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D i g i t a l I n t e r m e d i a t e

L i g h t i n g

N e w s A r o u n d A R R I

S e r v i c e s

ARRIFLEXD -20GoesData 54

ARRIFLEXD -20Workf low 56

ARRIFLEXD -20ExposureWheel 58

ARRIFLEXD -20GoesCommercialatARRIRental 60

D -Cinema–MadeinGermany 62

ARRISCANwithKODAKDigitalICE 63

ARRIandDVSPresentaNewDigitalDail iesSystem 64

TechnicolorRecognizedforRealt imeAnswerprintSystem 67

Af terManyWeeksof‘Composit ingAler t ’–

+10NowonAir! 68MAXMOVER–It ’saHit 70

TheMAXFiles:TheARRIMAXIsOutThere 72

ARRIStudioSolut ions 76

ARRIBrightenstheChristmasShoppingExperience 78

GuildhallSchoolofMusicandDrama 79

LocalSupportinaGlobalMarket 80

NewAsianARRIServiceandSalesStat ions 80

VisionARRI–VisionsBecomeRealit ywithARRI 81

Congratulat ions 81

ASelect ionofCurrent lyServicedProduct ions 82

ARRI Rental Germany · ARRI Media · ARRI Lighting Rental ARRI Lab – TV Drama · ARRI Sound · ARRI Commercials ARRI CSC · ARRI DI / VFX

ThePowerof416 4

Ult ra16Lenses 8

TheBeautyof16 10

MercedesCountsonSuper16 16

RodrigoPrieto,AMC,ASCCapturesB A B E L 20

TrailblazingSaddles: 22

RodrigoPrieto,AMC,ASCDiscussesB R O K EB A C K M O U N TA I NTheAr tofWar 26

Get t ingWideAnglesinOuterSpace 28

ElCaminodelosIngleses 30

ARRICAMonTopoftheWorldinT ibet 31

K A N K – ABollywoodProduct ionFilminginNewYork 32

MasterDiopters–

GrabaQuickCloseUpwithZeissOpt icalQualit y 34WirelessLensControlonRemoteHeadswiththeWAU-3 38

AccessoryUpdates 39

SimpleIVSUserTextEntry 40

MiniMotor6.5T 40 Auto - Ir isHeatedEyecupHE-5 40BroadcastIndia2005 41

ARRIL ight ingSolut ionsSignedContract

atCABSAT2006inDubai 41NATExpo2005inMoscow 42

ARRISponsorsRussianFilmSchoolVGIK 42

Camerimage2005 43

ARRIAustralia–ReadyforTakeOf f 44

Gori l laFilmmaking 46

GlobalVision 48

FirstARRISCANinLat inAmerica 49

FirstARRILASERHDinSpain 50

ARRILASER-ARRISCANAdvancedUserTraining 51

HualongFilmBeij ingCompletesTheirDIWorkf low 51

NextStopHongKong 52

C o n t e n t

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… a simple offer that stands for a big promise. In times of ever-increasing specialization, ARRI presents a unique corporate structure, offering a range of expertise that is not to be found a second time in the industry: With the ARRILASER, ARRIFLEX D-20 and ARRISCAN, ARRI has turned into a digital company without losing the expertise, competence and manufacturing capabilities of our precision mechanics roots. While more than two thirds of our R&D engineers work on software, image processing, electronic circuit design and laser optics we still manu-facture more than 80 % of all of our camera parts and in fact all of the precision mechanical parts for our digital products in house.

The quality and durability of digital products most often rely on a few but essential analog, optical and precision mechanical parts; the fixed flange focal distance that remains stable under all operational and environmental conditions to avoid back focus issues is just one example worth mentioning.

Quality or performance lost at the source can never be recovered later. To get these key issues right, ARRI has accumulated the engineering and manufacturing know-how of ten generations of film cameras during the almost 90 years it has been active in the industry. Combined with the in-house know-how of modern software, digital systems design and laser optics, ARRI is well prepared for the future be it digital, analog or, as we believe, hybrid.

The presentation of our new ARRIFLEX 416 Super 16 sync sound camera, the introduction of the D-20 Data Mode that integrates directly to the DI workflow, the major speed and functionality enhancement of the ARRISCAN that now makes it the fastest pin registered film scanner in the world, the release of the ARRIMAX 12|18 along with the Maxmover an automated stirrup: all are proof of the potential and complexity of the ARRI design and manufacturing capabilities.

“Go ARRI” also has a strong geographic component. Regardless of where you produce you will always find competent local service and support. This covers all languages and continents, for all areas of the business. Just recently ARRI’s worldwide agents had opened new offices in Thailand and Vietnam, and have especially focused on creating competence centers in China, which all offer quick service and highest quality standards. These are experts who come straight out of production practice and have for the most part received additional training on the latest technology either directly at ARRI in Munich or on location by ARRI staff.

We are particularly proud of our recent activities in Australia. With our new operation ARRI Australia, another important location for international productions now has a dynamic and amply equipped centre of motion picture technology.

A further building block in the corporate strategy is a broad communications base, be it through ARRI presence at all the major regional exhibitions all over the world or through the ARRI News, which incidentally is now available in both Mandarin and Russian translations. In this spirit we would like to wish you success with your current projects and hope that you will find inspiration, fruitful discussions and interesting new contacts at the ARRI-Booth, at whichever show you have the opportunity to visit.

We are looking forward to meeting and talking to you.

Klaus A. Feix Franz Kraus

“GoARRI“

Klaus A. Feix Franz Kraus

E d i t o r i a l

“When many are talking about

the great digital trend,” says

Franz Kraus, General Manager

of the ARRI Group, “some

companies have perceived a

kind of counter-trend in the last

years. 35 mm film is going

strong as ever, but we have

also seen an increased use of

Super 16 mm film.

Kodak has reported a continued

high volume of Super 16 sales, while

showing increases in some markets,

and our rentals tell us that their 16 mm

cameras are constantly working.

The reason is simple: Super 16 is a

high quality / low cost origination

medium. The equipment is small, robust

and provides a great number of

creative options. Film has inherently

‘the film look’, a dynamic range

in excess of 16 stops and is also a

global standard that can be archived

well into the future.”

4 C a m e r a

Marc Shipman-Mueller, Product Manager for Film Cameras and Lenses, adds: “Various technological advances in the last years have improved the image quality of Super 16 tremendously: there have been new film stocks, new telecines, new scanners, new lenses and, of course, the digital intermediate (DI). We have seen producers take advantage of these developments in two ways. First, Super 16 is a great image capture medium when shooting for SD (standard definition) or HD (high definition) broadcast. And second, independent features have shot on Super 16 and gone DI, which gives them the option to create a high qual-ity 35 mm release print. As a result, for some years now cinematogra-phers have asked us to update the 16SR3 with the features they use daily on our 35 mm cameras.”

“But when we looked at that,” says Klemens Kehrer, who had just completed project management for the ARRIFLEX 235, “we found that we really had gone as far as we can go with the 16SR concept. The 16SR is a brilliant camera of which we have sold more than 5,100 units by now, but it was introduced in 1975 and has been updated continuously since then. To accomplish what cinematog-raphers have requested, especially a better viewfinder and a totally quiet camera, we had to break the mold and rework the camera from the ground up.”

The result is the ARRIFLEX 416, a lightweight modern Super 16 film camera with a 35-style viewfinder and a sound level similar to that of the ARRICAM. The 416 has a completely new lightweight ergo-

5C a m e r a

nomic design, integrated electronic acces-sories and compatibility with the same lenses and accessories used by its 35 mm siblings. It runs from 1 to 75 fps, and has a manually adjustable mirror shutter from 45 to 180 degrees.

Klaus Feix, General Manager of the ARRI Group, explains further: “In the middle of 2006 we will show the first 416 prototypes. These cameras will be thoroughly tested. That way we can assure that the camera works well in the real world, under real production conditions, when we deliver the final product at the end of 2006.”

The 416 ViewfinderThe 416 viewfinder optics have been re-designed from the ground up, incorporat-ing fewer lens elements of higher quality and a shorter optical path. The results are significantly higher contrast, higher resolu-tion and a brighter image, so judging focus on the set will be a lot easier.

The new viewfinder ergonomics are based on the ARRIFLEX 235 viewfinder, having the same freedom of movement and features. With its large exit pupil, the 416 viewfinder allows the operator to move the eye without losing the image – a great advantage

when going handheld or shooting action sequences. In contrast to its predecessor, the 416 accepts almost all of the large dia-meter 35 format primes, including the new Master Primes, because its viewfinder is located higher above the lens mount.

The 416 takes the 16SR 3 fiber optic screens, so rentals can use their existing inventory. And with the new RGB ARRIGLOW built into the 416 viewfinder, you can choose any color you like. Choose magenta framelines when shooting green screen, red for jungle, yellow for blue skies.

The 416 viewfinder is accompanied by a video assist of the same image quality and features as the ARRICAM video assist, with some added benefits like color bars, ad-justable electronic image enhancement and manual white balance. Using the same optical layout already proven in the ARRI-FLEX 235, viewfinder and video assist are independent of each other. This makes a switch from handheld to Steadicam very fast and eliminates the need for a 100% video top. Additionally, two 12V accessory outputs on the video assist can power an on-board monitor and a video transmitter at the same time.

Sound DesignThe 416 uses a completely new sound in-sulation design that makes it as quiet as an ARRICAM. An inner skeleton is suspended by symmetrically positioned insulators in an outer shell. The camera's movement and other parts that create vibrations – and thus unwanted sound – are mounted to the inner skeleton. The insulators prevent any sound from the inner skeleton to emanate to the outer shell. The symmetrical positioning of the insulators ensures that the flange focal distance stays constant so there’s no change in depth from heat or cold.

The new magazine is powered by a brush-less silent torque motor, so there is no noisy mechanical linkage between camera and magazine. And just like the camera, the magazine consist of an inner skeleton and an outer shell separated by insulators, making it the quietest 16 mm magazine ever built.

Ergonomic FlexibilityCinematographers and producers choose to shoot in Super 16 because of the flexibility afforded by the smaller and lighter equip-ment. One of our goals has been to further increase this portability, while providing many of the features crews have come to expect of 35 mm cameras.

The 416 weight has been reduced by an amazing 25% in comparison to the 16SR3Advanced, when comparing a configura-tion including body, viewfinder, IVS and magazine. When comparing the 416 Plus to a 16SR 3 with UMC-3, the difference is even greater. Its shape has been complete-ly redesigned to make it smaller and give it a lower profile, while providing a cut out that fits snugly on the shoulder. To avoid all the clutter of extra boxes and cables that tend to hang off the camera, the video assist, lens motor drivers and a wireless radio can be integrated directly into the camera body.

Last but not least, there is the new split bridgeplate. The camera can be removed

ARRIFLEX 416

ARRIFLEX 435 Xtreme

ARRIFLEX 235

6 C a m e r a

• The Quietest 16 mm Camera sound less than 20 db(A)

• 35-style Viewfinder — brighter, higher contrast, higher resolution — bigger exit pupil allows more eye movement — multi-color RGB ARRIGLOW — accomodates even wide diameter PL mount lenses — excellent optical quality with eyepiece extension

• High Quality Video Assist — improved image quality — adjustable electronic image enhancement — 2 × 12 V accessory power outputs

• Compact & Lightweight — small camera body — low profile design — 25 % lighter than 16SR 3

• Ergonomic Design — ergonomic shoulder cut out — viewfinder removes quickly for Steadicam and remote applications — optional integrated radio & lens motor drivers — split bridgeplate for fast switch from tripod to shoulder

from a zoom lens/tripod configuration in two quick steps: open the lens mount, split the bridgeplate and the camera pops off. The second assistant can then dismantle the zoom lens, while the operator is alreadyshooting handheld.

LensesAlmost all PL mount lenses for the 16, Super 16 and 35 mm formats can be used on the 416, including the high speed, high quality Master Primes and the Ultra Primes, the modern prime lens set with the widest focal range from 8 to 180 mm.

In addition, five brand new T1.3 prime lenses have been developed specifically for the Super 16 format: The Ultra 16 lenses. With focal lengths of 6, 8, 9.5, 12 and 14 mm the Ultra 16 lenses extend the Ultra Primes further into the wide end. The Ultra 16 lenses are a perfect match for the 416; they exhibit the same resistance to flare as the Master Primes and give an unpreceden-ted image quality even when opened to their maximum aperture of T1.3. Their high speed facilitates shooting on tight lighting budgets, shooting under time pressure and creating a shallow depth of field.

Control & PowerThe 416 control panel should be familiar to anyone who has ever worked with a modern ARRI camera, so the camera can be operated without further training.

The new, powerful and smart Lithium-ion on-board battery OBB-2 can run up to five magazines while keeping camera and video assist in standby for more than 2 hours. With a built-in power gauge the state of an OBB-2 can be quickly determined, and since the OBB-2 communicates with the camera, the 416 can accurately display its current vol-tage, remaining capacity or how many more magazines the battery's charge can run.

16 mm Product Range

The 416 Camera SystemThe ARRIFLEX 416 and its high speed companion, the ARRIFLEX 16SR 3 Advanced HS, are embedded in an extensive range of existing ARRI accessories. For theARRIFLEX 416 some new accessories have been built that follow the same design philosophy used in the creation of 416 body and magazines: increasing efficiency on the set. Two handles have been designed, one for normal and one for remote use. These include such details as a flip-up tape hook and different height platforms for Steadicam and for under-slinging the 416 on a remote head. Like the 235, the 416 has extra 3/8" attachment points with location pin holes for twist free attachment of accessories or extra secure rigging.

Main Features at a Glance

416 Plus 416 16SR 3 Advanced HSSpeed Range (fps) 1– 75 1– 75 5 – 150Shutter Angles (degrees) 45 – 180 45 – 180 45 – 180150 Degree Shutter Angle (1) yes yes noSound (dbA) < 20 < 20 < 29Weight (Kg/Lbs) (2) 5.7 / 12.6 5.5 / 12.1 7.8 / 17.2 Viewfinder Quality +++ +++ +Viewfinder Handling +++ +++ +Viewfinder & Video Independant yes yes no ARRIGLOW yes, multi color yes, multi color yes, redIntegrated Video Assist yes yes noVideo Assist Quality +++ +++ +Video Image Enhancement yes yes noIntegrated Accessory Electronics yes no noLens Data Display Plug (3) yes no noTimecode yes yes yesMagazine Loads (meter / feet) (4) 120 / 400 120 / 400 120 / 400 and 240 / 800

(1) For 25 fps shooting with HMI, fluorescent and mercury vapor lights in 60 Hz countries(2) Body, viewfinder, loaded magazine, video assist(3) Lens Data Display can be connected to 416 Plus for Lens Data Archive use(4) 240 m / 800' magazine should only be run up to 75 fps

7C a m e r a

As part of the current rapid progress in the Super 16 film format, ARRI and Zeiss are introducing a new

line of modern prime lenses designed specifically for Super 16. This new Ultra 16 lens set consists

of five high speed primes with focal lengths of 6 mm, 8 mm, 9.5 mm, 12 mm, and 14 mm; all cover the

full Super 16 mm format and are fully compatible with the optical quality and ergonomics of the

ARRI / Zeiss Ultra Prime lenses.

8 C a m e r a

Much of the design of the Ultra 16 lenses is based on the research done for the creation of the 35 format Master Primes: the Ultra 16 lenses are super fast at T1.3, while showing excellent optical quality over the whole T-stop range. Being able to work at T1.3 facilitates shooting on tight lighting budgets or under a lot of time pressure, especially common in TV drama production. In addition, T1.3 allows for the creation of a shallow depth of field, a look that is in-herent in the Super 35 format, and often sought after in other formats. T1.3 at high optical quality is one of the outstanding features of these new lenses, unmatched by any other lens manufacturer.

The lenses also share the new T* XP lens coating with the Master Primes. This coating gives them a greater resistance to flares and ghosting, as well as improved contrast. The Ultra 16 lenses have an exceptional reso-lution, true color fidelity and their optical

quality is maintained over the whole image field and across the whole focus range. Their color balance is Super Color Matched to the other ARRI / Zeiss lenses, including the Ultra Primes, Master Primes, Variable Primes and the Lightweight Zoom LWZ-1.

Consequently they can be easily mixed with the longer focal lengths of the 35 format Ultra Primes. Using the Ultra 16 lenses and adding Ultra Primes starting with a 16 mm Ultra Prime has the advantage that just one matte box is needed, as all front diameters are 95 mm (except for the 180 mm Ultra Prime, which has a 114 mm front diameter).

The Ultra 16 and Ultra Primes have exactly the same lens rings for full mechanical compatibility. The Ultra 16 lens scales are distinctly color coded in order to avoid confusing the different lens types: The Ultra 16 are equipped with yellow scales for focus and aperture, while the Ultra Primes

traditionally have white scales. The Ultra 16 lenses also have a blue ring next to the PL-mount, while the Ultra Prime barrel is completely black.

Ultra16LensesFiveSuperFastWide-anglePrimesforSuper16

Ident Number with Meter Scale:

Ultra 16 T1.3 / 6 mm (meter scale) K2.47560.0

Ultra 16 T1.3 / 8 mm (meter scale) K2.47561.0

Ultra 16 T1.3 / 9.5 mm (meter scale) K2.47562.0

Ultra 16 T1.3 / 12 mm (meter scale) K2.47563.0

Ultra 16 T1.3 / 14 mm (meter scale) K2.47564.0

Ident Number with Feet Scale:

Ultra 16 T1.3 / 6 mm (feet scale) K2.47565.0

Ultra 16 T1.3 / 8 mm (feet scale) K2.47566.0

Ultra 16 T1.3 / 9.5 mm (feet scale) K2.47567.0

Ultra 16 T1.3 / 12 mm (feet scale) K2.47568.0

Ultra 16 T1.3 / 14 mm (feet scale) K2.47569.0

9C a m e r a

TheBeautyof16

A Little HistoryThe first 16 mm cameras arrived in the consumer marketplace around 1926. Kodak and Bell & Howell collaborated to develop a motion picture camera for hobbyists. Kodak suggested de-signing a new 16 mm format with a 1.33:1 aspect ratio. The proposal called for smaller per-forations to make it more difficult for hobbyists to repurpose 35 mm nitrate-based film. A few years later ARRI introduced its first 16 mm camera, the KINARRI 16.

The Super 16 format continues to be a

vital part of motion pictures today while

countless video formats have fallen by

the wayside. Key innovations such as

advancements in film stocks, new lenses

and digital intermediates have helped to

keep 16 mm alive and cutting-edge.

Super 16 continues to perform strongly

for television production and has

proven to be a favorable form of capture

for feature films – independent and

studio alike. Shows like early episodes

of THE WEST WING and the entire

series of SEX AND THE CITY have long

been praised for their stunning looks,

while newer shows like THE OC, THE

SHIELD and GILMORE GIRLS showcase

the varied visual styles Super 16 can

offer into the future. All of these current

productions show that Super 16

continues to dazzle audiences, while

past acclaimed films like RAISING

VICTOR VARGAS and LEAVING LAS

VEGAS in the States, and FEUER UND

FLAMME, DAS WEINENDE KAMEL,

HöHLE DES GELbEN HUNDES, MARCH

OF THE PENGUINS, REqUIEM and

AbGESCHMINKT in Europe are safely

archived for future generations.

SEX AND THE CITY

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KEN

HO

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CO

URT

ESY

OF

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BO

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In 1966, Swedish cameraman Rune Ericson began to tinker with eliminating the per-forations on the left side of the 16 mm frame. That provided a 20 to 40 percent larger image area, depending on the desired as-pect ratio. The image area of Super 16 has a 1.66:1 aspect ratio, which was standard for producing widescreen movies in Europe. European filmmakers saw the possibilities and gradually embraced the new format as a viable alternative. They used Super 16 to produce low budget, independent features and television programs. The technology soon spread to the United States and the rest of the world. In 1975 ARRI introduced the 16SR 1, an early predecessor to the

16SR 3 Advanced, which continues to be the standard camera for 16 mm production today.

Here and NowIn recent years, mainstream cine-matographers like Stephen Goldblatt, BSC, ASC (CON-SPIRACY), Haskell Wexler, ASC (SILVER CITY), Ellen Kuras, ASC (THE BALLAD OF JACK AND ROSE), Paul Ryan, ASC (ADMIS -SIONS), Matt Libatique, ASC (NEVER DIE ALONE and SHE HATE ME) and Nancy

The inventor of the Super 16 format, Cinematographer Rune Ericson

By the 1930s, 16 mm had expanded into the educational market and with the addi-tion of optical soundtracks, the format became even more powerful. In 1952 the ARRIFLEX 16 ST was introduced and soon became the standard camera for TV and documentaries. As of the early 1960s, there were thousands of 16 mm cameras around the world.

Paul Ryan on the set of ADMISSIONS

11C a m e r a

Schreiber, ASC (AMERICAN GUN) have worked with Super 16. Upcoming feature film productions shot on Super 16 include HARSH TIMES, FOR YOUR CONSIDERATION, THE OPTIMIST, INTELLECTUAL PROJECT and CAFFEINE.

Last year, HUSTLE & FLOW shot by Amelia Vincent, ASC earned Sundance’s American Excellence in Cinematography Award for her contributions to the film. Written and directed by Craig Brewer, the film follows DJay, a small-time pimp in Memphis who has a midlife crisis and begins to translate his brutal life into rap lyrics. The decision to produce HUSTLE & FLOW in the Super 16 format was only partially motivated by costs. Vincent wanted to give Brewer the freedom to work with small, mobile cam-eras. She also felt the format was the right aesthetic for the film.

A critical hit in theaters this year was THE SQUID AND THE WHALE, directed by Noah Baumbach and shot by Robert Yeoman, ASC. The poignant film follows two young boys coping with the painful divorce of their parents. Originally budgeted at $10 million, the production first intended to shoot on 35 mm. When the budget was slashed to $1.5 million, the filmmakers opted to shoot on Super 16 rather than high definition video. Since THE SQUID AND THE WHALE takes place in the 1980s, the director disliked the notion of shooting on HD or digital video – formats that did not exist during the time period of the movie. Baumbach found inspiration from the viscer-al aesthetics of the French New Wave and John Cassavetes. For the director, the Super 16 format was not seen as a compromise, instead, he preferred to emulate the capti-vating films that had inspired him to become a filmmaker.

Explains Yeoman, whose credits include RED EYE and THE LIFE AQUATIC, “Noah wanted to capture a reality, almost like a documentary feel for THE SQUID AND THE WHALE. In pre-production he often referenced the French New Wave or Cassavetes films. He liked the spontaneity of them.”

The film was shot entirely in real locations, many of them in the Park Slope area of Brooklyn that Baumbach grew up in. For Yeoman, that meant operating in confining rooms with a minimal lighting package.

“Regarding mobility, 16 mm is such a won-derful medium. We shot with an ARRIFLEX 16SR 3 and Zeiss prime lenses. I shot the whole movie handheld, and the lightweight camera allowed us to work very quickly in tight spaces. We shot at low light levels, often without marks. My focus puller Storn Peterson did a remarkable job.”

Cinematographer Mauricio Rubinstein can relate to a similar shooting style. In his latest film DUANE HOPWOOD, due in thea-ters this April, the story follows a casino worker (played by David Schwimmer), down on his luck and his marriage.

“Some of the locations were very cramped spaces where we had a large number of people: the boom operator, dolly grip and the actor could barely move. If you start working with bigger cameras and needing to have wider lenses, it can become a problem,” notes Rubinstein.

Written and directed by Matt Mulhern, the feature shot only on Kodak Vision2 7218 stock in Atlantic City with a quick schedule of 21 days. “One of the main advantages of shooting Super 16 is that you have enor-mous mobility,” says Rubinstein. “You have very light equipment and you can be shoot-ing handheld, you can shoot on dollies, on sticks – moving locations and moving the camera is always very fast. You require less people on your crew as opposed to 35 mm.”

Rubinstein points out that two ARRIFLEX 16SR 3s were employed on the production, covering 90 % of the same scenes. “I worked mostly with two cameras covering different angles for scenes with the children. They are raw professional actors and with every take they gave a different performance. This way it was helpful for us to move faster with a tight schedule because the schedules of the children were more restricted, and also to capture more of the spontaneity of their performances. This was one of the

Left to right: Director Craig brewer looks through the viewfinder as Cinematographer Amelia Vincent, ASC sets up the shot

billy baldwin (right), Noah baumbach (writer / director, middle), with Jeff Daniels lying on the ground

Noah baumbach and Jeff Daniels (Courtesy of Samuel Goldwyn Films and Sony Pictures Releasing International)

Robert Yeoman, ASC

12 C a m e r a

decisions why the producer Lemore Syvan wanted to shoot Super 16. For shooting with two cameras it could have been shot equal-ly on 35 mm, but not in that amount of days, with that amount of locations, and with the restrictions we had in terms of children.”

ToDIForThe look of DUANE HOPWOOD was further enhanced by using the digital intermediate (DI) process in postproduction, something Rubinstein previously experienced on other 16 mm projects. By scanning the 16 mm negative and bringing it into a DI, the loss of resolution caused in the past during the blow-up process to 35 mm has been elimi-nated. The DI process also provides cinema-tographers extraordinary control over color and contrast.

“I had done a DI on KING OF THE CORNER and also CASA DE LOS BABYS. Since then, digital intermediates have been completely improved and developed,” says Rubinstein.

“I find 7218 is an emulsion that responds in the digital intermediate to bringing satura-tion as well as draining color out of it.

David Schwimmer and Janeane Garofalo star in DUANE HOPWOOD

Shooting with two cameras was integral to the scenes with child actors

KING OF THE CORNER is very saturated and DUANE HOPWOOD is very muted. The lati-tude of 7218 is amazing. You can nearly work without a light meter, make flat evalu-ations and you still have the information on the negative. By the time you go into digital intermediate, you can always make your corrections.”

With DIs enhancing the look of 16 mm, film stock manufacturers Fuji and Kodak continue to improve stocks by creating negatives with the DI in mind. The Kodak Vision2 film family is the first line of the company’s prod-ucts created specifically for both analog and digital postproduction. Vision2 stock 7218, which DUANE HOPWOOD, HUSTLE & FLOW and THE SQUID AND THE WHALE all shot on, was designed to provide easier color timing and grading in post-production.

Accordingly, Fuji developed the Eterna 500 ASA color negative, which was created to

Rubinstein on the set of KING OF THE CORNER, shot on Super 16

HUSTLE & FLOW (Images courtesy of Paramount Home Entertainment)

13C a m e r a

produce natural results for sophisticated studio work including digital processing and computer graphics treatments. In January, Eterna 400 and 250 were released to meet the needs of the growing ranks of cinema-tographers working with the digital inter-mediate process. Fuji specifically empha-sizes the high volume of image data in the shadows, which facilitates digital process-ing and expands the expressive range of commercial, promotional, and other TV work.

DI is simply another tool that filmmakers can use as part of their palette, along with time-honored conventional chemical and optical processes. Says Yeoman on THE SQUID AND THE WHALE, “At first I was pushing for a digital intermediate, but Noah was afraid that we would lose a lot of the film grain. We decided to go with an opti-cal blowup. I controlled the color in the timing. The stocks for Super 16 have gotten so good, they captured the essence of the story and we didn’t need to go through a DI. I loved the look, which I feel was right for the film.”

Vincent timed HUSTLE & FLOW for shot-to-shot continuity in interactive digital inter-mediate sessions at FotoKem with colorist Walter Volpatto. Despite having so many timing options at her fingertips, the cinema-tographer felt the script called for the look she originally captured on the negative. Vincent concludes that advances in film stocks and DI technologies have made the Super 16 format a viable origination medium in all budget ranges.

Super16mm forHD-TV

The gritty crime drama THE SHIELD on FX Network takes advantage of Super 16‘s visual characteristics to motivate a daring, documentary style. Supplied by Clairmont Camera, the entire series is shot using ARRI-FLEX 16SR 3 cameras often on Steadicam or handheld. The camera moves rapidly to follow the action, whether characters are engaged in dialogue or intense chase sequences.

Says Denny Clairmont, President of Clair-mont Camera, “The 16 mm cameras are less expensive to rent and since they are far more portable and easier to use, you can shoot more pages of script a day.”

