for the shoot, which was to take place live dur-ing the 36th-Annual race, Brown enlisted Ward, a seasoned DoP and race enthusiast who himself won the hotly contested contest on a motorcycle in 2002.

With first-hand familiarity of the race envi-ronment, Ward knew he would need multi-ple production units, both on the ground and in the air. The difficult terrain meant support vehicles could not be taken all the way to each shooting site; the different teams would have to hike across desert and mountains with their gear – and be able to operate the equipment self suffi-ciently, without any failures or glitches, in the remotest of areas. These requirements quickly led to the decision to shoot the 32-hour race on 16mm with ARRIFLEX cameras.

“We specifically chose the ARRIFLEX 16 format for several reasons, the first of which was weight,” Ward says. “I can‘t think of any other camera system that will give you a long zoom lens, 400' mag, 150 fps capability, on-board battery and time-code for right at 20 lbs.! When you are hiking across a field of cactus and vol-canic rock, or sprinting across the race-course between 700 horsepower Trophy

Off-R

oad w

ith A

RRI

Braving dirt, sand, rocks and just under 800 miles of rugged off-road action, Director of Photography Kevin Ward and his

crew literally bagged their cameras – as well as 250 hours of awe-inspiring footage – for DUST TO GLORY, a full-length

feature documenting the Tecate SCORE Baja 1000. A motorsports tradition for nearly four decades, the single-loop desert

race, which began and ended in Ensenada, Mexico the year they tackled it, is notoriously difficult to finish – and to film.

DoP Kevin Ward

DUST TO GLORY Filmmakers Document Infamous Baja Desert Race on 16mm

5 8 W o r l d w i d e _U S A

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motorbikes going in excess of 100 miles per hour – lent itself to overcranking. So between film and digital, the obvious choice was my preferred choice – film.”

Working with Otto Nemenz L.A., Ward put together several packages – upwards of 50 cameras all told – to match the needs of the different crews. 13 teams positioned along different points of the racecourse were equipped with ARRIFLEX 16 SR3s. Three aerial teams, shooting with the huge production value of a helicopter, were pro-vided ARRICAM 35s. Ward even entered a motorcycle equipped with helmet cam into the race to get the unique POV from a bike, and also utilized a purpose-built four-seater “race type” buggy with a 16 mm camera on a remote head on a suspension arm. Some race action, such as footage filmed with on-board roll cage-mounted cameras, was shot on DV. Other non-race action, including interviews and talking heads segments, was shot in 24P HD.To accommodate everything from long vis-tas to close action, the ground units were given a wide zoom and a longer zoom, along with basic filters, color correction capabilities and clear glass covers – to protect the lenses from flying rocks. Three converted Century Canon lenses were used with the ARRIFLEX cameras, enabling a zoom range from 300 mm to 1200 mm, or, with extenders, as long as 2400 mm!

Tapping into Ward’s knowledge of the ebb and flow of the race – and into what direc-tor Dana Brown was looking for visually and dramatically – assignments were given to each team. Because the filmmakers not only wanted to capture the race, the peo-ple and the places involved, crews focused on everything from race action and sweep-ing scenery to timelapse footage.

“Having competed in the event, Kevin knew where to place the teams and where the action would be happening,” says Ground Unit Operator Kerry Shaw Brown. “We were given specific background cues and did walkthroughs, but more than anything, it was the course and the environment that drove the photography. Kevin challenged us to get as much great 16 mm footage as possi-ble while also bringing in a unique vibe and some unconventional story pieces. We had a main location along the race course and then moved on to a secondary locale, a popular bar called Mike’s Sky Ranch.”

Numerous weeks were spent in preproduc-tion, calculating the logistics and taking into consideration certain fixed parameters, such as vehicle start and estimated comple-tion times. The filmmakers even pre-ran the course for five days. But even with the advanced planning, all of the teams just pretty much needed to roll with the punches once the green flag dropped.

Trucks, lightweight is key. My crews had to put in a ridiculously long day with no sup-port but their own, and the less equipment I bogged them down with the better. 16 mm is easy to work with, quick to reload and pretty much foolproof. We additionally knew that the material we were going to be shooting – an off-road race with quads, light trucks, Hummers, dune buggies and

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The swingover viewfinder and roll switches are where they are supposed to be. There’s proper balance and an eyepiece location for handheld, as well as lock switches on the electronics – all features made for people who actually make films.”

Another capability that worked out well on the project with the ARRIs was timecode sync. Rather than adding a soundman to each guerilla unit, Ward simply placed a high-quality digital camera into each for audio capture. The digital camera and the film camera were timecode synced, and the digital camera would end up either roll-ing unattended on a tripod if the AC had to pull focus, or operated if the film camera operator could handle focus. In some cases, such as during a tire change or a refueling, both cameras would be handheld, with the digital camera capturing sound and addi-tional cutaway type angles.

“We were right in the thick of things,” Shaw-Brown remembers. “Just in terms of the landscape, we had to function success-fully on a flat, wide open desert road, putting bags around our gear to keep out the dust. We had to deal with pine forest and gullies five-feet deep with silt. We even got a call to move six hours back up the racecourse – with the race still in progress! Under those kinds of conditions, ARRI cam-eras are like high-precision tanks: they take a beating and still outperform. At one point I was going handheld with the ARRI while straddling a mud embankment. A monster Hummer H2 came tearing through the river crossing so close that it grazed my pant leg and proceeded to completely obliterate the ARRI and me with mud and water. But the shot looked great, and the camera came out of it better than I did!”

Adds Ward: “ARRI cameras are always my choice. The ARRIFLEX is so well suited for action-type photography, handheld, for mounting, for rigs. It’s both durable and

dependable. When, while taking cover from the flying rocks and dust after having had your lead bike just go by full throttle (about 115 miles an hour), you hear the mag roll out and a communiqué across the radio that the next bike is only 20 seconds back, there is no other camera in the world I would rather have than the ARRI 16.”

Ward says all of the ARRI gear provided by Otto Nemenz performed even in a pinch with zero problems. The equipment also had much to offer in terms of ergonomics and mapping to the features a filmmaker needs most.

“With today‘s environment of constantly changing formats and new digital camera systems, it seems some manufacturers for-get about consulting the people who will actually be using the camera,” he says. “That’s not the case with the ARRIFLEX 16.

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DirectorDana Brown

Kevin Ward

Kevin Ward and Mike"Mouse" McCoy

Producer/racer Mike "Mouse" McCoy (left) and racer Lou Franco (right)

ARRIFLEX 35III mounted on a car rig for mobile action

The material Ward lensed himself on the project – self-admittedly all of the “most picturesque” assignments – was done using one of his own two personal ARRIFLEX 35-IIIs. (He also owns a highly modified ARRIFLEX 35-IIC, which has been lightened substantially by utilizing carbon fiber wher-ever possible.)

“My next camera will definitely be the ARRIFLEX 435 Xtreme. It’s an amazing step forward,” he proclaims.

Something else Ward says he’s particularly excited about is just how far 16 mm film stocks have come. “We used a lot of high-speed 5218 on this project and even pushed it two stops in some very low-light situations. 16 mm film stocks have continu-ally improved. I think this will lead to a renewed interest in 16 mm, especially on projects where shooting 35 is out of budget.

Also by scanning 16 mm and re-exposing it with the ARRILASER HD recorder system, the quality can be brought up still another level. A cost-conscious commercial, televi-sion or feature production these days might assume going digital is the only option when shooting 16 mm is actually just as affordable.”

DUST TO GLORY takes audiences race side and behind the scenes at the Tecate SCORE Baja 1000. The film follows the motivations and personal triumphs of some of the world’s most intrepid drivers and riders, many of whom share their passions brother to brother or father to son over multiple generations. Further information about the 90-minute documentary, distributed by IFC and due in theaters this April, can be found at www.d2gfilm.com.

Kara Misenheimer

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16SWEET

(SUPER)

With the onward march of digital shooting options today, including 24P,

many cinematographers are electing to expand their horizons – with cellu-

loid. Super 16 mm in particular has become a favorite for DPs in television

who want to realize creative and cost-saving benefits while delivering

shows to specs such as HD.

Jamie Barber and Mark Doering-Powell are among those to have embraced Super 16 as a shooting medium for current television projects. Each has filmed multiple episodic programs using this format, and each cur-rently relies on an ARRIFLEX 16 SR3 camera package provided by Keslow Camera in Los Angeles, California. Barber’s work includes lensing the Southern California-set hit THE OC for FOX, while Doering-Powell has been busy shooting HEAD TO TOE, a children’s program for Nickelodeon.

