arri news magazine nab issue 2007

Key ContactsDirector Sales & Marketing Thomas Popp +49 - (0) 89 - 38 09 – 1289 [email protected]

ARRI Rental Deutschland Thomas Loher +49 - (0) 89 - 38 09 – 1440 [email protected]

ARRI Film & TV Services Key Account: Angela Reedwisch +49 - (0) 89 - 38 09 – 1574 [email protected]

ARRI Representative India: Thomas Nickel +91 - 98 2072 4312 [email protected]

ARRI Film & TV Services National Sales: Walter Brus +49 - (0) 89 - 38 09 – 1772 [email protected]

ARRI Film & TV Services Feature & TV Drama: Josef Reidinger +49 - (0) 89 - 38 09 – 1339 [email protected]

ARRI Film & TV Services Digital Film: Henning Rädlein +49 - (0) 89 - 38 09 – 1970 [email protected]

ARRI Film & TV Services Sound: Thomas Till +49 - (0) 89 - 38 09 – 1292 [email protected]

ARRI Lighting Solutions Sigrid Müller +49 - (0) 30 - 678 23 30 [email protected]

ARRI (GB) Ltd., Don Harris +44 - (0) 1 89 54 57 000 [email protected]

ARRI Media, Philip Cooper +44 - (0) 1 89 54 57 100 [email protected]

ARRI Lighting Rental, Tommy Moran +44 - (0) 1 89 54 57 200 [email protected]

ARRI Inc., Franz Wieser +1 - 845 - 353 - 1400 [email protected]

ARRI CSC (NY) Simon Broad, Hardwrick Johnson +1 - 212 - 757 - 0906 [email protected] [email protected]

ARRI CSC (FL), Ed Stamm + 1 - 954 - 322 - 4545 [email protected]

Illumination Dynamics (LA) Carly Barber, Maria Carpenter + 1 - 818 - 686 - 6400 [email protected] [email protected]

Illumination Dynamics (NC), Jeff Pentek +1 - 704 - 679 - 9400 [email protected]

ARRI Canada, Sebastien Laffoux +1 - 4 16 - 2 55 33 35 [email protected]

ARRI Italia, Antonio Cazzaniga +39 - 02 - 26 22 71 75 [email protected]

ARRI Australia, Stefan Sedlmeier + 61 (2) 9855 4300, + 61 (2) 9855 4301 [email protected]

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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

Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 München Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita MüllerWith additional text by: Stephanie Argy, Andreas Berkl, Alec Boehm, Antonio Cazzaniga, Rolf Coulanges, Jon Fauer, Christoph Fehn, Olli Barbe, Bob Fisher, Jochen Hähnel, Klaus Jacumet, Dr. Hans Kiening, Sebastien Laffoux, Judith Petty, Jörg Pohl, Sibylle Maier, Timo Müller, Marc Shipman-Müller, William Reeve, An Tran, William White, Franz Wieser, Norbert WunderlichArtwork: add cooperation Uwe Heilig Mediendesign, Matthias GriesselPrinted 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.

Expo Calendar 2007

These are the most important exhibitions where you can find out about ARRI products and services

2007

April 16 – 19 NAB Las Vegas

May 08 – 10 testingexpo Stuttgart

May 15 – 18 Koba Seoul

June 19 – 21 Showtech Berlin

June 19 – 22 Broadcast Asia Singapore

June 22 – 24 CineGear Los Angeles

July 17 – 20 SMPTE Sydney

August 05 – 09 Siggraph San Diego

August 22 – 25 BIRTV Beijing

September 07 – 11 IBC Amsterdam

October 08 – 11 Bifcom Buzan

November 01 – 03 Broadcast India Mumbai

November 16 – 18 LDI Orlando

November 19 – 22 NAT Moscow

November 20 – 22 Interbee Tokyo

November_December 24 – 01 Camerimage Lodz

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FromCamerimagetoCoolidgeNewgeneralManagerofARRIAustralia 68 WitnessoftheHistory 68

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

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This fall ARRI will celebrate 90 years of service to the worldwide production community. As is true of all anniversaries, it’s a good time for reflection on past accomplishments as well as an opportunity to look ahead to the promise held by the advancement of new ideas and technologies. We at ARRI have always been at the forefront of imaging technology and that tradition continues with the products and services highlighted in this issue of the ARRINEWS.

We are, of course, especially pleased when our efforts are recognized by our peers in the industry. Recently, the smallest and lightest modern MOS camera – the ARRIFLEX 235 – and the Wireless Remote System were presented with Technical Achievement Awards by the Academy of Motion Picture Arts and Sciences. At a ceremony held last February in Beverly Hills, Klemens Kehrer accepted the awards on behalf of the company and its engineering team. We are also pleased that the 235 is so well accepted in the industry and that it has been used on many productions including PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST, CHILDREN OF MEN and LETTERS FROM

IWO JIMA, to name just a few.

The 235 is a key element of our 35 mm product line, a line that can trace its roots back to the 1930’s and the original ARRIFLEX 35. Close contact with creative professionals have allowed us to continuously evolve our film cameras to this day. As a result we have seen the ARRICAM Studio and Lite cameras, arguably the cameras of choice for feature films and commercials alike, used on many blockbusters in the past years, including Oscar-winners like KING KONG, BROKEBACK MOUNTAIN and THE DEPARTED. Present on almost every film set is of course the ARRIFLEX 435, the reliable high speed MOS workhorse of the film industry.

Our 35 mm film cameras are the foundation of the 4K imaging process. 35 mm film provides the highest image quality possible for capture and also the widest latitude for cinematographers. Cameras, however, are only the initial link in the 4K chain. The high image quality captured is carried further down the Digital Intermediate workflow with the ARRISCAN film scanner, which now has achieved a broad distribution around the globe. Completing the path is the industry standard ARRILASER film recorder, which delivers 4K film masters for distribution and long term archiving to Hollywood and the world. ARRISCAN and ARRILASER facilitate more and more 4K productions like THE DA VINCI

CODE and several of our customers have established award-winning workflows for archiving digital data to film via the ARRILASER.