Director of photography Rohn Schmidt is constantly pushing the show’s look from one extreme to the other, for an edgy, gripping style. Schmidt talked about whether shooting HD would be a practical option for the series. “THE SHIELD involves a lot of hope [laughs]. I think HD would probably be pretty good at getting most things, but sometimes when shooting THE SHIELD we're just hoping it comes out. I'm not sure that is HD's strength. If something were too bright, you may actually lose a sequence. The sim-plest analogy to HD is that it's very similar to shooting transparencies. If something is too bright on slide film, it's gone. Whereas

in film negative if something is a little too bright or too dark, that's OK. It's not the end of the world.”

With facilities in Hollywood, Toronto and Vancouver, Clairmont Camera began offering HD rentals about four years ago. Clairmont notes, “I think 16 mm is going to stay alive and well. Often when it boils down to making movies and making TV series, it’s all business. If something costs you more, you expect to get something more for it like a better look or a bigger audience so you get a return. That’s not happening with HD. The modus [operandi] for producers would be to save money and they are learning HD is not saving money.”

For Otto Nemenz the 16 mm format has a special significance. “I used to shoot after school specials in 16 mm, so I’ve seen the cameras evolve over the years and the format has always been very robust,” says Nemenz.

“It’s not like digital cameras where something new comes out every few months. The look of Super 16 keeps getting better and better with new stocks, DI and lenses, but the cameras themselves have remained largely the same. A few years ago, many thought Super 16 was over because of HD. The truth is Super 16 is not more expensive than HD, it’s not difficult to work with, and the look it affords you is better quality.”

Recent 16 mm productions equipped from Los Angeles-based Keslow Camera include THE OC and MONK.

Michael Chiklis and benito Martinez (Chiklis as Detective Vic Mackey in THE SHIELD)

A scene from THE SHIELD: Cathy Cahlin Ryan & Forest Whitaker

Otto Nemenz

Denny Clairmont

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“While we do a bit of HD [rentals] our major demand remains in 16 mm and 35 mm. We have two network shows shot in 16 mm. The other area that is big for us are music videos shot in 16 mm. Of course, documentaries have always been a strong part of our 16 mm business,” notes Robert Keslow, President and CEO of Keslow Camera. “The demand seems to remain constant.”

When regarding a project as an investment, producers should consider that film is the only recognized archival medium. Properly stored, film can be appreciated for over a century. Meanwhile, as different digital video formats come and go, the longevity of any material in video is unclear. Super 16 film equipment has been around for generations and stocks continue to improve, while keep-ing up with digital mediums means constant reinvestment to avoid obsolescence.

“When the Kodak Vision2 stocks were released, it greatly increased Super 16 rentals at our facilities,” says Nemenz, whose facility recently supplied 16SR 3 cameras for the HBO telefilm WALKOUT (shot by Don M. Morgan). “One of the big reasons why Super 16 continues to flourish is because of Kodak and Fuji. They keep improving the stocks and offering more to the filmmakers.”

Director / Cinematographer Mark Kohl is experienced with various shooting formats from commercials to TV to features. Despite his familiarity with 24p HD, the cinemato-grapher is not convinced that it will be re-placing film anytime soon.

“I still think Super 16 is the HD of the film world right now. To me, HD doesn't look better than Super 16 transferred on a Spirit. I can't put it on a Steadicam or on a crane quickly. I can get a 16 mm camera going in five minutes, with HD it takes half an hour. I could pound a nail into my ARRIFLEX and it would still work – not to mention you can shoot at any frame rate. To me, HD belongs on a soundstage,” says the DP whose credits include THE GUNFIGHTER and A WAKE IN PROVIDENCE.

With so much attention on digital technol-ogy, Kohl warns filmmakers not to listen too closely to the hype. “I’ve shot every format there is, but I shoot the same pretty much in any format,” he says. “It is just a format. What people forget is, a good shot. They forget good taste, wardrobe and lighting. They miss the point. Everyone has this technology – digital video cameras, editing systems – it is important, but now everyone

Forest Whitaker & Kenneth Johnson in THE SH IELD

Kenneth Johnson, Michael Chiklis and Walton Goggins in THE SHIELD

DoP Mark Kohl working with the ARRIFLEX 16SR 3

Robert Keslow

thinks they're a director. You need to develop a sense of style, a sense of taste – a vision. You need to learn timing and storytelling. That's what takes a long time to do.”

Anyone can go out with a camcorder and shoot footage, but learning the essentials of filmmaking takes a certain amount of discipline. “Many students are learning on video these days, but I think learning to shoot on film is really important. It teaches you to visualize in your head and to light. You have to learn to think and to make choices,” Nemenz comments.

It’s a sentiment that Yeoman may agree with, especially in terms of capturing the per-

formances of actors. “I love the process of filmmaking. A lot of times people point out that with digital, you can just keep rolling. But film really forces people to focus their complete attention on the scene. I think that’s very important.”

Super 16 and BeyondSuper 16 has its strengths, but like with other formats, it is useless without a vision and a passionate filmmaker behind it. Fortunately, Super 16 has had many talented filmmakers depend on it through the years to bring captivating stories to the screen for audi-ences all over the world. The format’s past and present have proven to be bright and accomplished. Here’s to celebrating the beauty of Super 16 for many years to come.

An Tran and Bob Fisher

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Marc Shipman-Mueller: Len, how did Gutsy first get hooked up with Mercedes?

Len Dickter: DaimlerChrysler is currently building nine large brand centers worldwide, containing car dealers, museums, retail stores and event spaces. They will open one in the UK in the summer of 2006 and they were looking for someone to do a documen-tary on the location. The UK center, to be known as ‘Mercedes-Benz World at Brook-lands’, is on the old Brooklands race track in Weybridge, Surrey, which is the very first closed circuit race track ever built. They wanted to show the history of Brooklands and of Mercedes. We pitched this concept of doing it in terms of the many Mercedes innovations, instead of basing it on a straight timeline, and we got the job.

So we did a lot of research. We visited the Mercedes Classic Center in Stuttgart that is responsible for keeping many of the classic cars, we talked to management, engineers, safety experts, and we were allowed into the Mercedes archives, which are just ama-zing. We were looking for connections where the Brooklands track and Mercedes Benz inspired each other, and we found many, including developments in aerodyna-mics, engine design, speed records, car styling, racing and safety. The result was a 60-minute documentary that will be available on DVD when Mercedes-Benz World at Brooklands opens.

Mercedes liked it so much that in August of 2005 they asked us to continue to work with them on a 5-minute piece that will be

MercedesCountsonSUPER16

In the Fall of 2005, Gutsy, a young London production company, assembled 27 unique classic

Mercedes cars in a studio near Stuttgart in Germany, and recorded automobile history on Super 16

film for DaimlerChrysler UK. We visited the set and, while marveling at the cars, had a long talk

with Len Dickter, Head of Script Development for Gutsy, Director Paul O'brien and Cinematographer

Thomas Stokowski, bVK.

Manuel Schwermer (left), Thomas Stokowski (third from left) and Paul O'brien (right) discussing the lighting for the next car

Mercedes-Benz 500K Roadster | 1935Mercedes-Benz 10/40/65 HP | 1923Mercedes Simplex | 1902

Two marvels of German engineering: The Mercedes Monoposto and the ARRIFLEX 16SR 3

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shown to the visitors of the Mercedes-Benz World at Brooklands.

MSM: And what is the concept of this piece?

Len Dickter: It is a short ‘Wow’ piece to welcome visitors to the Mercedes-Benz World at Brooklands, and to introduce them to the Mercedes-Benz brand in a highly emotive fashion. It is more brand-oriented than the documentary. The message is that Mercedes makes the perfect car based on 120 years of innovation, and these innova-tions are always there, even if you do not see them explicitly in your car. To document 120 years of innovation we decided to shoot 30 signature Mercedes cars that either embody a specific innovation or are icons of their era. In the final piece we will com-bine each car with footage from that era, drivers dressed in era clothing, and celeb-rities of that time. In addition, different Mercedes legends will enter and leave the frame to connect their personality to the car they created. Examples of this are Daimler and Maybach installing the first petrol engine, safety pioneer Bela Berenyi design-

ing the 230SL Pagoda roof, and L.G. Horn-sted driving the Blitzen to its second speed record, and so on. Of course, having all our research, stills and footage from the documentary came in very handy.

The Mercedes Classic Center in Stuttgart is responsible for the classic cars, and they were in the process of transferring a lot of those cars into a new Mercedes Museum in Stuttgart. After that, the cars were not supposed to leave the museum anymore. So we had to get them before they were locked up, which left precious little time to pitch, plan and coordinate this shoot.

MSM: How did you meet your cinemato-grapher, Thomas Stokowski?

Paul O'Brien: I looked at various show reels, and was very impressed with Thomas' reel. Thomas is somewhat of a specialist in shooting cars, he has worked with most of the major car manufacturers and has done work with Formula 1, so he knew how to light cars and how to shoot them and give us the look we wanted.

Emanuel Schwermer sets the iris of the 16SR 3

Thomas Stokowski measuring the light level for the Mercedes Monoposto

Mercedes-Benz 500K Roadster | 1935 Mercedes-Benz W196 Monoposto | 1954

MSM: And what format were you going to use for this shoot?

Thomas Stokowski: At first we had thought to use Digi-Beta or HD for budgetary reasons. It was going to be one big video shoot with about 30 cars. But then, in late September, the Mercedes Classic Center was forced to advance the date on which the Blitzen Benz would go into the new

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Mercedes-Benz 300SL Gullwing | 1954 Mercedes-Benz 230S Fintail | 1957

Stuttgart museum. Because of this, we had two weeks to put together a shoot just for the Blitzen. The entire team – lighting, camera operators, wardrobe, props, producers, effects, etc. – worked non-stop with King Kong Studios to ensure we were able to film the Blitzen before it disappeared into the museum. I suggested to shoot Super 16 film, Paul agreed, and so we did.

MSM: What did Mercedes think about the result?

Paul O'Brien: Oh, they loved it. Thomas used various film techniques like variable speed, speed ramps and a small shutter angle on some shots, and that, in combina-tion with the rich film look, convinced them to shoot all cars in Super 16. The footage had a great texture and depth that you only get with film, it was beautiful and worth every cent. When we showed Mercedes what we got during the Blitzen shoot, money was not so important anymore, the value of shooting on film was so apparent.

Plus they like the fact that they can repurpose this footage; the negative will go into the Mercedes archive and they can transfer it to whatever video or digital imaging standard will be needed in the future. This is historical material and we are already in discussions with Mercedes on other uses for this footage.

I personally am very happy about having shot film since the final product will not be like other image films with annoying narration; it will consist of only music and beautiful images of beautiful cars. So image quality is very important.

MSM: So then the big shoot was done on Super 16?

Thomas Stokowski: Yes. In November we got an ARRIFLEX 16SR 3, a bunch of super speed and Ultra Prime lenses, a Canon Zoom and the ARRI Wireless Remote System from FGV Schmidle in Munich. We rented the huge King Kong Studios outside of Stuttgart and set out to shoot 27 more cars in 7 days. I was happy that we were shooting film because it made it easier to capture those cars – the greater contrast range of film helps when shooting cars that always have specular highlights.

MSM: Which cars where at the shoot?

Credits

Director, Producer: Paul O'BrienCinematographer: Thomas Stokowski, BVKScript: Len Dickter

1st AC/TL: Emanuel M. Schwermer, BVK2nd AC: Alexander Seidl, BVKPost Production Supervisor: Sascha Fromeyer

Len Dickter: After in-depth research, we had identified 30 signature Mercedes cars that represent the highest level of technical and design achievement, each embodying a unique ‘first’ in the history of automobiles. Each is considered a classic.

We started with Daimler and Benz’s first motorized carriages from 1886, and worked our way through an amazing array of classic cars. For instance, there is the Blitzen Benz that set the standing mile speed record of 124.10 mph (200 km/h) in 1914 at Brooklands. Or the first silver arrow (W25 chassis), the first mass produced car (1894 Benz Velo), the first McLaren Mercedes F1 car (1997 McLaren F1) or the 2005 Mercedes McLaren SLR.

It was something special to be in a studio with all these historical cars, and I am very much looking forward to seeing this in the movie theatre at the Brooklands Center!

Marc Shipman-Mueller

Mercedes-Benz 300SL Gullwing | 1954

The King Kong Studios with the ‘talent’ waiting for their shot

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The brooklands race track during a 24 hour test run in 1907

An aerial view of the brooklands track around 1938

TheRealChit tyChit tyBangBangTied up in the history of Mercedes Benz and Brooklands is the story of a famous car that inspired Ian Fleming to create the American classic movie musical CHIT TY CHIT TY BANG BANG, which is currently being revived as a stage show in the UK and New York. The real Chitty Chitty Bang Bang was a race car built in 1921 by Count Louis Zborowski, an eccentric gentleman wealthy enough to own and race many cars both in Europe and America. He took racing very seriously but was known for his outlandish approach and colorful clothing, bringing to mind Fleming's movie character of Caractacus Potts. Count Zborowski built four aero-engined cars and called three of them Chitty Bang Bang. Chitty 1 was the first amateur aero-engined machine to achieve great fame at Brook-lands race track. The 23 liter six cylinder Maybach Gotha Bomber engine was obtained from the WWI Disposals Board and shoe-horned into a pre-1914 chain drive Mercedes chassis, which had to be lengthened to accommodate it. First appearing at the Brooklands Easter meeting in 1921, it was described as ‘a brutal car put together by a madman’, none the less winning various races.

Despite her original dodgy exhaust, Chitty was not named for the noise she made. The name of the car was actually derived from the words of a bawdy World War I soldier's song. Officers would obtain a weekend pass or ‘chit’ so they could go to Paris for a couple of days and enjoy the favors of the ladies of the town at their leisure: ‘Chitty – Bang Bang.’ A far cry from the wholesome lyrics of the Sherman brothers Oscar nominated song, which later guaranteed the car a fame that Count Zborowski could only have dreamed about.

Count Louie Zborowski behind the wheel of the original Chitty Chitty bang bang in 1921

Brooklands–AbitofRacingHistoryIn 1907 the 3.25 miles long Brooklands race track at Weybridge was completed. It was the world’s first purpose-built racing circuit; in fact, most other race-tracks in the world are based on the Brooklands design, including Indianapolis and Daytona. Brooklands hosted legendary motor racing events between 1907 and 1939, including the first British Grand Prix in 1926. On the inaugural race day in 1907, the first champion drove a Mercedes. Two years later, the 200 horsepower ‘Big Benz’ arrived, setting a new flying kilo-meter record of 125.95 mph. In 1912, Gottlieb Daimler and Carl Benz were even competitors in Brooklands, with Benz winning the first race and Daimler winning the second, making them equals 12 years before they were partners. Brooklands was used for car racing and testing, but it was also the birthplace of British aviation, with the first powered flight by a Briton, and the first passenger flight in Britain taking place at the track. Brooklands was closed in 1939.

Now Brooklands is being restored to its former glory by DaimlerChrysler. ‘Mercedes-Benz World at Brooklands’ contains the largest Mercedes-Benz showroom in the UK, featuring 100 cars on 3 floors. In addition there is a state of the art cinema with 120 seats, a Mercedes Benz Gallery that displays 120 years of automotive history, a Mercedes Benz Boutique, Kids’ Zone, a cafe and a five-star restaurant with an outdoor terrace overlooking the race track, a four-star hotel, state-of-the-art conference suites and the opportunity to test drive Mercedes cars on test tracks with professional instructors. Once it opens in the summer of 2006, Mercedes-Benz World at Brooklands plans to host various motor and aviation festivals.

For some video clips showing historic Brooklands footage and a fly through of the Mercedes-Benz World at Brooklands, look at the ARRI web site at http://www.arri.com/movie. For more information on Brooklands, look at http://www.brooklands.org.uk and http://www.mercedes-benzworld.co.uk.

Mercedes-Benz 300SL Roadster | 1963 Mercedes-Benz 230SL | 1963 Mercedes-Benz SLR McLaren | 2005

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Rodrigo Prieto, AMC, ASC (bROKEbACK MOUNTAIN, ALEXANDER) is no stranger to crafting an overall

visual design that encompasses several intertwining stories within one film. Working with director Alejandro

González Iñárritu, Prieto shot AMORES PERROS, 21 GRAMS and now bAbEL – each film connects its multiple

characters using a tragic event. For bAbEL, the shoot was lengthy and spanned three different continents, taking

place in Morocco, Mexico, Japan and the United States. “It was a lot of traveling and a long shoot. We shot

for 98 days and there was a lot of prep in between – in total around seven months,” says Prieto.

B A B E LRodrigoPrieto,AMC,ASCCaptures

Rodrigo Prieto shooting bAbEL

BABEL stars Brad Pitt and Cate Blanchett as an American couple on holiday in Morocco, where a shocking event happens. Inspired by the Tower of Babel story from the Bible, the film gave Prieto the opportunity to show how people sometimes fail to communicate. He explains, “In this film, all the stories have this complication of language. I was inter-ested in exploring in one movie, different cultures and different ways of perceiving places and people. I wanted to visually separate the stories and locations while keeping it as one movie. The places them-selves are very different on their own, but I wanted each story to feel particular to the experience and place.”

To help express the divergent cultures of BABEL, the filmmakers decided to create dis-

tinctive looks for each locale. The Morocco sequence was shot on Super 16 mm using the ARRIFLEX SR3. Since Prieto desired a look that was not overly grainy, he used a slower stock, Kodak 7248 100 ASA. For scenes taking place in Mexico, the cine-matographer shot 3-perf 35 mm on the ARRICAM, the majority captured on ARRI Ultra Prime lenses. He also pushed the stock to get a little more grain as to not be so jarringly different from the Morocco sequences. In Japan, the story involved a deaf and mute girl. Prieto shot with 35 mm again, but this time using anamorphic lenses even though the aspect ratio for the whole movie is 1.85 : 1.

Explains the DP, “For me, the texture for Japan instead of being the film grain, it was the focus. I wanted to represent the world of a deaf, mute person. How do you represent not hearing everything? For me, it was a shallow depth of field. Objects in the background are usually out of focus or even the face itself – we’d have the eyes or ears out of focus. We used anamorphic lenses so the [ depth of ] field would be minimal. The focus of the background with anamorphic lenses has this ‘liquid’ quality to them as opposed to the soft focus on spherical lenses. The ground glass was adapted to 1.85 : 1, and the sides of the anamorphic frame were cut off in post.”

Quite fittingly for this cross-cultural movie, Prieto utilized three different multi-national crews as production traveled from location to location. For the Morocco sequence, the

cinematographer relied on the crew he had most recently worked with from BROKEBACK MOUNTAIN, using camera assistant Trevor Holbrook and B Camera operator Berto who Prieto worked with on ALEXANDER, came down from France. In Mexico, Prieto worked with his crew from AMORES PERROS.

“Arturo Casteneda was my focus puller and Benito Aguilar was my gaffer. Second AC Edgar Hurtado and Arturo went with me to Japan, so I had my Mexican camera assistants and my American Gaffer Robbie Baumgartner and Key Grip Joey Dianda there. Everyone else was local. We were learning other languages and other customs, it was crazy!” he laughs.

During prep, the filmmakers tested a variety of tools and methods. Among the different camera systems Prieto examined was the Thomson Viper FilmStream camera for night scenes in the Japan sequences. After doing extensive analysis, the cinematographer found traditional capture methods to be more reliable. “There’s this myth that you can shoot with available light on HD. I compared it with film and we decided to go with film because I didn’t see any big advantage of shooting digital except for the headache of all the cables and post- production. With HD we lost detail in the highlights, which we could not recover in the DI. Skin tone was also better rendered on film, with all the color subtleties present. Also, since we want-ed a shallow depth of field, with the Viper it would have been the opposite. We were much better off with film.”

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brad Pitt and Alejandro Gonzalez Iñarritu on the set of bAbEL

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The production also proved to be a chal-lenging testing ground for a number of new technologies: the ARRI / Zeiss Master Primes, adapted Panavision anamorphic lenses for close focus and low light sit-uations, and Gamma & Density’s Cinema-tographer’s Color Correction Program (3cP).

Master Primes at NightFor a night sequence taking place in Mexico, Prieto had the chance to be one of the first to use the new Master Primes. “The scene in Mexico was a night exterior scene in the middle of the desert where the characters are lost,” he describes. “I struggled with ways of creating moonlight. I didn’t want it to look like a lit set. No matter how much light you have, if you are in a wide, flat area like the desert, you’ll see where the lights end. I proposed to the director that they carry a flashlight.”

Iñarritu was skeptical at first, but while on a nighttime location scout of the desert he dis-covered that he liked the tension of walking in the dark using a flashlight. The filmmakers decided to shoot the whole scene lit only with a single flashlight. “I wanted to use the bounce off the ground to light the charac-ters – and that’s not a lot of light,” notes Prieto. “I investigated the brightest flash-lights on the market and we found SureFire flashlights that are super bright. They have a special bulb you can buy that is much brighter, about 500 lumens.”

Now that Prieto had found the appropriate way to illuminate the scene, he still needed to make sure the low light images would register on the film stock and could be cap- tured properly with the lenses. He found that even though he pushed the new Vision Expression 5229 stock one stop to render 1000 ASA, the film continued to render very clean blacks. “Since the whole screen was going to be black except for what the flashlight was lighting, it was very important that the blacks be good and that they were very black. With the 29 stock they were.”

Even at 1000 ASA with the brightest flash-light available on the market, the exposure on the actor’s faces was around T0.7. As Prieto says, “Voila! Here come the Master Primes …”

The ARRI/Zeiss Master Primes have optical performance that surpass all current stand-ard speed primes. The set of 12 lenses has more resolution, more contrast and virtually no breathing. They maintain their optical performance across the entire extended range of T1.3 to T22. Says Prieto, “With any other lens, it would have been too under-exposed, so the Master Primes were the

solution to the problem. The only light on the actors was one single flashlight bounc-ing off the ground and you have a perfect reading of their faces and expressions. That scene was my biggest fear when I read the script. It took a lot of my attention to figure that one out, but I’m very happy with the results.”

Even with all of his careful preparation, it was partly fortunate timing that allowed Prieto the ability to accomplish the vision he wanted. “Just a few years ago, without the 5229 stock and without the Master Primes, I don’t think the way we solved the lighting for the scene would have been possible. I was very happy that all those elements were available exactly the week we shot the sequence. It was a struggle to get a full set of the Master Primes because they were just barely coming out, but luckily [rental house] Otto Nemenz was able to get it for us in time. If we had shot the week before, we wouldn’t have had the Master Primes and I don’t know how we would have done it!” Prieto says.

Although the Master Primes were applied in low light situations for BABEL, the cinema-tographer contends the lenses work well under any conditions. “They are as good as lenses can get right now. They are super sharp, deep, and render great images in that sense,” he points out. “They give you a clean slate to do what you want, filter or not. These lenses are neutral and you also have the opportunity to go wide open. It’s not only a great set of lenses, but you can shoot them at any stop that you want. Since I really like using available light as much as possible, the Master Primes are really able to do it with good quality.”

Controlling the workAs it is always important for a cinemato-grapher to watch and evaluate his work, Prieto mainly viewed dailies on video with

an HD transfer. For certain scenes, film dailies were printed without sound. To keep track of his shooting, he relied on Gamma & Density’s 3cP system. The 3cP system uses a digital still camera, G4 laptop and cali-brated cinema display monitor for the DP to color-correct images. A detailed report along with the stills is then sent to the col-orist. “For all the dailies, I could incorporate the look into it myself for each scene,” says Prieto. “It gives a visual reference for the color timer, but it also gives them informa-tion like a waveform graph to imitate. The video dailies were very accurate thanks to that system.”

Prieto often prefers to operate the camera himself, a role he assumed for a dramatic scene in a Japanese dance club. The film-makers used the electrifying location to motivate lighting cues for the story. “There is a dramatic transition of the lighting within the scene, going from being excited and fun, to a big disappointment,” he begins. “We designed lighting changes with the music, but also to coincide with that dramatic moment.”

To capture the scene, Prieto explains that Iñárritu preferred to shoot one long take that would later be edited down. Operating the camera handheld, Prieto followed the characters from the entrance of the club, through hallways, up a spiral staircase, to the bar and then to the dance floor.

“I was operating the camera and coordinat-ing the lighting changes with my gaffer at the same time. I would signal with my hand to do the strobing effect the moment the characters kissed, things like that. It was a lot of fun, I was in the middle of the floor dancing with the camera to the music.”

BABEL is set to open in theaters this fall, but for Prieto, the dance with his camera continues …

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Known initially as the ‘gay cowboy movie,’ Focus Features’ bROKEbACK MOUNTAIN entered movie

theaters amid much murmuring and controversy before its release December 2005. Since then,

the film has garnered huge praise, topping most critics’ lists and becoming one of the most lucrative

films at a per screen average. Directed by Ang Lee, the film is based on a short story by Pulitzer

Prize-winning author Annie Proulx and adapted for the screen by Larry McMurtry and Diana Ossana.

The film follows a ranch-hand (Heath Ledger) and a rodeo cowboy ( Jake Gyllenhaal ) as their

doomed relationship unfolds over 20 years. For Cinematographer Rodrigo Prieto, AMC, ASC, who

shot the film against pristine mountains and the stark wilderness of Calgary,

bROKEbACK MOUNTAIN was a complete contrast to his

previous project, the Oliver Stone

big-budget epic ALEXANDER.

Says Prieto, “I responded immediately to the [BROKEBACK MOUNTAIN] script. Even though I knew it meant no rest between pro-jects, especially right after a very difficult and complicated shoot like ALEX ANDER, I really wanted to do that film so I went right into it. Not taking a break was worth it, I’m very happy with the film and proud of being part of it.”

Set against the sweeping vistas of Wyo-ming and Texas, the film has been lauded for its restrained yet striking cinemato-graphy. Prieto was recently honored with an American Society of Cinematographers Outstanding Achievement Award nomi-nation for his work on BROKEBACK MOUNTAIN. The film won the Oscar for the best director, best music and the best adapted screenplay, and was nominated in four other categories, including best picture and cinematography.

TRAILBLAZINGSADDLES:RodrigoPrieto,AMC,ASCDiscusses BROKEBACKMOUNTAIN

Cinematographer Rodrigo Prieto AMC, ASC surveys the scene as Director Ang Lee looks through the viewfinder

Rodrigo Prieto (left) and Ang Lee referenced the work of Andrew Wyeth, Edward Hopper and Ansel Adams, among others

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Prieto spoke with ARRI about his experience lensing the neo-Western love story.

What was the shooting schedule?

We shot around 10 weeks, all around Cal-gary. There were a lot of locations, interiors, and exteriors, taking place in different eras. Sometimes we shot three locations a day. It was tight, but it worked out well in the end.

When you get a script in your hands, what is your process while reading it?

First of all, I try to read a script not as a DP. I simply try to respond to it emotionally and sense what I’m feeling as I’m reading it – to know if I’m connecting to the material and if I want to be a part of it. That’s the first step. Of course, as I’m reading it, I can’t avoid images coming to my mind, especially if I am responding to it.

The second time I read it, I have an emotion-al basis from the first read and this time I do think more in terms of how to translate those emotions into images. On the second read, I write down ideas, sensations, and memories of light, anything that pops into my mind.

When I meet the director, I listen to his con-cepts about his visual approach to the film and then I present my ideas. Hopefully, we’ll be in sync and perhaps in that subsequent meeting I will present images. I use mostly still photography as references to show every-thing: lighting, composition, texture, color … I present that to the director who will some-times have visual references of their own. In this case, Ang had images as well, we traded references and that was a really good starting point.

What was the visual approach you two agreed upon?

We were on the same page from the beginn-ing. We both thought of it as a very simple movie. By simple I mean, no fancy stuff. For example, Ang didn’t want handheld or dolly shots, cranes or anything that would call your attention to the camera or that this was a movie. We wanted it to feel like these guys were just there and living this experience. Ang wanted to get rid of any frills and excess. He used the words

“limpid” and “direct” to describe what he had in his mind.

Ang is very aware and keen about the subtle differences between film stocks, lenses, anything. During testing, all of my proposals and ideas that other directors may not notice, Ang would see. I would present one stock over another and he’d see it imme-diately and have comments and opinions. It was really interesting to be able to work like that with him.

TRAILBLAZINGSADDLES:RodrigoPrieto,AMC,ASCDiscusses BROKEBACKMOUNTAIN

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What kind of references did you two look over?

In still photography we started off looking at photographs by Richard Avedon and William Eggleston. We talked about Ansel Adams in terms of the transparency of his landscapes. Some painters we referenced were Andrew Wyeth, Wilhelm Hammershoi and Edward Hopper. We wanted the film to always feel true and authentic, so our inspiration emanated mostly from the actual locations, even though we kept our initial references in the back of our minds.