“I can let things overexpose with Super 16 and then bring them back down again in post, which I could never do digitally,” Barber says. “Using power windows in post, I can bring in additional detail very easily that simply would not be captured in a digital frame. On THE OC we spend a lot of time shooting outdoors, on the beach overexposing. A digital format might work well on a project that’s shot at night or on a stage, but the flexibility of Super 16 is much better for this show.”

“I’ve done several 24P projects, both TV & features, but on my recent shows we’ve gone with Super 16,” comments Doering-Powell. “Film has always created possibili-ties, more possibilities with range and accu-racy of color, more possibilities for getting coverage, more possibilities with a more

versatile camera package and being able to embrace, say, bold lighting, or shoot day/exteriors with high contrast.”

Especially when attention is given to the right camera setup, lighting configuration and post-production transfer, Super 16 offers significant advantages, not the least of which is the smaller size and lighter weight of 16 mm camera packages – and their versatility and cost efficiency. 16 mm cameras are great for hand-held operation and for using Steadicam with zooms – and the cameras are power-efficient as well.

“We ran all day on just a couple of bat-teries, whereas on some 24P series, we’ve required 30 on-board batteries for two cameras,” Doering-Powell remarks. “The dimensions of the 24P cameras were such that it was difficult to Steadicam through doorways, and with a 21 × zoom, HD-SDI back and on-board battery, the digital cam-eras were heavy rigs as well. An ARRIFLEX 16 SR3 is a little over half as long and lighter, too.”

Barber also waxes nostalgic for the agility of the ARRIFLEX 16 SR: “As a camera operator on ROBBERY HOMICIDE for CBS, I remember shooting on the subway where the digital camera with battery pack and the control unit was so huge it could barely fit in the

Mark Doering-Powell

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Camera Crew Jamie Barber On the set of PHIL OF THE FUTURE

stock. On HEAD TO TOE he is using 7245 and 7218.

“This stock was a major factor in achieving the look we wanted on the first season of the show,” he says. ”We had many sets to light – far more than the pilot that had pro-vided the budget template for the series and our post facility was not set up to provide noise reduction in the final tape-to-tape color-correction. I was concerned with how this might add noise to the image had I used a 500 ISO stock, but when we tested the 7218, the results looked great.”

Both shows place heavy emphasis on the telecine process. Barber’s material is trans-

ferred on a Spirit Datacine and he receives a DVD of the edited HD master before pro-viding notes on final color.

“The one thing I always come back to as a major benefit of shooting on film is that there’s so much you can do in post, espe-cially transferring the negative to tape,” Barber explains. “Even if the assistant hits the stopbox, my meter is broken, something gets knocked and it’s not exactly the way I wanted, with film, I know it can be ma-nipulated.”

A final supporting factor in successfully shooting Super 16 Barber and Doering-Powell both swear by service from their rental company, Keslow Camera, which under the helm of Robert Keslow has focused on 16 mm and other camera rental services for more than 15 years.

“Keslow Camera has equipped us for our past two seasons,” Barber states. “I know I can call Robert anytime, and get what I need – whether we’re having the zooms renumbered or require some other assis-tance.”

Adds Doering-Powell, “My Super 16 pack-ages have varied for each project, but one

train and stuck out in the aisle. A 16mm camera like the ARRIFLEX 16 SR3 let’s you go into smaller spaces. And it’s rugged – it can take both extreme heat and cold.”

Efficiency and lower film and camera costs are other 16mm draws. Doering-Powell, who generally goes out with two ARRIFLEX 16 SR3s, Canon 8-64s, an 11-138mm, a set of T1.3 superspeeds, and sometimes a longer zoom such as an Optimo or a T3.5 Angenieux 25-250mm, depending on the director, notes that a great Super 16 pack-age can be had for almost half the cost of a thorough 24P package. It also allows him to work more quickly on a show like HEAD TO TOE where time is of the essence

with kids on set. A half-hour episode is shot in four 10-hours days.

Barber typically takes out two ARRIFLEX 16 SR3s, a set of Zeiss Prime lenses, Canon zooms and the occasional Steadicam. Again, he says the robustness of ARRI cameras have never let him down: “Believe me, when I was an assistant I put cameras through things that cameras definitely shouldn’t go through,” says Barber, whose career harks back to being first assistant to Caleb Deshanel. “I’ve done handheld work out in the water; on a CRAFTSMAN TOOL commercial, we took an ARRIFLEX 35 III out into the Arctic in minus 80 degrees. For , I put an ARRIFLEX 35 IIC on the front of a ship that was crashing into another ship and the camera kept on shooting. You get an ARRIFLEX because you just know that it’s going to make it through.”

For film stock, Barber uses 74, which gives him the least amount of grain and grit for capturing gorgeous Southern California places and people for THE OC. Doering-Powell frequently shoots 7245 for day/exte-riors, but has also tested Kodak’s 7212 and 7217 as well. When he shot the first season of the Disney show PHIL OF THE FUTURE he used Kodak’s Vision 2 7218 as his interior

thing has remained the same: I’ve been lucky to have the support of Keslow Camera. I consider them integral to my work. Not unlike the dailies and final colorists, they are unsung heroes to the look of a show and to providing the DP and director with what they need.”

Barber, Doering-Powell and many other DPs working in television, have discovered that Super 16 fits their needs like a glove. The digital-trained generation, who has never used this format, may need some convinc-ing.: “Young filmmakers or students some-times ask why we’re on Super 16, if it’s not grainy and difficult to shoot and light,” says Doering-Powell. “I tell them it is beautiful,

mesmerizing, and I light it by eye. Yes, you must light and expose it well. Yes, you need decent glass on the camera. And yes, you should treat it in post with a decent telecine. Further, if you can record at a sampling rate of 4:4:4, the new gold standard, it opens up even more range and possibili-ties. Super 16 really shines when it’s not squeezed into an undersampled/over-com-pressed tape format.”

Jamie Barber is currently lensing THE OC on Fox. His credits also include the television show ROSWELL as well as numerous films, ranging from MASTER & COMMANDER to T ITANIC. Mark Doering-Powell shot three seasons of the Disney show EVEN STEVENS and the first season of PHIL OF THE FUTURE prior to his most recent project, Nickelodeon’s HEAD TO TOE. Keslow Camera rents 35mm, 16 mm, digital cameras and related equip-ment from its location in Culver City, Calif. In addition to THE OC and HEAD TO TOE, Keslow Camera is currently providing Super 16 mm camera rental packages to Universal Studios’ hit series MONK.

Kara Misenheimer and Karen Raz

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When renowned nature cinematographer Wolfgang Bayer suffered cardiac arrest, it didn’t keep him

from getting back behind the camera. In fact, the near-death experience inspired Bayer to make EARTHLING,

a feature-length wildlife adventure film shot on 35 mm anamorphic. Bayer sold his home in Jackson Hole,

Wyoming and embarked on a worldwide journey of filming over two years with his family.

Bayer’s wife Candy served as sound recordist, daughter Malaika worked as camera assistant and still photo-

grapher, while son Tristan shot additional footage. Told mainly through the eyes of Tristan, EARTHLING mixes

non-fiction with narrative as we follow the Bayer family making a feature length (104 minutes) docu-drama.

With over two decades of shooting, pro-ducing and directing wildlife films, Wolf-gang has a list of credits that include pro-grams for NATURE, NOVA, an Emmy nomination for the National Geographic special, LAST STAND IN EDEN and an Emmy Award for the Turner Broadcasting ALASKA.

His choices for cameras included an ARRI-FLEX 35 III, two ARRIFLEX 35-IICs, an ARRIFLEX 435ES and an ARRIFLEX 35-BL4.

Says Tristan, “My dad’s dream was to take nature and put it onto the big screen. He never felt that nature should be something for a little television set or a ‘piece of furni-ture’ as he likes to call it. Buying that first 35 mm camera, for him, was the beginning of his dream.”

In terms of a shooting style for EARTHLING, the Bayers kept it minimal. “We had to be efficient and we had to be light, so we didn’t have too many dollies, tracks, etc. We wanted simple storytelling and to let nature fill the shot,” notes Tristan.