At the same time, the ARRIFLEX 416 Super 16 mm film camera has received a very enthusiastic welcome from the industry. Designed to provide the ergonomics and operational characteristics of our 35 mm cameras, the 416 is now at work on feature films worldwide, commercials and television dramas that appreciate its advanced features and silent operation. Coupled with new Ultra 16 lenses which were created specifically for the Super 16 format, the 416 offers cinematographers and producers a modern camera in an affordable and compact package. The 416, the new lenses, new fine grain film stock and the Digital Intermediate process have brought the Super 16 film format to an exciting new quality level.

While film as a capture medium is thriving, we recognize that digital acquisition is also an important and quickly developing technology, and yet another tool for cinematographers and producers. With the ARRIFLEX D-20 we have combined many of the unique features of our film cameras with the inherent advantages of the digital realm, such as the immediate availability of digitally captured images and the relatively low costs of storage media. Thus, the D-20 is ideally suited for high-end TV productions, VFX-heavy projects, time sensitive shoots and projects with a high shooting ratio. The D-20 has now worked on many productions such as HOGFATHER in the UK, AFRIKA, MON

AMOUR in Europe and THE COMPANY in America. As more D-20s come into the market, we continue to refine the system in response to our customers’ ideas and requests.

ARRI’s extensive range of high quality lighting products has enabled a multitude of creative lighting solutions. With products like the ARRISUN 40/25 or the Compact 1200, ARRI has grown into a leading manufacturer of lighting products in the film industry. The award-winning ARRIMAX and the new MaxMover demonstrate ARRI’s ability to create customer driven, innovative products. Productions like MUNICH, MISSION IMPOSSIBLE I I I and SMOKIN’ ACES have been realized with ARRI lighting equipment. The ARRIMAX in particular has been a key element in these productions. With decades of service on location and in studio use, ARRI lighting products are known for their reliability, durability and performance in all weather and climatic conditions.

We at ARRI will continue our efforts to provide you with a wide range of innovative products to help you translate your dreams and ideas into images on the screen. I see our 90th birthday as a beginning and a time for renewal of our efforts. I thank you for your support and wish you a most successful and productive NAB!

Franz Kraus

Franz Kraus

MyDearFriendsandColleagues,

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3D cinematography is principally a wide-angle medium and not difficult to put on film. With the right tools and following some simple guidelines any experienced director and cinematographer can produce fully immersive and exciting images for all types of 3D story telling. Arguably the most breathtaking 3D imagery can currently be achieved in the IMAX 3D™ format. Unfortu-nately, the 225 pound (102 kg) IMAX Solido

I have been approached many times in recent years by producers of large format films that want smaller, lighter 3D cameras, with faster, distortion-free lenses and greater depth of field to complement the breath-taking imagery of the IMAX 3D™ Solido camera system. Everyone wants to find ways to get the real money shots by getting 3D images in unusual places and from unique angles. In the past, I had designed

After several years of expecting digital image capture to overtake our film based design for smaller

3D cameras, I began to realize that digital technologies were giving birth to new directions in some

respects, but falling short in others – namely rapid high volume onboard storage. Therefore William

White and myself (both of the 3D Camera Company) decided to work with ARRI on the development

of a super flexible and super lightweight 3D rig, utilizing two ARRIFLEX 235 cameras, Ultra Prime

lenses and the ARRI Wireless Remote System for the IMAX © movie DInoSAURS ALIvE! and various

further IMAX projects. Using small and lightweight 35 mm film cameras to capture images for IMAX

3D projection provided us with unprecedented flexibility and unique shooting angles so that we didn’t

only use the rig for 10 % of DInoSAURS ALIvE! as originally planned, but for nearly half of the film.

3D camera makes it difficult to get some shots, and prohibits the use of many shooting techniques that are commonplace in 35 mm feature film production, including handheld shooting, Steadicam, long cranes, gyrosta-bilized heads, car mounts, etc. In addition, the lenses available are 25 years old, have a widest aperture of T4.5 and show various types of distortion, an unwelcome drawback especially for special effects work.

DinosaurHuntingWiththe

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several schematic versions of cameras to achieve these objectives. I had even invented a new shooting format that interlaced Vistavision stereo images at the perfect spacing for the human eye. However, I was concerned with the emergence of digital capture, so none of these cameras have been build.

After having waited for several years for digital cameras that could be used to get 3D images I realized that it would still be some time until they could be used in this way. The real accomplishment of digital technology in the past five to ten years has been the ability to digitally enhance the already exceptional film negative – a pro-

cess known as the digital intermediate. It is, for instance, possible to scan and digi-tally ‘up-res‘ images shot on 4 perforation/35 mm film to the 15 perforation/70 mm IMAX projection format. The result can be of sufficient quality that the difference between the 35 and 65 mm originated material is very difficult to see. This capability allowed the development of the DMR™ (digital re-mastering) process, a technology devel-oped by IMAX to make it possible for any 35 mm film to be transformed into the image and sound quality of an IMAX movie. DMR™ is used to show first run feature films on the giant IMAX screens. I realized that

The 235 3D Rig, William Reeve (left) and Master Rigger Claude Fortin (right) on top of a car in the Gobi Desert

Claude Fortin checks on the custom-built gyro- stabilized shock absorbers for a wild car ride

A dinosaur hunting safari trip in Mongolia

DinosaurHuntingWiththe 235

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the same technology could also be used to shoot 3D material with 35 mm film cameras to be intercut with material generated on 65 mm film.

In April of 2006, with several up-coming IMAX films to shoot, my partner William White and I commissioned ARRI to help us modify two ARRIFLEX 235 cameras to create a small and lightweight Super 35 mm 3D System. We wanted to shoot parallel stereography without mirrors and use the most distortion free lenses in the world – the Ultra Primes – to our advantage. With the IMAX movie D INOSAU RS AL IVE! in hot pursuit of equipment, we had only three months to design a special base plate and to go shopping for a completely matched set of 235 cameras and identically matched pairs of Ultra Primes.