Since you were shooting in Canada, what was the quality of light like?

One characteristic of the place is the expanse of skies – they go on and on. The clouds are beautiful but even though they look great in frame, they block out the sun. For continuity, it made shooting a bit of a nightmare waiting for the clouds to pass, but every DP suffers that. When the sun came through, especially in the mountains it was especially pristine and clean, direct and bright. That was really something to deal with. We also would hope that we would have the correct weather for the mood we were going for. Sometimes we would be

Despite Ennis’ secret, he and Alma (Michelle Williams) are soon married

Jack (Jake Gyllenhaal) and Ennis (Heath Ledger) meet while working as ranch hands on brokeback Mountain

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Jack and Ennis watch for predators on the flock of sheep. Shooting the characters in cowboy hats was a challenge overcome by using large silks to bounce light beneath the brims

lucky, sometimes we would have to resched-ule. We didn’t have that much leeway in our schedule either so sometimes we’d JUST have to shoot. It was really stressful and complicated for a movie with so much exterior work.

What cameras did you use on this shoot?

We used ARRICAMS and the Cooke S4 lenses from Clairmont Camera [in Vancouver]. We had two cameras, an ARRICAM ST and an LT. The second unit camera was operated by Peter Wunstorf. When we required two cameras on set, he would operate B camera. I would operate the A camera or Damon Moreau would operate.

The film spans two decades, what considerations did you have to make regarding the old age makeup?

When we were testing the makeup, I also tested the different lighting scenarios with the actors. It was important that the makeup would work in any scene required and we wouldn’t have to do a specific lighting setup because of the makeup. Fortunately our makeup artist Manlio Rocchetti was fantastic. The makeup is very subtle and well done. We found a technique of makeup for each moment in the movie that would look real and not require diffusion on the lens, for example to soften the edges of the makeup.

What film stocks did you use?

I shot with different film stocks for each of the different places. For BROKEBACK MOUNTAIN, I used Kodak 50 ASA 5245 which is clean grain and very pristine. Most of the Wyoming towns Riverton and Signal were shot on Kodak 250 D stock, 5246. For Texas, I used Kodak 500 ASA 5279, an older stock that has a little more contrast and color saturation than the newer stocks. I wanted Texas to have a little more color or edge to it. For the night exteriors in

Wyoming and Brokeback Mountain, I used Kodak 5218, which is also 500 ASA, but it’s finer grain and less color saturation so it felt a little more natural.

How did you plan the progression of light for the script?

In terms of light, I separated a bit Ennis’ and Jack’s worlds. For the night exteriors in Ennis’ town, I used more blue-green gels on the lights, because his character felt a little more blue to me. Whereas Jack in Texas is a little more yellow, tungsten or yellowish lights for the streets. There were differences like that in the light.

Scene-by-scene we decided what type of mood we were going for. For example, there are several bar scenes in the film, we wanted them to feel different because of certain moments happening. The bar where Jack meets his future wife in Texas, it’s very colorful and I wanted it to feel like a Texas honky-tonk bar. Whereas the bar where Jack meets the rodeo clown and he tries to flirt with the guy, I wanted that to feel kind of ugly, dark and menacing. For that, we used fluorescents for a greenish light con-trasting with some white light bouncing off the counter.

A big lighting contrast is at Thanksgiving dinner. At the dinner with Ennis and Alma, the lamplight is deceivingly warm. When they go in the kitchen where they have the argument, we wanted it to feel harder and colder. You’ll notice the light is very different. In the dining and living room it’s soft and warm. The kitchen is cold, white, a bit fluo-rescenty and harder-edged.

The camera is often positioned back from the characters, acting like an observer. Can you elaborate on that?

Ang wanted to let the actors develop the scene within the frame. In that sense we wanted not to over-emphasize things. Most of the time we’d stay with shots that showed their body language or posture or environ-ment. There are a few close-ups here and there. It wasn’t a conscious effort to avoid close-ups but it just felt natural to sometimes frame a little looser. Sometimes we just didn’t have time to do more coverage, but I think it worked out very well that it’s not all really covered. It makes it very special when you do go in close, like when Ennis hears the bad news from Jack’s wife. It’s very intense, just in the iciness of the way she is saying it. She’s being very calm about it, but she’s also very tense and you can tell

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Director Ang Lee relaxes between shotsHeath Ledger (left) acts off camera while Director Ang Lee oversees the shot

underneath all that she is very distraught. That close-up was effective.

Lighting inside the tent seems like it could have been a big challenge. How did you approach this?

The challenge there was they didn’t have oil lamps or anything inside the tents [for illumination]. Everything had to be justified as light coming from outside the tent and these particular tents didn’t have any little windows or openings. That got really tricky. I had to light in a way that would feel like the light was coming through the canvas, yet the canvas was really thick and the light couldn’t really come in through there. In reality, it would be really dark inside one of those. I had to find a balance where you wouldn’t have hard light either and whatever light is coming through the canvas is very soft. I lit through the canvas out of shot and then filtered the light quite a bit because the canvas is very warm – any light going through it gets yellow pretty quick.

In the case of the moonlit scene in the tent, I lit through the canvas with 2K Fresnels and gelled them with full CTB and 1/4 plus green, whereas the exterior “moonlight” was gelled with 1/4 CTB and 1/8 plus green. I lit it all pretty dark on the set, under-exposing the stock by about 1 stop, and in printing we darkened it a bit more. We wanted to be able to see their expressions and what they were feeling, yet it’s dark and confusing. It’s something that just happened and shouldn’t have been very clear to a spectator.

Had you worked with this crew before?

I had never worked with any of these guys before. I couldn’t bring in my own crew, but I saw a lot of reels and Peter Wunstorf’s material really jumped out at me. It was really good stuff. I was fortunate to catch him at a good time when he was available. He’s now an ASC member and a great DP.

Did the cowboy hats the actors wear pose any lighting problems?

I had to find a balance where you would see the actors’ eyes, yet at the same time I didn’t want it to feel like there was artificial lighting on their eyes. I did bounce available light, but I used big bounces so that it would not show as a little spot on the eye or have a hard edge at all. The eyes are important to see what is being expressed and sense what they are feeling, but you can also see what is reflected in the eye so I had to be careful that the bounces I used

did not read in the reflection. Sometimes I had to bring in an electrical light when the contrast was too big, but I tried to avoid it as much as possible.

For the scene where Randy Quaid looks through binoculars, you would see the camera in the reflection so we put leaves and branches all around the camera and myself to hide from the reflection.

Everyone has been anticipating this film because of its content, were you aware that this would be such a landmark film while shooting?

Yes, we were aware of it, but we didn’t want to play on that. We didn’t want to make use of the controversy in any way. We just want-ed to film it as if it were a love story between a man and a woman. Obviously, there was some inherent drama about the impossibility of living their love in an easy, normal way that is particular of their situation. We didn’t want to over dramatize it, because the story is quite dramatic on its own. We weren’t really concerned about how should we shoot the sex scene because we don’t want to be in bad taste or controversial or the opposite, “How can we cause controversy?” That was never even discussed at all.

We just shot it the way we thought was appropriate for the story and for the movie, not really considering what people would think. But you know when you are shooting these two guys kissing that some of the audience will be shocked – that’s the nature of it. Sometimes even while shooting, it’s strange, uncomfortable and everyone is a little edgy – but I think the actors did a great job in being relaxed about it and just doing what they needed to do. The crew was very respectful of their spaces and the process to get the scenes done, but there were always good vibrations on the set. I think that we all felt that this was a special project, and we were very happy to be there.

An Tran

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TheArtofWar:TomSternShootstheBattleofIwoJima

To bring the scripts to life, Eastwood reteamed with Cinematographer Tom Stern, who lensed BLOODWORK, MYSTIC RIVER and MILLION DOLLAR BABY for the director. They discussed how to shoot the bloody Battle of Iwo Jima and agreed getting in close with the troops and depicting the soldiers’ experience in a documentary-like fashion would be ideal. To help capture this sense of intimacy, Stern decided to use the ARRIFLEX 235. Weighing about 3.5kg or 7.7 Lbs, with body and viewfinder, the 235 is an MOS camera half the weight of a 435 in the same confi-

guration. With a smaller and lighter camera, production was able to work faster, use less rigging and utilize lighter support equipment. Stern spoke with us while he was prepping for RED SUN, BLACK SAND about his experience using the 235 on both FLAGS OF OUR FATHERS and his upcoming shoot.

How did you begin your approach to FLAGS OF OUR FATHERS?

I started by reading the book, FLAGS OF OUR FATHERS. I then read the screenplay and reflected on the story. You come up

with ideas and points of view. Clint doesn’t like to talk much, so we communicate through images. As the director of photo- graphy, your primary obligation is to realize and enhance the directors’ vision.

What was incredibly helpful on this project, was I had just finished LAST KISS with [Director] Tony Goldwyn and he gave me these incredible photo annuals from World War II as a gift. The books showed the history of the war with these amazing images. The goldmine book was from 1945 and was full of incredible photo-graphs of the conflict. It really moved me and I showed the book to Clint. There was an incredible verisimilitude to the images. We decided to show the war as realistic, or neo-realistic.

The film takes place just before the big invasion, during the invasion and then to the U.S. where a few of the heroes go on a bond tour. Are there different looks to each of the sections?

There are three different environments in the film that have their own looks. We are doing a digital intermediate to desaturate the images and play with different nuances. If you think of combat or war as a descent into hell, when you hit the bottom, it’s basically black-and-white almost and you sort of come back out. That is the visual journey in a simplistic way.

FLAGS OF OUR FATHERS was shot on film, but I heard that there were discussions of shooting RED SUN, BLACK SAND in video. Is this true?

As a director, Clint was interested to see if he could end up with something very facile and unobtrusive. On FLAGS OF OUR FATHERS, we took a number of prosumer video cameras and placed them in ammunition boxes that had small Plexiglas windows. These cameras would go to the combat scenes and we’d turn them on. We also passed these cameras out to extras.

Director Clint Eastwood has always been ambitious. With four Oscar wins

under his belt (MI LLION DOLLAR bAbY, UNFORGIVEN), Eastwood has

brought his vision to screen using a sincere voice and an understated style.

His latest endeavor recreates the battle of Iwo Jima from two perspectives –

American and Japanese. FLAGS OF OUR FATHERS, starring Ryan Phillippe,

Jesse bradford and Jamie bell, tells the American side. The film follows a man

exploring his father‘s involvement as one of six soldiers who raised the

American flag in Iwo Jima. The movie production took the crew to Iceland,

Chicago, Los Angeles, Iwo Jima and Washington D.C. RED SUN, bLACK

SAND stars Ken Watanabe and tells the story from the Japanese perspective.

Tom Stern

F.l.t.r.: Ira Hayes (Adam beach), John ‚Doc‘ bradley (Ryan Phillippe) and Rene Gagnon (Jessie bradford) return home from the war

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We had over 500 guys going up the hill with lots of explosions going off.

How did the footage shot by the extras come out?

You know the old joke if you take an infinite number of monkeys and put them on type- writers, one of them is going to write Shakes- peare? That’s what I think about this activity. There were mountains and mountains of videotape sitting around. Lo and behold, there are a bunch of cool little shots. None of them are very long and they almost all have a lot of motion in them. We digitally manipulated them heavily and turned them into film. Clint liked that a lot.

What kind of shots were the 235s used for?

We used the 235 for all sorts of things. It’s a brilliant camera! We use a lot of Steadi- cam normally and having a 235 on it was great, because it’s so light and fluid. During the war, they shot with Eyemo cameras in combat. We really tried to create a feeling with the 235s that you are within the platoon during the battle. The 235s could be handheld inside the action. Clint doesn’t have incredibly dialogue-heavy movies anyway, but there was so much going on with things being blown up. We had explosions for lighting effects and the sound didn’t make any difference so a small, MOS camera like the 235 worked well.

For RED SUN, BLACK SUN we’ll be showing the Japanese perspective. During the battle, they buried themselves in the mountain. There are a lot of caves that will be a great use for the 235 in small, confined spaces. Lighting the caves will be interesting, but something I got a lot of experience on during THE GOONIES as a gaffer.

Where did you shoot the Iwo Jima scenes?

Iwo Jima is a volcanic island, so the sand is black. The island had been bombed for 90 days and it was totally defoliated when the battle took place. When we first started talking about the production and we heard that we needed black sand, people thought we were going to Hawaii! We ended up in Iceland, which was exquisite. The beach was flat-out, screaming black.

The sand posed a great problem because we were blowing it up. It was flying every- where. It was actually pumice, which is used to grind metal. We had a camera tech named Daryl Hambleton who would come in after we were done shooting for the day and work the swing shift, just taking care of the cameras. We had bags from Hydroflex protecting the cameras and amazingly we only had one scratch the whole film.

In a scene that was shot in Chicago, you got to pay homage to some other film- makers. Can you describe this?

That took place at Chicago’s Union Station, curiously enough on the same stairway where the baby carriage rolled down during THE UNTOUCHABLES – De Palma was ripping off Eisenstein [in THE BAT TLE -SH IP POTEMKIN]. We didn’t have a baby carriage, but there was some business going on that was amusing. I got to rip off De Palma ripping off Eisenstein! That was all done with ARRI lighting and that was great because we could light huge areas without a lot of hassle. We used T24s and T12s.

There are two famous stops in Chicago during the bond tour rally, where they sold bonds to huge crowds of people that had gathered. We lit the exteriors of Soldier Field Stadium in Chicago for one of those scenes. They reenacted the flag raisings of Iwo Jima – it was really cheesy in a sense. The stadium has a lot of Grecian columns. We had a couple of Muscos and behind every column we had an ARRI T12. Each one was lined with a T12 so they had separation.

Tell us about your crew.

Bill Coe was the first assistant. He is one of the best focus pullers on the planet. He is great. There is a calmness about him. He is very wry and sardonic, and I’m very wry and sardonic, so when we’re around the camera we have this buzz going on. He’s a very, very good guy.

The entire crew was great. We tried to use as many Icelandic technicians as possible and I was not disappointed by anyone. They are a great group of people up there. We had camera operators, assistants and grips. There are a lot of commercials and rock videos shot in Iceland, so they are very experienced. They have a real high art component up there, considering it’s such a small country.

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Director Clint Eastwoodwith the ARRIFLEX 235

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SUNSHINE was written by Alex Garland, who also wrote THE BEACH and 28 DAYS L ATER for Boyle. In the film, set fifty years in the future, the earth is in danger because the sun is dying. A team of astronauts is sent to revive the sun with a massive fission bomb, but they fail under mysterious cir-cumstances. Seven years later, a second

team is sent on the same mission, but with the added complication of having to ascer-tain what happened to their predecessors.

SUNSHINE was shot on ARRICAM, 765, 435 and 235 cameras supplied by ARRI Media in London.

Mark Hope-Jones: How did you first hear of the new 8R lens?

Alwin Kuchler: Andy Subratie of ARRI Media called me and suggested I take a look at it.

MHJ: So what made you think it might be useful for SUNSHINE, and how did you go about testing the lens?

AK: Well we had limited space – we had the classic scenario where you have to shoot sets which after post production need to look far bigger than they actually were, so we had very geometrical sets which were designed to be scaled up afterwards with the help of CGI. It was the lack of distortion in the lens that got us interested. We did some tests on a studio floor – we had the designer there already so we had parts of the sets on the floor, and yeah, it was really impressive. It really did what it was supposed to do – there was no distor-tion. It keeps all the lines in the frame really

In January of 2006 the Ultra Prime 8R began shipping, with

reactions so far proving very positive. Cinematographers have

exploited the 8R's unique look for commercials, feature films

and television programming. The first to use the 8R on a feature film

was Alwin Kuchler, bSC (PROOF, CODE 46, THE CLAIM),

lensing the science fiction film SUNSHINE for Director Danny boyle

(28 DAYS LATER, A LI FE LESS ORDINARY, TRAINSPOTTING).

GettingWideAngles inOuterSpace

Alwin Kuchler, bSC

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Ultra Prime 8R Main Features at a Glance:

• The highest quality extreme wide angle lens ever built

• Extremely wide, but straight lines stay straight – unique look – covers Super 35 – exaggerates speed: ideal for chase sequences – exaggerates spaciousness: ideal for establishing shots or small rooms – wide angle without fisheye distortions: ideal for miniatures & underwater

• Small size & light weight

• Ultra Prime optical quality – high contrast and resolution – T* XP coating ensures flare resistance for deeper, richer blacks – minimized chromatic aberration – minimized geometric distortion

• Super Color Matched to – Master Primes – Ultra Primes – Lightweight Zoom LWZ-1 – Variable Primes – Ultra 16 lenses

straight and therefore creates the sense of a bigger space without giving away the fact that you’re using an extremely wide angle lens.

MHJ: Was the 8R used for shots which would otherwise have been done with a fisheye or regular wide angle lens?

AK: Well, Danny Boyle is a big fan of the 10 mm lens, so he likes wide lenses anyway, more than lots of other directors. So in the end we used both of them.

MHJ: Can you give an example of the kind of shots you were using the 8R for?

AK: We had one set, which was meant to be the top of a bomb. The film tells the story of a mission to the sun, which is dying, and the idea is to land a fission bomb on the sun to reignite it. The bomb is a cube, each side of which is supposed to be the size of twenty football fields, but we didn’t have the space of even one football field. We had a metallic surface of perhaps 40 feet by 60 feet that we wanted to make look as big as possible, and this is where we used the 8 mm lens. The lack of distor-tion allowed this image to be scaled up with CGI, so that the section we filmed could be complemented by many other sections.

MHJ: Were you using the 8R at similar T-stops to the other lenses you had on set?

AK: I would have been using it at a stop of around T2.8 and a half to T4, so yes – the same as the others. It’s all sharp at any stop really, and it is just when things get extremely close to the lens that focus

Alwin Kuchler, bSC on the Set of SUNSHINE

becomes an issue. We also used the 8R for some running shots down corridors, where the actors got quite close to the lens.

MHJ: What was your evaluation of the optical performance of the lens?

AK: It was extremely good, extremely sharp from the centre to the edges of the frame, so inter-cutting with images shot on other lenses wasn’t an issue. Again, it was this ability to make a space feel so much bigger without introducing distortion that interested us. Because normally what hap-pens when you shoot on wide angle lenses is the audience immediately spots that the lens is distorting their sense of space.

MHJ: What future applications can you imagine the 8R being useful for?

AK: Well, for action sequences I would possibly think of it. If I’ve got somebody running away from or towards the camera, it looks faster – people look like they’re moving faster because of the extreme difference between being close and being further away from the lens. We also did some tests where we were making very fast pans with the lens, in order to achieve an in-camera effect of people seeming to move from one position to another incred-ibly quickly. The side-to-side effect is very different from the effect of moving the lens forwards or backwards, or not moving it, like in an establishing shot, so there are several different ways the lens can be used.

MHJ: Thank you for the interview.

Mark Hope-Jones

2 9C a m e r a

“There is a constant change between reality and dream in this movie,” DoP Xavi Jimenez reports. “As the central figure, Miguelito was supposed to be interpreted very poetically. A distinct dramaturgy in terms of light, color and naturally also in terms of the respective choice of focal lengths allowed us to separ- ate the different layers from one another. The real sequences come across as authentic because of their almost dirty and diffuse lighting. Here, the different characters were taken out of their environment by using long focal lengths; their living space was effectively condensed. For the dream sequences, on the other hand, wide angle lenses and soft lighting was used; this comes across as very poetic.”

“After extensive testing, we decided to use Ultra Primes,” Jimenez explains. “I am not only very positive about their imaging quality – they are also capable of repro-

ducing the respective atmosphere very well, since one can define the ‘softness’ of the lens just as needed.”

Lighting was also a very particular challenge. “It is not easy shooting really convincing warm summer scenes in winter, or when the sun is low. The shadows appear long, and it feels like an ever-lasting afternoon. In addition, there was a color dramaturgy that was in parts striking,” explains the DoP.

“We played a lot with colors, especially in the action and passionate scenes – this is a sensitive topic, but it is very important to me.”

After shooting with the ARRICAM LT and ST for ten weeks, Jimenez sums up: “The LT and ST are excellent cameras, and they are very versatile. Their low noise level was very important and impressive, since the actors could really only whisper in some scenes. That is when you really learn to

appreciate a perfect camera system. And it also offered us quite a bit of freedom – and gave us the opportunity to shoot up to 60 f/s.”

EL CAMINO DE LOS INGLESES is expected to hit movie theaters in the fall of 2006.

JT

Equipment by Camera Service Rental, MadridCamera: 2x ARRICAM ST, 1x ARRICAM LT, 1x ARRIFLEX 435 ESLenses: Two sets of Ultra Primes, from 10mm to 180mm ARRI MACROS 24, 50, 100mm Angenieux Optimo 25-290mmFormat: Super 35, 1:2,35 ANSIProduction: Green Moon EspañaProducer: Carlos TailleferDoP: Xavi Jimenez

ElCaminodelosIngleses

Directed by Antonio banderas, EL CAMINO DE LOS INGLESES was shot by DoP Xavi Jimenez (INTACTO) with the

ARRICAM System in Super 35mm format. This is already the second project for the famous actor behind and not in

front of the camera. Aside from London and Alicante, banderas also chose his birthplace Malaga as a location for

his six million Euro production, giving the film a somewhat autobiographical touch.

Xavi Jimenez (left) andGaffer Jose Luis Rodriguez

3 0 C a m e r a

Tibet is famous for its spectacular mountain vistas – and for the worst weather

in the world! A feature film crew equipped with the ARRICAM Studio recently

experienced both sides first-hand during a shoot that lasted almost 60 days.

Director Mr. Yin Li (right) andDOP Mr. Wang Xiaolie (left)

ARRI Lighting on location at 5000 m above sea level

Filming Taiwan actress Xu Ruoxuan with the ARRICAM

DOP Prof. Mu Duyuan

The LOVE STORY OF CLOUD AND WATER, was shot by the China Film Group with state funding and a very renowned production crew: Mr. Yin Li directed the film while Prof. Mu Deyuan – Dean of Cinematography Dept. of Beijing Film Academy – and Mr. Wang Xiaolie acted jointly as directors of photography. Both of them are classmates of the famous director Mr. Zhang Yimou, who graduated from the Beijing Film Acad- emy in 1982. Mr. Yin and Prof. Mu had already been awarded with the Golden Rooster – the most prominent professional film production award in China.

The challenges for the crew and the equip- ment were stupendous at an altitude of over 5000 m above sea level, with sudden snow-storms and temperatures of more than 20 degrees below zero! The crew had to leave at 3:00 A.M. to drive 1.5 hours through the dark to the Karuola glacier. However, this was not the hardest part: another 15 minutes walking was necessary from the highway to reach the edge of the glacier – which doesn’t sound far but at that altitude one needs a break every ten steps … now imagine carry-ing a heavy load, such as a Panther Pegasus and all the rest of the gear. No wonder that the director, the DoPs and also the lighting gaffer had to go to the hospital several

times during the shooting. The oxygen tank became their best friend, just as it was for the lead actors after each take.

However, no special care was necessary for the ARRICAM Studio: it weathered all the worst shooting conditions flawlessly.

”It is a fantastic machine,“ Prof. Mu Deyuan commented during a dinner with Mr. Gabriel Bauer, the “father” of the ARRICAM system.

The film is now in post-production at the Hualong Film Digital Production Co., and again ARRI equipment will be used to scan and film out the project.

Equipment:Camera: ARRICAM StudioLenses: Zeiss Variable PrimesCrane: Panther Pegasus and EvolutionLighting: ARRI HMI lighting, 200 – 18k ARRI Tungsten lighting, 150 – T12

Postproduction:ARRISCANARRILASER

ARRICAMonTopoftheWorldinTibet

31C a m e r a

Manhattan has seen many amazing things, but even The City That Never Sleeps was unprepared for the impact of a

full-scale ‘bollywood’ production filming on its streets. KANK is the latest feature film project from Dharma Productions

and stars some of the biggest names in bollywood. Their presence at any of the New York locations and the spectators

that they drew could bring the area to a complete halt, a reminder never to underestimate a film industry with an

audience estimated at 3.5 billion.

KANK stars the legendary Amitabh Bachchan along with Shah Rukh Khan, Rani Mukherjee, Preity Zinta, Abhishek Bachchan and Kiron Kher. It is directed and produced by Karan Johar, the son the Dharma founder Yash Johar. Amongst the films previously directed by Karan Johar, KABHI KHUSHI KABHIE GHAM entered the US and UK Top 10 box office charts and had long-running mainstream releases in France, Germany and Poland.

K ANK was shot over 70 days on 60 locations throughout New York and New Jersey. It was photographed by Anil Mehta, one of the leading cinematographers in India. Having previously used an ARRICAM from ARRI Media on UK Producer Charles Salmon’s production MARIGOLD, Anil was

keen to repeat the experience when filming in New York and at Charles’ suggestion he contacted ARRI CSC.

In addition to his use of the ARRICAM, Anil chose the Super 35 format, and a Digital Intermediate process in post production. Both of these choices are relatively new to the Indian film industry, where anamorphic is traditionally the format of choice. ARRI News caught up with Anil back in India whilst he finished principal photography on KANK earlier this year.

Have you filmed in New York before?

Anil Mehta: Yes – in fact I have, in 2003 for another Hindi feature film KAL HO NA HO.

What were your impressions on this occasion?

AM: New York is such an intense cataclys-mic sensorium that it leaves me gasping for breath. Trying to fit a vertical city into an anamorphic frame, trying to film through changing seasons (September to December 2005), trying to create rain in sub-zero temperatures, trying to make a predomi-nantly outdoor schedule work when after 4.30pm it is not even T2 – these are some of the impressions that will remain, along with the great sushi, an Ethopian dinner and the Belgian beer.

What are the most distinctive differences between filming in India and in New York?

ABollywoodProductionFilming inNewYorkK A N K

3 2 C a m e r a

AM: The difference between shooting in India and New York is that in India we plan, then let circumstances and chance take over, madness ensues and films get made. In New York we plan, distribute paper, talk methodology, distribute paper, plan some more, distribute more paper, then chance and circumstance take over, madness ensues and films get made. As long as films get made and not a Kaf-kaesque castle, I sleep well. Our line producers in New York, Anadil and Driss worked very hard to bridge the cultural gaps and make our filming possible. Joe White, our location manager also adapted rather well to our ‘organic’ approach. Without them New York would have been an impenetrable castle.

You used an ARRICAM on MARIGOLD prior to KANK. What drew you to making that decision?

AM: I feel that the ARRICAM is a very versatile blend of camera designs as they have evolved. I enjoy its compactness, its lightness (as the LT), its reliability (no down time at all, on either film), its simplicity with the user-friendly electronic control panel and film transportation and its versatility in Steadicam or handheld mode. For a sync sound project it will definitely be my first choice.

What lenses did you choose for KANK?

AM: I chose the Zeiss Ultra Prime range, for the simple reason that they were the sharpest set available to me. Since the film is Super 35 and going through a DI process, I chose to stay with the sharpest image capture available to me.

You tested examples of new ARRI Master Prime lenses while you were filming. What were your impressions?

AM: I did get a chance to lay my hands on some Master Primes while at work, and though I cannot claim to have tested them systematically I was quite taken by their vivid clarity – the image in the viewfinder was a delight. In addition the ability to eye focus even the wide lenses at long distances, the complete lack of breathing and the clarity of the markings were all very reassuring.

You have pioneered the use of the Super 35 format. What do you see as its advantages on this production?

AM: Super 35 is being used more and more in India. It would not be right to say that I have pioneered it in any way. In fact I have probably waited for the technology to be primed before using it.

You are also using the digital intermediate process in post production. Is this common practice in Bollywood?

AM: Digital intermediate is still in its stabilizing stage in India, although an increasing number of films are taking this route. With KANK I will probably be scanning at 4K then down sampling to 2K, an option only recently available to us. The digital intermediate chain is gaining currency very rapidly in India. Almost every movie has some component of DI (titles, vfx, opticals) and increasingly features originating on the Super 16 or Super 35 format are taking the DI option (ZINDA and RANG DE BASANTI). Also films originating on 4 perforation anamorphic (a very popular format in India) have chosen to go DI for the ‘look’ (BLACK & PAHELI). The DI chase in on; the technology and those who operate it now need deliver.

The Indian film industry is easily under-estimated. What would you like to see from a company like ARRI in terms of support for such a prolific market?