From deep inside Central American jungles, to the frozen waters of the Arctic, the Bayers found their subjects with great patience and tenacity. “We shot some ants close-up in Panama,” Tristan recounts. “We had to trek around the Panamanian jungles, way back into the forest, shooting at 3 a.m. We also had to carry our generators and lights back there.”

The production shot mainly on Kodak 5245 and for lower light situations, utilized Kodak 5246. For lenses, the crew relied on

an Angenieux HR 25 – 250 mm zoom as a main lens, along with 600 mm and 400 mm lenses to capture the uncontrollable actions of wildlife and other natural events. “We needed to be able to see for a mile and to be able to crank off shots as fast as possible,” he notes.

In Alaska, the crew found themselves wait-ing for weeks to capture a fleeting moment on film. “We took the boat out and shot whales in Alaska over a summer, along with the glaciers caving in. We sat there with our eyes to the 435 camera for like a week straight, waiting for these huge chunks of ice to fall off the caving glaciers,” he explains. “We had to be ready. We shot at 150 frames per second and we actually have three shots from that. It took us basi-cally a month to get it.”

All in the Family:

EARTHLINGWolfgang and Tristan Bayer

Shoot

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With so much equipment to carry to remote locations, the Bayers found the versatility of the 435 an advantage and used ARRI’s Integrated Capping Shutter system to render special sequences. The capping shutter is placed in the film gate area preventing light from falling on the film and making it possible to look through the viewfinder. “The cool thing about the ES was that we could do time lapse, high speed shots with the glaciers at 150 frames, and then literally that night you can go out and do time lapse of the auroras with the Capping Shutter system. Basically it’s two cameras in one. When you’re out in the field and you can cut down on gear, it becomes worth its weight in gold,” he points out.

Since the crew was often shooting in isolat-ed places under a variety of severe weather conditions, the cameras needed to be reliable and durable. While shooting under-water to capture sperm whales, the elder Bayer found his 35 III camera starting to

flood inside its underwater housing. “He just kept rolling,” says Tristan. “He was facing right down the whale’s face – which is an amazing shot – but there’s this puddle of water sloshing around in the bottom of the lens. It just kept getting bigger and big-ger, yet he couldn’t shy away from getting that shot.”

The shot made it into the final cut of the film with the water creating what Tristan describes as ‘an eerie, dreamlike, surreal puddle that looks like a CG effect.‘ As for the camera, no damage was done. “We stormed out of the water,” he says. “He literally dumped out the camera and a splash of water came out. He resealed it and we just kept on shooting.”

For Tristan, who continuously shot during the production on his video camera, the digital video technology often posed prob-lems compared to the traditional film cam-eras used shoots. “On one hand, I was able to keep rolling but on the other hand, I had a lot of electronic problems which always shut my camera down. My dad’s camera was solid. If there was a nail stick-ing out of something, he’d always joke that he’d just take the camera and use it as a hammer,” Tristan laughs.

Once in post-production, the filmmakers made the decision to keep the film negative as pristine as possible by putting it through the digital intermediate process offered by Laser Pacific. “We knew the footage would be valuable in the future for posterity – for the sake of the actual creatures that we’d captured, most of which are endangered or threatened in some way. We wanted to do as little to the negative as possible so we went to a digital intermediate,” he says.

Working with colorist Doug Delaney, the filmmakers were able to control the project’s

look in ways they often were unable to during the extreme conditions of the shoot. “Once we started color correcting, I realized how much you can pull out of a 35mm image,” Tristan notes. “If you look at the original scans, there are some things that I shot as a budding filmmaker out in the field that maybe were a little underexposed. I don‘t think it would have been useable if we didn‘t have that color control, but we were able to salvage everything and make it so amazing.”

After six years in production, EARTHLING is Wolfgang’s lifelong dream come true. “From post-production, production, the writing – it’s all finally coming together,” explains Tristan. “That’s not even starting to get into the power of the story, and the power of those images, of those creatures. It’s been a magical journey.”

EARTHLING has been awarded the 2005 Earthwatch Institute Film Award and pre-miered at the 2005 Environmental Film Festival on March 16 in Washington D.C.

For more information, go towww.earthlingmovie.com.

An Tran

Wolfgang and Tristan Bayer with crew and in action

Wolfgang Bayer films glacier

Tristan Bayer

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At 07.07 on Friday morning, December 17th 2004 a Lockheed Martin Atlas

V 552 rocket launched a Direct Broadcast telecommunications satellite into

geosynchronous orbit from Cape Canaveral, Florida. The event, one of a

series of commercial launches now undertaken each year by both Lockheed

Martin and Boeing was recorded by multiple film, HD and stills cameras.

Uniquely, this launch was also covered by three ‘Tornado’ High Speed digital

cameras supplied by the ARRI Group. As such it represented the first use of

the new ‘Tornado’ system in the United States.

Multiple ‘Tornados’ in Florida‘Tornado’ cameras covering Atlas V rocket launch

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NASA Jet Propulsion Laboratory. The entire project was coordinated by Lockheed Martin Producer/Director John Baker, Senior Software Engineer Michael Simon and their production team. John had seen a demonstration of the Tornado camera’s potential when he was shown a showreel by Quantel at a demonstration in Denver and realized how the unit’s capability of speeds of up to 1000fps, combined with the swift turnaround offered by the eQ sys-tem could contribute to the launch coverage.

“My colleagues and I saw the benefits of the ‘Tornado’ system during a screening of a horses hoof clipping the top of the steeplechase jump at 1000fps.” said Mr. Baker. “It’s critical for Lockheed engineers to get immediate visual results after a rock-et launch for technical and performance reasons. Until now we have had to rely on low-resolution 30fps Standard Definition video or slow turnaround high-speed film footage.

The ‘Tornado’ system gives our engineers a near real time opportunity to critically review footage. Additionally we have the ability to supply pristine high speed video to both our public relations and news me dia clients immediately.”

The ‘Tornado’ camera delivers digital imag-es in a high quality format that, when com-bined with the eQ editing system can allow broadcasters to replay televised action in slow motion within minutes of the event occurring. This has lead to British sports enthusiasts being treated to a unique insight into the swing of a golfer, the stride of a race-horse, the accuracy of a David Beckham goal in soccer or, in one case, the flawed technique of a world-class

competitor at the Wimbledon Tennis Tour-nament. However use of the ‘Tornado’ is not restricted to sport. Since the camera is capable of recording up to 14,000 frames of material in its own RAM drive for subse-quent downloading it is being used for television commercials, natural history doc-umentaries and industrial analysis ... and rocket launches.

John Baker and his creative team of Leif Heimbold and Will Blakely decided that, thanks to the Tornado camera’s PL lens mount allowing the use of the cream of cin-ematography long zoom lenses they would position the ‘Tornado’ cameras in two key locations. One, fitted with an Angenieux Optimo 24-290mm zoom was mounted high up on the top of the multi storey hang-er (the V.I.F.) that houses the rocket in the final stages before it is launched. It is from this hanger that the mobile launching base transports the rocket to the launch pad half a mile away. The camera was therefore operated by remote control via an Ethernet connection, for safety purposes.

The second, and subsequently third ‘Tornado’ camera was mounted on a unique optical tracking platform provided by the contractor Indyne and operated by Rick Wetherington, a veteran of over 24 years of launches at Cape Canaveral. The ‘Tornados’ joined three other cameras posi-tioned on the tracker, which resembled a swiveling gun turret and was positioned at a sufficient distance to allow the rocket’s launch to be tracked accurately. The ‘Tornado’ cameras were fitted with, respec-tively a Hawk 150-450mm zoom (and using a X2 range extender) and a Canon 400mm. Both cameras were operated on

site by Bill Lovell, who not only monitored the units from a laptop but altered the lens iris’ during take off via ARRI LCS systems.

After interminable delays due to unseasonably bad weath-

er and various technical issues the count down commenced and the rock-

et launched successfully.

Sadly the persistent low cloud restricted the amount of coverage possible, but all the cameras involved operated without fault.

The footage was then taken back to the waiting eQ and the editing crew located in Lockheed Martin’s production trailer and within 4 hours a rough assembly from 8 cameras utilizing many different formats was available for John Baker, Michael Simon and their team to view. As well as material from the ‘Tornado’ cameras, other footage at different resolutions and frame rates from Woods Hole’s proprietary HD cameras and Panasonic Varicams was ingested and edited using eQ’s unique Resolution Coexistence TM technology.