Sebastien Laffoux at ARRI Canada spear-headed the effort together with Michael Haubmann from ARRI Austria, who coordinated a very enthusiastic team of engineers. We needed synchronized master/slave

camera movements, synchronous focus, iris and zoom controls and an extra conver-gence control channel. Plus, to optimize normal stereo vision we needed to get the Ultra Prime lenses as close to each other as possible. The 235 camera is a natural for this, as it is very small and lightweight, but still contains all the modern features we needed. The engineers at ARRI removed one of the video assist control panels and mounted it on top of the camera so we could get the cameras as close to each other as possible.

For perfect synchronization, they installed a small electronics board into the camera, right underneath the blind connector on the camera right side. Luckily, they had antici- pated that someone might want to do something crazy with the 235, and had left some room for the board and extra connector in the 235 design. To control the dual lenses and convergence we used the ARRI Wire- less Remote System with custom software. Four ARRI lens motors controlled iris and focus in perfect sync, while a fifth motor

controlled convergence. The framing is performed by looking at the video assist images on two 5.8" LCD monitors located on the cameras. This made it possible for Dylan Reade, our operator, to view and operate with the first ever, stereoscopic live action images by simply using crossed-

It‘s a big camera! Key Grip Christopher Tate, the IMAX Solido 3D camera and Master Rigger Claude Fortin on location (f. l. t. r.)

Master Rigger Claude Fortin, the inventor and manufacturer of the Sky Jib, with the 235 3D rig on a Sky Jib and a Cartoni Lambda head

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over eye technique, which is sometimes also called ‘free-viewing’. Alternatively, the video assist image can be viewed on video goggles. Since only the video assist of one 235 was physically modified, replacing a camera body in an emergency, as well as using the cameras for other, non-3D purposes, is easily possible.

Our first tests turned out better than expected, especially for the critical close focus shots where the distance between the lenses, still greater than the distance between the human eyes, can play havoc with the 3D effect. This distance is called the inter-axial distance.

Thus encouraged, we went ahead and created an articulating base plate that includes an adjustment for convergence, the angle of the optical axis‘ to each other.

Having convergence on the fly in a compact 3D rig is a real first. It allowed us to adjust convergence to match the lens‘ focal length, helping us to visually push the subject away from more aggressive 3D that is the result of wider inter-axial distance and increased parallax. A long standing Toronto-based film industry machinist, Willy Nikodemus, created the base plate that is at the heart of the ARRIFLEX 235 3D rig. His designs were made based on my CAD drawings that were sometimes only minutes old. There was a lot of testing and several attempts to get proper control of the torque required to accurately ‘toe in’ fully-dressed cameras on the fly. At the end, Willy installed a revised control mech-anism literally seconds prior to shipping to the first location, the Ghost Ranch in New Mexico, and then straight into the scorch-ing sand of the Gobi Desert in Mongolia.

There we used the rig and all the controls we had built to shoot to its fullest extent. Keep-ing all the parameters needed for a good 3D shot is tricky; you have to balance con-vergence, focal length, inter-axial distance, distance to subject, lens distortion, type of set and subject and various other factors. Our advice: “Don’t do this at home!” Aside from our experience, we used 3D ‘apparent distance‘ software developed by IMAX to determine the correct convergence settings. I was many times observed hiding under a dark cloth to make these calculations on my Palm Pilot.

The results were astounding. The Ultra Prime lenses recorded beautiful distortion-free images at T2. The complete rig, consisting of two 235 cameras named ‘Arnold’ and ‘Richter’, two Ultra Prime lenses and five CLM-1

The video assist control panel of the left eye camera was moved to allow the cameras, and thus the lenses, to be closer to each other

The articulating base plate. Each 235 camera sits on its own rotating plate

A close-up of the convergence control. The cameras are mounted on rotating plates that are controlled by the convergence lens motor visible below the lenses

Camera Assistant Stewart McFarlane and Producer / Director David Clarke working on a crane shot at the Flaming Cliffs in Mongolia. In such extreme close-ups, convergence control is an absolute necessity

The 235 3D rig on a Toyota Land Cruiser. note William Reeve, who is also attached to the car’s bumper to pan the camera

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William Reeve with the 235 3D rig on a nettman Stab-C head attached to an Astar B-3 helicopter

Claude Fortin and Director Bayley Silleck with the gyro stabilized mount for the 235 3D rig in a helicopter of the Central Mongolian Airlines

The view from inside of the helicopter. note the dual monitors showing the images from the two video assists

lens motors, weighs only 50 lbs (22.7 kg), that is 175 lbs less (80 kg) than the IMAX Solido 3D camera! In fact, it is even smaller than most equivalent HD rigs, since high-res storage is built-in. The whole rig operates relatively quietly and we get the benefit of film‘s inherent advantages, including 4K reso-lution, higher contrast range and natural color reproduction.

The 235 3D rig completely changed the way we work on IMAX 3D movies.

Suddenly we can do things that every nor-mal feature film crew is used to, but that is impossible with a 225 lbs camera at T4.5. We went handheld, we flew this rig under perfect control on the Panther crane with a 36 foot reach, we placed it on the Sky Jib, flew in a helicopter with the rig on a Nett- man Stab-C head, flew in a helicopter of the Central Mongolian Airways, Jeff Mart flew it on his Steadicam, it was mounted on the bumper of a Toyota Land Cruiser and bolted on top of vehicles in the Gobi

desert. We were able to run up and down a river bed with a Steadicam on a cart, the same way a Dinosaur would have done. We shot background plates in dark loca-tions with available light while still getting enough depth of field to keep the CG guys happy. Never once did we have a single failure of any kind. The whole thing worked right out of the box. Thank you ARRI!

Originally the plan had been to shoot about 10 % of D I N O SAU RS A L I V E ! with the 235

How do we see

And how can it be reproduced in a theatrical environment?The last year witnessed a remarkable revival of stereoscopic 3D productions. This new-found interest in a technology that had its first (and so far last) major appearance in

the 1950s can be attributed to two main driving factors: The ongoing transition from film-based theatrical exhibition to digital movie projection as well as the availability of new, high-quality tools for 3D content creation. Here is a look at the basics of 3D perception and the technologies behind the (new) 3D (Digital) Cinema.