AM: We have a forum in Mumbai called ‘The Cinematographers Combine’ which has been interacting with ARRI over the years. The one thing we have not tired of repeating is that ARRI needs a direct presence in India, to support all the ARRI equipment that is the Indian market standard. Also to further develop the sale and distribution of new products and to recognize a significant market that needs to be nurtured.

With thanks to Anil Mehta and to Anadil Hossain of Dillywood Inc. of New York for their cooperation with this article.

Simon Broad

ABollywoodProductionFilming inNewYork

DoP Anil Mehta shooting actress Preity Zinta

3 3C a m e r a

The ARRI/Zeiss Master Diopters are a set of three high quality diopters (+0.5, +1 and +2) that work with Master Primes, Ultra Primes, Ultra 16 lenses, the ARRI/Zeiss Light- weight Zoom LWZ-1 and others. Achro-matic lens elements and careful optical design ensure highest optical performance, while the Zeiss T* anti-reflex coating greatly reduces flares and other internal reflections. Their unique mechanical design allows for safe and fast use, including quick stacking. Close tolerances and a unique clamping mechanism ensure perfect centering and keep the diopter parallel to the taking lens. The Master Diopters allow you to quickly grab an extreme close up or get a wide angle shot with shallow depth of field

without sacrificing image quality.

The Master Diopters +0.5, +1 and +2

Optical QualityThe carefully crafted optical design of the Master Diopters ensures a high resolution, high contrast image that retains its quality all the way to the frame edges. The +1 and +2 diopters use an achromatic lens assembly, thus minimizing color fringes and spherical aberration, common problems with tradi- tional single lens diopter designs. All Master Diopters use the same Zeiss T* coating that is used on the Ultra Primes, and the coating is applied to all glass surfaces, not just the front, reducing light loss and flare while improving transmission.

Master Diopters are optically matched to the whole range of Master Prime lenses for best color, contrast and overall image quality. However, since their optical quality

Ident Number:Master Diopter +0.5 K2.47597.0

Master Diopter +1 K2.47598.0

Master Diopter +2 K2.47599.0

MD Reduction Ring 95 mm K2.65079.0

MD Reduction Ring 104 mm K2.65085.0

MD Reduction Ring 110 mm K2.65086.0

MD Reduction Ring 114 mm K2.47751.0

Master Diopter Case K2.47063.0

A close up of a match using the ARRI/Zeiss Master Diopters on a 100 mm Master Primes at T1.3

Diopters are often used to quickly grab close ups of product labels, radio dials,

clocks, lips, matches, eyeballs, lipsticks, buttons, bullets, signatures, jewelry,

instrument gauges, a line in a newspaper, a finger pushing an elevator button,

and so on. Even though they are a convenient and inexpensive method to

grab a close up beyond the close focus range of the taking lens, the poor

quality of traditional single lens diopters has prevented many cinematogra-

phers from using them. ARRI and Zeiss have re-thought the common diopter

and offer a set of Master Diopters that provide considerably better optical

quality and handling than regular diopters.

MasterDioptersGraba Quick Close -up with Zeiss Opt ica l Qual i t y

Master Prime 100without diopter

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is far better than that of other diopters, they can also be used with Ultra Primes, Ultra 16 lenses, the ARRI/Zeiss Lightweight Zoom LWZ-1 and others with excellent results.

There is no discernible light loss when using the Master Diopters, an advantage over macro lenses that are not as wide open as regular primes and require exposure com- pensation at higher magnification ratios. Another advantage is that the Master Diopters will not influence the color balance of the Master Primes, Ultra Primes, Ultra 16 lenses and the Lightweight Zoom LWZ-1, so close ups will match perfectly with the regular footage. Color matching is always a concern when using macros, borescopes or other specialty lenses that have inherently

a different look and may need relighting. Because of the Master Primes optical quality, it is now possible to quickly grab a close up at T1.3 with unprecedented image quality, a previously unattainable creative option.

The Master Diopter +1on a 100 mm Master Prime lens

Graba Quick Close -up with Zeiss Opt ica l Qual i t y

Master Prime 100with Master Diopter +0.5

Master Prime 100with Master Diopter +1

Master Prime 100with Master Diopter +2

Master Prime 100with Master Diopter +1 and +2

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HandlingAn often overlooked issue with diopters is how they are attached to the lens. The Master Diopters employ a self-centering clamping mechanism that ensures quick and safe use, while at the same time keeping the diopters in the precise position to ensure optimal image quality.

Since diopters usually must be used quickly, we decided against the commonly used threaded or Matte Box bound solutions. Instead, the Master Diopters can be quickly attached to, removed from or stacked onto

place. Best optical results are achieved by using a single Master Diopter, but it is also possible to stack two diopters for a higher magnification ratio.

At the same time this design keeps the proper distance between diopter and lens, keeps the diopter properly centered and ensures that diopter and lens are perfectly parallel to each other, all important but often ignored factors that influence image quality. The weight of the Master Diopters has been kept to a minimum without sacrificing optical quality through the

the front of compatible lenses by means of a clamping mechanism. Reduction rings for different lens front diameters snap into the rear of the diopters. The 114 mm reduction ring allows them to attach to all Master Primes, the Ultra Prime 180 or the Light-weight Zoom LWZ-1. Other reduction rings cover lens diameters of 95mm, 104mm and 110mm, so the Master Diopters can be attached to most Ultra Primes, LDS Ultra Primes, Ultra 16 lenses and Cooke S4 lenses. This system puts the least amount of stress on the lens itself, while holding even a stack of three Master Diopters securely in

A single lens bends different colors at different angles.

When a beam of light passes through a single lens, the different colors are bend at different angles (called dispersion), and the lens will focus the different colors at different points. The result is color fringes, also called chromatic aberration, an unwanted optical effect.

An achromatic assembly is an optical element constructed using multiple lenses to compensate for chromatic aberration.

Achromatic assemblies also improve spherical aberration, an effect where a white point is projected not as a point but as an out of focus blurb.

In a two lens achromatic assembly, one lens is compensating the dispersion intro- duced by the other. For such purpose, one lens is usually made in a crown glass with low dispersion, while the other is made of a flint glass with high dispersion. The crown

WhatisanAchromaticLensAssembly?

An achromatic lens assembly ensures that all colors are focused at the same point.

lens performs the desired optical effect (for example magnifying an image) and intro- duces some dispersion, and the flint lens aims at balancing this dispersion while having the least possible optical influence itself.

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choice of careful glass and lens thickness, so the Master Diopters can be easily handled on the set.

Master Diopters can be ordered individu-ally, or in a convenient travel case that holds three Master Diopters and a number of reduction rings.

MainFeaturesataGlance:• 3 Diopters (+0.5, +1, +2) for close ups beyond the lens‘ close focus

• Superior image quality through achromatic elements and Zeiss T* coating

• Optically matched to Master Primes, but can also be used on other lenses

• Time savings and better match to prime lenses compared to macro lenses

• Clamp-on mechanism ensures quick and easy use and precise fit

• New creative possibilities: close ups at T1.3, wide shots with shallow depth of field

A close up of a map using the ARRI/Zeiss Master Diopters on a 100mm Master Primes at T1.3

WhatareDiopters?Diopters are optical elements that can be placed in front of a prime or zoom lens, offering a fast and convenient way to increase the lens‘ magnification. In prac- tical terms they move both the close and far focus distance of a lens closer to the film plane: On one hand the lens can focus closer than its native close focus distance, but on the other the far focus moves from infinity to a closer value. The strength or magnification of a Diopter is expressed in the ‘diopter power’ number. Common diopter powers are +0.5, +1 and +2.

single low power diopter with a long focal length prime lens. This will also leave ample room for lighting.

• Using a diopter on a wide angle lens reduces the close focus distance by only a small amount but throws the background substantially out of focus, thus achieving a unique wide angle look with shallow depth of field.

• A shot where the focus moves from some- thing very close to the lens to a medium distance or vice versa.

• Special effects work.

With a diopter attached, the regular focus scale of that lens is not valid anymore, and focusing has to be done through the view- finder.

Having a set of diopters is standard proce- dure on many projects. They are used instead of macro lenses because they are less expensive and can thus be rented for the whole show. If an extreme close up is planned, a macro lens is rented, but often the situation arises where an unplanned close up is needed, and that is when a diopter can save the day. One cinematog-rapher interviewed said: “A craftsman never knows when he needs a hammer, but he always carries one. It is the same with diopters.”

Some cinematographers like diopters because they match the look of the prime lens more than the traditional macros in terms of color balance and in terms of focal length. Also, traditional macros need more light than regular primes, and thus a scene would have to be re-lighted for a macro shot, which costs time and money and again results in a different look.

Diopters need no exposure compensation, so a T1.3 Master Prime stays a T1.3 lens.

The use of diopters is subject to local shooting styles just like the use of all other film equipment. Cinematographers on one continent, for instance, prefer to use them with long primes, as that gives a higher magnification ratio and allows for more space between subject and lens. Another continent is currently going through a phase where ‘close and wide’ is popular, so they use diopters with wide angle primes and short zooms.

Diopters come in two basic types: regular Diopters that consist of one simple glass element, and achromatic diopters that consist of two or more glass elements. The optical quality of regular Diopters is poor, mostly due to chromatic aberration, which results in color fringing. They also show spherical distortion, geometric distortion, flare, poor contrast and poor edge resol- ution. Achromatic Diopters consist of at least two glass elements and are much higher in quality.

There are many uses for diopters, the most popular being:

• When a static shot of something small is needed, but the close focus distance of the lens is insufficient. For best optical quality at the highest magnification, use a

Master Diopters can be attached to the lens or each other with a single thumb screw

3 7C a m e r a

Remote heads, and especially the gyro-stabilized sub-species, are very popular these days. The ARRI Wireless Remote System is often used to control the lens while it is high up in the air. This is great for the camera assistant, who can control focus, iris and camera RUN / STOP with a small handheld unit. The operator, on the other hand, wants to control zoom in addition to camera pan, tilt and roll. A zoom control is built into most remote head consoles. With the WAU-3 it is possible to feed the signal from that control wirelessly into the ARRI Wireless Remote System.

To join the zoom control in the remote console with the other signals of the Wireless Remote System, a Wireless Main Unit WMU-3 is placed close to the remote console, and a WAU-3 is attached to this unit. The zoom output from the remote console is connected to the WAU-3, and the signal is sent through the air to the camera, where it drives the zoom motor. With the WAU-3 it is also possible to set zoom speed and to limit the zoom range, very much like the controls on other ARRI zoom controllers.

A popular setup for shooting car commercials: a 435 Xtreme on a Filmotechnic Flight Head and Auto Robot Arm (also known as ‘Russian Arm’). In the foreground the operator uses the Filmotechnic console to control pan, tilt, roll and zoom via joysticks. The zoom signal from the console is connected to the WAU-3, visible in the middle of the image, which controls the zoom of the lens. Camera assistant Craig Devereux uses the hand unit of the ARRI Wireless Remote System to control focus, iris and camera RUN/STOP, while monitoring camera and lens status on the Lens Data Display for Focus Puller (LDD-FP). In the background the 435 Xtreme is situated on the Filmotechnic Flight Head.

The Flight Head is attached to the Filmotech-nic Auto Robot Arm, which is mounted on the roof of a modified Mercedes AMG ML55, which houses driver, camera operator and camera assistant. This image is from a Toyota commercial that was shot in the desert near Arizona.

In spite of very high ambient temperatures (106° F/ 41° C), in spite of the fact that the 435 Xtreme was housed in a plastic bag to protect it from a rain effect and in spite of a high power video assist microwave transmission, the camera and Wireless Remote System operated perfectly.

WirelessLensControlonRemoteHeadswiththeWAU-3

For a Honda commercial, the 435 Xtreme and the Wireless Remote System were working on a Nettmann System Stab-C stabilized head (also known as ‘Gyron FS’), which was in turn mounted on the arm of a 3 axle camera car by Dean Goldsmith Camera Car Industries.

… while the WAU-3 received a zoom signal from the Nettmann remote console. The WAU-3 forwarded this information to the 435 Xtreme, which drove the zoom motor.

The ARRI Wireless Remote Control was used to control iris, focus and RUN/STOP …

Ident Number:Wireless Auxiliary Unit WAU-3 K2.52275.0

3 8 C a m e r a

Accessory UpdatesNew Ratcheting Lock Lever2006 will see the introduction of ARRI’s new ratcheting lock lever. With this new lever the clamping range (how tight it grips the rods) can be easily and quickly adjusted by pulling the lever out, rotating it slightly, and letting it snap back into place. Instead of having to send the equipment back to the rental house when a rod slips, this issue can now be resolved on the set without any fuss. The new levers will be delivered with all ARRI Bridge Plates as well as other accessory carriers such as the 235 Compact Rod Holder CRH-1, the 235 Left Rod Bracket LRB-1 and the 235 Side Bracket SBR-1. They can also be purchased individually, and future accessories will of course also be equipped with the new lever design.

Buy Bridge Plates a La CarteIncreased efficiency in manufacturing has allowed ARRI to lower prices on their industry standard bridge plate components, and to offer them as separate pieces. Whether one upper sliding plate and five bottom plates are needed, the other way around, or any combination in-between – all bridge plate components for all cameras are now available individually and at competitive prices. Please see the ARRI price list or contact ARRI sales for details.

Brackets and Filter Frames are Now Available SeparatelyAs with the bridge plate components, many individual brackets and all ARRI filter frames have benefitted from these advances in manufacturing and are now also available individually and at new pricing. Please see the ARRI price list or contact ARRI sales for details.

New Keeper Screw for ARRI EyecupsThe problem of loose eyecups has been solved for the non-heated eyecups. Instead of the traditional set-screw that would adjust how tight the eyecup is held onto the eye-piece, all non-heated ARRI eyecups can now be equipped with a knurled keeper screw. This way the retaining tension can be changed without the use of tools.

Even though we are usually busy working on a lot of the ‘big’ stuff like analog

and digital cameras, we frequently take the time to look at the details that

often make the difference between a quick and pleasant experience on the

set or a pain in the neck. Here are some of those detail upgrades.

AccessoryUpdates

To adjust the gripping strength of the bridge Plate rod clamp, pull out the lever, rotate and let it snap back

3 9C a m e r a

The Integrated Video Systems (IVS) for modern ARRI cameras have a feature called ‘User Text’ that allows the user to enter text, which will be super- imposed onto the video assist image. In order to make the entry of this text more comfortable, ARRI has released a small software program called

‘User Text Line’ free of charge on the ARRI web site. This software allows text entry into the User Text line of the ARRIFLEX 435, 535B, 416 or 16SR 3 with a PC.

PC and camera are connected with the 235 Update Cable KC-89-S (K2.65002.0). On the camera side,

this cable is connected to the CCU socket (435, 535B) or to the REMOTE socket (416). On the 16SR 3 the ZV4 cable is recommended, which is included in the 16SR 3 IVS. On the PC side it is connected to the serial socket. If the PC does not have a serial socket, an adapter from USB to serial can be purchased at most computer stores.

The User Text Line program can save and retrieve text, as well as erase the User Text line of the IVS. Rental houses can enter the User Text during camera prep, and the text is then saved in the IVS and displayed during the whole production.

MiniMonitor6.5T The new multi standard ARRI Mini Monitor 6.5T takes advantage of the rapid progress in LCD display technologies: It uses a so called transflec-tive LCD. In dark environments, the display is illuminated by a traditional backlight. In the bright sunlight, however, the sunlight itself is reflected off the back of the display and helps illuminate the screen. This saves power and shows an excellent image quality with increased brightness and con-trast. The Mini Monitor 6.5T can be used equally well inside and outside, even in the glaring sun!

Further advantages include a very wide viewing angle and the ability to switch the image upside down when the camera needs to go into low mode. 18 bit color depth and a contrast ratio of

The current LCD on-board monitors that can be used in the studio as well as outside in sunlight have one great disadvantage: in order to overpower the sun, they need to be extremely bright. To achieve that brightness they draw a tremendous amount of power, draining batteries faster, and – even worse – sometimes causing problems in the video assist.

Auto-IrisHeatedEyecupHE-5

With the introduction of the Auto-Iris Heated Eyecup HE-5, ARRI has solved this problem: A low power infrared sensor detects the presence of the operator, and automatically closes the eyecup with a magnetic closure when the operator is not present. How far the operator has to move away from the eyecup before the system activates can

Heating options are also the same as on the HE-4: OFF (heating off) HI (constant heating with maximum power) and LO (constant heating with reduced power). The HE-5 still uses the same Fischer 4 pin connector that the HE-3 and HE-4 used, so all existing cables will work.

When an operator moves the eye away from the eyepiece while the film camera is running, it is possible for the film to be fogged. Operators know this and have developed ways to cover the eyepiece when moving away, which is a workable solution but somewhat annoying. Mechanical devices have been developed in the past to close the eyepiece when no pressure is asserted. Unfortunately, this also meant that the operators had to continually press their eye hard onto the eyepiece, a less than comfortable solution.

Ident Numbers:

Heated Eyecup HE-5 (includes ARRICAM, ARRIFLEX 416 cable) K2.47747.0Heated Eyecup HE-5 (includes ARRIFLEX 435, 235 cable) K2.47746.0Heated Eyecup HE-5 (includes ARRIFLEX 535, 16SR 3 cable) K2.47744.0

HE-3, HE-4 and HE-5 Cable Chart:

Camera Camera HE-3/HE-4/HE-5 Cable Cable Ident NumberType Connector Connector Name

ARRICAM, ARRIFLEX 416 LEMO Mini-coax Fischer 4 pin KC-63-S K4.54460.0ARRIFLEX 435 & 235 Fischer 3 pin (RS) Fischer 4 pin KC-42-SP-S K4.47473.0ARRIFLEX 535 & 16SR3 Fischer 2 pin Fischer 4 pin KC-27-SP-S K4.44549.0

be adjusted. The mechanism can be switched to OPEN (eyecup is open), AUTO (eyecup closes when operator moves away) or CLOSE (eyecup is closed). When unplugged, the system remains in its current state. While closed and without power, it can also be opened manually.

The HE-5 fits all ARRIFLEX and ARRICAM cameras and contains the same robust electronics and heating element as the HE-4. Like the HE-4, the HE-5 connector housing can be rotated, which allows it to be easily mounted on all cameras in all positions. A completely re-designed sliding lock ensures the HE-5 stays securely on the eyepiece.

SimpleIVSUserTextEntryPopular textmessages havebeen the nameof the rental houseand/or the nameof the production. If the inconvenience of having a PC connected all the time is no obstacle, it is also possible to enter scene and take numbers.

http://www.arri.de/prod/cam/usertext.htm

1:400 help to present the video assist image in the best light possible. Various options can be set easily and quickly through the on-screen menu, and the whole unit is encased in the usual rugged ARRI construction.

Ident Number: Mini Monitor 6.5T, K2.47748.0

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With about 25,000 visitors in only three days, the 15th Broadcast India by now has estab- lished itself as the most important trade fair for the Indian subcontinent, Sri Lanka, Nepal and Bangladesh. ARRI, together with its Indian agent S.R. Electronic, presented its range of camera, lighting, and digital products.

Especially the exquisitely colorful Bollywood increasingly discovers the possibilities of the digital intermediate process. Accordingly,

there was a big interest in the ARRISCAN, which was presented in India for the first time. Of seven ARRILASER film recorders so far in India, six units alone are based in Mumbai. The local trend towards DI has also helped the Super 35 format to gain in importance. Many inquiries prove that the Master Primes are anticipated impatiently. Expectedly, the ARRIFLEX 20-D, ARRIs digital camera, was also center stage.

Not only the ARRICAM and ARRIFLEX 235 intrigued well-known DoPs and young

filmmakers – they were equally fascinated by the newest ARRI Ceramic lighting techno- logy. To personally get a picture of the trade fair’s success, General Manager Franz Kraus also travelled to Mumbai. At this point we want to say ‘thank you very much’ to all those involved for their dedication, which made the Broadcast India a complete success for the ARRI group.

Thomas Nickel / R. K. Potdar

BROADCASTINDIA2005

ARRI Lighting Solutions Berlin has signed a deal with Salam Media Cast to equip the studios of the Al Jazzeera International English Channel in Doha, London and Kuala Lumpur with ARRI lighting systems. It is the largest deal of a German based company to provide a turnkey lighting solution in this region. Salam Media Cast is one of the lead-

For this project ARRI Lighting Solutions will provide a complete lighting concept, includ- ing luminaries, suspensions systems, lighting control equipment and also the necessary service for it.

The 12th Middle East International Cable, Satellite and Broadcast Event, CABSAT2006, took place from March 7–9 at the Dubai International Convention and Exhibition Center and proved again to be the key event for the broadcast-media market not only for Dubai and the Middle East, but for the whole region.

ing system integrators for broadcast-media solutions in the Middle East.

The first planning-, consulting- and projecting phase for this new and ambitious project has started already more than one year ago. It provides an ideal lighting solution for three different studios, spread around the world.

ARRILightingSolutionsSignedContractatCABSAT2006inDubai

F. l. t. r.: Kavita Meer (Saicom), Franz Kraus (ARRI) and R. K. Potdar (S. R. Electronics)

S. R. Electronics / ARRI stand

R. K. Potdar (S. R. Electronics)

F. l. t. r.: R. Kulterer (ARRI), K. Tarun Kumar (Anand Cine Service), Franz Kraus (ARRI), Harish Kumar (Anand Cine Service)

41T r a d e S h o w R e v i e w

The NAT Expo took place in Moscow from November 16-19, 2005. It is the largest trade fair in Russia featuring pro- fessional technology in the areas of TV,

broadcast, and internet transmissions. ARRI, for the first time, was represented through its own booth. The large visitor interest was also reflected in sales figures. “Together with our Moscow-based partner Proline we were at the trade fair for the first time. We were extremely successful thanks to the good contacts we have established over many years in the former CIS states. Among other things, two ARRISCAN and a total of 19 ARRIFLEX cameras were sold – from the ARRIFLEX 16SR 3 to the ARRIFLEX 235 and 435, and to the ARRICAM LT and ST,” an upbeat ARRI Sales Director Thomas Popp concluded.

ARRI Lighting Solutions, ARRI’s Berlin based project team presented new and existing pro- ducts ranging from the ARRI Studio Ceramic series and lighting kits to the exciting world premiere of the newly developed LED-lights and the brand new ARRI telescope presen-ted for the first time in the Russian market.

Using 3D-simulations ARRI Lighting Solutions also impressively demonstrated its capability to provide a comprehensive service,especial- ly for the film- and broadcast studios. ARRI was granted a special certificate for excel- lence by the organizers of NAT Expo.

The NAT Expo project was established by the Russian National Association of TV and Radio Broadcasters (NAT) with the partici-pation of major Russian companies, involved in TV and Radio industry. Unlike previous ex- hibitions of this kind in Russia the NAT Expo has declared its mission to gather hardware

manufacturers, new technologies and also the final program, as well as adjacent bran- ches, such as cable and satellite television, multimedia, digital filming, etc. under the same roof. About 6000 professionals atten- ded the show. In comparison with the previous year, when the NAT Expo was held for the first time, the exhibition ground has grown by 150 % – the number of visitors already doubled.

This year, the NAT Expo takes place in Moscow from November 20-23 – and ARRI will be there again, of course.

Jochen Hähnel

NATExpo2005inMoscow

Here, the latest technical equipment in the camera department is scarce goods – just like in most film schools all over the world. To accordingly spruce up the inventory of old Soviet “Konvas” cameras ARRI sponsored the VGIK with an ARRIFLEX 235. The official handing over by ARRI General Manager Franz Kraus and ARRI Sales Director Thomas Popp took place at the VGIK.

This engagement in Moscow is seen by ARRI as an unequivocal investment in the future.

“Because only where masterful engineering meets master craftsmen it can bring to bear its advantages in the race against distinctly cheaper systems,” Franz Kraus said in his speech before Moscow students, teachers, and professors. Carl Zeiss Jena also lent itself to being a sponsoring partner. Carl Zeiss representative Cornelius Müller presented

the Moscow film school with five high speed Ultra Prime prime lenses.

Against the background of the booming Russian cinema market the sponsors view the handing over of the equipment as the cornerstone of a long collaboration. After all, in 2005 two modern Russian produc-tions managed to attract 20 million viewers, thereby outrunning even extremely expensive Hollywood movies.

A distinct tendency towards using technical-ly sophisticated camera systems and correspon-ding post production facilities can be noticed in Russian serial productions, too. Apart from that, the VGIK’s influence, being one of the most distinguished Eastern European film schools, reaches deeply into Asia. Students from India, Thailand, China, and Korea carry all they have learned deep into the Russian and Asian market.

One of the highlights of the NAT Expo was the handing over by ARRI of an ARRIFLEX 235 to the national

Russian film school VGIK. The internationally acclaimed ‘dream factory of the Eastern bloc’ achieved worldwide

repute already in the 1920s: Here, film geniuses like Sergei Eisenstein, and later on also Andrei Tarkovsky, created

the fundamentals of modern cinema. And the professors teaching today’s students are also experienced practitioners

who constantly combine their teaching activities with their own film projects.

Franz Kraus with students and professors of the VGIK

ARRISponsorsRussianFilmSchoolVGIK

F. l. t. r.: Alexander Kroilov, Ivan Solovov (Mentor Film Group) and Thomas Popp

4 2 T r a d e S h o w R e v i e w

Unlike traditional film festivals Camerimage recognises films for their visual content, and this 13th year event saw over 300 cinemato-graphers from 33 countries, 1,150 film stu- dents from 36 countries, as well as 30,000 cinema-goers flocked to Lodz, Poland from November 26th to December 4th.

As one of the main official sponsors ARRI was represented at the festival by the rental division of the group. Situated in the Grand Theatre at Lodz the ARRI Group stand pre- sented the perfect opportunity to familiarise with the ARRI cameras, including the ARRIFLEX D-20, ARRIFLEX 235, ARRIFLEX 435 Xtreme, and the ever popular ARRICAM Studio. Master Prime lenses and a whole range of camera accessories, such as the 435 Hand Crank, completed the selection. ARRI technical staff were on hand to give informal demonstrations, answer questions and provide basic camera overviews to students.

Special ARRI workshops were led by DP Chris Doyle, DP Oliver Stapleton BSC and

ARRI’s Digital Camera Product Manger, Bill Lovell, who presented and demonstrated the ARRIFLEX D-20 alongside with DP Mike Southon BSC.

With over 250 feature films submitted for the International Feature Film Competition and 200 student shorts submitted for the International Student Film Competition the panel of judges were kept busy. After care- ful consideration 15 films were selected for the main feature competition and competed for the Gold, Silver and Bronze Frog awards. The Bronze Frog was awarded to Louis-Philippe Capelle for BLACK NIGHT, the Silver Frog was awarded to Jens Fischer for THE QUEEN OF SHEBA’S PEARLS and the Golden Frog to Gyula Pados for FATELESS.

The Lifetime Achievement Award went to Italian Cinematographer Tonino Delli Colli, who sadly passed away in August 2005.During his sixty year career many of his films were recognised on a worldwide scale and his experiences found him work- ing with directors such as Federico Fellini, Roman Pollanski and Sergio Leone to name but a few. Shooting films such as THE GOOD THE BAD AND THE UGLY, THE NAME OF THE ROSE and ONCE UPON A TIME IN AMERICA. The President of the Italian Society of Cine- matographers, Roberto Girometti, was present to accept the award on behalf of Tonino Delli Colli.

During the course of the festival a total of 130 feature films and short films were screened.

As well as presentations of numerous awards there was a whole host of activities taking place, from debates to parties, painting and photography exhibitions to demon- strations of the latest technology. Looking back at the activity packed 9 day festival Renos Louka, Head of the ARRI Rental Group, reflects, “It is a wonderful forum for people of all ages and various stages in their careers, from students to professional cinematogra-phers, to come together and enjoy the tech- nical and creative aspects of their craft, to exchange ideas and experiences with each other. I think it is a great honour for ARRI to be main sponsor of this internationally acclaimed event and we look forward to returning next year.”