The Atlas V launch coverage demonstrated the unique potential of the ARRI Group, providing equipment, service and support from across the world. It would not have been possible without our ongoing relation-ship with Quantel, nor the energetic com-mitment of John Baker, his production team of Leif Heimbold, Will Blakely, Michael Simon and Kristin Zick and the Lockheed Martin Space Systems Company.

Simon Broad

Stanley Fernandez

Bill Lovell

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The Polish-born Edelman, who was nomi-nated in 2005 for an American Society of Cinematographer’s (ASC) Award for Best Cinematography for his work on RAY and a BAFTA Award, Academy Award and ASC Award in 2002 for THE PIANIST, was always Hackford’s first pick for lensing RAY. The pair shares the same passion for Ray Charles’ music, and had been in talks for almost a year before the project was finally greenlit. Shooting began in and around New Orleans, LA, in Spring 2003. The film opened in theaters October 2004 and went on to win two Academy Awards this year – Best Actor (Jamie Foxx) and Best Sound – and was nominated in four other categories, including Best Picture.

RAY spans over thirty years in the tumultu-ous life of legendary blind singer and pian-ist Ray Charles. Charles’ music – a then-unheard-of combination of jazz, rhythm & blues, gospel, rock & roll and country – made him an icon. However, with fame came the inevitable downfall, as Charles battled years of failed relationships, drug addiction and depression.

Using an ARRI camera package from Clairmont Camera, Hollywood, consisting of two ARRICAM Studios, one ARRICAM Lite and an ARRIFLEX 35 II-C, all outfitted with Cooke S4 prime lenses, Edelman chronicled Charles’ life from the 1930s to the 1960s. Because of the film’s modest

One of 2004’s most talked about films, Taylor Hackford’s labor of love

RAY, boasts a stellar ensemble cast, memorable music performances,

and gorgeous costumes and settings – all captured on ARRICAMS by

DoP Pawel Edelman, PSC.

Multiple Academy Award-Winning Film Shot Using ARRICAMS

Portraying

budget (Hackford spent 15 years trying to secure financing for the film, which was ultimately granted a $40 million budget), Hackford focused on two shooting locales – Los Angeles and New Orleans. To bring in other moments in the artist’s wide-reaching career, where he circled the globe playing sold-out shows across the United States, Europe and Asia, Hackford incorporated stock footage of a variety of cities, includ-ing Chicago, New York, Seattle, Atlanta, Paris, London and Madrid.

With stock clips coming in on 8 mm, 16 mm reversal stock and 35, Edelman settled on a standard 1.85:1 aspect ratio, and a Digital Intermediate (DI) finish at Cinesite to match the older footage with the new mate-rial being lensed. Hackford and Edelman processed the film – Kodak Vision2 500T 5218 – conventionally, while using the DI to achieve the different color schemes of each scene.

The movie’s budget and short production schedule of only 65 to 70 shooting days also required that multiple (two or three) ARRICAMs be operated simultaneously on the same axis and at different focal lengths (which varied between 18 mm and 20 mm on wide shots and 150 mm to 180 mm on close-ups). The ARRICAM Lite, which is both quiet and compact in size, was essential in capturing the film’s numerous concert sequences, which included a lot of Steadicam work.

Edelman just wrapped shooting OLIVER TWIST, directed by Roman Polanski, and is currently lensing ALL THE KING’S MEN for Steven Zaillian. For both productions Edelman decided again to shoot with the ARRICAM System.

Natasha Wang

RAYDoP Pawel Edelman

DoP Pawel Edelman and Director Taylor Hackford

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base has grown drama tically and we can now support their needs with full packaging of camera, lighting and grip. When you rent from ARRI CSC you’re getting full service and support for your production.”

Ed is supported by Supervisor Bill Hennessy, for many years a well-known freelance gaffer/electrician working in the Florida area, and a team of fully trained staff many of whom have had previous experience at ARRI CSC in New York.

Ed Stamm and Bill Hennessycan be contacted at ARRI CSC Florida@ (954) 322-4545 or via email:[email protected]@cameraservice.com

ARRI CSC Floridahas got it coveredIn October 2002 ARRI CSC opened their camera rental facility in Florida.

Following the success of the initial business the Fort Lauderdale location has

expanded and launched a full lighting & grip department earlier this year.

ARRI CSC Florida openslighting & grip department

In addition to a camera inventory that includes ARRICAM’s, ARRIFLEX 435 Ad-vanced, the newly released ARRIFLEX 235’s and a wide range of lenses and accesso-ries, the enlarged business now offers a full complement of ARRI HMI and Tungsten fixtures and a full line of Kino Flo, Mole and Dedo specialty lights. The supporting grip equipment includes Matthews and Fisher equipment, Back stage carts and the necessary rigging accessories. The Expen-dables store has increased its inventory to

include all the items needed to support Lighting customers.

A new fleet of trucks and generators has been commissioned allowing ARRI CSC Florida to offer comprehensive packages, tailored to the markets requirements. In addition there is ongoing support from the rental departments of ARRI CSC New York and sister company Illumination Dynamics in Charlotte and Los Angeles. General Manager Ed Stamm says: “Our customer

Ready to serve you

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All about the ARRICAM 35mm Motion Picture Camera System: ARRICAM Studio, ARRICAM Lite, Lenses, Modular Accessories and more.DVD includes:• THE DIGITAL AGE OF FILM• ARRICAM TEASER• ARRICAM INTRO• ARRICAM NUTS AND BOLTSInterviews with leading cinematographers on film origination, digital intermediates, scan-ning, color management, and film recording. 60 minutes of nuts and bolts, how-to tips and techniques on camera prep, setup, loading, wireless lens controls, lens data system, speed ramps, and more. The first edition ARRICAM Book, by Jon Fauer, ASC, sold out in less than a year.Jon Fauer, ASC, with seemingly inexhaustible reserves of energy and enthusiasm, totally revised and updated the book to include all the new ARRICAM improvements, functions and accessories, and added a DVD featuring interviews with leading cinematographers and 60 minutes of nuts and bolts, how-to tips and techniques.Anyone who bought the original book will want to replace it with this completely revised second edition, because while ARRI was busy updating and improving the camera system, Jon was feverishly writing to keep up with the changes.Here is Jon‘s 8th book on ARRI cameras, written by a cinematographer who uses the equipment. His breezy style makes you feel like you‘re working along with him on set or location. Complex terms are explained clearly, and a little humor makes reading his advice an enjoyable experience.This book and companion DVD is intended for directors of photography, camera assistants, producers, directors, production managers,

rental house personnel, film students and any-one else who plans to come in contact with an ARRICAM.DVD production was made possible through the generous support of ARRI, Kodak, Techni-color, AVID, Clairmont Camera, CSC, Illumi-nation Dynamics, ARRI Media, JDC, Fisher, Chapman Studios, Paramount Studios, Cinegear and many others.All proceeds from the sale of the ARRICAM BOOK and DVD will be donated to the ASC Building Fund, to help support the new Ameri-can Society of Cinematographers Museum and Education Center.Paperback with companion DVD, ISBN 0-935578-25-0, B&W illustrations,408 pages, Actual size 7.5“ x 10.5

Order online from the ASC Bookstore:www.theasc.com

Order by Phone:1-800-448-0145 (USA and Canada)1-323-969-4333 (All Other Countries)1-323-876-4973 (By Fax)ASC-American Cinematographer1782 No Orange Drive, Hollywood, CA 90028

What’s Next?FILM and DIGITAL TIMES Newsletter.No sooner had Jon Fauer finished the ARRI-CAM BOOK, than email started flooding in: where’s the ARRIFLEX 235 BOOK? Jon had already used the 235 on two jobs, and re-ported, “this is the most exciting camera and the best thing for handheld work since the 16SR.” But another book would take over a year to complete.On a cold day in November, a friend who publishes a newsletter on advanced sailboat racing had the answer: Film and Digital Times. The Film and Digital Times Newsletter is a bi-monthly, by-subscription, how-to newsletter

of high-end technique and technology in film, video and digital production – and not just on the 235. The inaugural issue, available at NAB and Cinegear, features the ARRIFLEX 235 and how to use it.For less than the price of just one of Jon Fauer’s books, readers get an entire year of how-to secrets-of-the-pros, nuts-and-bolts information delivered directly: on equipment, inventions, techniques and tools, style and strategies, tips and trends. It’s intended for Cinematographers, Photographers, Videographers, Directors, Pro-ducers, Camera Assistants, Camera Operators, Crews, Rental Houses, Manufacturers and Students.The newsletter will look at products and pro-cedures in practical production – here’s the job at hand: how do we use these tools and techniques to get the results we want?Jon Fauer, ASC is an award-winning Director of Photography and Director who has written 10 best-selling books, famous for their user-friendly way of explaining things as if you’re right there on location with him. Over 120,000 of his books on cameras, cinematography, film and digital video have been printed. Film and Digital Times, his bimonthly newsletter, could be considered the 11th book – arriving a year early, with up-to-the minute information in episodic format.