Monocular and Binocular Depth Perception Being able to accurately judge relative distances and to perceive the spatial structure of objects is one of the most important skills in our everyday lives. We owe the ability to correctly perceive depth to the accomplish-ment of our eye-brain system to interpret

3D?

Stereoscopic depth perception Left-Eye View Right-Eye View

3D Percept

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several types of depth cues. These depth cues fit into two broad categories: Those that require only one eye are called monocular cues; those that depend on both eyes are called binocular cues.

While the monocular cues, such as relative size, occlusion (one object covering another), shading, linear perspective and motion parallax have been known and used already by the architects and painters of the Italian Renaissance, it was not until 1838 that Sir Charles Wheatstone (1802 – 1875) discover- ed the only depth sense that depends on our having two eyes. This sense, called binocular stereopsis or simply stereopsis (from the Greek στερεος = ‘solid‘ and οψις = ‘appearance‘) is available because our eyes are horizontally separated, which provides each eye with a unique view of the world.

This horizontal separation – on average approximately 64 mm for an adult – leads to slight offsets between the relative projections of observed scene points on the left and the right retinas. These differences in retinal location, called retinal disparity, provide us with information about the relative distance of objects and about the spatial structure of our 3D environment. It is

rig, but the rig worked so well and gave us such freedom in terms of weight, lens speed and camera mobility, that we ended up using it for more than half of the film. Months later after the up-res work at Lowry digital in LA, the producer David Clark reported from The Giant Screen Theatre Association Galveston conference that when screening the D I N O SAU RS A L I V E ! trailer, the differ-ence between the 3D images from the 235 3D rig and the 70 mm IMAX footage was imperceptible. The success of this rig

The 235 3D rig is shown here mounted to a gyro stabilized support that rides on top of a car in the Gobi desert. William Reeve (left) and Claude Fortin (right) still smile, before they get pummeled with desert dust

changes some of the conventional rules for large format production. While wide angle vistas are still best recorded on the larger 65 mm negative, we have proven that recent advances in film stock, camera, lens and digital intermediate technology make the use of smaller and lighter 35 mm cameras possible.

D I N O S A U R S A L I V E ! is scheduled to be released in mid-2007. We will continue to use this rig to shoot other exiting sequences

for future IMAX 3D movies, including our next project, a Stephen Low IMAX 3D™ film titled L E G EN D S O F T H E S K Y. We are already planning a new lighter and more compact convergence base plate that allows us to vary the inter-axial distance, that is to move the cameras farther apart from each other for more aggressive Steadicam work. In addition, other opportunities are already presenting themselves. Many of the digital cinema projectors that are being installed all over the world are ‘3D ready’ and there

William Reeve operating a handheld shot. video goggles allow him to see the video assist image

this disparity that allows the human brain to stereoscopically fuse the two different perspective views from the left and the right eye into a single, three-dimensional percept.

Early 3D ReproductionWith his discovery of the binocular depth cue in 1838, Wheatstone was also the first to show that stereoscopic depth could be reproduced in two-dimensional pictures. Only, instead of just one image, two slightly different perspective views, one for the left eye and one for the right eye, were required. As still photography was only invented later in 1839, Wheatstone’s first stereoscopic display device – the mirror stereoscope – contained two different perspective drawings, which could be viewed by bringing the head up to an assortment of angled mirrors. When both images were observed at the same time, the eye-brain system was able to integrate the disparate views into a solid perception of the scene.

The mirror stereoscope was further developed and minimized by Sir David Brewster and Oliver Wendell Holmes and from the middle of the 19th century and for almost a decade viewing stereoscopic imagery became a popular pastime in both European and U.S. homes.

Holmes stereoscope

vintage stereoscopic image

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Positive Parallax

Screen Screen Screen

Interocular Separation

Point in Left View

Point in Right View

Point in Right View

Point in Left View



Negative Parallax Zero Parallax

is a new push to digitally convert existing 2D movies to 3D and to shoot new, original 3D material. I believe that this will open up the market and we will see a major increase in the number of 3D movies shot and shown.

Ultimately, I think producers will add high frame rates to 3D, since the combination of high frame rate 3D image capture with

Stereoscopic 3D ProjectionWheatstone’s original stereoscope, as well as its popular, lightweight descendents, were essentially single-viewer systems, i.e., they could only be enjoyed by one person at a time. For providing the 3D effect to a larger audience, active or passive 3D projection techniques have proved to be more suitable. With the passive 3D system, the left- and right-eye views of the stereoscopic imagery are superimposed onto the same silver screen using orthogonal polarization filters. This can be done with either two projectors,

one for each eye, or with a single, digital projector equipped with a special kind of LC polarizer (Z-Screen from Real D), which switches between clockwise and counter-clockwise circularly polarized light with each projected left- and right-view image. In order to separate the two views the audience has to wear special glasses that contain a matching pair of polarization filters. With the active 3D system, the left- and right-eye images are shown alternately with a single, digital projector and the viewers wear shuttered glasses that electrically turn on and off in sync with the images projected on the screen.

3D Content CreationJust like monoscopic (non-3D) images can be captured with a single (film-based or digital) camera, stereoscopic imagery can

be recorded with a synchronized dual-camera configuration or stereo camera. Because such two-view systems are intended to ‘mediate’ the natural binocular depth cue, it is not surprising that their design shows a striking similarity with the human visual system. As it is the case with our two eyes, the left and the right camera of a stereo setup are horizontally separated resulting in a difference in perspective between the two captured images. When viewed with any of the described stereo-scopic reproduction methods, e.g., with a polarization-based 3D projection system in a movie theatre, this difference between corresponding left- and right-eye image points, the so-called parallax, induces the retinal disparities in the viewers’ eyes and the 3D effect is achieved.

How do we see 3D?

Jeff Mart flies the 235 3D rig in low mode, while being pushed on a cart down a river bed to approximate the movement of a dinosaur

Jeff Mart, with the 235 3D rig on his Steadicam

Perceived 3D impression for different types of parallax

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Publicity ads for recent movies shown in digital 3D

high frame rate 3D projection can create a fully immersive, ultra-realistic environment in any digital cinema. The best way to capture those high frame rate 3D images is film. So our goal is to further develop film based 3D cameras to capture high volumes of information at 48 fps. These cameras will be able to supply gorgeous 3D images for large format 3D projection and for mainstream 3D feature films in the future.