Judith Petty

Camerimage2005

DoP Tom Stern with Andrew Prior from ARRI MEDIA

From left: billy Williams – holding the Nomination for Chris Menges, Louis-Philippe Capelle, Francois Lartigue, Krzysztof Ptak, Lance Gewer, Vilmos Zsigmond – holding the Nomination for Gyula Pados, Phedon Papamichael (standing), Robert Alazraki (sitting) – holding the Nomina-tion for Denis Rouden, Arthur Reinhart, Jens Fischer

billy Williams bSC with the ARRICAM ST

Thomas Popp (left) and Roberto Girometti

ARRISponsorsRussianFilmSchoolVGIK

4 3T r a d e S h o w R e v i e w

Amongst the 80 guests from the world of film and media that attended the opening event, ARRI AUSTRALIA was able to welcome reputed producers and DoPs such as Andrew Lesnie (THE LORD OF THE RINGS & K I N G KO N G), his first camera assistant, Colin Deane, Reg Garside (Gaffer KING KONG), Ross Emery (DoP THE CAVE) and Ron Windon. Further the German General Con-sul in Sydney, Dr. Guenter Gruber, and Klaus Volker Schuurman, Executive Director of the German-Australian Chamber of Trade and Commerce, accepted the invita-tion of the CEO‘s Franz Kraus and Klaus A. Feix, and by ARRI AUSTRALIA’s solicitor, Michael Kobras.

ARRI AUSTRALIA offers the latest state-of-the-art equipment. Currently 2 ARRICAM LT, 2 ARRICAM ST, 5 ARRIFLEX 435 XTREME, 2 ARRIFLEX 235 and 4 ARRIFLEX 16SR 3 Advanced complete camera packages as well as two sets of the new Master Primes are available on site. By means of efficient logistics and direct connections to the head-office in Munich, the Australian subsidiary can quickly access the equipment from Munich. ARRI Munich will build on the logis-tical experience gained from successfully servicing two major productions – THE LORD OF THE RINGS trilogy (over 20 tons of equip-ment were shipped from Munich to various locations in New Zealand), and KING KONG.

F.l.t.r.: Denson baker (DoP), Aaron George, David Wakeley (DoP, President of NSW branch of the ACS)

F.l.t.r.: Christl Feldhaus, Cathy Windon, Ron Windon, Clemens Danzer

F.l.t.r.: Manfred Jahn, Andrew Lesnie, Franz Kraus, Heinz Feldhaus, Klaus Feix, Michael Kobras, Dr. Guenter Gruber (German Consul General), Klaus Volker Schuurman

Franz Kraus and Andrew Lesnie (DoP)

Klaus Feix (middle) with the crew from ARRI Australia: Aaron George, Rey Adia, Clive Teare, Kate Walton, bill Ross, Clemens Danzer (f.l.t.r.)

ARRIAUSTRALIA: ReadyforTakeOff

The ARRI LOCPRO

On the 11th of February 2006 ARRI AUSTRALIA, ARRI’s new rental house

for professional film equipment in Australia, officially opened its doors

to the public. The Sydney-based subsidiary of ARRI Munich will gradually offer

a whole spectrum of additional services such as technical servicing for

lighting, camera and digital as well as becoming active in the sale of all three

product groups.

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Manfred Jahn and Colin Deane (1st AC)

F.l.t.r.: Clemens Danzer, Michael Kobras, Dr. Guenter Gruber

F.l.t.r.: bill Ross, Lou Irving, Clemens Danzer, David burr, Reg Garside (Gaffer), David Wakeley, Laurie Kirkwood (DoP)

F.l.t.r.: Calum McFarlane (Camera Operator), Heinz Feldhaus, Franz Kraus, Ross Emery (DoP), Manfred Jahn, Clemens Danzer

ARRIAUSTRALIA: ReadyforTakeOff

his capacity as adviser. With a team com-prising five additional staff members, the newly founded branch of the worldwide successful ARRI Group embarks on a very promising journey, and offers both Austra-lia‘s and New Zealand‘s film industry the state-of-the-art technology with a wide array of services and support.

Clemens Danzer

The state-of-the-art equipment features the ARRICAM

A Collimator in the lens test room

Already, ARRI Australia is servicing several projects – both in Sydney and New Zealand. They have recently completed a four week MOW in Auckland, with DoP Ivan Strasburg and Production Manager Liz Di Fiore. ARRI Rental Munich has previously worked successfully with Liz on ANACONDA 2.

Other projects currently in production in Sydney include the 16 mm TV Drama Series, BLUE WATER HIGH, and HAPPY FEET, directed by George Miller, a 35 mm multi-camera shoot which reunites ARRI with DoP Andrew Lesnie ASC.

Heinz Feldhaus, who has over 50 years of superior experience in the film industry but also knows Australia‘s expanding movie business exceptionally well is available in

F.l.t.r.: Tim Waygood (Senior Account Manager, Entertainment Imaging, Kodak Australasia Pty Ltd), Roger buckingham (DoP), Russell bacon (DoP), Dennis Kiely (Producer)

Contact:

ARRI Australia PTY LTDUnit 6C5 Talavera RoadMacquarie ParkSydney, NSW 2113Phone +61 (2) 9855 4300Fax +61 (2) 9855 4301

4 5C a m e r a

Academy Award-winning director Peter Jackson’s latest offering is KING KONG,

which updates the classic film from 1933 for modern times. The dramatic

adventure movie stars Naomi Watts, Jack black and Adrien brody. From

recreating the streets of Depression-era Manhattan to bringing the tragic

primate to life, the production utilized computer-generated effects from Weta

Digital and miniature effects – more than twice the amount shot for all three

LORD OF THE RINGS (LOTR) films. From the successful LOTR movies, the film

again brought together Oscar-winning Cinematographer Andrew Lesnie,

ASC and Head of Digital Imaging at Weta, Pete Williams. The end result has

garnered an American Society of Cinematographers Outstanding Achievement

nomination for Lesnie, and three Oscars for KING KONG in sound editing,

sound mixing and visual effects.

Says Lesnie, “When the project was first mentioned I thought, ‘Great! We get to go to New York, Rarotonga and have an ocean voyage!’ So I was quite surprised when PJ told me the whole film would be done in the Wellington metropolitan area! We did go to Auckland to use the 2,000 seat Civic Theater as the interior of the Kong Theater and second unit took the real SS Venture out for a run up the coast, with an aerial unit run by David Nowell.”

Lesnie chose ARRI cameras to capture the exciting story of BEAUTY AND THE BEAST, checking out the entire package from ARRI Rental Germany with local technical sup-port provided by Peter Fleming in Welling-ton, New Zealand. Two ARRIFLEX 435 ADVANCED cameras were employed along with two ARRICAM LTs, one ARRICAM ST and one ARRIFLEX 235.

The cinematographer spent a lot of his prep time getting a feel for the look and style of the film with Production Designer Grant Major.

“[Grant] set up a ‘concept room’ with the entire story running chronologically around the walls. There was conceptual art, period clippings, and a huge collage of visual refer-ences pertinent to the film. I also spent time with the conceptual artists and the pre-viz department, since so much of these films is decided at that stage.”

With concept art created in PhotoShop, Lesnie could manipulate the color palette

GORILLAFilmmaking

Director Peter Jackson and DoP Andrew Lesnie

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and run these images by Jackson to show what he was going for.

To do the digital intermediate (DI) and visual effects, the already three-time Oscar-winning team at Weta Digital brought the exposed film into the digital realm through the ARRISCAN. For Williams, how the film would be scanned took much careful consid-eration. He says, “In pre-production we tested various film scanners on the market and decided upon the new ARRISCAN. It was a change in technology from the traditional CCD / Xeon bulb machines to a CMOS sensor with LED illumination. The

‘leap in faith’ to this new technology proved invaluable.”

The ARRISCAN’s CMOS technology pre-sents several advantages: high-speed per-formance through parallel data outputs and flexible output modes through active pixel technology. LEDs guarantee low power consumption, high efficiency, excellent color separation and low strain for film due to the minimum thermal dissipation. Visual effects shots, along with the final DI master were recorded back to 35 mm with the use of Weta’s own ARRILASER film recorders.

Even though the digital intermediate process opened up possibilities visually for Lesnie, it was still crucial to render the closest look he wanted in-camera. “Knowing that the project will finish as a DI doesn’t change the intention to create as much of the finished look on camera negative as possible. I do tend to open up a touch to capture as much data as possible. On set I’m always con-cerned about maintaining some kind of momentum as far as the cast goes, so one benefit of a DI means I can determine whether some lighting issues can be dealt with in post.”

For scenes shot on the SS Venture at sea, the production actually shot on a boat that was moored in a parking lot while an agile camera crew created the movement of the ocean. Explains Lesnie, “Most of the cover-age onboard the land-locked SS Venture set was shot Steadicam, handheld or remote heads on cranes to ensure the camera stayed moving. The fun stuff was simulating the ship in turbulent situations. The opera-tors would rehearse throwing themselves around in sync. It was like a dance class. We also communicated being at sea with a lot of lighting effects.”

Although Lesnie was extremely busy over-seeing the overall look of the film, he

managed to get his hands on the camera – a connection he feels is essential. “I love to operate. I think lighting and operating are inseparable. Unfortunately, on big films a lot of management responsibilities come into the mix, which means I can’t devote as much time to operating as I’d like, because it’s a very time-consuming job and tends to deny me the opportunity to step back and see the bigger picture. So on projects like KING KONG, I end up operating second or third camera.”

Operating the second or third camera allowed Lesnie to experiment with certain camera moves. “Because the A camera tended to be Steadicam and the B cam gunned for tighter coverage, I tended to work C camera, which frequently was mounted on a Scorpio remote head on a Giraffe crane. Since PJ tends to concen-trate on the first two cameras, this gave the grips and I regular opportunities to design and execute some very beautiful shots.”

Lesnie designed his lighting to later integrate smoothly with the CG environments added in post. For Williams, the challenge was inputting all this information under a tight deadline. “Each VFX shot has multiple layers of elements that were scanned and have been composited together,” says Williams.

“This is [done] with just one scanner. With the LOTR trilogy we had three scanners working nearly 24 / 7. ARRISCAN has become a fast and reliable workhorse,

producing great images. We have scanned over three million frames for KING KONG alone! [This] exceeds far more than any of the LOTR films. I know this is more than any other feature ever made.”

Explains the cinematographer, “This project involved complex VFX environments, night cityscapes, jungles, and set at times like dusk, dawn and everything in between. If you want the characters to be standing in the shadow of a ravine, and that the sun is glancing down the far wall, the live action component is going to be lit more flatly than the final shot is going to look … Or staging a lengthy scene during a sunrise, with all the resultant changes in color temperature and densities that come with it. The jungles were particularly interactive. We were very ambitious.”

KING KONG has grossed over $ 500 million worldwide.

An Tran

4 7D i g i t a l I n t e r m e d i a t e _Wo r l d w i d e o n t h e M o v e

With some 200 top creative talents, skillful technicians and innovative engineers, Global Vision is growing in a fast changing environment characterized by technolog-ical leaps generating challenges as well as business opportunities. Developing or selecting technologies at Global Vision is part of a complex process which considers current and future clientele needs, function in a constantly evolving value chain and of course, quality and production gains, estimated downtime per year and return on investment potential.

When Global Vision decided it was time to add digital intermediate to its full line of 35mm laboratory and HDTV postproduc-tion services, the most challenging tech-nology evaluation process to date started. The DI chain involves myriad technologies ‘tuned’ to achieve picture perfect results in a flexible environment. “If post-production is a car race, DI is our Formula 1,” says VP post-production services Paul Bellerose.

“DI is where talent, technology and deep know-how comes together, this is what we provide our customers,” he adds.

logy provided zero downtime, zero fault and lots of applause,” adds the company President.

On top of using ARRI technology for feature films involving Québec’s most demanding producers, directors and DoP’s, Global Vision teams ARRISCAN and ARRILASER with its proprietary restoration software GeneSys® for pristine restoration involving 35 mm and 4 K, 2 K or HDTV. In total, Global Vision has restored over 100 feature films.

François Bourdua

Through continuous acquisitions of talents, technologies and businesses, Global Vision

(www.visionglobale.com) has become the largest Canadian owned post-production

and asset management & distribution service company. Technical and creative services

cover a wide range of data, film, sound and video needs destined to the media and

entertainment industry.

Global Vision’s activities also include Fantasia, the largest ‘genre’ film festival in the world; Wired Images, the largest

Canadian stock shot agency; a Manhattan based division with Global Vision International and 4 elements, a division

providing special effects and gaming services.

On the pick-up and delivery side – scan-ning and recording – the choice was clear and unanimous: ARRI. Extensive testing involving different negative and positive stocks, complete shooting to screening processes in simulated extreme environ-ments and pure technical analysis by laboratory, data and video teams all led to the same conclusion: ARRISCAN and ARRILASER surpassed competing technolo-gies. In three key factors ARRI was Best of Class: best picture, speed and accuracy of development and most robust technology.

“Beyond technology, ARRI demonstrated great listening skills throughout the eval- uation process. Much like Global Vision, ARRI partners with its customers, an ap-proach we value,” says François Bourdua, VP technology.

So after much testing, Global Vision became the first North American company offering ARRISCAN technology. “One year later, we now have confirmation that our tech-nology team made the right choice,” says President Mathieu Lefebvre. “ARRI techno-

bIG bOSS before b IG bOSS after

François bourdua (right, VP Technology) and Pierre Guerin (Development and Integration)

Global Vision’s post-production services

• Digital Intermediate (DI)

• Film processing and printing

• HDTV services

• Picture editing

• Restoration

• Sound recording, dubbing and mixing

• Special effects

GlobalVisionImage taken from MAURICE. Shot on 35 mm and 2 K DI with ARRISCAN and ARRILASER.

Director: Charles binamé, DoP: Pierre Gill

Image taken from b IG bOSS. Fully restoration of this heavily damaged film was done in 2 K, with the ARRISCAN and GeneSys®, Global Vision's propriety restoration software. Images are courtesy of Fortune Star Entertainment (HK) KTD

4 8 D i g i t a l I n t e r m e d i a t e _Wo r l d w i d e o n t h e M o v e

José Rodríguez López (everybody calls him Rolo), the technical director of Estudios Churubusco has already encountered an increased demand for the DI process in Mexico due to the continuing preference of many local DPs to take advantage of ‘the best of both worlds’ – image acquisi-tion on motion picture film and a digital post-production.

Among the technical aspects that led José Rodríguez López to his decision for an ARRISCAN are quite a number of reasons:

“The machine’s speed, it’s ability to auto calibrate, pin registered precision, it’s use of LEDs as a low stress and technically advanced light source, it’s ease of use and low maintenance …” He also mentions the ARRISCAN’s competitive pricing and – most importantly – his confidence in ARRI’s quality. In José’s own words: “ARRI is just like our own family, they have always been there.”

Estudios Churubusco is constantly being used for feature films, commercial and TV productions. Some of the larger productions have been FRIDA by Julie Taymor, VOCES INOCENTES by Luis Mandoki, MAN ON FIRE by Tony Scott and BANDIDAS by Joachim Roenning.

The new ARRISCAN with an additional 16 mm film gate and a high-speed pack was installed at Estudios Churubusco Azteca’s DI suite by Darren Jones of ARRI INC. in Burbank. With the assistance of Curd Mai, CINETEC’s sales manager, they also held a training course for the Mexican operators of the ARRISCAN and shared a couple of tequila shots to keep the voltage stable. CINETEC is ARRI’s long time agent in Mexico for camera, lighting and digital products.

Thomas Brunger, Cinetec

Curd Mai (Cinetec‘s sales manager)

F. l. t. r.: José Rodriguez López (Technical Director of Estudios Churubusco Azteca) and ARRISCAN operator Eliseo Fernandez bolland

F. l. t. r.: Raúl Ortiz (administrative coordinator), José Rodriguez López (Technical Director of Estudios Churubusco Azteca) and ARRISCAN operator Eliseo Fernandez bolland

Estudios Churubusco Azteca was founded in 1945 and is one of the largest studio complexes in Latin America. Located in the south of Mexico City, eight big studios are operating, each over 1000 square meters large and fully insulated acoustically. On the postproduction side Estudios Churubusco Azteca offers two Dolby, DTS and THX certified sound record-ing suites, a lab for 35 / 16 mm color and b /w film and a comprehensive range for DI productions including quantel s iq system and a Christie digital projector. Their latest acquisition, however, is the first ARRISCAN installed in Latin America, adding a completely new level of service for the company, as well as for the whole region.

FirstARRISCANinLatinAmerica

Estudios Churubusco Azteca – Mexico City

F. l. t. r.: Arturo Pintor (recorder and scanner operator) and Karina Lozano Salazar (sound coordinator)

4 9D i g i t a l I n t e r m e d i a t e _Wo r l d w i d e o n t h e M o v e

FirstARRILASERHDinSpainIn 2004, ARRI introduced a new model of the ARRILASER. The ARRILASER HD

is specifically tailored for recording on camera negative film stock. Equipped

with less powerful lasers, the machine is offered at a very competitive price,

still delivering the well-known ARRILASER quality, reliability and performance –

an easy way into the digital domain for many labs and post-production houses.

The first customer in Spain was the up-and-coming post-production company Kincine in Valencia. General Manager Jesus Martinez talks about their ARRILASER HD installation.

?: Can you give us a brief background on Kincine?

Jesus Martinez: Kincine is a young company. We have four years of experience working within post-production for television and cinema. Kincine was founded in 2002 with the aim of providing our clients with services in CRT film recording, effects in 2 K, credits and subtitles. Today Kincine has ten employ- ees who cover the whole post-production process and the transfer to 35 mm film.

?: What drove Kincine’s decision to pur-chase an ARRILASER HD? Was there any technical specification that has been the key to the decision?

JM: One of the reasons for choosing the ARRILASER HD was its ability to record onto camera negative film stock of different ASA ratings. This will allow us to control the film grain and the texture. It also gives us a small margin for photo-chemical intervention.

?: In business terms, how will the ARRILASER HD affect the company?

JM: In comparison to our old CRT system, the recording time is much shorter. Together with the reliability of the ARRILASER, we are now able to significantly increase the number of projects we can take in.

?: How was the installation of the machine at Kincine’s facilities?

JM: The installation was very smooth and simple. In just a few days we had the ma- chine calibrated with the labs. The technical support is excellent and extremely fast.

?: Kincine has worked many years with CRT technology. What are the differences compared to the ARRILASER?

JM: The main difference is the recording speed and the laser stability. There are virtually no differences between the reels. Another strong point is the contrast. As a laser is a powerful light source, it offers us a much higher contrast than the CRT machines. Working directly in the logarith-mic space makes things a lot easier. This allows us to keep most of the data from the original image. We can now control the low light much better – something that has been very difficult with CRT systems. Even without the possibility of recording on inter-mediate film we can now achieve much better results than with our CRT system.

Speaking about colourimetry: As the CMS perfectly integrates with our SCRATCH (Assimilate) colour correction system, we can keep the balance between the digital colour grade of the material and the posi-tive after colour grading.

?: Did the ARRILASER affect Kincine’s workflow?

JM: We are developing a workflow that guarantees high quality standards in

every digital intermediate process. The ARRILASER helps us to obtain the results we want to achieve.

?: What kind of jobs did you use the ARRILASER for and what is the amount of time it is working?

JM: The types of jobs we mostly do are recording feature films, short films, commercials and documentaries. Our ARRILASER HD is currently working 24 hours a day, 7 days a week.

?: What has been the reaction of your cus-tomers to this new laser based technology?

JM: Our clients do not care so much about film recording technologies, they just know what a good result has to look like. And so far, they are very happy with the results.

?: What are Kincine s future projects?

JM: We are pushing forward the inte- gration of all our systems under a DI work- flow. Using the DLP technology of Christie s 2K digital projector, we are now able to view images in large format. This is some-thing that has really improved the viewing experience.

As the ARRILASER HD and the colour cor-rection system SCRATCH are fully compat- ible we have now turned Kincine into a Digital Laboratory.

Mario Pollastrini / Sibylle Maier

F. l. t. r.: Oscar Martinez (Technical Director), Jesus Martinez (General Manager)

5 0 D i g i t a l I n t e r m e d i a t e _Wo r l d w i d e o n t h e M o v e

As the largest digital film production base in beijing / China, Hualong Film Digital Production Co., founded in 2000, has produced dozens of digital feature films like WARRIORS OF HEAVEN

AND EARTH as well as numerous commercial productions.

HualongFilmBeijingCompletesTheirDIWorkflow

F. l. t. r.: Xiao bo (Software Engineer, Hualong), Dr. Jens Rumberg (ARRI), Jianxiong Wang (CTO Hualong), Roman Gadner (ARRI)

ARRILASER-ARRISCANAdvancedUserTrainingA good tradition for over five years: ARRI Digital Intermediate Systems offers

an advanced user training for their clients.

For the first time ARRISCAN owners were also able to participate and the response was stronger than ever: There were so many reservations that Harald Brendel, Thilo Gott-schling (Application Team) and Sibylle Maier (Product Management) held the course twice. Friends came from Russia, Sweden, Thai-land, Japan, Poland, Italy, Turkey, Hungary, Norway, Denmark, France, Austria, UK, the Czech Republic and Germany to be trained and to exchange experience.

The idea is to give clients an in-depth look into the machine and the technology, as well as to offer them the possibility to ask all their questions arising from their daily work. Of course additional options and upcom-ing new features are also discussed. On the other hand, ARRI takes the opportunity to get good and detailed customer feedback – a valuable information source for new hard- and software-releases. Combined with the very international atmosphere of people coming from all over the world and the

chance to exchange information with their colleagues the event was a big success. And with a visit to a traditional Bavarian market and a typical Bavarian dinner, the group learned not only technical, but also ethnological topics!

Customer feedbackKristata Kaewmanee, Oriental Post, bangkok:

“In our experience, every single production we’ve done behaved quite differently. What we need is not to just basically click a few buttons and guess at the result. We had to use special LUTs to fix a specific problem like increasing or reducing the contrast on the fly without rendering another copy of the whole feature. The advanced user training introduced me to the real potential, performance and flexibility of ARRI’s film recorder and how to reach it. Now we can customize many aspects to fit our production’s needs as best we can.”

Ladislav Hrbacek, Prograf, Prague:“It was very useful to have the chance to ask questions in the training, hav-ing used the ARRILASER for a couple of weeks. It was also very valuable to hear how the ARRILASER performs in other places.”

Laurent Treherne, One Post, London:“Most of the topics were explained in very good detail and it was also great to get a paper version of the course.”

Simon Afshar, Fredrik Olsson, Nordisk Film Production, Stockholm:

“Getting a good and interesting group of people from different countries together, who use the same equipment, always promises an interesting time and raises a lot of questions one had never thought about before.”

Sibylle Maier

Discussion continues on the way to the diner. (Harald brendel, Sibylle Maier, Iouri Iloukhine)

Kristata Kaewmanee

Laurent Treherne

In September 2001 Hualong Film Digital Production Co. received the first ARRI-LASER in China. After the release of the ARRI CMS Color Management software Hualong again decided to go with an ARRI product and got their full CMS / ALICE package in June 2003 to improve their HD to film transfer. Now, in January 2006 Hualong completed their DI pipe-line by purchasing the first ARRISCAN in China. With the ARRISCAN they also purchased the first speed upgrade avail-

able for the ARRISCAN so that they are now running with a scanning speed of 4 frames per second in 3K.

After the successful installation of the ARRISCAN by Roman Gadner and Jens Rumberg in January 2006, Mr. Wang Jianxiong, CTO of Hualong thanks ARRI ‘for offering us another perfect machine to complete our digital production workflow in order to service our customers better and better.’

Roman Gadner

51D i g i t a l I n t e r m e d i a t e _Wo r l d w i d e o n t h e M o v e

NextStopHongKongHDCinematographyandDigitalPost- ProductionWorkshop

The latest developments in digital technology have been the ‘talk of the

town’ in film and video production circles in Hong Kong throughout the

year. What actually is film style HD cinematography? What advantages

does the DI-workflow offer? Industry professionals in Hong Kong finally

got an in-depth answer.F.l.t.r. Mr. Arthur Wong, Chairman of HKSC, Mr. Kulterer and Mr. Adam Tam, Vice-Chairman of HKSC

Mr. bill Lovell and Hong Kong cinematographersin a D-20 demonstration

Jebsen & Co. Ltd, co-organized the “HD Cinematography and Digital Post-Production Workshop” with the Hong Kong Society of Cinematographers (HKSC) from Dec. 5th to the 10th at the Hong Kong Institute of Vocational Education (IVE). On the Dec 5th seminar, Bill Lovell, Product Manager Digital Cameras for ARRI conducted an interactive demonstration of the latest products with assistance from Mr. Raymond Lam, a member of HKSC and induced a lively Q& A session among the participants.

Thanks to the strong patronage of IVE in providing the team with their Barco DP100 projector, the brilliant images from the D-20 were instantly shared with all participants.

Following up this seminar was a 5-day D-20 workshop. Members of HKSC tested theD-20 in various scenes, e.g. indoor/outdoor locations, high/low contrast, mixed lighting, Steadicam mode, etc. A fountain was specially built to capture flowing water

motion. Although the temperatures in early December were exceptionally low, the mood of the members of the HKSC was at an all time high. In one night the D-20 was even hidden in a mini-van and was driven to Mongkok, a place of hustle and bustle, to capture night scenes under available light conditions and on location.

Raymond Lam (HKSC) commented: ”I found the D-20 to be very user friendly. It is very simple to use, and works like a film camera except that it can record on tape which means a huge saving on stock. And it is not like the other HD cameras that I have used which had a manual as thick as a phone book. It does not need an engineer to set up the camera. The cameraman can adjust all the settings by himself.”

“I also love the optical viewfinder which I am so used to on film cameras. You can easily tell if the focus is in or out and you do not get the strobing effect from elec-

tronic viewfinders when panning. As a Steadicam operator, I like the shape of the camera and how it is balanced on my Steadicam. I can also mount the FlashMag solid state recorder at the bottom of the sled to balance the weight of the camera. There is a composite video out at the back of the D-20 where I can get a video signal for my Steadicam. It is more convenient than to be forced to use a HD downcon-verter, or using a small HD monitor for the Steadicam.”

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

NextStopHongKongHDCinematographyandDigitalPost- ProductionWorkshop

barco DP-100 2K digital projector at the IVE

The Hong Kong Institute of Vocational Education (IVE)

Discreet Certified Training Centre at the IVE

Lustre Digital Grading System at the IVE

TheHongKongInstituteofVoca-tionalEducationHK-IVE is one of the earliest course providers for creative industry in HK and VTC. It is the only government granted organization that provides training for local industries. They have always taken the role of intro- ducing and leading changes in the industry.

Through the past acquisition of technol-ogies, the IVE became the leading institu-tion in Hong Kong and even Asia. They are not only providing unique training for specific products, but are also conducting comparisons between different workflows in the market. This makes the institute pretty busy with many training requests from China, Bangkok, Singapore, South Africa, India, England and even America.

Currently the employment rate is over 90% every year and some students were employed even before they had graduated. Over three hundred students were trained up and joined the film industry. This bench-marks the courses‘ standards. Among other activities IVE co-organized the Film Professional Training Programme (http:// film.vtc.edu.hk) with the Federation of Hong Kong Filmmakers. Jackie Chan was the course convener and John Woo was the course consultant. In the past year, IVE also started a close relationship with China‘s universities, like the Wuhan University and the Communication University of China.

completed the ARRILASER with a brand new ARRISCAN and are now the premier location in China to offer the complete line of ARRI’s post-production tools in Greater China. Additionally IVE purchased a Lustre color-grading system. With the availability of all such state-of-the-art equipment and the help of talented staff, Hong Kong has bounced back as a focal point for movie productions.

The workshop was the first one of this type that ARRI has organised in the region and everybody involved found it very produc-tive as it allowed DoPs to test-drive the camera in a variety of shooting situations.

First complete ARRI DI chain in ChinaHong Kong also picked up rapidly in 2005 in the arena of equipment upgrades for digital post-production. Three ARRILASERs were installed in Hong Kong last year: Digital Media Centre / Cyber Port, Shaw Brothers and at the Institute of Vocational Education (IVE). It is the city’s commitment to stay competitive in both technology and pricing with other regions. IVE further

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

3K

From the start of the D-20 project, it was anticipated that the camera would work in a Data Mode. Up to now, however,

the infrastructure for recording and processing image data captured by the D-20 has not been commercially available

and so the D-20’s initial applications have been as a top quality HD Mode camera. The original ideas were never

forgotten, though, and development has continued. At NAb 2006, the camera will debut in its Data Mode, coupled

with the new dxq recording and processing unit, a joint development between ARRI and leading british post-production

equipment manufacturer quantel.