For subscriptions, go to: www.fdtimes.com

to order by phone:1-877-445-8301 (USA Toll Free)1-203-445-8301 (Everywhere Else)1- 203-445-0735 (Fax)

to order by mail:Film & Digital Times, PO Box 422Easton, CT 06612-0422

ARRICAM BOOK 2nd Editionand ARRICAM DVD Completely Revised and Updated Book.

60 Minutes of Hands-on, Step-by-Step Instruction

“It’s a must-have for anyone interested in the ARRICAM System, and required reading for everyone in our company.“Otto Nemenz, Pres. Otto Nemenz International

“This is the best camera manual ever written.”Andrew Laszlo, ASC

“Not often does one meet someone with the technical understanding, the practical knowledge, the writing skills and the wit of Jon Fauer.”Volker Bahnemann, Pres. ARRI Inc.

A complete camera workshop in a book and on DVD

Jon Fauer Andrew LaszloOtto Nemenz

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Volker Bahnemann. “With the appointment of two Chief Operating Officers – Charles Davidson for ARRI Inc. and Simon Broad for CSC, we will shape the future of our or-ganization.” Concurrently Mark Machover was promoted to Chief Financial Officer for CSC and John Gresch to Vice President, Lighting Division for ARRI Inc.

Charlie Davidson has led ARRI’s US Lighting Division almost since its inception, joining the company in 1981 as Lighting Product Manager. He was named Vice President, Lighting Division in 1986.

Simon Broad started his career in the film industry 1978. In July 2003 Simon moved to New York, accepting the title of Vice President, Marketing at Camera Service Center.

Mark Machover joined Camera Service Center as controller in 1990. Mark was named Vice President, Finance and Admin-istration in 1997, handling a large and diverse range of responsibilities as the CSC Group has expanded.

John Gresch began his career in 1975 with Berkey Colortran and went on to form his own business, Excalibur Industries. For the past 18 years he has been ARRI’s Lighting Manager for the Western US and Mexico.

Earlier this year Volker Bahnemann, Presi-dent and CEO of ARRI Inc. and Camera Service Center (CSC) announced major changes in the management structure of both American operations: “The growth of our business, its expansion into new market segments and the addition of more service facilities required this reorganization,” says

Serge Giordano

New Head of Salesand MarketingSerge Giordano has been employed in Munich for the ARRI Group since September 2004 as Vice President Sales & Marketing for all product segments (Camera, Lighting, Digital).

Following his studies in electrical engin-eering and business economics, Serge Giordano was able to gain extensive ex-perience in sales & marketing in various positions in the industry such as Area Sales Manager, BU Manager and Managing Director. He spent many years abroad on behalf of his employer ABB (Asea Brown Boveri) in the USA, Italy, Switzerland and

South East Asia, where he also acquired a wide knowledge of international business.

Serge Giordano’s new job responsibilities will concentrate on the consolidation and reorganization of the entire Sales & Marketing with a view to giving the ARRI Group a uniform public appearance. In addition, he will concentrate and focus all internal and external communication on customer service and will continue to deepen and intensify customer support in order to ensure an increase of ARRI’s inter-national market presence in all products segments.

New Management Structureat ARRI Inc and CSC

Simon Broad Charlie Davidson John Gresch

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large number of scenes that take place on these sets that ultimately help the viewer understand the story, the con that the characters are planning, and one challenge for me was how to keep them interesting. Ideally, you want as many moving shots as you can have, and scenes that develop out of interesting blocking, but at the same time it is also about trying to get what needs to be done within the time available.” In order to try and accelerate the process of getting the coverage required two cameras were used. “If we were using two cameras I would get the main shot but also try and get a tight shot at the same time. So with a scene with all fi ve of the characters talking together, just at times I would pick off a couple of them.” But using two cameras didn’t always accelerate shooting. “When you shoot with two cameras its very important that both are aware of each other and slightly forgiving of each other’s requirements. The ‘A’ camera will always be slightly compromised by the ‘B’ camera and that whole process can end up taking more time. There are some scenes where using two cameras enabled us to get the coverage, but perhaps didn’t end up saving time, on the day you try and get as much

footage as you can so that there is enough to edit with because you don’t want loads and loads of scenes that are made up of one or two shots.”

A key style signature of the series is its freeze sequences, scenes where the action freezes but the characters can still be seen to interact with each other. “When I was working out how to continue what was a very successful style, I decided that I really wanted the process of the action stopping to be visible to the viewer, rather than it just suddenly stopping. So we ramped down the action from normal to 150 frames per second and then from there went into the freeze. I’m hoping its going to be quite an interesting effect, suddenly you see everything go into extreme slow motion and stopping rather than just instantly stopping.”

When lighting HUSTLE, Polonsky choose to use Tungsten lighting, which he prefers over HMI. “I’m personally a big fan of Tungsten. A lot of my work is based around two lamps. I favour the ARRI T12, which I think is one of the most brilliant tungsten lights that there is. It’s a big light you can use to cover a big space, but in my opinion it

A driving factor behind HUSTLE was to create a series that was entertaining and fun, its stories are smart enough to keep you guessing but at the same time raise a smile through the audacity of it all. The drama also looks smart, bringing the movie tradition of the con to TV with its slick and glossy style.

Shot in Super 16 on two ARRIFLEX 16SR3 Advanced cameras supplied by ARRI Media London, it was DoP Jake Polonsky who had the task of continuing the style established in the fi rst series. Polonsky, who after having previously worked with Kudos on the third run of SPOOKS, was invited to shoot the fi rst two episodes of the second series of HUSTLE. “Kudos sent me the whole of the fi rst series and when I started watching it I was very impressed. It was obvious they really cared about the look of the show. It’s very rich, with interestingly constructed shots. Part of my job as DoP is to carry on all the stylistic elements that create that look.”

One of the main considerations for Polonsky was the visual design of each scene. “The fi rst thing the Director (Otto Bathurst) said to me was, he really liked the idea of just nicely designed wide shots, holding things in, which is a style I also like, it is much more cinematic. The structure of the show is that the characters live in a hotel suite and hang out a lot in a bar, which were both sets that Kudos had built on the fi fth fl oor of a business complex. There are a

Described as engaging, well acted and snappily directed, BBC

ONE’s TV drama HUSTLE gained critical success and very

respectable viewing fi gures right from its fi rst episode, resulting in a

second series being commissioned while the fi rst was still running.

DoP Jake Polonsky Reflects on Shooting Conman Drama HUSTLE

DoP Jake Polonsky

Produced by Kudos Film and Television, the team also behind BBC

ONE’s hit TV drama SPOOKS, HUSTLE follows a group of expert

con artists performing the long con, but despite being on the wrong

side of the law the gang only scam the unscrupulous and greedy,

following the unwritten rule of ‘You can’t con an honest man’.

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“I think the bar set is going to look really good in this series, it is one of those places that has a lot of colour and contrasty lighting. We spent quite a lot of time looking at how contrasty we wanted to make it as it was all very deep colours but the initial feedback was that it looked too good. Kudos didn’t want the bar to be a sexy place, but its nice to have the criticism that something looks too good, so we worked on taking that back a bit.”

HUSTLE is obviously an ambitious show. Its look is as important as the scripts and casting. Polonsky refl ects, “Having worked with Kudos, one thing I really do think is how great it is to work with a company who are not only passionate about the programme, but also passionate about its look and passionate about fi lm.”

HUSTLE was produced by Karen Wilson and executive produced by Jane Featherstone, Simon Crawford Collins and Gareth Neame.