Written by William Reeve, CSC,with input from William White, Sebastien Laffoux and Marc Shipman-Mueller

The crew of D InoSAURS ALIvE! in the Mongolian desert

also made up the majority of last year’s 3D feature films. In addition, companies such as In-Three or Digital Domain have developed 2D-to-3D conversion processes that can be used to manually convert any choice of two-dimensional blockbuster content into stereo-scopic 3D. Last year’s T H E N I G H TM A R E BEFORE CHRISTMAS 3D was created this way and some other theatrical classics are target-ed for a 3D re-release within the next years.

3D Digital CinemaThe recent success of the 3D Digital Cinema is to a large extend due to the fact that modern digital projection allows, for the first time in history, to reproduce stereo-scopic imagery with sufficiently good quality using a single digital projector only. This is a major advantage over film-based 3D projection that severely reduces the effort and costs for setting up and maintaining a theatrical 3D exhibition system. In addition, there is also a wider range of film-based and digital tools available that can be used for the production of three-dimensional movies. With these two important improve-ments over the stereoscopic cinema of the 1950s, and the studios highly motivated to provide an enhanced movie-going experi-ence to differentiate themselves from HD home theatres, the chances are good that 3D will stay with us this time.

Christoph Fehn, Fraunhofer HHI

In more detail, the perceived 3D impression depends, among other parameters like the viewing distance and the interocular separation (the distance between the two eyes), on both the size and the type of the parallax recorded in the stereoscopic imagery: With positive parallax, a point in the right-eye view lies more right than the corre-sponding point in the left-eye view. When our eyes converge on these two points the lines of sight intersect in a 3D point that is observed behind the plane of the screen. The opposite is the case with negative paral-lax, where the point in the right-eye view lies more left than the corresponding point in the left-eye view. Here the lines of sight have to be crossed and the 3D point will be perceived in front of the screen. Finally, in the zero parallax condition, corresponding image points lie at the same position in the left- and the right-eye view and the lines of sight meet directly at the plane of the screen.

While shooting with a stereo camera is the method of choice for producing highest quality 3D images of real-world scenes, two additional methods for generating stereoscopic imagery are available to the cinematographer today. First, 3D contents can be created from computer-generated imagery (CGI) by ‘simply’ rendering two perspective views instead of just one. Because of the relative straightforwardness of this approach such animated 3D movies

For inquiries into renting the 235 3D rig, contact:

3D Camera Company1 Westside Drive, Unit # 12, Toronto, Ontario, Canada, M9C-1S2,Telephone: +1 416-622-9925

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F. l. t. r.: The 235 on weather balloons for a nestlé commercial, on a special car rig for the award-winning feature CH I LDREn oF MEn, with Steadicam inventor Garrett Brown, two cameras in a 3D rig and showing off its tiny size for an anamorphic movie

fluids get at around 70 fps, an ideal feature for any commercial where a liquid is poured.

A close look at the motor, movement and magazine of the 235 revealed that there was room for improvement, and by optimizing all operational parameters (and months of rigorous testing) we were able to increase the maximum forward

The 235 on a Formula 1 race car

A R R I F L E X 2 3 5

gainsSpeedÃ75fps

235MainFeatures• Simple & elegant modern 35 format

MOS camera• Small, lightweight & affordable• Half the size, weight & price of the 435 Xtreme• Compatible with 435 magazines• Bright, ergonomic viewfinder• High quality video assist

speed of the 235 to 75 fps. Not only will all 235 cameras be shipped with the speed upgrade, it is also possible to up-grade already shipped cameras. For more information, contact your local ARRI Service Center.

The multiple award-winning ARRIFLEX 235 has quickly become a standard in the cine-matographer s tool chest and can be found on most film sets. Thanks to its small size and light weight, it is being used for dynam-ic shots that would otherwise be impossible. We have seen the 235 attached to Formula 1 racing cars, body mounts, hand gliders, bicycles, weather balloons, snow boards, parachute helmets, jet fighters, frozen time rigs and in a doublepack shooting for an IMAX 3D film, to name just some of the more exotic applications. It is of course also ideal for handheld, Steadicam, remote heads, car mounts or as a handy camera to quickly grab a shot.

Since the release of the 235, we have re-ceived persistent requests from cinematog-raphers who want the 235 to run just a bit faster. Some need more speed for action scenes, others are after that smooth look

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high speed, high performance lenses that can be used in any lighting situation. Many commercials and feature films – including the Oscar-winning THE DEPARTED – have used the Master Primes already. Whenever and wherever you want to shoot, this ex-tended set of Master Primes opens up new creative possibilities for innovative shots of unprecedented optical quality.

The Master Primes family of lenses has realized a cinematographer s dream:

lenses that are fast (T 1.3) while at the same time exhibiting an outstanding opti-

cal performance. The success of this concept has led to the development of two

additional focal lengths: the Master Prime 14 mm and the Master Prime 150 mm.

growsWiderandLonger

M AStER PR IMES M AIN FEAtuRES

• 14 high speed (t1.3) Super 35 primes• 14, 16, 18, 21, 25, 27, 32, 35, 40, 50, 65,

75, 100 & 150 mm• Superior optical performance

— sharper, more contrast— no geometric distortion— dramatically reduced flare— minimized chromatic aberration

• Virtually no breathing through Dual Floating Element technology

• unique wide t-stop range (t1.3 to t22)• Super Color Matched to ultra Primes, Light-

weight Zoom LWZ-1 and ultra 16 lenses

Master Pr ime FamilyM AStER PR IME 14 MM

The Master Prime T1.3/14 mm completes the Master Prime family of lenses on the wide end. Creating a virtually distortion-free wide angle lens with a maximum aperture of T1.3 is an almost impossible task. Nonetheless, the Zeiss engineers tackled the problem and were able to create a lens that not only has a rectilinear image geometry (straight lines stay straight), but also exhibits brilliant optical quality at T1.3. The key was the use of aspherical glass surfaces, a technique re-quiring high precision and a complex holo-graphic measuring process developed specif-ically for the Master Primes.