The Data Mode offers a workflow with the option to output processed images as 2k (or even 3k) files of any standard format, including 10 bit log dpx, which is the stan- dard for Digital Intermediate (DI) facilities worldwide. Following suitable color grading (timing) these images are eminently suitable for output to 35mm film using the ARRI- LASER film recorder. A further benefit of the Data Mode is the ability to output the whole 4:3 area of the large CMOS sensor, which the D-20 utilizes. Aside from greater flexi- bility in framing, this also makes it possible to use existing anamorphic lenses with a conventional 2:1 ‘squeeze’ and produce images of 2.35:1 final aspect ratio without reducing the vertical resolution. Based on the number of pixels exposed on the sensor, an anamorphic image captured in Data Mode contains over 50% more information

than a 2.35:1 image cropped from a 16:9 capture.

ARRI Media, ARRI’s UK rental operation has already successfully cooperated with Quantel in the development of capture hardware for the NAC Tornado highspeed digital camera. The development of the dxQ system takes this cooperation a signifi- cant step further. “It has been a fascinating process developing the new dxQ Data Recorder and Processor specifically for ARRI in close co-operation with their R&D department, Fraunhofer IIS and ARRI Media,“ remarks Dave Throup, project leader of the development team at Quantel.

“We have taken our existing generationQ architecture and built a new hardware and software platform for new and relatively unexplored uses.”

ARRIFLEX D-20G O E S D A T A

ARRIFLEX D-20with the quantel dxqin the field

5 4 A R R I F L E X D -2 0

Initial tests with the dxQ have utilized on- line storage in the form of a hard disk RAID array with about 2 TB capacity, sufficient for approximately 2 hours capture on location or in the studio. The dxQ provides the ability to export data from the online disks to an outboard storage device, such as a free-standing hard disk or data tape unit; this can be done at the end of the day, or as a background task during the shooting day, to minimize additional time required. The dxQ also provides a host of standard facilities, including color correction and editing, which could allow new oppor- tunities for on-set evaluation of material in some instances. Bill Lovell, ARRI Product Manager for Digital Cameras, has been overseeing the testing of the new system. Commenting on his experiences, he says:

“We were determined that in introducing the Data Mode for the D-20 we should offer our customers a complete system with a realistic workflow. By working together with Quantel we have achieved this aim in a novel and practical way. Our initial trials with a number of potential clients have

helped refine the system and have been very successful.”

It is planned to demonstrate the D-20 working with anamorphic lenses in Data Mode on the ARRI booth at the NAB show and to show examples of the trials under- taken so far. As Robert Kandleinsberger, head of Research and Development for ARRI puts it: “We have already learnt a lot during the process of developing the dxQ with Quantel and through its initial trials. It is good to see the D-20 fulfilling its long intended role as a Data Mode acquisition device.” The D-20 will also be shown in a handheld mode with the solid state ‘FlashMag 112’ mounted on the camera, allowing up to 15 minutes of uncompressed HD mode record- ing, without cables. This configuration is now available for rental from ARRI Rental Munich, ARRI Media London and ARRI CSC New York / Florida and shortly through ARRI Rental Partners in Paris, Tokyo, Cape Town and Dublin.

Robert Kandleinsbergerbill Lovell Mark Horton, Worldwide Marketing Man- ager, Post and DI at Quantel took the time to answer some questions about his company’s involvement in digital acquisition.

quantel has traditionally focused on the post-production side of the digital workflow. Where do you see the advantages of de- veloping a system specifically designed for the capture end of the chain?

Mark Horton: Early on, we realized that if you are going to work with digital capture, you should really take advantage of all the new possibilities, not simply record to disc or tape. When you start combining a camera like the ARRIFLEX D-20 with all the possibil- ities offered by our hardware platform, the creative options are almost unlimited. While working on set, filmmakers can try out edits, make test grades, make test shots, make multi format dubs to tape and even hook up to the web to email work in progress.

What advantages in image quality does the system offer?

MH: Because we capture the data from the sensor completely raw and unprocessed, the post-production has access to full quality images derived from the original data. This means that any image processing decision can be reversed and optimized until the best result is achieved.

In which direction do you see the further development of the system heading?

MH: The use of Metadata is definitely one area that needs to be explored in more detail. The dxQ is capable of logging all the information necessary to describe the creative intentions of the DoP. Once a shoot is finished, metadata from the shoot could be read 100% accurately by eQ, iQ or Pablo, saving time and money in post.

HD Mode Data Mode

Output 10 bit HD-SDI 12 bit capture / 10 bit processed output e.g. DPX-files

Resolution 1920 x 1080 Pixels 2k (3k)

Capture Format 16:9 4:3

Color Reconstruction live live for monitoring offline for processed output

5 5A R R I F L E X D -2 0

ARRIFLEXD-20

Workflow

processing, so the recorded material can be reviewed, edited, and even colour cor- rected for on-set evaluation.

• Following each day of shooting, the material is delivered into post-production. The dxQ can provide different resolutions and file formats, even formats suited for DI facilities. Since the dxQ delivers the D-20 Data Mode output as image files, this combination makes for a perfect ingest into a data-centric post-production workflow.

• Edit decision lists (EDLs) made on-set with the editing feature of the dxQ can be brought straight into post for offline editing. If during shooting a certain look has been created with the included colour correction toolset, even this information can be pro- vided as a guideline for post-production.

• In data-centric post-production, many tasks can be worked on simultaneously. When certain elements are still missing, other tasks can work with placeholders until the needed data becomes available.

• Visual effects, 2D graphics, 3D modelling and animation, and sometimes title creation usually work with full resolution images.

• Once offline editing is finished, the EDL is brought into online editing or conforming, where the original material is cut and combined with visual effects and graphic elements to produce a fine-tuned version of the offline EDL, the cut file.

• After the final edit has been created, the cut file is then used as a storyboard refer-

using both 4:2:2 and 4:4:4 HD Mode video outputs. Uncompressed 4:4:4 disk recording has also been used with both the S.two DFR and the DVS Clipster® system. Now that the FlashMag 112 is available at ARRI Rental houses, the D-20 is more mobile than ever. No strings attached, except for the power supply, which can be carried as a battery belt. The FlashMag 112 offers 15 minutes of uncompressed 4:2:2 HD recording or 10 minutes of uncompressed 4:4:4 HD recording, both at 24fps. No matter what HD recorder is connected to the D-20, the HD Mode guarantees a smooth ingest into post-production facilities.

The top diagram on the opposite page shows a typical HD-workflow. In contrast, a Data Mode workflow example might look like the lower diagram.

Data Mode Workflow• The image data coming from the D-20 is sent to the dxQ data recording and pro- cessing unit.

• As they become available, the image data could optionally be recorded onto a data field recorder (used as temporary portable storage) and from there be passed onto the dxQ. When the image data is recorded, the dxQ also offers safety backups to be made as a timesaving background task.

• The dxQ then takes care of image data

In HD Mode, the data coming from the ARRIFLEX D-20 sensor is processed live inside the camera. Color reconstruction is performed simultaneously as the 1.78:1 (16:9) readout of 2880x1620 pixels is converted to the HD standard 1920x1080 pixel resolution. The on-board color management then optimizes the camera‘s performance for different lighting situations. The D-20 supplies standard linear or logarithmic HD video signals for different recording formats, so the images created in HD Mode can be brought into any existing HD infrastructure without the need for investments in proprietary technology.

Most shooting to date has utilized the Sony SRW-1 portable HDCAM SR field recorder,

The ARRIFLEX D-20 now features the Data Mode for digital high-end

applications, allowing to shoot full frame formats like Super-35 and

real 2.35:1 anamorphic. Of course, the D-20 still offers standard HD

recording, which in turn has its advantages.

5 6 A R R I F L E X D -2 0

ARRIFLEX D-20 Data Mode Workflow Example

S E T SET or POSTPRODUCTION P O S T P R O D U C T I O N D I S T R I B U T I O N

Offline Edit

Acquisition

ARRIFLEX D-20RAW Bayer Data 2880x2160

Super35 Format

Data Field Recorder

OptionalTemporary Storage

Mass Storage andImage Processing

dxQ(2k/HD/SD...) lin or log

Backup

Network Storage, DTF2,LTO2 or SAIT data recorder

Project Files:- video

- 2k images

SAN

VFX, 2D, 3D, TitlesVideo Rushes

Conforming

RenderingController & Units

Color Timing/Grading

Framestore

HDCAM SR1080p 4:4:4 RGB

440Mbps/4:1 compression

Edited Master

Print to Film

ARRILASER

4:3

?

2k images,cut file,

grade filerendered

2k images

2k im

ages

rend

ered

2k im

ages

VFX

imag

es

PAL/

NTS

Cvi

deo

sele

cted

take

s

2k im

ages

,of

fline

EDL

cut f

ile

HD

conv

ert

proje

ct file

s 2k images, cut file

cut file, grade file

PAL/NTSC video,

selected takes

offline EDLD-20 data output

stored

D-20 data outputD-20

dat

aou

tput

2k processed output,selected takes

ARRIFLEX D-20 HD Mode Workflow Example

S E T SET or POSTPRODUCTION P O S T P R O D U C T I O N D I S T R I B U T I O N

HDCAM SR1080p

4:4:4 @ 440Mbps (4:1 comp.)4:2:2 @ 440Mbps (2.7:1 comp.)

VFX, 2D, 3D, Titles

conform/auto-conform

Online Edit Color Timing/Grading

Edited Master

Acquisition

ARRIFLEX D-201080p 4:4:4 RGB/4:2:2 YCbCr

10 bit lin or log

Mass Storage

preferableHD Disk Recording System

1080p 4:4:4/4:2:2uncompressed

or

HDCAM SR1080p

4:4:4 @ 440Mbps (4:1 comp.)4:2:2 @ 440Mbps (2.7:1 comp.)

Video Rushes

selected takes

Offline Edit

EDL16:9

Primary Storage

HDCAM SR1080p

4:4:4HQ @ 880Mbps (2:1 comp.)4:4:4 @ 440Mbps (4:1 comp.)

4:2:2 @ 440Mbps (2,7:1 comp.)or

ARRI FlashMag 1121080p 4:4:4/4:2:2

uncompressed

Print to Film

ARRILASER/ARRILASER HD

ence in colour timing or grading, where the original colours are digitally altered and enhanced to create the final look. The output of this process is a grade file, which is linked to the cut file.

• The information from cut and grade file is then loaded into a rendering controller, which issues jobs to the rendering units. These units then process the original full resolution material and deliver the finished post-production output, which is usually

stored onto a hard disk recording system or external hard drives.

• Following post-production, the finished material is printed to 35mm film using the ARRILASER.• In order to output an edited master tape for further distribution to standard or high definition broadcast, DVDs and other media, the material needs to be converted to the 16:9 HD image format, which is usually done by cropping or down-scaling the final output, depending on the aspect ratio.

If the D-20 image data is to be brought together with 35mm footage, it is best to set the dxQ to output standard DI format images (10bit log dpx). By doing so, the output is processed in the same format as 35mm scans provided by the ARRISCAN. This makes it possible to easily mix and match 35mm and D-20 Data Mode material.

5 7A R R I F L E X D -2 0

Scene CMOSSensor

DigitalSignal

white clipping

black clipping

ExposureIndex

50 ISOLUT

50%Grey

50%Grey

+3

+2

+1

–1

–2

–3

–4

–5

–6

+5

+4

+3

+2

+1

–1

–2

–3

–4

–5

Scene CMOSSensor

DigitalSignal

white clipping

black clipping

ExposureIndex

400 ISO LUT

50%Grey

50%Grey

+6

+5

+4

+3

+2

+1

–1

–2

–3

+5

+4

+3

+2

+1

–1

–2

–3

–4

–5

DEN

SITY

3.0

2.0

1.0

0.0ISO 400 ISO 50

LOG EXPOSURE

ARRIFLEX D-20 Exposure Wheel

To understand the different behavior of analogue and digital technology in this respect, it is necessary to briefly review the basics of film exposure. Figure 1 shows the well-known sensitometric curves of two different negative stocks in an idealized graphical representation.

However, this is exactly the point where digital technology is different: the light sensitive imaging sensor of the D-20 can handle an exposure latitude of around 10 stops. Outside of this range, low-light areas are represented as uniform black (“black clipping”) and highlight areas as uniform white (“white clipping”), neither with any detail.

As a DoP whose experience lies mainly with exposing film, I have to admit that it was

always something of a riddle to me how a camera with an electronic sensor chip like

the ARRIFLEX D-20 could offer the choice of different exposure ratings. If I wanted to

vary the sensitivity with conventional analogue technology, I had to switch from a film

stock with one nominal speed to a different emulsion with another speed. How then

could a single light-sensitive chip change its sensitivity? Only after dealing intensively

with the digital technology of the D-20 was I finally able to solve this puzzle for myself.

Suddenly I understood the technical issue that had been eluding me all along.

As can clearly be seen, the curves of two stocks with different speeds are offset hori- zontally to one another but have almost the same characteristics with regards to the available exposure latitude above and be- low the nominal exposure level (i.e. neutral grey).

Figure 1 Figure 2 Figure 3

by Tom Fährmann

5 8 A R R I F L E X D -2 0

ARRI

FLEX

D-2

0Tom Fährmann

Thanks to electronic image processing (via Look-Up-Tables or LUTs), it is possible to choose an exposure index (EI) correspond-ing to e.g. 50, 100, 200 or 400 ASA with one and the same sensor. This basically means deciding where to position neutral grey within the available exposure range by deliberately over or underexposing the sensor. Figure 2 shows an exposure with an EI corresponding to 50 ASA while Figure 3 is a representation of an exposure corre- sponding to 400 ASA.

The role of the respective LUT is to elec- tronically map the sensor signals back to the output such that the nominally exposed areas of the image are correctly represent-

ed at the level of neutral grey. Depending on which EI was chosen, this can mean either lowering or raising the signal level to compensate the exposure offset. The main difference to film is that the choice of expo- sure index also influences the distribution of available exposure latitude above and below the nominal exposure. For example when exposing at 50 ISO, the latitude is quite large in the shadow area but only a few stops of headroom are available for the highlights. At 400 ISO the situation is inverted: more stops are available for the highlights but fewer in the shadows. This is characteristic of digital imaging that anyone coming from a film background needs to bear in mind.

In an attempt to make it easier to under- stand the practical implications of these rather technical issues, I have sat down with ARRI’s R&D team and we have come up with a simple tool for D-20 cinemato- graphers: the D-20 Exposure Wheel. With a quick turn of the dial, the relationship between the exposure index and the dis- tribution of available exposure latitude is immediately obvious. We sincerely hope that the D-20 Exposure Wheel will be of some help in creating the best possible images with the D-20!

Tom Fährmann is a widely-acclaimed German DoP with a background in both feature films and advertising. His work includes the highly successful WUNDER VON BERN, one of the top-grossing German films in recent years. For the past year, Tom has been actively involved in the initial testing of the ARRIFLEX D-20. His practical experi- ence and candid approach to the new technology have provided the ARRI R&D team with valuable input for the ongoing improvement of the camera.

A D-20 test shot illustrating the ten stopsof available exposure latitude

5 9A R R I F L E X D -2 0

ARRIFLEXD-20GoesCommercialatARRIRental

In January 2006 the first two-camera production for the D-20 serviced by ARRI Rental

Munich took place for 16 days in Prague, Czech Republic. A total of 46 commercials

for Colgate toothpaste in various European versions where produced by the Czech

production company “Filmservice Productions” for Young & Rubicam, France.

ColgateThe compatibility of the D-20 with the full range of PL-Mounted lenses was a major reason for going with the D-20. “We wanted to use 35mm lenses for a small depth of focus, which is only possible with a large sensor and especially swing and shift lenses for the special look of these commercials,” says DoP Mike Lloyd from Great Britain. “Stuart (Macleod, the director) and I were eager to give the D-20 a real-life challenge after a very promising demo at ARRI Media in London. We thought it to be the right choice for this job – and we were completely satisfied.”

After the first days of shooting DoP Mike Lloyd almost forgot about his light meter:

“With the Astro waveform-monitor you really have control on your exposure and the results we saw in the grading suite were extremely satisfying”. The material

was recorded on two SONY SRW-1 HDCAM SR recorders and additionally on two analog Betacam SP for offline editing. The HD-material was graded and down-converted at UPP in Prague, the final online of the commercials was done in Paris.

Even though the swing and shift lenses led to some minor differences in color between the two cameras it was no problem at all to match the images. Colorist Ondrej Štibingr from UPP states: “The levels were very well balanced thanks to the usage of waveform monitors on set. This material looks much more like film than any other digitally acquired material I have seen until now.”

It seems that everybody was extremely pleased with the results – the next Colgate-shoot is confirmed for mid-April in Prague...

Andreas Berkl

A stylish loft was set up on the 8th floor of an office-building high above the rooftops of Prague

Two D-20s “cheek to cheek”

The Astro waveform-monitor

6 0 A R R I F L E X D -2 0

Producer Gregor Modrzejewski tried to push the D-20 to its limits: “We recorded in RGB 4:4:4 on the SONY SRW-1 field recorder to evaluate how far we could go in grading.” Directly after the shoot, the material was transferred to a DVS Clipster® harddisk-system in 4:4:4 for postproduction at Vienna-based Listo Video. A Barco HD-projector was used to evaluate the images during transfer.

“The look of the D-20 is very clean,” says DoP Harald Staudach, “the only thing that takes some getting used to is the shutter running all the time.” Using a light meter, he set the light levels to the equivalent of about 100 ASA but quickly found that a waveform monitor is an equally valuable tool for evaluating exposure levels with

electronic cameras (and after all the D-20 is one). “This really shows if you are expos-ing correctly or are losing details in the blacks or the highlights. I felt completely safe regarding exposure levels.” Producer Modrzejewski is looking forward using the D-20 for various commercials in the near future: “We see a lot of advantages in digital HD acquisition especially for commercials.”

Lenses, tripods and other additional equipment were supplied by ARRI Rental Vienna – Branch Manager Gerhard Giesser is confident to see the D-20 very soon in Vienna again.

Andreas Berkl

Only a week after the D-20 was first presented to potential customers at

ARRI Rental Vienna the first production in Austria took place on March

16th 2006. “Propeller Film” produced a commercial for Kawasaki Ninja

motorbikes, which is intended to be submitted to the Cannes Lions 2006

international advertising festival. Roman Valent directed the story of a

young man packing his clothes for a motorbike tour...

KawasakiNinja

1st Assistant Director Oliver Kester, Director Roman Valent, DoP Harald Staudach with the D-20

DoP Harald Staudach framing a shot

61A R R I F L E X D -2 0

Last October, students from the Film & Television Academy (HFF) Konrad Wolf

shot a 25-minute short movie using the ARRIFLEX D-20. Fabian Hoffmann

(Production Manager and Postproduction Producer) and Dennis Rettkowski

(Technical Director, Visual Effects Supervisor, Compositing Artist and Software

Developer) report on the technology behind the making of the movie.

Fabian Hoffmann introduces us to the project: “Starting October 10th, ARRI gave us the opportunity to use their D-20 digital film-style camera for 12 days of shooting in Berlin. Our aim was to produce the movie with state of the art workflow and technology. Due to the large number of effects and CGI shots we wanted to shoot in High Definition and record straight to DPX files. In combination with a DVS Clipster, we were able to record uncompressed 4:4:4 RGB footage.”

Shooting straight onto a disk recording system without being able to retain an original negative is an idea most cinematographers feel uncomfortable with. There is always a certain amount of risk due to possible hard disk failures. Therefore the production had to come up with a safety mechanism. “Backups were a crucial part of the production and we had to find a reliable solution and workflow. Recording on a DVS Clipster and backing up to a redundant server on location was our solution,” reports Dennis Rettowski.

In one-and-a-half-days, Dennis Rettkowski and Fabian Hoffmann set up the recording pipeline including a TAMUZ HD display, an HD Wave- form Monitor and standard definition PAL-recording. “The whole film was shot in a studio where we used a 60m dual link cable to connect the camera to the recording equipment. Each day, an average of 190 to 250 GB of footage could be recorded, which is the equivalent of about 20 minutes,” explains Fabian Hoffmann, and Dennis Rettowski adds: “For backups we used a N-TEC NAS server with dual Gigabit Ethernet. Currently this server is still in use as frame server for postproduction. Even single Gigabit Ethernet proved to be fast enough for

archiving footage shot on one day on to our NAS Server overnight.”

“Dailies for offline editing were made by down- converting the recorded DPX sequences to PAL-size QuickTime movies with burn-in filenames, to keep reference. These QuickTime movies fit into every editing system like an AVID or Final Cut. This workflow proved to be reliable.”

In comparison to the differences in the work- flows for shooting film and digital, hard disk recording might not seem to be such a radical departure from a tape-based production. However, this choice actually had great influence on the post-production process of AQUA AD LAVANDUM as Fabian Hoffmann explains: “Recording straight to file is a tremendous advantage for our postproduction workflow, because we did not have to recapture any of the footage. This saved time and money. If we had shot on film we would have had to scan every single piece of the footage in the EDL, since every shot is a compositing shot. If we had recorded on Videotape like HDCAM SR, we would have had to rent a HDCAM SR VTR for re-recording and viewing.”

“Another advantage for our production is the very low grain and extraordinary image quality – film style quality – of the D-20. Especially composing CGI into real footage seems to be much easier,” explains Dennis Rettowski.

Continuing the behind-the-scenes account, Helge Balzer – one of the two authors, co-director and storyboard artists, also respon-sible for conceptual art, production design and animation – and Benjamin Bayer (Director

of Photography) note some creative benefits of the D-20 that go beyond the advantages in postproduction. DoP Benjamin Bayer explains:

“During preproduction, the challenge for the camera and art-department was to handle depth of field in a way it would not limit the actors in performing fast movements in all three dimensions of the set by means of permanent focus shift. The D-20’s unique feature of 35mm depth of field in connection with a sensitivity of 100 ASA gave us the chance to achieve artistically satisfactory results even at low set building material costs.”

“In our case we used 520 square meters of black garbage foil which appear like wet stone in our lighting,” adds Helge Blazer.

”Planning the backdrop-surfaces for a story told at the entrance to a gigantic cave quite naturally involves the question of economic costs for set building in connection with the concrete level of defocus on the backdrops.”

Since editing is done on Siemens workstations, all of the main hardware components used for shooting, recording, and editing the movie are products made in Germany.

The film will be finished for the “INSIGHT OUT – HFF Academy 2006 on Digital Production Methods in Film and Television”, which takes place between March 27th and April 1st. For more information on INSIGHT OUT, go to the website at: insightout.hff-potsdam.de

To find out more about AQUA AD LAVANDUM go to the production’s website at:www.aquaadlavandum.com

Oliver Temmler

D-Cinema–MadeinGermanyAWork-in-progressProductionReportfromAQUAADLAVANDUM

F.l. t. r.: Mirko Hannemann (Causas),Alexander Schubert (Debitus), benjamin bayer (DoP)

Johannes Wiedermann (Assistant) and Olaf Aue (Operator)

F. l. t. r.: Johannes Wiedermann (Camera Assistant), Christine Wagner (Guest) and Olaf Aue (Camera Operator) – Christine was on a break from shooting a movie in LA. She came by for a short visit and immediately wanted an introduction to the D-20. When asked if she wanted to assist on some shots with the D-20, she couldn‘t resist getting some hands on experience with the camera. She was a camera assistant in the movie SILENCE bECOMES YOU with Alicia Silverstone and says: ”I think the D-20 will just wipe away other digital cameras ...“

6 2 A R R I F L E X D -2 0

The ARRISCAN now comes up with another exciting feature – a client oriented solution for infrared based dust and scratch removal while scanning film material for digital intermediate or HD applications. The ARRISCAN film scanner bridges the gap between film acquisition and digital post-production. Besides the RGB illumination unit, the ARRISCAN uses an additional infrared illumination to detect film defects.

Based on the infrared channel of the ARRI-SCAN, KODAK DIGITAL ICE Technology, developed by Eastman Kodak, automatically removes dust, scratches and blemishes from a scanned image significantly improving downstream workflow productivity both in terms of labour and time.

Because film dyes are nearly transparent for infrared light, it is possible to produce a complete defect image of scratches, dust and other image artefacts by infrared illumination. This defect image is used as a basis for sophisticated image correction algorithms as implemented in KODAK’s DIGITAL ICE. All defects are marked in a defect map for further processing. This image can be embedded as a fourth channel in the scanned image file (DPX format) or stored as a separate file.

KODAK DIGITAL ICE Technology is running as an embedded software application in the ARRISCAN, optimized for the image processing chain of the ARRISCAN.

In January 2006 a two-month beta cycle was successfully finished. Users have given their first valuable feedback and impressions. Kodak and ARRI are having the first release of KODAK DIGITAL ICE in May 2006. Prior to the release date of Digital ICE 1.0 all ARRISCAN users are invited to use the DICE solution as a free of charge evaluation license.

Together with the ARRISCAN Speed Pack 1 option (please see information) the ARRISCAN is the fastest film scanner in the industry, delivering pristine image quality and reliability plus a workflow solution to efficiently handle scratches & dust.

The ARRISCAN once again raises the bar in scanning technology and brings un-paralleled enhancements to the digital intermediate workflow.

Elfi bernt

A R R I S C A N withKODAKDIGITALICE

New Features for ARRISCAN:• Keycode based workflow• Digital dailies scan mode & workflow

New Options for the ARRISCAN:• Speed Pack 1 Option for ARRISCAN The speed pack 1 brings scanning time down to: – 4 frames/sec in 3K, 3K to 2K (oversampled) – 1 frame/sec in 6K, 6K to 4K (oversampled) and 6K to 2K (oversampled)

• Infrared based KODAK DIGITAL ICE Technology for automated dust removal

Infrared based dust and scratch removal via KODAK DIGITAL ICE Technology

for Motion Picture Film is now available for ARRISCAN clients.

Original Scan

Defect Map

DICE Correction

6 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

AR

RIS

CA

NCDL / Web Interface

EDL 10 bit DPXProxies

FLEX

MXF/QTTape

10 bit DPXHires

Match

DI

MatchMatch Match Match

CMS

DLP 3D-LUT

± RGB

Clipster

CMS

Video 3D-LUT

± RGB

Editing CGI

CMS

CGI 3D-LUT

± RGB

DI Productions TodayIn digital intermediate productions the camera negative is first transferred by telecine to video tapes. Demanding productions ask for a best-light transfer, where each take is individually color corrected and increasingly want their dailies in HD format. The dailies and the log information are loaded into an offline editing system. After picture lock, the selec- ted shots are scanned for color correction in a DI system with a high-resolution, pin-registered film scanner.

Many productions, however, want to start color design prior to picture lock and they need to do VFX layouts. While a telecine offers real-time transfer, its use for film dailies has the shortcoming that even HD dailies do not match the hi-res scans, neither in geometry nor in color. Any work based on the dailies is therefore difficult to adapt to the hi-res scans.

Also, the look of video dailies has an arbitrary character. When DoP and director transition from editing into the DI suite,

ARRIandDVSpresentanewDigitalRushesSystem

6 4 D i g i t a l I n t e r m e d i a t e _Wo r l d w i d e o n t h e M o v e

Cue to start of takeLog take

Align audio

Best lightcolor correctionPrewindTransfer

0:00

0:30

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Reel 3

Reel 4

30 min.

60 min.

10 min. 60 min.

10 min. 60 min.

10 min. 60 min.

10 min.

Reel 1

Reel 2

Reel 3

Reel 4

10 min.

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10 min.

Reel 1

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20 min.

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20 min.

40 min.

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40 min.

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40 min.

Telecine DDSAssistantScanner Colorist

AR

RIS

CA

N CLIPSTER SAN. In the CLIPSTER the se- quence is divided into single takes, each take is color corrected and logged in a database. The CLIPSTER can also handle BWF and other audio files. So it is possible to prepare best-light color-corrected, audio-synched video dailies in any resolution from SD to HD including FLEX files. Selected takes can be transferred to the DI and VFX departments for layouts.

For preview the CLIPSTER will use a 3D-lookup-table (3DLUT) that matches the

scanned images to a movie print. The same 3DLUT is used for converting the dailies into video color space. In the DI and VFX department other 3D-LUT’s are used for a correct film preview. The result: picture consistency across all departments from editing to VFX.

It will be possible to export the primary RGB color correction from the CLIPSTER in a yet to be defined format and use the settings as a starting point in DI and VFX work: the perfect replacement of match clips in a digital post-production.

where the image display is matched to the movie print, they will see a different picture.

Digital Rushes SystemThe ARRISCAN with its full frame sensor has reached a new performance level for pin-registered film scanners. Transfer rates of up to six frames per second make it sensible to think about using the scanner for creating digital dailies.