Michelle Smith

Gaffer Terry Lewis, Gaffer Jim Gilligan, Gaffer Pat Devemey, DoP John Daly BSC, Best Boy Dave Gurney, Gaffer, Paul Evemy, Best Boy Dick Reed, Managing Director – ARRI Lighting Rental Tommy Moran (left to right)

DoP Sean Bobbitt, DoP David Odd BSC, DoP Nina Kellgren BSC & DoP Mike Southon BSC (left to right)

DoP Remi Aderfarasin BSC, DoP and President of the BSC Phil Méheux BSC (left to right)

Gaffer Mickey Brown and Gaffer Alan Martin (left to right)

doesn’t have the brutality of an HMI. It has a nice soft feel to it. The other units that I use every day are Lowel Rifa lights, which are very lightweight tungsten softlights that you can pretty much put anywhere and they make things look good.”

Three weeks were spent fi lming on location followed by two weeks on sets. It was the sets that presented the biggest lighting challenge. “I love working on location because its real, but its a challenge working on sets and stages creating that element of realism, you want people to instantly buy into what they are looking at. The onus falls on you as the Lighting Cameraman to actually make the sets come to life. One of things I wanted to do was to add an element of realism by avoiding ‘white out’ windows. There is a brilliant exterior of the balcony outside the hotel room: You see all the characters going in and out, and I wanted to make it possible for the viewer to see somebody go outside from the hotel room set and then be outside, so we had a backdrop made which I think will work well. With the bar we also tried to have some elements you can always see through the windows, they are kind of frosted so you can’t really see what’s actually there but you can see shapes, I wanted to give the impression there were some buildings across the road.”

Hotel set of HUSTLE with First Assistant Jon Beacham

ARRI Lighting Rental LuncheonOnce again ARRI Lighting Rental’s Managing Director, Tommy Moran and his team hosted their annual New Year luncheon at La Rucola, Italian Restaurant just around the corner from Highbridge, ARRI’s UK headquarters in Uxbridge. With over eighty guests made up of Directors of Photography, Camera Opera-tors, Gaffers and Electricians it was the ideal opportunity for all to catch up with each other at the beginning of the year before their commitments take them off to far fl ung destinations.

Tommy Moran commented “Its always great to have the opportunity to thank the industry for it’s loyalty and support. The lunch has become more and more popular and a great way to start the year.”

Judith Petty

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At the event “The Daily Digital Soap: Pro-duction“ Marc Shipman-Mueller, Techni-cal Marketing Camera, lectured about the current state of digital camera technol-ogy and the new ARRIFLEX D-20 camera. Following an introduction covering devel-opment, design and technology he spoke about positive experiences with the D-20, stressing the advantages of this camera, e.g. the fact that the whole range of ‘nor-mal’ 35 mm film lenses can be used. He also described the image sensor the size of a 35 mm frame, which is custom made for ARRI. Then Marc Shipman-Mueller answered the questions of the aspiring film-makers. The audience was particularly interested in the digital recording formats that ARRI is presently using and testing. The comparison of ‘classical’ 35 mm and 16 mm film cameras with digital recording were discussed as well. “The more we concern ourselves with the differences be -tween film and video, and the longer we

In a relaxed atmosphere during the Happy Hour hosted by ARRI and Kodak at the Talent Campus, selected films by an inter-national group of young film makers were awarded. ARRI was represented by Key Account Manager Angela Reed wisch and Kodak by Marketing Director Thierry Perronnet, who were both on stage for a Q&A with the young film makers.

Jochen Hähnel

work on the D-20, the more we realize just how significant film is as the superior image recording medium,“ Shipman-Mueller explains. “We want to continue to supply the best equipment to the entertain-ment industry. To do so, we see both film and digital technology as parallel routes into the future.“

The following day Prof. Jürgen Schopper, Creative Director at ARRI Film & TV, lectur-ed at the Talent Campus about “The Future Of Digital Color Grading”.

Based on selected samples Prof. Jürgen Schopper demonstrated a reasonable digi-tal workflow: starting with the ARRISCAN, followed by the color grading software ‘Lustre’ to the ARRILASER. He emphasized on the topics Digital Intermediate and Digital Colorscheme, which are employed increasingly, and which became a full part of film grammar by now.

ARRI at Berlinale 2005

At the Berlinale Talent Campus experienced professionals and talented

young film makers from around the world get the chance to meet

in the atmosphere of a major film festival. ARRI was involved in several

of the events taking place in the “Haus der Kulturen“ during the

55th Berlinale 2005 in Berlin.

Thomas Struck and Angela Reedwisch with young film makers

Angela Reedwisch, Thomas Struck (Talent Campus), Thierry Perronnet (Kodak) at the ARRI-Kodak Happy Hour

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The success story goes on: more and more international film productions

worldwide work closely with ARRI, like in August 2004, when shooting for

AEON FLUX commenced at Studio Babelsberg and in the outskirts of Berlin.

The adaptation of the futuristic MTV cult show is produced by Paramount

Pictures in collaboration with MTV Films and Studio Babelsberg.

AEON FLUX is directed by Karyn Kusama and photographed by Stuart

Dryburgh. First AC on this production was Christian Almesberger, and

Michael Scheel was the Unit Production Manager.

A E O N F L U X

Stuart Dryburgh

The complete package of camera, lighting and grip equipment came from ARRI Rental Berlin. AEON FLUX was filmed with two ARRICAM ST, one ARRICAM LT and one ARRIFLEX 435ES. The highspeed camera was also used on Steadicam. DoP Stuart Dryburgh chose the Cooke S4 range of lenses, the Cooke 18 –100 mm T3 zoom lens and the Angenieux 24 – 290 T2.8 Optimo Zoom.

Stuart Dryburgh started his career in New Zealand shooting with ARRI cameras, which always proved to be the best choice, accor-ding to his own words. Asked whether he is lighting AEON FLUX specifically with the digital color timing in mind, he said: “I did everything as I do when going the tradi-tional post production route on film. And as far as the look is concerned I didn’t do anything differently. During shooting I was in constant contact with the color timers in Munich. We were on the phone every day to discuss specific requirements.“

AEON FLUX was shot on Kodak Vision 2 5217 (200 ASA) and Kodak Vision 2 5218 (500 ASA) film stock. Developing and transfer was done at the ARRI lab in Munich, supervised by Josef Reidinger. ARRI color timer Traudl Nicholson was in charge of the film- and video dailies, Chris Berg was the project manager. Two drivers were employed to bring the exposed foot-age to Munich and the developed and

transferred film- and video dailies back to Berlin. The dailies were also sent to Para-mount Pictures in the US.

“On location we could watch video dailies only in Beta SP on a video projector. This isn’t enough to really make judgments about image quality and focus. Therefore in addi-tion we used the ARRI Locpro 35 to watch selected film dailies on. This was the best solution, on location as well as at Studio Babelsberg,“ Stuart Dryburgh reports. The ARRI Locpro 35 operates in 3 perforation mode and in 4 perforation mode.

Shooting AEON FLUX started out in 3 perfo-ration. However, shooting had to stop due to an accident – Oscar winner Charlize Theron got injured in a stunt scene and had to be hospitalized. This caused a five weeks break. Shortly before shooting commenced again production decided to switch to 4 perforation.

“Because of the tight schedule the ARRIFLEX 435ES in 3 perforation was just replaced by the same model in 4 perforation. The ARRICAMs had to be quickly converted from 3 to 4 perforation, as well. Actually there were no technical reasons for this decision – cameras, lab, transfer, sound etc. – everything worked out well and the switch happened without any problems,“ Christian Almesberger recalls.

It took Christian Hoffsten, head of the tech-nical camera department at ARRI Rental Berlin, and his team just two days to retrofit all cameras: “We had one 4 perforation movement here in Berlin. The rest was sent from Munich, and we did the conversion here,“ reports Fritz Sammer, head of ARRI Rental Berlin. “This was pretty tense, but everything worked out perfect. All three ARRICAMs worked permanently and with-out any technical problems. The same is true for the ARRI lab in Munich,“ Christian Almesberger adds. The switch to 3 perfora-tion, including all the testing, took not more than three days. After that all cameras were back and ready to shoot.

Post production on AEON FLUX is done in the States right now. The theatrical release is scheduled in fall 2005.

Jochen Hähnel

First AC Christian Almesberger

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109Image Studio JapanTo be a competent partner in the visual communications industry

The studio rental business was already started in 1981 at Setagaya-ku, Tokyo, as a part of the Tokyu Group, which holds many other operations under its umbrella – from a railway company to building con-struction – but has also a strong foot in pro-ducing TV commercials within the group. In 1988, the Meguro office was established in Meguro-Ku, Tokyo.