M AStER PR IME 150 MM

Compressing the third dimension and creat-ing extremely shallow depth of field is often the desire of a director of photography in feature films and commercials. Traditionally, the movie industry has adapted telephoto lenses from 35 mm still photography. These lenses and the images that they created were often a compromise in terms of sharp-ness, brilliance and color saturation. The Master Prime T1.3/150 mm was designed from scratch to deliver telephoto images of stunning quality, covering the whole Super 35 image area with an image of the highest optical quality, even at T1.3.

The new Master Prime T1.3/14 mm and T1.3/150 mm lenses exhibit all the features that have endeared the Master Primes to cinematographers worldwide. They have superior optical performance, including a sharp, high contrast image, dramatically reduced flare, minimized chromatic aberra- tions and an even illumination of the whole Super 35 negative. They are equipped with an extended iris range (T1.3 to T22) and show virtually no breathing. A large barrel with an extended focus scale featuring big focus marks and the ARRI Lens Data System provide improved handling on the set.

The widest aperture of T1.3 allows shots in low light and with dramatically reduced depth of field. Unlike previous high speed lenses, the Master Primes have been opti- mized for a uniform optical performance across the whole T-stop range. They can capture details even in the darkest corner at night other lenses simply cannot see, while also handling high key lighting setups well. Even in blazing sunlight their special construction, custom light traps and ad-vanced T*XP lens coating protects the dark parts of the image, creating an image with high contrast and a well-defined range from the darkest to the brightest part of the scene. The Master Primes are a family of

FamilyResemblanceThe shape of both new focal lengths are matched to the current Master Prime lenses as much as possible without compromising opti-cal quality. The back end is the same as on all the other Master Primes, including focus and iris rings in the same positions. The Master Prime 14 is slightly longer, but still retains the 114 mm front diameter. The Master Prime 150 mm is longer and required a wider front diameter of 156 mm. All Master Primes are Super Color Matched to each other, to the Ultra Primes, to the Ultra 16 lenses and to the Lightweight Zoom, so the cinematographer is able to concentrate on creative color timing rather than matching lenses in post.

Michael Ballhaus on the set of THE DEPARTED, shot with ARRICAMs and Master Primes

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Academy Sc i -Tech Awards fo r

ARRIFLEX235 andWRSSystemSince 1930 the Academy of Motion Picture

Arts and Sciences (AMPAS) has conducted a program for honoring the artisans whose contributions have made it possible for the motion picture industry to exist. Recognition of ingenuity, efficiency and economy toward achieving the end result is the basic pur-pose of the Scientific and Technical Awards. ARRI was honored with two Technical Achievement Awards (Academy certificates), which are given for accomplishments that contribute to the progress of the industry. Actress Maggie Gyllenhaal presented these honors on February 10, at the Beverly Wilshire hotel in Beverly Hills.

Klemens Kehrer, Josef Handler, Thomas Smidek and Marc Shipman-Mueller were honored for the design and development of the ARRIFLEX 235. The ARRIFLEX 235 is a small and lightweight 35 mm MOS film camera designed for handheld and remote applications. With a smaller and lighter camera it is possible to work faster, use less rigging and utilize lighter support equipment. The 235 was recently used on the films CHILDREN OF MEN, LETTERS FROM IWO JIMA, KING KONG and THE ISLAND.

Kehrer, the Project Manager for the 235, thanked the Academy and acknowledged

the team behind the innovative design and engineering of the ARRIFLEX 235. “There should really be a group of 15 – 20 people standing with me here on stage accepting this award. I’d like to thank everyone for their hard work and team spirit in making this camera possible,” he said.

An Academy Certificate was also presented to Walter Trauninger and Ernst Tschida for the design and engineering of the ARRI WRS wireless remote system. This highly modular system permits accurate and reli-able wireless control of all lens and camera functions with multiple hand controls.

The ARRILASER film recorder also played a big part for companies winning Sci-Tech awards for groundbreaking work in digital negative separations to create archival elements that can be scanned and digitally recombined in the future.

Joshua Pines and Chris Kutcka of Technicol-or Digital Intermediates (TDI) were honored

with an Academy Certificate for the TDI process for creating archival separations from digital image data. An Academy Certificate was also garnered by EFILM’s William Feightner and Chris Edwards for the EFILM process for creating archival separations from digital image data.

To Phillip J. Feiner, Jim Houston, Denis Leconte and Chris Bushman of Pacific Title and Art Studio, an Engineering Plaque was given for the design and development of the Rosetta process for creating digital YCM archival masters for digital film restoration.

Approximately 45 people constitute the Scientific and Technical Awards Committee representing cinematography (production and technical), digital imaging, electronics and research, film and laboratory, lighting and equipment, mechanical or optical effects and engineering, production, projection, exhibition techniques and sound.

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Klemens Kehrer, Project Manager for the ARRIFLEX 235

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C o N g R A T U L A T I o N S

THE DEPARTED, directed by Martin Scorsese and shot by

Michael Ballhaus, ASC, was awarded Best Picture honors

at the 79th Annual oscars in Hollywood. For Scorsese, the

film marks a much-deserved win for Best Achievement in

Directing after a whopping six nominations since 1981 for

RAGInG BULL. Throughout the years, Scorsese has collabo-

rated with Ballhaus on a total of seven films – all of which

the cinematographer captured using ARRI camera equipment.

ARRIcongratulatesallofthisyear´sAcademyAwardnomineesandwinners.Wewouldliketoexpressourgrat itudetothemanyoutstandingproductionsthatputtheirtrustinourequipment.

oscarWinnersRelyonARRI

On THE DEPARTED, Ballhaus employed ARRICAM and ARRIFLEX 435 cameras with Ultra Prime and Master Prime lenses made available through ARRI CSC. The production was one of the very first to work with the Master Prime lenses.