One or more ARRISCAN units are used to scan complete lab-reels onto a DVS

ARRIandDVSpresentanewDigitalRushesSystem

6 5D i g i t a l I n t e r m e d i a t e _Wo r l d w i d e o n t h e M o v e

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N

Advantages

CLIPSTER®aone-stopDIsolutionfor

• Digital dailies, conforming, finishing and versioning of film data

• Real-time color correction, zooming & panning, cropping, transitions and 3D-LUTs

• Uncompressed SD, HD, 2K and 4K in RGB 4:4:4 8/10/12/16 bits

• Content played and recorded in NTFS as file sequences (dpx, tif, tga, cin, bmp etc.)

DVS Digital Video Systems GmbHKrepenstrasse 8 · 30165 HannoverGermany · www.dvs.de · sales@dvs.de

DVS Digital Video, Inc. · 300 East Magnolia Boulevard, Suite 102, Burbank, CA 91502USA · www.dvsus.com · info@dvsus.com

ARRISCAN Specifications

Film Formats 35 mm 2,3,4 perforation · 16 mm and super 16 mm (optional)

Imaging Device ultrafast 3K x 2K CMOS area sensor

Illumination high power LEDs (R,G,B,IR)

Frame rate standard configuration 1 fps: 2K downsampled from 3K Frame rate Speed Pack 1 (option) 4 fps: 2K downsampled from 3K

Data formats Cineon 10 bit log · DPX 10 bit log · DPX 16 bit TIFF 16 bit · TIFF 8 bit (proxies only)

Workflow GUI with EDL, import, Infrared Scan, job editor and job list Keycoded-reder, Calibration tools

Host computer system Linux OS (kernel 2.6) standard configuration 2 x Gigabit Ethernet (standard configuration) 6 x Gigabit Ethernet (Speed package 1) 2 x 2 GB fibre channel (Speed package 1) Driver for ADIC’s cvfs (Speed package 1) Support of CLIPSTER® SAN (Speed package 1)

Advantages• Dailies scans match hi-res scans in geometry and color.

• Almost identical look of images in editing, color grading, and VFX

• Color correction can start parallel to editing

• Dailies scans can be used for VFX layouts

• Primary RGB correction is reversible

• RGB correction is transparent for other applications

• High quality color corrected previews

• Direct use of dailies scans for TV productions

• Easy transition for film lab graders

• Tape-less workflow

times the program length. With half an hour setup time the job may take 5 hours. The workflow is sequential: take after take is logged, synchronized, color corrected and transferred. The actual transfer, where the telecine runs in real-time, is only a minor part of the work.

The ARRISCAN will need approximately the same time to scan the reels, but the crucial point is that in the digital rushes

PerformanceSpeed is a very important factor for dailies: the production wants to see the results as fast as possible – they need confirmation that the shooting was successful.

Let’s have a look at a typical example: The production delivers 4 reels of footage with a total length of 6000 ft (67 minutes or 2000 m). The creation of best-light dailies on a telecine typically requires three to four

system, the assistant and the colorist can work in parallel while the scanner is running. The colorist has non-linear access to the foot-age and can jump back and forth between similar scenes. As a result, the total working time for the colorist on the digital rushes sys-tem may be even shorter than on a telecine.

Harald Brendel

ARRIandDVSpresentanewDigitalRushesSystem

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

Technicolor Creative Services was honored at this year‘s Scientific and

Technical Academy Awards for its Realtime Answerprint System on

February 18. The company‘s patented light and projection system has

improved the photochemical color timing process and brought a new

level of precision to the interaction between filmmakers and color timers.

TechnicolorRecognizedforRealtimeAnswerprintSystem

ARRILOCPROPlaysRoleinAwardWinningProcessThe Realtime Answerprint System, which has been used on more than 50 feature films including MILLION DOLLAR BABY and THE AVIATOR since its introduction three years ago, makes use of specially modified ARRI LOCPRO projectors in conjunction with Technicolor‘s proprietary optical and drive systems designed to allow the timer to project a positive print on a screen and dial up for the client an image that looks exactly like a new print would if it were augmented with another point of density or two points of blue, for example. Rather than having to actually strike a new print to see how a different set of timing lights would look, people can now see precisely what it would look like before putting the valuable negatives back through the printing process another time. Tim Reynolds, General Manager of Techni-color‘s North Hollywood location, began making use of LOCPRO projectors for timers to compare prints and do quality control work.

The LOCPRO‘s ability to project full motion at many different frame rates and stop on individual frames made it a valuable tool. The new capability suggested to Reynolds the possibility of a method of working that could not only project a print, but also be used to represent the effect a timing adjust- ment would have on a subsequent print. By being able to see precisely how an adjustment affected individual shots and the flow of a scene from shot-to-shot, the

timer could make better decisions andgo through fewer passes in the process of getting to a final print.

Reynolds and Electronic Engineer Harold Rattray assembled a team to begin the work of developing what became the Realtime Answerprint System. The team included Answer Print Timer Terry Claborn and Engineers Steve Garlick and Bill Hogue – co-recipients with Reynolds and Rattray of the Technical Academy Award. Additional contributors were Head Color Timer Terry Haggar and other Technicolor employees.

It soon became clear that by bringing the Realtime Answerprint System out of the back rooms and into the spaces where clients work, it would be possible for the clients to interact with a timer much more precisely than had ever been possible before. “As soon as we showed it to the creatives,” says Reynolds, “they loved it and wanted to use it.”

What had traditionally been a series of often abstract notes that developed over many days and multiple prints could suddenly become a much more defined and effective session. Technicolor could now offer clients and timers the kind of interactivity that had previously only been available in the digital realm.

“A cinematographer might say ‘Make it warmer,’” says timer Haggar, “but that could mean more red and yellow or it

could mean more magenta. Timers who work in this realm every day can imagine exactly how a certain change will affect the print, but we can‘t get inside the film- makers‘ heads to know what they‘re envisioning. Now those sorts of decisions can be worked out right there at the time.”

Technicolor now has the Realtime Answer-print System in seven suites – four in North Hollywood, and one each in London, Rome and Bangkok. It has also become an indispensable tool at Technicolor for working with creatives involved in digital animation who are generally used to work- ing in the digital realm and were often frustrated by the film timing portion. Previously if people from the digital animation world were unsatisfied with the color on a film print, it could be difficult for them to determine whether to address it in their digital files or in the film printing process. Technicolor added perfectly calibrated monitors into selected Realtime Answerprint System rooms and that allows the creatives to see their work before and after the introduction of the film part of the process, that way informed decisions could be made much more quickly. The system has been used on a number of animated features, including THE INCRED IB LES, MADAGASCAR and SHREK 2.

Jon Silberg

Harold Rattray (left), Electronc Engineer,and Terry Claborn, Answer Print Timer

6 7D i g i t a l I n t e r m e d i a t e _Wo r l d w i d e o n t h e M o v e

Impossible is nothing – a team can only achieve the impossible if its

individual players work together. This is the basic idea behind the new adidas

communication campaign for the Football World Championship 2006.

And these are not just empty words – as the ARRI ‘adidas team’ found out

during eight weeks of post production for the new commercial.

The protagonists came from the illustrious circle of the German national team. Utiliz- ing an exciting combination of real time and slow motion shots, the agency TBWA Berlin wanted to lend the 60-second spot a special kind of suspense, dynamic, and, above all, a spectacular image style. The players’ actions were supposed to be shown in slow motion, while they speak in real time – a welcome challenge for the ARRI VFX team.

The work of the ARRI VFX Crew already be- gan during the shooting in the stadium. As the background was to be shot in Munich’s Allianz Arena, two separate shoots were planned: The scenes with the applauding football fans were shot in the sold-out Arena during a match of the FC Bayern football club, whereas the players were filmed during a training session of the national football team in the empty Olympic stadium in Berlin.

The production was accompanied by Henning Rädlein (Head of ARRI Film & TV / Commercial) and Rico Reitz (VFX super- visor) on location, because the individual players’ interaction could not be shot as a team, but all players were framed individu-ally and independently from one another. While the action shots were recorded in high speed at 750-1000fps, the players’ dialogue sequences were subsequently recorded in the studio in front of a blue-screen in real time.

The players’ tight schedule did not neces- sarily facilitate the project. Thus, multiple viewpoints and safety takes were not pos- sible, and each ‘shot’ had to be on the mark. A mobile AVID Adrenaline system was provided for the live video assist, so shots could be optimally adjusted to the material that had been filmed in Munich a week earlier.

But the images of the players were not the only challenge posed to the film production company Hager Moss Commercial. The stadium had its pitfalls, too. For logistical reasons, the completely booked Munich Allianz Arena had to be shot first. At a later time, 200 extras were shot separately in Berlin. These takes were used in post to create a perfectly color-coordinated back- ground with a roaring audience of 60,000 people. In addition, the real perimeter advertisements were replaced by adidas banners – to provide the appropriate brand- ing for the scenery. Editing the players’ footage also required precision, and much skill. Rico and his team proved to be true ‘surgeons’ – e.g. the players’ heads were replaced by real time shots of the players giving statements, arms and legs were partially amputated and other shots were

‘digitally-surgically’ reattached.

AfterManyWeeksof‘CompositingAlert’–+10NowOnAir!

6 8 D i g i t a l I n t e r m e d i a t e _Wo r l d w i d e o n t h e M o v e

Product: adidas footballTitle: “+10”Length: 60 sec. movie and TV spot, 30 sec. TV spot

Agency:TBWA Advertising Agency, Ltd., BerlinCreative Director: Stefan SchmidtProducer: Fabian Barz

And that was not all. The national team’s ‘opponents’ were manipulated, too – they were digitally dressed in new jerseys. And there was never even a real football in any of the takes: it was replaced by a 3D created look-alike. Basically, not a single take, which made it into the final spot, was really shot the way it can be seen in the final commercial. Also, the ‘background’ assignment was quite intricate. Many goal- tending and playing shots had to be partly stabilized to build the mattes and back- grounds needed for slow motion effects in supreme quality. But finally it was accom-plished!

The entire post production process took a total of eight weeks – from Bertl Grabmayr

doing Spirit scans to the last of 54 effect shots and to HD color correction. During this time the team, coordinated by producer Phillip Bartel, worked around the clock. To get that mountain of work done within the tight time frame, freelancer Phil Man was flown in from London to do some booster work as an additional artist. Also, a Rotoscoping team headed by specialist Manuel Voss was set up.

Now the “+10” spot is ready to run in movie theaters – and the ARRI ‘adidas team’ has proven – Impossible is nothing.

Vibrio

Production:Hager Moss Commercial, Ltd.Director: Bruce StClairExecutive Producer: Eric MossProducer: Jürgen Kraus

Post Production:ARRI Film & TV / CommercialProducer: Philipp BartelInferno / Flame Artists: Rico Reitz, Stefan Tischner, Phil Man, Mikel TischnerJunior Artists: Chris Weingart, Steffi SchiesslTelecine: Bertl Grabmayr3D Animation: Andi AlesikRotoscoping: Manuel Voss & Crew

AfterManyWeeksof‘CompositingAlert’–+10NowOnAir!

6 9D i g i t a l I n t e r m e d i a t e _Wo r l d w i d e o n t h e M o v e

It’saHitThe MaxMover is a hit first time around with the release of the beta test series in the beginning of

2006. Usually a beta test is one of the first steps on a long road to a successful product. With the

new concept of an automated stirrup, ARRI Lighting made the MaxMover right on the first move.

“The design and quality convinced me from the beginning. I am sure that this will be a great product, and will be a hit in the rental market”, says Tommy Moran, head of ARRI Lighting Rental in London. Tommy recently invited over 100 DPs and Gaffers to an exclusive lunch where he showed the MaxMover in action with the new ARRIMAX 18/12K lamphead.

John Gresch, Vice President of Lighting for ARRI Inc., found many gaffers are interested in the automated stirrup to keep their crew

on the ground rather than ‘in the air.’ Large fixtures can now be mounted on boom arms, tall platforms or in hard-to-reach locations and operated conveniently from the ground using a simple analog control or wireless (or wired) DMX.

ARRI Lighting has been receiving requests for quotations from places where the auto- mated stirrup has not yet been shown. Word of mouth has been very fast on the new MaxMover, even with the beta series. The reason for this high level of interest is not

7 0 L i g h t i n g

to health and safety when working from an articulating boom arm (Condor) on location.

The new MaxMover offers remote pan, tilt and focus for large daylight and tungsten lighting fixtures. The versatility of the unit to adapt to existing inventory of lighting equipment is also a huge benefit. A unique snap-in mounting system allows fixtures up to 176 lbs. (80kg) to be converted quickly

for remote operation. Equipped with a vari- able width adjustment, the ARRI MaxMover accommodates a wide range of fixtures such as: 6kW or 12kW HMI PARs, ARRIMAX 18/12, 18/12kW HMI Fresnels, T12, T24 Fresnels and the 12 Light Maxi.

The MaxMover will be available beginning May 2006.

Timo Müller

TechnicalData

Name / Ident.-No.: MaxMover / L2.37980.0

Applicable: ARRI daylight fixtures from 6kW to 18kW ARRI tungsten fixtures from 12kW to 24kW Adapts to other lampheads due to an extensionable construction (width is adjustable!) and a Universal Adapter Plate

Functions: 3 axis motor driven stirrup Pan&Tilt: brushless AC servo motors Focus: DC servo motor

Pivot Range: Pan Infinite: Adjustable slipping clutch stop (0-80Nm)

Pivot Range: Tilt Infinite: Adjustable slipping clutch stop (0-80Nm)

Pivot Range: Focus Infinite: Current overload/torque stops (5Nm)

Min. Speed: Pan/Tilt 12,6°/min (0,035rpm)

Max. Speed: Pan/Tilt 360°/min (1rpm)

Max. Speed: Focus 16rpm

MaxMover Weight: 37kg/81,6lbs

Max. Load: 80kg/176lbs

Lamphead attaches with: Universal Adapter Plate

Analog Controller: ARRI Analog Controller for Pan, Tilt & Focus (standard); optional DMX-512 interface (DMX IN&OUT)

Max. Rating: IP54 / Protection Class I

MaxMover Size (wxhxd): Max. 1160x965x300mm / 45,67x38,99x11,81”

DMX 512 Support: USITT DMX-512-A Standard E1.11-2004

DMX 512 Address Setup: Up&Down push buttons

Power Specification: 90-265V 50/60Hz, max. 100VA

only the design that matches the field requirements; it has also to do with new safety regulations (especially in the United States).

Since health and safety is now a bigger part of our trade, and due to new guide- lines for elevating work platforms from industry-wide labor management safety committees, the MaxMover is the proper solution. The stirrup is approved by the German TÜV and matches the EN and IEC standards. This is a key product in regards

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TOKYO NEW YORK

TheMAXFiles:TheARRIMAXIsOutThereLondon, budapest, Los Angeles, New York – ARRI’s newest light, the dynamic

ARRIMAX 18/12 has quite a few passport stamps, and continues to accrue

frequent flier miles to date. Affectionately referred to as “MAX,” the lamp

combines the variable beam spread of a Fresnel and the light output of a PAR.

because the ARRIMAX does not require a set of spread lenses, the shadow

quality is sharper and easily cut. The fixture uses a lensless design and is

50 % brighter than a 12k PAR.

The ARRIMAX uses a unique reflector concept for beam control eliminating the need for spread lenses and pro-vides continuous focus from 15° – 50°. Correction filters will last much longer and won’t burn out to the same

extent as on current lens systems. ARRI will

soon introduce an easily interchange-able Super Spot Reflector that will

offer focus from 8° – 15°, allow-ing immense power to be concen-

trated into an even smaller area.

Until the ARRIMAX makes a stop in your city, here are some

thoughts from those who’ve had a chance to see MAX up close during the worldwide tour.

TokyoThe ARRIMAX system was demonstrated in November of 2005 at several locations throughout Japan. Representatives from Tokyo-based Arc-System, the largest rental company in the country, were particularly pleased with the new ARRIMAX ballast technology with its reduced noise level. New YorkFor an East Coast demonstration ARRI show- cased ARRIMAX at Steiner Studios.

“The ARRIMAX is user-friendly. It works any- where you need a lot of light. It’s very easy to gel, to diffuse and to work around. We will need to clear a spot on the shelf for it, but it’s not going to stay there for long. It is going to work a lot. The ARRIMAX is good to bounce to put through diffusion and you can use it for backlight or night exteriors. It exceeded my expectations. It will be a very popular light.” – Gaffer Mo Flam (ALL THE KING’S MEN, COLD MOUNTAIN, THE ENGLISH PATIENT).

Fred Horne, ARRI Northeast Lighting Sales Manager,discusses the ARRIMAX with invited lighting technicians

ARRIMAX lights up the stock room of ARRI CSC in New York

MAX makes his debut in Japan at the rental house Arc-System

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BUDAPEST

TheARRIMAXIsOutThere

ARRIMAX lights up the stock room of ARRI CSC in New York

Setting up the ARRIMAX at ARRI CSC in NY Michael bauman on the set of the Steven Spielberg film MUNICH

“ARRI is always pushing the edge with lighting and coming up with great fixtures. I’m really excited to use the ARRIMAX in the field. It has a checkerboard pattern on the reflector, which I thought was great. The ARRIMAX is an excellent choice for day interiors (pushing light through windows and doors) and day exteriors. With the new ARRI motorized yoke you will be able to control it remotely. I‘m excited about the motorized yoke and look forward to work- ing with it. – Gaffer John Velez (THE DUKES OF HAZARD, INSIDE MAN).

BudapestMAX made its feature film debut on MUNICH, directed by Steven Spielberg and nominated for five Academy Awards. For an intense scene that took place on a houseboat, the filmmakers created a dramatic look using the ARRIMAX.

“We had a great quality happening with the sun coming through the blinds and smoke,

but when the sun went away the ARRIMAX really saved us. We placed the light at full spot on another boat 70 feet back. There were Venetian blinds on the [windows of the] boat and we focused the light in there from the outside. The source was so far away, there was no way I could have gotten that out of an 18K Fresnel. There were nice sharp shadows, yet the source was so small.” – Gaffer Michael Bauman (SYRIANA, GOOD NIGHT, AND GOOD LUCK).

LondonOn Jan. 27th, over 100 Directors of Photo- graphy and Gaffers attended the annual New Year lunch at ARRI Lighting Rental (ALR), which prominently featured an exclusive look at the ARRIMAX. Tommy Moran, ALR’s Managing Director, set up the ARRIMAX outside of the venue so attendees could get an idea of the light’s powerful output.

“Having been involved in the conceptual development of the ARRIMAX, I am confi-

dent that it will be a fantastic tool with an extremely bright future!” says Moran.

“With the light output of an 18K combined with a lensless system, I envisage this to be a fantastic and powerful lighting tool with a lot of potential. I look forward to using it in the future.” – Director of Photography Mike Southon, BSC (BANDIDO, BENEATH).

“I would definitely use this lamp. I’m amazed at the punch it gives, considering the power, I thought it would be much larger! It will be more versatile than an 18kW Fresnel and the fact that it’s lensless is another factor in its favor!” – Gaffer Jimmy Wilson (MATCH POINT, SCOOP, BAND OF BROTHERS).

“An ideal lamp to go on cherry pickers or Condors with 18kWs and the fact that it can be spot and flooded without lenses makes it ideal, can’t wait to use it on location.” – Director of Photography David Higgs (BENEATH THE SKIN, POIROT).

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LONDON LOS ANGELES

“Great lamp, with a heck of punch! With the lensless design and motorized stirrup it shows that ARRI, as usual, is helping to make life easier.” – Gaffer Stuart King (THE GIRL IN THE CAFÉ, THE QUEEN’S SISTER)

“A brilliant and practical all-round lamp; with its spread it will be ideal for large buildings and background. The lensless design with operation from hard to soft will make it very versatile and the new motion control system is the best I’ve seen.” – Director of Photography Derek Suter, BSC (WILLIAM & MARY, LAST DETECTIVE)

“A good lamp with a good spread and a lens less design, I see it becoming a very useful lamp on film sets.” – Gaffer Kevin Day (SHANGHAI KNIGHTS, REIGN OF FIRE, THE WORLD IS NOT ENOUGH)

“Great output! This would suit most TV dramas for night exterior main light source, especially mounted on a cherry picker/Condor. I would look forward to seeing this lamp on location.” – Gaffer Peter Bloor (HARRY POTTER AND THE PRISONER OF AZKABAN, SPY GAME)

Lake Tahoe, CaliforniaMAX traveled to the set of SMOKIN’ ACES, an ensemble action comedy starring Ben Affleck, Alicia Keys, Ryan Reynolds and Andy Garcia. “I was impressed by the flexibility, output and convenience of the ARRIMAX. I really look forward to using it again soon.” – Director of Photography Mauro Fiore, ASC (THE ISLAND, TEARS OF THE SUN)

“A great application for the ARRIMAX is using it to emulate the sun. To get the same amount of light as an ARRIMAX, we would have had to use a couple of18K Fresnels, which would create multiple shadows. Basically you are getting more bang for the buck with the ARRIMAX.” – Gaffer Michael Bauman (MUNICH, RAY)

Los AngelesThe ARRIMAX made an appearance at lighting, grip and power distribution company Illumination Dynamics, where a select group of Hollywood gaffers were invited to examine the new lamp. MAX also traveled to a few sets around town for use in the field.

“It’s a fabulous light that is going to take lighting in a new direction. The light has a very crisp, but soft feel to it. The shadow does not fall like a Fresnel lens shadow. It has this whole crunch to it that is very, very different from the Fresnels and PARS that exist today. It’s going to work well for long distance throws and for wide throws. It’s great for lighting people, but it’s going to work just as well for lighting trees, deep backgrounds and architecture because it’s a softer light and a more natural light. It’s a single source lamp, but it’s got a wide field of throw. I definitely see it as a major workhorse for a lot of exterior work.” – Chief Lighting Technician Dwight Campbell (ABOUT SCHMIDT, TRIPPING FORWARD)

“I was impressed with ARRIMAX when we looked at it briefly on the set of MISSION: IMPOSSIBLE III. Later, on a recent Voda-phone commercial shot by Dan Mindel, we used it for a scene in a downtown loft. I discovered I could use the ARRIMAX for bold splashes, almost like a Xenon, when in full spot mode. Then, I could very simply transition to a softer mode using its wide spread with considerable light output. I

The ARRIMAX at ALR‘s New Year lunch in London

The ARRIMAX lights up a downtown office building in Los Angeles for MISSION: IMPOSSIbLE II I. Photos by Andy Ryan

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LAKE TAHOE FLORIDA VANCOUVERThe ARRIMAX on the set of SMOKIN’ ACES

William F White International in Vancouver – John Anderson (Vancouver GM) with Steve Linstrum

was very impressed with the tremendous quantity of light as well as the ease of use. ARRIMAX is a very simple and sturdy package without the lenses that usually make a fixture cumbersome and unwieldy. It is very easy to install the globe. I am very excited about the prospect of adding this valuable lighting tool to my lighting package.” – Chief Lighting Technician R. Bruce McCleery (THE SKELETON KEY, SHANGHAI NOON, PLEASANTVILLE)

Breckenridge, ColoradoFor the premiere broadcast of MTV Net- works’ new high definition channel, MHD, Lighting Director Billy Brennan used the ARRIMAX for an outdoor concert shoot in freezing temperatures.

“The size and weight is balanced and manageable despite its ‘maxi’ size. It handled the extreme weather and altitude very well for its first outing, also reflecting on ARRI‘s dependable electronic ballast. Its field of light is unique to this fixture by elimi-nating the lenses normally associated with an HMI PAR fixture. The quality of the field of light produced is unique to this open face fixture. The 18K PAR sets itself apart in medium and close range applications even with its large lamp source. I look forward to utilizing the fixture in future large scale applications. As ARRI improves its initial design and begins developing the acces-

sories, as with the automated yoke, it will only get more versatile in the types of applications.” Lighting Director Bill Brennan (2006 US Figure Skating Championships, 2002 Salt Lake City Olympics)

VancouverThe ARRIMAX traveled to Vancouver for a visit to area lighting houses, stay tuned for the next installment of The MAX Files for more.

An Tran and Judith Petty

Paramount Production Support in Vancouver – F. l. t. r.: Steve Linstrum (Manager Lighting & Accessories, ARRI Canada), bruce Zink (Paramount Technician), Stephanie Palmer (Paramount Purchaser)

ARRI Lighting Technical Sales Representative Mike Jones demonstrates MAX at ARRI CSC Open House in Florida

ARRIMAX and the MAXMOVER get a lift at ARRI CSC Open House in Florida

F. l. t. r.: Stephanie Palmer, bruce Zink, Steve Linstrum

75L i g h t i n g

Since its founding in 2003, ARRI Lighting Solutions, ARRI’s project team in Berlin has soon become an international synonym for highly qualified concepts and solutions in the TV- and film-studio market. 2005 turned out to be a very successful year with quite a number of interesting projects, opening doors to completely new areas of the business.

A highly sophisticated solar simulation was installed for the German company Rhein-metall. A project with very specific photo-metric requirements, like a precise color temperature, light output and a good share of the infrared. The solar simulation facility was put to work with 49 ARRISUN 12 Plus daylights, a complete system of electronic ballasts and an interbus remote control sys-tem that is able to monitor the technical

systems and components even under extreme sun exposure and permanent test-room tem-peratures of up to 50° Celsius. Using the high quality ARRI daylight system, the specialists from Rheinmetall are now able to precisely simulate a direct and persistent sun exposure.

An important part of ARRI Lighting Solutions’ services portfolio is the training and detailed documentation after the concept, installation, and initial start-up of the individual projects. These services are highly appreciated in the new emerging markets.

2005 had also been a very successful year for ARRI Lighting Solutions in the Ukraine. Among CIS-countries, the size of its popula-tion is second only to Russia and covers the

Solar simulation facility at Rheinmetall (with kind permission of Rheinmetall GmbH, Unterlüß, Germany)

ARRIStudioSolutions–Successful Concepts in Germany, the Ukraine, Russia and the Middle East

76 L i g h t i n g

completely equipped with ARRI lighting technology, like the ARRI Studio 5kW, 2kW and 1kW tungsten studio luminaries as well as with the ARRI Junior 650W fixtures and other accessories. In addition to this, hoists and pantographs have been installed.

Two other privately owned Ukrainian TV Channels – 1+1, and ICTV – had already been equipped in cooperation with ARRI’s partner Zinteco during the past years. 1+1 – one of the most popular TV-channels in this area – came back to ARRI in 2005 to convert and upgrade two more stages of 200 sqm and 250 sqm utilizing the versatile ARRI lighting range as well. The new studios are now used for news and different talk and entertainment-shows.

SVOBODA SLOVA – the famous Ukrainian talk show and many others shows strongly rely on ARRI technology in their daily work: Studio 2kW, 1kW, Junior 650 and 300 luminaires had already been installed in 1999 at ICTV, a commercial TV-channel. 2005 saw the modernization of this 280 sqm studio, realized by Zinteco and ARRI Lighting Solutions.

Quite a number of these reference projects have just recently been compiled in a new brochure promoting Zinteco and ARRI Lighting Solutions’ project capabilities at the TRBU (Tele Radio Broadcast Ukraine). About 5000 professionals came to see this largest broadcast exhibition in the Ukraine, held from 12 until 14 October 2005 in the central exhibition hall in Kiev, demonstrating the great interest in this area.

Norbert Wunderlich

Show and talk (Svoboda Slova) studio of ICTV-Channel, Kiev, Ukraine (with kind permission of the TV-Channel K1)

third largest area after Russia and Kazakh-stan. About a dozen TV-channels are now broadcasting for this area including channels like UT1, Inter, 1+1, ICTV, TET, STB, Novyy Canal, NTN, K1, K2, M1, MUZTV and others. UT1 is the only state owned channel, all other enterprises are of mixed ownership or purely commercial.

Together with the Ukrainian company Zinteco, ARRI Lighting Solutions projected and equipped quite a number of studios in this area.

Compared to typical news studios in West-ern Europe, TV-Channel K1 has quite an impressive stage of 300 square meters going on air in August 2005. The new studio was

Zinteco and ARRI Lighting Solutions Project –News studio of TV-Channel K1, Kiev, Ukraine(with kind permission of the TV-Channel K1)

ARRIStudioSolutions–Successful Concepts in Germany, the Ukraine, Russia and the Middle East

7 7L i g h t i n g

The newly redesigned Studio Six involved a complete refit with QVC making a fifty five thousand (GBP) investment in lighting alone. The studio now boasts pole operated versions of the ARRI Studio 1k, Studio 2k, Softlight 2500 and IFF 3.8 m Pantographs, along with a selection of small Junior fresnels.