Today 13 rental studios in the metropolitan area of Tokyo belong to the company as well as post production and graphic pro-duction facilities, and a distribution for CCTV with cutting-edge equipment and well trained staff. To have both facilities – the rental studio and the post production – under one roof is very unique in Japan, and one of Image Studio 109’s strongest advantages in the business, because it allows for a straight forward workflow in a mainly hybrid production chain.

Mr. Yano, president of Image Studio 109, comments: “One of the key issues for successful studio business is to maintain the quality level of the products. The close cooperation with NAC and ARRI further increases the high level of confidence in our business. We have even been able to visit the ARRI Stephanskirchen factory with the help of NAC Image Technology Inc (the exclusive distributor of ARRI in Japan) to get a first hand insight and in-depth product knowledge. For us, this is a very fruitful exchange, and we will enhance this contact, not only for the lighting part, but also to set up a production environment for the ARRIFLEX D-20. For our clients and partners in the industry, this will represent a decisive step forward.”

In an environment of globalized and expanded communications,

the visual industry plays an increasingly important role. Uniting

cutting-edge equipment, long-time experience and highly professional

skills under one roof, Image Studio 109 has proofen itself to be

the most competent partner to a wide field of clients from all parts

of the industry.

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Kurzundschön 2004 and Special Award Film of the Medien Campus BayernVIDEO KILLED THE RADIO STAR:Oliver Kussinger and Lauri Trillitzsch(FH Nuremberg)

Kluk PrisenHenning Bendtsen received this year’s Kluk Prisen for long years of committed work as cinematographer. The award was presented by last year’s winners, Claus and Michael Rosenloev. The Kluk Prisen is sponsored by Bico Professionel A/S together with ARRI.

Another happy occasion: This year the Danish Society of Cinematographers cele-brates its 50th anniversary – Congratula-tions!

Michael Ballhaus AwardIn February at the Arsenal Cinema in Berlin the second Michael Ballhaus Award was presented to a young camera student with an extraordinary talent– to Max Penzel. The award winner did already prove him-self on several film projects and just fin-ished a feature for children, shot in China, which is in postproduction right now.Three years ago, when Michael Ballhaus was awarded the Lucky Strike Designer Award, he had the idea to use the price of at that time 100.000 DM to start a founda-tion which every year is to set an award to a young camera student at the Deutschen Film- und Fernsehakademie Berlin (German Film and Television Academy – dffb). Among the guests of this year’s award cer-emony have been such well-known cinema-tographers as Martin Kukulla (GOOD BYE LENIN), Hans Fromm (GESPENSTER) and David Slama (THE CHAU NGO).

Prices of 3000 Euro, a statuette designed by ARRI, a voucher worth 5000 Euro for equipment rental from Cinegate, and dona-tions by Kodak and FGV Schmidle support-ed this event, which was hosted by the Ballhaus Foundation together with the dffb.

Golden Frogs at CamerimageCamerimage becomes more sucessful by the year. At last years’s festival numberous awards have been presented:

David Watkin (OUT OF AFRICA) received the Livetime Achievement Award, Bick Pope was awarded the Camera Award, for his film VERA DRAKE. KODAK’s Color Manage ment System got the Technical Award in the category Postproduction. The acting award was presented to actress Charlize Theron.

Another Golden Frog was awarded to Slawomir Idziak for his achievements as cinematographer (KING ARTHUR, BLACK HAWK DOWN, GATTACA, THREE COLORS BLUE). In addition to the special ARRI AWARD (in shape of a Golden Frog as well), Piotr Sobocinski, student at the Lodz filmschool received a lighting kit worth 2500 Euro, presented by Mr. Popp and Mr. Kulterer from ARRI.

CongratulationsCongratulations to all award winners

Max PenzelReinhard Hauff, Max Penzel, Michael BallhausAwardwinner Henning Benzen (middle)and Mogens Gewecke, Bico

ARRI congratulates all OSCAR award winners and nominees in 2005

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Title Production Company Director DoP Equipment

3 SCHWESTERN Ziegler Film Oliver Storz Gernot Roll ARRIFLEX 16SR3, Lighting, Grip

BIS IN DIE SPITZEN ABC-Studio Thomas Berger Gunnar Fuss ARRIFLEX 16SR3, Lighting

DAS DUO – UNTER STROM TV60Film Urs Egger Martin Kukula ARRIFLEX 16SR3, Lighting, Grip

DAY OF WRATH Laurin Entertainment Adrian Rudomin Tamas Lajos 535B, 435 ES, Lighting

DIE GOLDENE STADT Lisa Film Franz-Josef Gottlieb Peter Zeitlinger Lighting, Grip

DIE WILDEN KERLE II SamFilm Joachim Masannek Sonja Rom 535B, MOVIECAM SL, Lighting, Grip

KING KONG Big Primate Production Peter Jackson Andrew Lesnie ARRICAM ST/LT, 435 ES, 235

KLIMT Media 2 Raoúl Rulz Ricardo Aronovich ARRICAM ST, Lighting, Grip

SIEGFRIED Constantin Filmproduktion Sven Unterwaldt Peter von Haller ARRICAM LT, 535B, 435 ES, 3 Perforation, Lighting, Grip

SOMMER VOR DEM BALKON Peter Rommel Produktion Andreas Dresen Andreas Höfer ARRIFLEX 16SR 3, Lighting

SOPHIE SCHOLL Neue Goldkind Marc Rothemund Martin Langer 535B, MOVIECAM SL, Lighting, Grip

THE THIEF LORD Delux Productions S.A. Richard Claus David Slama 535B, 435 ES, MOVIECAM SL, Lighting, Grip

UNTER VERDACHT VI Pro Programme Edward Berger Benjamin Dernbecher ARRIFLEX 16SR3, Lighting, Grip

VELVET SIDE OF HELL Eurofi lm Studios Joe Cardone Darko Suvak ARRICAM ST/LT, 435, Lighting, Grip

Title Production Company DoP Equipment

AFTERLIFE Quite Scary Films Andy Collins BSC ARRIFLEX SR3 Advanced

AHEAD OF THE CLASS Ahead Of The Class David Odd ARRIFLEX SR3 Advanced Productions

ARCHANGLE BBC Television Chris Seager BSC ARRIFLEX SR3 Advanced

BREAKFAST ON PLUTO Number 9 Films Declan Quin ARRICAM ST, LT

BROTHERS OF THE HEAD Marlin Films Anthony Dod Mantle ARRIFLEX SR3 Advanced

CLICK Click Productions Ben Davis ARRICAM ST, LT

FINGERSMITH Sally Head Productions Simon Kossoff BSC ARRIFLEX SR3 Advanced

HUSTLE Kudos Hustle Ltd Jake Polanski ARRIFLEX SR3 Advanced

KINKY BOOTS Boot Productions Eigil Bryld ARRICAM ST, LT

Title Production Company Director DoP Gaffer Best Boy

AFTERLIFE Quite Scarry Films Charles Beeson Andy Collins Brian Beaumont Ian Glennister

BAD GIRLS Shed Productions Laurance Moody Chris Goodyear Darren Harvey Chris Allkins

BLEAK HOUSE BBC Television Justin Chadwick Kieran Mcguigan Mark Clayton Benny Harper

CASANOVA‘S LOVE LETTERS Casanova Productions Ltd Mark Murphy Hong Manley Johann Cruickshank Steve Anthony

COPYING BEETHOVAN Copying Beethovan Ltd. Agnieszka Holland Ashley Rowe Campbell Mcintosh Phil Reid

DEAD RINGERS BBC Television Ben Fuller John Sorapure Martin Healey Mark Funnell

DISCOVERING ANCIENT EGYPT BBC Television Ferdy Fairfax Tim Palmer Steve Blake Tom Mcginley

EXTRA TIME Shed Productions Barnaby Southcombe Ian Liggett Keith Osbourne Ryan Osbourne

MARGARET Touchpaper Television Simon Cellan-Jones David Katznelson Otto Stenov Stewart King

Title Production Company Agency Director DoP

ard.de MOMENTE picture planet gmbh .start GmbH Klaus Knoesel Torsten Lippstock

Axa Assistance Wonderboys Film GmbH Werbewerkstatt Thomas Richter Sean Miros

Dr. Oetker 111 JAHRE PUDDING e + p BBDO Campaigne Linus Ewers Joachim Berc

ING-DiBa FREESKIER HelliVentures Wüschner Rohwer Baier Georg Dehghan Bill Heath

Mc Donalds ROCK ‘N ROYAL Picture Sharks / Life Heye & Partner Paul Harather Robby Müller Rapid Eye Movement /Food Ernst Kalff Christian Reim