THE DEPARTED won four awards in all, more than any other film. Besides Best Picture and Director, the film starring Leonardo DiCaprio and Jack Nicholson picked up Best Adapted Screenplay for William Monahan and Best Film Editing for Thelma Schoonmaker. THE DEPARTED benefited from a digital intermediate carried out at Technicolor Digital Intermediates, with the final film-out done by an ARRILASER. The film recorder was also trusted by the Oscar-winning films HAPPY FEET (Best Animated Feature), AN INCONVENIENT TRUTH (Best Documen-tary), and PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST (Best Visual Effects). In addition, PIRATES OF THE CARIBBEAN employed the ARRIFLEX 235 camera for multiple setups on the Disney adventure film. Congratulations to the winners and all of the nominees.

Franz Wieser

Michael Ballhaus

Florian Henckel von Donnersmarck was awarded an oscar for THE LIvES oF oTHERS

Director / Screenwriter Florian Henckel von Donnersmarck was awarded an Oscar for his feature film debut THE L IVES OF OTHERS in the Best Foreign Film category. The film, shot by DP Hagen Bogdanski, focuses on the system of surveillance and control by the secret police in the former East Germany.

Martin Scorsese

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Dead bodies, a load of heroin and a suitcase filled with $ 2 million – not a typical day

hunting antelope for a welder named Moss (played by Josh Brolin), who discovers a

drug deal gone very, very bad. So begins the film no CoUnTRY FoR oLD MEn,

based on the novel of the same name by award-winning author Cormac McCarthy.

Written and directed by Ethan and Joel Coen, with cinematography by Roger Deakins,

ASC, BSC, no CoUnTRY FoR oLD MEn marks the ninth collaboration for the

three filmmakers since BARTon FInK in 1990.

RogerDeakinsASC,BSCShootswith

Roger Deakins ASC, BSC on the set of no CoUnTRY FoR oLD MEn

MASTERPRIMES

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For Deakins, the film was a chance to bring a gripping morality tale to screen. “Obvi-ously, I was drawn to the film because of the Coen brothers. But the combination of the Coen Brothers and Cormac McCarthy’s wonderfully descriptive writing was an even greater draw. I love the Coen Brothers, especially their darker material, and I love the writing of Cormac McCarthy from the lyrical A L L T H E P R E T T Y H O RS ES to the poetic bleakness of B LOOD MER ID IAN and T H E R O A D.”

And darker material it is. When Moss decides to take the cash, he in turn becomes the hunted. His pursuit by a merciless hitman named Chigurh (Javier Bardem) ensues in a violent bloodbath as the killer hones in on his prey. At the heart of the story is an aging Sheriff Bell played by Tommy Lee Jones, who struggles to understand what has changed in the world to evoke such brutality. “This is a pretty violent film at times,” warns Deakins. “I really don’t like films with violence unless there is reason for it and here there is a rea-son. The Sheriff who is central to the story struggles to understand the arbitrary vio-lence used by the modern criminals along the Texas border.”

NO COUNTRY FOR OLD MEN shot mostly on location for 10 weeks in Texas and New Mexico. The hectic schedule included elab- orate chase scenes where Moss must elude the men out to kill him. One sequence tran- spires from night into dawn. Explains Deakins, “The trick to that sequence was to create that transition between the look of a moonlight lit landscape through, and into, dawn. I lit this very large area of the desert for a moonlight look with three Muscos, which were set on a bluff over half a mile away from action. To the east we placed a series of seven 18Ks 100 feet behind a small [bluff]. These 18Ks just blasted up into the atmosphere behind the hill as though dawn was arriving there. The idea was that when the real dawn arrived from the same direction the artificial lighting would blend with the light of the true dawn. It worked quite well but the weather was less than kind.”

To help capture these visuals, Deakins relied on a set of ARRI/Zeiss Master Prime lenses known for their high resolution, high contrast and low veiling glare across the whole T-stop range from T1.3 to 22. “These lenses were obviously a really great advantage. I like working at a wide stop. Even a T2 lens is sometimes not quite fast enough. On

N O CO U N T RY F O R O L D M EN we were shooting a lot at night. Whether in the desert ‘moonlight’ or on nighttime streets I needed to work at the widest possible ap-erture and that’s why I used the Master Primes. The extra speed really does make a difference when you are lighting large areas at night or shooting with available street lighting. I shoot a lot with practicals. On NO COUNTRY FOR OLD MEN we re-placed low wattage street lights with larger units so that I could get an exposure but the danger is always that the sources will cre-ate lens flares. I would be shooting shots on this film with just the light available from the existing street lighting and I’d think, ‘Will that street light flare?’ But I’d go for it and was often surprised that I didn’t get the flares that I thought I was going to get. Now and again you will get a flare with the Master Primes, but I don’t know if it’s possible to create a lens made out of glass that doesn’t flare,” laughs the five-time Os-car nominee for Best Cinematography.

Deakins’ latest film is a collaboration with writer-director Paul Haggis (CRASH). Again, the cinematographer employed the Master Prime lenses. ”I have been shooting another film, IN THE VALLEY OF ELAH, for the last three months which has been very ambitious and has had a very fast shooting schedule with an average of, perhaps, some 20-odd shots a day. It was a challenge to shoot so many shots in the time we had. A lot of my lighting has been about choosing practical lights that work for the scene and diminish the requirement for many conventional film lights from shot-to-shot. The designer and I talked about how we could light the sets so that I could shoot them quickly as money was tight and, first and foremost, we wanted the film to be made.”

IN THE VALLEY OF EL AH stars Tommy Lee Jones, Charlize Theron, James Franco, Josh Brolin and Susan Sarandon. Jones plays a career officer whose son goes AWOL after returning home from a tour in Iraq.

Deakins employed an ARRIFLEX 535B as the main camera and the ARRICAM Lite for handheld and Steadicam work on both projects. He notes, “I like to work handheld at times and the ARRICAM Lite is a fabu- lous handheld camera. As I get older the cameras get lighter and that’s really quite a nice coincidence!”

NO COUNTRY FOR OLD MEN and I N T H E VA L L E Y O F E L A H are slated for theatrical release this fall.