QVC wanted a sole supplier to specify and supply all the new equipment and it was the reliability of existing ARRI lights already being used at Marco Polo House that helped to swing the decision to fit Studio Six with an entire ARRI lighting package.

“We already had some ARRI lights in place and have always been happy with them,“ comments David Hansford-White, QVC’s Technical Operations Manager who was responsible for overseeing the refit. “They have always been reliable and work every time without fail.“

In order for the refit to be completed in time for the Christmas shopping season ARRI pulled out all the stops. “David called

through with a proposed list of equipment that was needed on site within a 3 week lead time. With a lot of help from Manfrotto’s IFF Division, and our factory in Stephans-kirchen, ARRI (GB) was able to collate all the equipment in time. This included assembly, testing and delivery by the deadline date issued,” explains Martin Carnell, ARRI’s UK Sales Manager.

“ARRI bent over backwards to help us specify the equipment and to get the lighting installed in time for the Christmas period. Martin Carnell at ARRI and his UK sales team were wonderful in providing the equipment at short notice.” Concludes David Hansford-White.

QVC are in their final stage of refurbishing Studio Six and are currently in the process of purchasing the balance of the lighting and grip.

Judith Petty

Home shopping giant qVC, the UK’s leading television shopping channel, opted for ARRI

lighting when they decided to redesign one of their six studios especially for the Christmas

season. Available to over 15.6 million satellite, digital terrestrial and digital & analogue

cable homes in the UK, qVC broadcasts from Marco Polo House, London, 24 hours a day,

365 days a year.

Martin Carnell ARRI‘s UK Sales Manager with David Hansford-White qVC‘s Technical Operations Manager

The rig at qVC

ARRIBrightenstheChristmasShoppingExperience

7 8 W o r l d w i d e _G B

The equipment, appreciated by staff and students alike, was presented to Steve Huttley, Chief Electrician / Lecturer for the Guildhall, by Martin Carnell, UK Lighting Sales Manager from ARRI (GB). The dona-tion reflects the relationship that ARRI (GB) has built with the Guildhall having dealt with the school for over 14 years. The school is situated in the heart of one of Britain’s most important venues: The Barbi-can; which includes theatres, a concert hall, cinema and art gallery and is home to such institutions as the London Symphony Orchestra and the BBC Symphony Orchestra. It is also in easy reach of the West End Theatres, The Royal Festival Hall and Royal National Theatre as well as London’s many major galleries.

With some 700 full-time music and drama students, the Guildhall‘s international repu- tation for teaching and research attracts students from all over the world. Currently a third of students are from overseas, representing over 40 nationalities. The main programmes are the BA Honours Degree

in Acting and Bachelor of Music Honours Degree. The Guildhall School also offers a Stage Management and Technical Theatre programme. This Degree is a three year course that can attract 100 applications for only 24 places. Guildhall students are really put through their paces with one de- scribing it as ‘Like Jedi school’. Training for the mind, body and spirit.

The teaching is primarily practical and pro- duction based, working on public produc-tions with professional directors, designers and conductors participating in the creation of well-received dramas, musicals and operas. Students frequently go on to pursue careers in their chosen subject – music, acting or technical theatre but many find their skills are equally applicable to TV, film and event work with recent graduates working for Madame Tussauds, Imagination and the Jim Henson Company.

The Music and Drama courses have produced many famous graduates who found a place in the film industry. Fred Astaire, Noel Coward

and Dudley Moore all studied music there and Peter Cushing and Honour Blackman, famous for her role in GOLDFINGER, were both Drama graduates. More recently Ewan McGregor (TRAIN SPOTTING, STAR WARS) graduated in 1992 and Orlando Bloom (LORD OF THE RINGS, PIRATES OF THE CARIBBEAN) graduated in 1999. The JAMES BOND connection continues as the latest Bond, Daniel Craig also studied at the Guildhall.

ARRI congratulates the Guildhall School of Music and Drama for its many successes over 125 year’s contribution to the music, drama and arts industry.

Andy Barnett / Siobhan Daly

GuildhallSchoolofMusicandDrama

125thAnniversary1880–2005The Guildhall School of Music and Drama is one of Europe’s leading conservatoires, offering musicians, actors, stage

managers and theatre technicians an inspiring environment in which to develop as artists and professionals. ARRI

has made a substantial donation of lighting equipment to the Guildhall School of Music and Drama as it celebrates its

125th Anniversary. The donation includes a selection of Fresnel spotlights from the Theatre Compact MSR and

Studio Tungsten families as well as latest technology Ceramic products.

Steve Huttly (second from left) Chief Electrician and Lecturer for the Guildhall School of Music and Dance with Martin Carnell ARRI‘s UK Sales Manager and some of the students currently attending the school

ARRI Studio Ceramic 250 ARRI Studio Ceramic P. O.

Lighting effect created using the ARRI Theatre Compact 2500W

7 9W o r l d w i d e _G B

Beijing

Through the joint efforts of ARRI and Jebsen, a brand new service center was opened in Beijing March 30, 2006. Located in the center of Beijing, it offers servicing for the full range of ARRI cameras, including the entire ARRICAM system, and also handles lighting fixtures and electronic ballasts. A darkroom with a lens pro-jector facilitates lens checking. The service center carries an ample stock of spare parts for cameras and lighting.

Shanghai

Besides Beijing, the Shang-hai ARRI service facility was already established a few years ago. At both locations there are fully trained tech-nicians with a vast professio-nal experience and expertise. Technicians from Munich are sent to Asian countries on a regular basis for seminars and training. Service technicians from Beijing and Shanghai come to Munich to update their skills as well.

Hong Kong

From January 2006, the Hong Kong based service center of Jebsen provides installation and services for ARRI’s Digital Intermediate chain, consisting of the ARRISCAN and the ARRILASER in the Asian Pacific region (excluding Japan). Customers from India, Korea, and Hong Kong had already made good experiences with the timely and quality services.

Taiwan

From Jan. 1st 2006, Jebsen is now ARRI’s exclu-sive agency for camera and digital products in the Taiwan territory. Actually the film/broadcast and TVC market of Taiwan has merged with the mainland and Hong Kong since a couple of years. With the assistance of the Jebsen Taiwan branch, commercial and technical services to Taiwan customers become much faster.

Vietnam

Vietnam is another emerging market in which ARRI and Jebsen will be emphasizing their efforts in 2006. Without language barriers customers can be supplied a top-notch service. As early as in 1994 and 1995, Jebsen had already established its representative offices in

Ho Chi Minh City and Hanoi. During the last few years, the company increasingly supplied equipment, spare parts and technical services to the Vietnamese industry partners coming from all fields.

The ARRIFLEX 435 Xtreme and brand new lighting had been added in the recent years in order to supply top-of-the-line and inter-national productions.

CO N TAC T I N FO R M AT I O N

ARRI Beijing Service Center10F, Tower 2, Henderson Center No. 18 Jian Guo Mein Nei DajieBeijing 100005, P.R. China

Phone +86 - 10 - 8519-8560 +86 - 10 - 8519-8568 +86 - 10 - 8519-8556Fax +86 - 10 - 8519-8699eMail fushengfeng@jebsen.com

ARRI Shanghai Service Facility588 Yan An Road EastEast Ocean Center 11BShanghai 200001, P.R. China

Phone +86 - 21 - 2306-4866 Fax +86 - 21 - 2306-4899eMail zhiguohao@jebsen.com

ARRI Hong Kong Digital Service Center28 Yun Ping Road30F Caroline CenterCauseway Bay, Hong Kong

Phone +852 - 2926-2353Fax +852 - 2882-2017eMail kevinlai@jebsen.com

Jebsen (Taiwan) & Co. Ltd.7F., No. 34 Lane 513, Rueiguang Rd.Neihu Dis., Taipei

Phone +886 - 2 - 8751-2591Fax +886 - 2 - 2659-0615

Jebsen Vietnam Rep. OfficeR.202, Bldg. 20 Tran Hung Dao Street,Hoan Kiem District, Hanoi, Vietnam

Phone +84 - 4 - 933-1600Fax +84 - 4 - 825-9629

LocalSupportina

GlobalMarket

NewAsianARRIServiceandSalesStations

Thailand

CINE EQUIPMENT PTE LTD (Singapore) has just marked another milestone with the establishment of its new Thailand Office – CINE EQUIPMENT (Thailand) CO., LTD. in October 2005. Located in 580/15 Soi Ram Kam Haeng 39 (Soi Sahakarn-Pramoon), Pracha U-thit Road, Wangthonglang, Bangkok, 10310 the office is already fully operational, providing not only sales, but also an impressive post-sales service. Sales, engineering and stock are handled by four staff members with another four excellently trained staff members handling service and repair works for the full range of the ARRI product line – 24hours/7days a week. With growing demands and new technical challenges customers are looking for service and sales support way beyond the normal level. Cine Equipment Pte Ltd has responded quickly, moving its team from their ‘comfort zone’ right into the frontline, making them aware of the new challenges and expecta-tions. Every customer should find an appropriate service right at his or her very doorstep. Consequently two offices outside Singapore have already been established – in Kuala Lumpur (Malaysia), and now in Bangkok (Thailand).

Phone +66 - 2 - 936-6557Fax +66 - 2 - 935-6044

cine_thai@cine-equipment.comwww.cine-equipment.com

F. l. t. r.: Katanyu Tapanya (‘Tip’ – Lighting Technician), Tananchai Pangthai (‘bom’ – Lighting Technician), Worakamol Sriduang-maneechai (‘bee’ – Executive Secretary), Waraporn Karnwa (‘Toi’ – Store keeper), Kitti Tanapornchai (‘Tui’ – Camera Technician), Wannadit Saardphak (‘Teh’ Sales executive), Dieter Schmidt (Service Manager)

8 0 N e w s a r o u n d A R R I

ARRIcongratulatesallofthisyear sAcademyAwardnominees

andwinners.Wewouldliketoexpressourgratitudetothemany

outstandingproductionsthatputtheirtrustinourequipment.

VisionARRI–VisionsBecomeRealitywithARRI

C O N G R A T U L A T I O N S

A brand new company magazine has been launched by the ARRI Group service divisions: the ARRI Rental Group and ARRI Film & TV. The new magazine, VisionARRI, will see service efforts provided by ARRI for national and in-ternational film productions take centre stage.

Published twice a year (in English and German respectively), VisionARRI is mainly targeted at producers, directors and cinematographers. This second ARRI Group magazine – alongside the ARRI News – will share stories about our company’s internationally operating global services. Read about our work and the experi-ences that creative people, technicians and production teams have had with our latest tech-nologies. “The magazine’s reports and interviews want to make our employees’ professionalism, competence and motivation, as well as the tech-nology we use, accessible to you. They want to provide you with a true and comprehensive image of the service divisions at ARRI,” agree Judith Petty, Group Marketing Manager of ARRI

Rental Group, and Angela Reedwisch, Key Account Manager of ARRI Film & TV.

“The globalization of film productions has lead to a worldwide demand for our company’s products and services. The close collaboration between the ARRI service companies is our answer to this business trend,” explains Franz Kraus, General Manager of ARRI AG. “It is our concept and our claim to always be cutting edge – concerning both our products and our service division. To strategically redeploy and optimize our economic strengths in the rental area, and to help promote the business as a whole, our worldwide rental branches have been consolidated under the international brand of the ARRI Rental Group, with head-quarters in London,” he continues. “From our Munich headquarters we have for years success-fully been servicing national and international film productions within and outside of Europe – not only in the camera rental field but also in the entire area of post production.”

VisionARRI currently reports on the services of the entire production chain that ARRI can provide at any time and anywhere in the world – from equipment rental (camera, lighting, grip) to film lab services, scanning, editing, outright audio engineering, visual effects, as well as Digital Intermediate (DI) in the ARRI Lustre Grading Suite using the digital ARRISCAN and ARRILASER systems.

All this first-hand, at the one-stop ARRI shop. No matter where in the world you are shooting, ARRI can provide you with the latest equipment and with competent service. Rely on proven and familiar ARRI quality and enjoy “the best support your vision can get”.

Happy Birthday Heinz Kaskeline

In honor of the 80th birthday of Heinz Kaskeline on January 24th, 2006, the Film Museum Potsdam presented a representative cross section of his collected works numbering almost 400 films. Wolfgang Kaskeline’s promotional film production company was founded in Berlin in 1926.Almost 100 visitors, friends and family members saw world-famous works commissioned by big companies like Sarotti, Asbach, Muratti, and Persil. But it was the creativity, tongue-in-cheek irony and enormous mastery of graphics and colors of unknown or seldom-seen works that took the audience by storm. Included were classics like Bolle, Two Colors, and Serenade.Heinz Kaskeline wants to retire from the film academy so he can finally return to shooting films himself. We would not put it past the sprightly guest of honor.

F. l. t. r.: DoP Simon Plum, Frank Paulsen and Claus Rosenløv, Members of the award comity

Simon Plum (left) received this year Kluk Prisen for long years of committed work as cinematographer. The Kluk Prisen is sponsored by Bico Professional B/S together with ARRI.

Kluk Prisen

81N e w s a r o u n d A R R I

Title Production Company Director DoP Equipment

ARME MILLIONäRE II sanset Film Lutz Konermann Sten Mende ARRIFLEX 16SR 3, Lighting, Grip

BLAZE Barefoot Films Reto Salimbeni Paul Sarossy ARRICAM ST / LT

BLOOD & CHOCOLATE Lakeshore Entertainment Katja von Garnier Brendan Galvin ARRICAM ST / LT, 435, 3-Perforation, Lighting, Grip

THE COLOUR OF WATER Majade Fiction Peter Brosens, Jessica Woodworth Rimvydas Leipus Moviecam Compact / SL, Lighting, Grip

8 MILES HIGH Exportfilm Bischoff Achim Bornhak Benjamin Dernbecher ARRICAM ST / LT, 3-Perforation

FÜRCHTE DICH NICHT TV60 Film Christiane Balthasar Michael Bertl ARRIFLEX 16SR 3, Lighting, Grip

LIEBESLEBEN X-Filme Maria Schrader Benedict Neuenfels ARRICAM LT, 235, 435, 3-Perforation, Licht

MOZART Tellux Film Bernd Fischerauer Markus Fraunholz ARRIFLEX 16SR 3, Lighting, Grip

MäRCHEN SPOOFS Rat Pack Filmproduktion Cyrill Boss, Philipp Stennert, Gerhard Schirlo ARRIFLEX 16SR 3, Lighting, Grip Tommy Krappweiss, Erik Haffner

NICHT ALLE WAREN MöRDER teamWorx Jo Baier Gunnar Fuß ARRIFLEX 16SR 3, Lighting, Grip

POLIZEIRUF 110 – TAUBERS ANGST d.i.e. film Klaus Krämer Ralph Netzer ARRIFLEX 16SR 3, Lighting, Grip

SCHWERE JUNGS BOB Film Marcus H. Rosenmüller Torsten Breuer ARRICAM ST / LT, 435, 235, 3-Perforation, Lighting, Grip

VERDACHT Hofmann & Voges Diethard Klante Achim Poulheim ARRIFLEX 16SR 3, Lighting, Grip

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AMAZING GRACE Clapham Productions Ltd Remi Adefarasin BSC ARRICAM ST/LT

BUTTERFLY ON A WHEEL Butterfly Productions Ashley Rowe BSC ARRICAM ST/LT

CHILDREN OF MEN Quietus Produtions Ltd Emmanuel Lubezki ASC, AMC ARRICAM LT, ARRIFLEX 235

FLAWLESS Delux Productions Richard Greatrex BSC 3-Perforation ARRICAM ST / LT

FLIGHT 93 TFP Produtions / WT2 Barry Ackroyd BSC ARRICAM LT, ARRIFLEX 235

HOT FUZZ Town Square Films Ltd Jess Hall ARRICAM LT, 235

LOSING GEMMA Granada Television David Odd BSC 16SR 3 Advanced

LOSING IT Quite Scary Films Andy Collins BSC 16SR 3 Advanced

MAGIC FLUTE Magic Flue Productions Roger Lancer ACS 3-Perforation ARRICAM ST/LT

THE BAKER Shakespear's Cake Ltd Sean Bobbit 3-Perforation ARRICAM LT

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Title Director DoP Gaffer

AMAZING GRACE Michael Apted Remi Adefarasin BSC Jimmy Wilson & Stuart King (Rigging Gaffer)

BAD GIRLS (Series 8) Barnaby Southcombe Lawrence Jones Darren Harvey

CHILDREN OF MEN Alfonso Cuaron Emmanuel Lubezki ASC, AMC John Higgins (Biggles) & Wayne Leach (Rigging Gaffer)

FLIGHT 93 Paul Greengrass Barry Ackroyd BSC Matthew Moffatt & Pat Miller (Rigging Gaffer)

HALLEM FOE David McKenzie Giles Nuttgens Campbell Mcintosh

HOT FUZZ Edgar Wright Jess Hall Andy Duncan & Bernie Prentice (Rigging Gaffer)

MAGIC FLUTE Kenneth Branagh Roger Lancer ACS Kenny Pettigrew & Pat Miller (Rigging Gaffer)

PRIME EVIL Cilla Ware Jake Polonsky Stuart King

SHROOMS Paddy Breathnach Nanu Segal Warren Ewen

STRAIGHTHEADS Dan Read Chris Seager BSC Phil Penfold

THE QUEEN Stephen Frears Affonzo Beato ASC, ABC Andy Long & Warren Ewen (Rigging Gaffer)

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Title Production Company DoP

8 MILES HIGH Exportfilm Bischoff Achim Bornhak

ARME MILLIONäRE II sanset Film Lutz Konermann

DAS BESTE AUS MEINEM LEBEN Pro GmbH Matthias Tiefenbocher

EINE STADT WIRD ERPRESST TV60 Film Dominik Graf

FATA MORGANA Enigma Film Simon Groß

ADRIFT (GODSPEED) Orange Pictures Hans Horn

HARTE FAKTEN ABC Studio Martin Enlen

JENNY Plato Film Production Sinan Cetin

MALCOLM G. Sandra Gerstberger Sandra Gerstberger

MORD IN BESTER GESELLSCHAFT Lisa Filmproduktion Peter Sämann

NICHT ALLE WAREN MöRDER teamWorx Jo Baier

DAS PARFUM Constantin Filmproduktion Tom Tykwer

POLIZEIRUF 110 – TAUBERS ANGST d.i.e. film Klaus Krämer

POST MORTEM II Sony Pictures Thomas Jauch

RETTET DIE WEIHNACHTSGANS TV60 Film Jörg Grünler

SCHWERE JUNGS BOB Film Marcus H. Rosenmüller

SPECIAL Hofmann & Voges Anno Saul

STREIK – DIE HELDIN VON DANZIG Provobis Volker Schlöndorff

WELCOME TO AMERICA Claussen + Wöbke Marco Kreuzpaintner

WER FRÜHER STIRBT, IST LäNGER TOT Roxy Film Marcus H. Rosenmüller

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Theater Release:

SPECIAL Hofmann & Voges

HUIBUH Rat Pack Filmproduktion

IN THE TUNNEL Claussen + Wöbke

TV-/DVD-Release:

CRAZY RACE III (DVD / TV) Allmedia Pictures

DRESDEN – DER BRAND teamWorx (DVD / TV)

DIE KRäHEN (DVD / TV) Stream Films

VERDACHT (TV) Hofmann & Voges

DER FAMILIENSCHRECK (TV) Stream Films

NICHT ALLE WAREN MöRDER teamWorx (TV)

ALLES AUSSER SEX II (Serie) Lunet Entertainment

ARME MILLIONäRE II sanset Film (Serie)

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Customer Title Production Company Agency Director DoP

CIBA Vision AIROPTIX DIARY 7 Vivafilm Mediaedge: cia Mediaedge: cia –

Cortal Consors KAUFEN e+p commercial Serviceplan Dennis Gansel Kolja Brandt Zweite Werbeagentur

Cortal Consors KNöLLCHEN e+p commercial Serviceplan Dennis Gansel Kolja Brandt Zweite Werbeagentur

Dallmayr VESPA Hager Moss HEYE & Partner Shizue Wedigo von Schulzendorf

Debitel-light DEBITEL L IGHT “DR-TV” Vivafilm basismedia – –

Deutsche Bahn WM-TICKET e+p commercial Ogilvy & Mather Marc Tiedmann Michael Schreitel

IKK WECHSELWOCHEN Rapid Eye Movement Kreutz & Partner Werner Kranwetvogel –

IngDIBA EXKO – 2006 HelliVentures Wüschner Rohwer Baier Joachim Hellinger Dieter Deventer

Mc Cain SMILE e+p commercial TBWA Düsseldorf Lourens van Rensburg Tony Mitchell

Mc Donald’s HAPPY MEAL e+p commercial HEYE & Partner Agust Baldursson Ottar Gudnason “DRAGON HUNTERS”

Mc Donald’s PLAYERS ESKORTE Hager Moss HEYE & Partner Markus Goller Jan Fehse

Mc Donald’s HÜTTENZAUBER Rapid Eye Movement / HEYE & Partner E.C.K. (Food) / Britta Mangold (Food) Frames (Wien) Michael Bindlechner (Life) Michael Bindlechner (Life)

Mc Donald’s EINMALEINS Rapid Eye Movement / HEYE & Partner E.C.K. (Food) / J. F. K.(Food) / embassy of dreams Frieder Wittich (Life) Christian Rein (Life)

Medion MAUER e+p commercial TBWA Düsseldorf Christian Riebe Willy Dettmeyer

Playmobil FRÜHJAHR 2006 e+p commercial – Reiner Holzemer Peter Aichholzer

Premiere FIRST CLASS GAP Films Goldammer Luca Maroni

Red Bull Racing & RACE ACTION R.TV Film & Fernsehen Baronfilm Tobias Heppermann Thomas Stocowski Scuderia Toro Rosso

Toyota COROLLA “VERSO” GAP Films Chance Communication Charley Stadler Paolo Caimi

Toyota YARIS “DIALOG” GAP Films Chance Communication Charley Stadler Fraser Taggart

Toyota F1 Team RACE ACTION R.TV Film & Fernsehen Baronfilm Tobias Heppermann Thomas Stocowski

Whitenight THE MUM Wonderboys Film Dentsu, Brüssel Jean-Marc Piché Jean-Marc Piché

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Title Production Company DoP Gaffer Equipment Supplied by

ASTRONAUT FARMER Warner Independent Pictures M. David Mullen ASC Steve Litecky Lighting Illumination Dynamics

AWAKE Open Heart Pictures Russell Carpenter ASC ARRICAM ST/LT, 435, 235, ARRI CSC NY Master Primes

BALLAST Ballast LLC Lol Crawley Len Stanga ARRICAM (3 perforation), ARRI CSC NY Lighting & Grip

BEAUTY & THE BEAST WB Television Network Mark S. Jacobs Oscar Dominquez Moving Lights Illumination Dynamics

BEERFEST Adobe Pictures Frank DeMarco Steve Litecky ARRICAM ST/LT, ARRI CSC NY Lighting & Grip

FEAR FACTOR 2005 Lock & Key Prods. Matt Sohn Gus Dominquez Moving Lights Illumination Dynamics

GRIFFIN & THE PHOENIX Griffin & Phoenix Prod. LLC David Dunlap John Woods ARRICAM ST/LT, ARRI CSC NY Lighting & Grip

KANK Dillywood Inc. Anil Mehta ARRICAM LT, 435 ARRI CSC NY

MARGARET Peggy Productions LLC Ryszard Lenczewski Mike Marzovilla ARRICAM ST/LT, ARRI CSC NY Lighting & Grip

MIAMI VICE M V Film Productions LLC Dion Beebe ASC, ACS ARRICAM LT, 235 ARRI CSC FL (Dominican Republic location)

MOSTLY MARTHA Castle Rock Stuart Dryburgh Gene Engels ARRICAM ST/LT, ARRI CSC NY Lighting & Grip

SUPER EX-GIRLFRIEND S.E. Productions Inc. Don Burgess ASC Mo Flamm Lighting & Grip ARRI CSC NY

SUPER NANNY Ricochet Production Ltd. Gareth Upton Lighting & Grip ARRI CSC FL

THE FLOCK BMS Pictures Steve Litecky Lighting Illumination Dynamics

THE SOPRANOS Soprano Productions Inc. Kevin Janicelli Lighting & Grip ARRI CSC NY

THE VISITING Oliver Productions Rainer Klausmann Gene Engels ARRICAM ST/LT, 235, ARRI CSC NY Master Primes, Lighting & Grip

TYRA BANKS SHOW Telepictures Jeff Shirmer Oscar Dominquez Moving Lights Illumination Dynamics

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7 ZWERGE – Zipfelmützen Sven Unterwald DI, VFX, Titles DER WALD IST Film NICHT GENUG

DON'T COME Emotion Pictures, Wim Wenders VFX, DI KNOCKING Reverse Angle (Sequences) Pictures

DIE WOLKE Clasart Film Gregor Schnitzler DI, Titles

WER FRÜHER STIRBT, Roxy Film Markus H. DI, VFX IST LäNGER TOT RosenmüllerA

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VFX

Title Production DoP Service Company

3 VW Autostadt swimmingpool Sebastien Grousset DI, VFX Kuppelfilme: pictures SUMMER, AUTUMN and WINTER

DER DIE TOLL- X-Filme Franka Potente DI, Titles KIRSCHE AUSGRäBT

LENTäVä TYTTö Georg-Simon-Ohm-Fach- Nina Pfeifenberger, DI hochschule Nürnberg Felicitas Heydenreich, Daniel Hofmann

GODSPEED Orange Pictures Hans Horn HD DI

8 3S e r v i c e s

Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 München Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita MüllerWith additional text by: Andreas Berkl, Harald Brendel, Simon Broad, Thomas Brünger, Clemens Danzer, Bob Fisher, Roman Gadner, Jochen Hähnel, Mark Hope-Jones, Sibylle Maier, Timo Müller, Thomas Nickel, Judith Petty, Mario Pollastrini, Marc Shipman-Müller, Jon Silberg, Michelle Smith, Oliver Temmler, An Tran, Franz Wieser, Norbert Wunderlich, VibrioArtwork: add cooperation Uwe Heilig Mediendesign, lucie_p, Susanne SchreibauerPrinted by: Rapp-Druck GmbH, Flintsbach

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

Key ContactsVice-President Sales & Marketing Serge Giordano +49 - (0) 89 - 38 09 – 1384 sgiordano@arri.de

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

ARRI Film & TV Services Key Account: Angela Reedwisch +49 - (0) 89 - 38 09 – 1574 areedwisch@arri.de

ARRI Representative India: Thomas Nickel +91 - 98 2072 4312 thomasnickel@online.de

ARRI Film & TV Services National Sales: Walter Brus +49 - (0) 89 - 38 09 – 1772 wbrus@arri.de

ARRI Film & TV Services Feature & TV Drama: Josef Reidinger +49 - (0) 89 - 38 09 – 1339 jreidinger@arri.de

ARRI Film & TV Services Digital Film: Henning Rädlein +49 - (0) 89 - 38 09 – 1970 hraedlein@arri.de

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

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

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

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

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

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

ARRI CSC (NY) Simon Broad, Hardwrick Johnson +1 - 212 - 757 - 0906 sbroad@cameraservice.com hjohnson@cameraservice.com

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

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

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

ARRI Canada +1 - 4 16 - 2 55 33 35 seb@arrican.com

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

ARRI Australia + 61 (2) 9855 4300, + 61 (2) 9855 4301 cdanzer@arri.de

www.arri.com

ARNOLD & RICHTER CINE TECHNIK GmbH & Co. Betriebs KG Türkenstr. 89 · D-80799 München phone +49 - (0) 89 - 3809-0 fax +49 - (0) 89 - 3809-1245

Expo Calendar 2006

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

March_April 28 – 01 CPS Moscow

March_April 29 – 01 prolight+sound Frankfurt

April 23 – 27 light+building Frankfurt

April 24 – 27 NAB Las Vegas

May 09 – 11 testingexpo Stuttgart

May 23 – 26 Koba Seoul

June 20 – 23 Broadcast Asia Singapore

June 23 – 24 Cine Gear Los Angeles

August 23 – 26 BIRTV Beijing

September 08 – 12 IBC Amsterdam

September 10 – 13 Plasa London

September 16 – 18 cinec Munich

October 19 – 21 Broadcast India Mumbai

October 20 – 22 LDI Las Vegas

November 15 – 17 Inter Bee Tokyo

November 20 – 23 NAT Expo Moscow