Müller Froop MÄDCHEN M.I.M Made in Munich Springer & Jacoby Life: Caroline Link / Stefan Austmeyer Filmproduktion GmbH Werbeagentur Food: David Wynn-Jones

Müller Milch KLINSMANN M.I.M Made in Munich Wensauer Life: Peter Kleine / Life: Hilton Goring / Filmproduktion GmbH Werbeagentur Food: David Wynn-Jones Food: David Wynn-Jones

playmobil FRÜHJAHR 2005 e + p Reiner Holzemer Peter Aichholzer

Premiere ERSTER Gap Films Goldammer Werbeagentur Charley Stadler Stefan von Borbely

Scorpions Kapa Entertainment Wolfgang Moselle

Somat STRONG e + p BBDO Campaigne Tom Fährmann Tom Fährmann

A Selection of Currently 78 Services

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BLUT DER TEMPLER Westside Filmproduktion Florian Baxmeyer Digital VFX

DER SCHATZ DER WEISSEN FALKEN Little Shark Enternainment Christian Zübert Digital VFX

DON´T COME KNOCKIN´ ips Wim Wenders Digital VFX

ERKAN UND STEFAN III headnut industries Michael Karen Digital VFX, Title Design

KINGDOM IN TWILIGHT Tandem Communications Uli Edel Digital VFX

WILDE KERLE II SamFilm Joachim Masannek Digital VFX

Theater Release

Title Production Company

CACHE Wega Film

DER FISCHER UND SEINE FRAU Constantin Filmproduktion

DIE WEISSE MASSAI Constantin Filmproduktion

ERKAN & STEFAN III headnut industries

ES IST EIN ELCH ENTSPRUNGEN SamFilm

KLASSENLEBEN SUMO Film

Foreign Dubbing

Title Production Company

A TOUCH OF SPICE Allamode FilmverleihSEED OF CHUCKY Constantin Film Verleih

SOMERSAULT Mina Kindl Synchron

TV Release

Title Production Company

ANDERSRUM Harder Beta

DAS BESTE JAHR IHRES LEBENS Hager Moss Film

DAS GESPENST VON CANTERVILLE Roxy Film

DIE ARMEN MILLIONÄRE sanset Film

MEIN SÜSSES GEHEIMNIS Multimedia

Title Production Company DoP Gaffer Equipment Serviced by

ALL THE KINGS MEN AKM Productions Pawel Edelman ARRICAM ST/LT ARRI CSC NY

DUKES OF HAZZARD Hazardous Productions LLC Lawrence Sher John Velez Lighting & grip ARRI CSC NY

GLORY ROAD Glory Road Productions John Toon ARRICAM ST/LT ARRI CSC Florida ARRIFLEX 435 Advanced

JIM JARMUSCH (UNTITLED) Dead Flowers Inc. Frederick Elmes Jonathan Lumley ARRICAM ST/LT ARRI CSC NY

JONNY ZERO Warner Bros. Craig DiBona Jerry Deblau ARRIFLEX 16SR3 Advanced ARRI CSC NY Lighting & grip

LADY LUCK Lady Luck Prod. LLC Anastas Michos Andrew Day Lighting & grip ARRI CSC NY

MCBRIDE Larry Levinson Productions Dane Peterson Matt Wieland Lighting & grip Illumination Dynamics for Hallmark

NOMAD Kazakhstan National Film Board Dan Lautsen ARRIFLEX 535B ARRI CSC NY

PLEDGE THIS Pledge This LLC Fortunato Procopio ARRICAM ST/LT ARRI CSC Florida ARRIFLEX 435 Advanced

PRIME Prime Film Prods. LLC Will Rexer ARRICAM ST ARRI CSC NY

QUATERLIFE Bedford Falls Robert Primes ASC Andrew Smith Lighting & grip Illumination Dynamics

THE LOST CITY Cuidad Perdida Emmanuel Kadosh ARRICAM ST/LT ARRI CSC Florida

THE REAL GILLIGANS ISLAND Warner Bros. Television Oscar Dominguez Lighting & grip Illumination Dynamics

THE SWAN Warner Bros. Television Oscar Dominguez Lighting & grip Illumination Dynamics

THIRD WATCH Warner Bros. Television Glenn Kershaw Joe Sciretta ARRICAM ST/LT 3 perforation ARRI CSC NY ARRIFLEX 16SR3 Advanced

Title Production Company Director

3° KÄLTER blue eyes Fiction Florian HoffmeisterAGATHE HAT NOCH NICHT ERMITTELT Lisa Film Helmut MetzgerANTIKÖRPER MedienKontor Movie GmbH Christian AlvartDAS DUO – UNTER STROM TV60Film Urs EggerDER FISCHER UND SEINE FRAU Constantin Filmproduktion Doris DörrieDER LENKBARE GROSSVATER Seitz Film Dagmar KnöpfelDIE BLUTHOCHZEIT Typhoon Networks Dominique DeruddereDIE LIEBE EINES PRIESTERS Lisa Film Franz-Joseph GottliebDIE STURMFLUT teamWorx Jorgo PapavassiliouDRESDEN DER BRAND teamWorx Roland Suso RichterEIN FREUND VON MIR X Filme Sebastian SchipperEMILIA TV60Film Tim TrageserES IST EIN ELCH ENTSPRUNGEN SamFilm Ben VerbongHELEN, FRED UND TED teamWorx Sherry HormannHYPOCHONDER Claussen & Wöbke Maggie PerenIN ORBIT MMM Film Angelina MaccaroneLAURAS WUNSCHZETTEL Lisa Film Gabi KubachLETZTES KAPITEL CineCentrum Marcus O. RosenmüllerLUFTBRÜCKE teamWorx Dror ZahaviOKTOBERFEST Hager Moss Film Johannes BrunnerROSA ROTH – IM NAMEN DES VATERS Moovie the art of entertainment Carlo RolaROSA ROTH – IN GUTEN HÄNDEN Moovie the art of entertainment Carlo RolaSIEGFRIED Constantin Filmproduktion Sven UnterwaldtTRAUMHOTEL – BALI Lisa Film Otto W. RetzerTRAUMHOTEL – MEXICO Lisa Film Marco Serafi niUNTER VERDACHT VI – DEALER Pro Programme Edward BergerWEISSBLAUE WINTERGESCHICHTEN II Lisa Film Karsten WichniarzWINTERREISE d.i.e. fi lm Hans Steinbichler

Serviced Productions Services 79

Page 80: ARRI News Magazine NAB Issue 2005

Expo Calendar 2005

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

2005

April 06 – 09 Prolight & Sound Frankfurt

April 11 –15 MIP-TV Cannes

April 18 – 21 NAB Las Vegas

May 17 – 20 Koba Seoul

May 22 – 24 Showlight Munich

May 25 – 27 SMPTE Tokyo

May_June 31 – 02 Testing Expo Stuttgart

June 01 – 03 Showtech Berlin

June 03 – 04 CineGear Los Angeles

June 14 – 17 Broadcast Asia Singapore

June 14 – 17 Expo Cine Video Mexico

August 02 – 04 Siggraph Los Angeles

August 25 – 28 BIRTV Beijing

September 09 – 13 IBC Amsterdam

September 11 – 14 Plasa London

October 18 – 20 SATIS Paris

October 28 – 30 Broadcast India Mumbai

November 01 – 04 TRBE Moskow

November 03 – 06 IBTS Milan

November 11 – 13 LDI Orlando

November_December 26 – 03 Camerimage Lodz

Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 München Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita MüllerWith additional text by: Elfie Bernt, Simon Broad, Sven Beyer, Jon Fauer, John Gresch, Jochen Hähnel, Karl Herrmann, Dr. Hans Kiening, Sibylle Maier, Florian “Utsi“ Martin, Stefano di Martino, Kara Misenheimer, Marc Shipman-Müller, Kornelius J. Müller, Timo Müller, Judith Petty, Karen Raz, Angela Reedwisch, Claus Richter, Andrea Rosenwirth, Prof. Jürgen Schopper, Mauro Sembroni, Jon Silberg, Michelle Smith, An Tran, Natasha Wang, Franz Wieser, Norbert Wunderlich Artwork: add cooperation Uwe Heilig Mediendesign, lucie_p, Matthias Göbel Printed by: Rapp-Druck GmbH, Flintsbach

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

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