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Roger Deakins ASC, BSC and his crew

Roger Deakins ASC, BSC setting up a shot

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Jacques Perrin, who followed migratory birds for four years in the acclaimed documen-tary film LE PEUPLE M IGR ATEUR (WINGED MIGRATION), works again as director, script-writer, and associate producer. He explains the concept of OCéANS: “From polar ice floes to tropical lagoons, from wave-battered shores to the abyssal plains, OCéANS explores the still unrecognized hidden face of the Earth. Beyond the wondrous accounts, beyond the emotion elicited by the beauty of the images, OCéANS makes it alarm-ingly clear that the marine world, despite its fascinating wealth and complexity, is fragile. It is living on borrowed time, threatened by human actions: overfishing, pollution, coastal destruction, climatic changes. Through the intersecting destinies of various characters, OCéANS experiments with a new cinema-tographic script, mixing fiction and documen-tary. Fiction so close to reality; documentary treated like fiction."

Philippe Ross, HD designer, supervisor & adviser, adds: “This film is a continuation of Jacques‘ earlier films, as they all strive to show the exquisiteness of nature, and hope-fully will lead to more understanding and a more responsible attitude of humankind. To achieve this, we will use all available technological means, including miniature helicopters to follow dolphins close up and various different recording formats: digital HD underwater photography, 35 mm shots for fiction using mostly fixed focal lenses, and documentary style 35 mm shots using mostly a zoom and some fixed focal lenses.”

Luc Drion, one of their 35 mm camera operators, conducted various tests between prime and zoom lenses, and chose the ARRI Master Primes and Ultra Primes as the fixed focal lenses of choice. When it came to choosing a zoom lens, he was able to get a hold of one of the very first ARRI Light-weight Zooms LWZ-1. He notes: “I ran quite a few comparative tests between the ARRI LWZ-1 lens, the 15 – 40 Cooke lightweight

Luc Drion checks on an ARRIFLEX 435 in Mexico, Sea of Cortez, getting helicopter shots of Blue Whales

When French production company Galatée Films (H IMALAYA,

L’EnFAnCE D’Un CHEF CARAvAn, LE PEUPLE M IGRATEUR –

WInGED MIGRATIon, MICRoCoSMoS, LES CHoRISTES –

TH E CH o RU S ), prepared for principal photography of the film

oCéAnS, they knew their multi-format approach called for careful

lens testing and selection. Based on the results of their tests

they purchased the brand new ARRI Lightweight Zoom and used it

extensively during production.

LWZ-1on

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PHOTO BY VINCENT BLASCO

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and fixed Ultra Prime lenses and was very impressed by the performance of the LWZ-1. I started with a flare test by pointing the camera straight into a car’s headlights and the amount of flare was minimal. I did the same test with a rescue boat’s very bright projector and it was just as successful. Other parameters, including ramping, are quite exceptional for such a compact and flexible lens. Another test I ran was to see how the lens behaved in low light condi-tions, and the T2.6 aperture helped produce beautiful footage with no extra lighting.”

Galatée Films decided to purchase the very first LWZ-1 production lens. Production Manager Olli Barbe adds: “For the exterior documentary action shots as well as for the topside animal shots, the operators of Galatée Films needed a multi-purpose, high quality, lightweight lens. Many of the shots are done from boats, in unpredictable light-ing conditions, handheld, with even more unpredictable animals and weather condi-tions. Overall, the optical quality, flexibility, light weight, and small size of the LWZ-1 zoom are an ideal answer to our very par-ticular needs. Therefore, Galatée Films is extremely happy and proud to be the first production to use this brand-new lens. We feel very privileged and it gives us great comfort to know that we have this lens for our coming shoots."

olli Barbe in La Rochelle with an ARRIFLEX 435 ES during the tryouts for a gyro stabilized mount

During production, the lens performed very well. Christophe Pottier, 35 mm camera operator, found that “… the LWZ-1 allows extreme flexibility. I shot in February for O C é A N S on the Abeille Bourbon, an ex-treme weather rescue boat. The boat crew was very mobile and their actions unpredict-able. The LWZ-1’s reduced weight and small size allowed me to shoot shoulder-held shots in all sorts of situations. Not only is it very lightweight, giving me the right amount of mobility, it also allows a wide variety of angles without changing lens, which pre-vented salt and water from damaging the camera. In some situations, the available space was very small. This is when the size of the lens and its close focus distance (0,45 m) came in very handy.”

Philippe Ross summarizes: “Our operators thoroughly tested the ARRI Lightweight Zoom in actual shooting conditions and we are extremely pleased by the results. It‘s optical quality, weight and size are great, and the flexibility it gives our operators is outstanding and perfectly fitted to the shooting conditions on O C é A N S.”

Olli Barbe

Christophe Pottier shooting with the ARRI Lightweight Zoom on board an extreme weather rescue boat

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A production still from oCéAnS, showing a Dugong in the Red Sea

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The ARRI LMB-15 is the newest addition to the ARRI matte box lineup after its popular predecessor, the LMB-5. As with the LMB-5, it has been designed around the horizontal use of standard 4" × 5.65" filters. Features include:

• Continued compatibility with LMB-5 filter trays, adapter backs and light shields• New extended coverage for wide-angle film and digital lenses• New removable sunshade for closeups and inserts• New user-switchable filter guide sets for both 2-stage and 3-stage operation• New light shields can be attached both above and below for additional flare protection

With the introduction of the LMB-15 also comes a new clamping back allowing for use of the clamp-on adapter rings from the ARRI MB-20 system. This clamping back is also compatible with the LMB-5.

LightweightMatteBoxLMB -15

This new addition to the ARRI MB-20 system allows for full coverage in 16 × 9 format of even extreme HD wide angles such as the 3.9 mm Digiwide, while retaining sunshade depth for flare protection superior to customary extreme wide-angle matteboxes. The new modules from the Super Wide 16 × 9 program utilize the swing-away bracket and support rod consoles common to all MB-20 builds and is compatible with the light shields from the MB-20 System II.

MB-20SystemII–SuperWide16× 9Modules

NewARRIHDCameraSupportAccessories

ARRI’s new dual-system lens supports utilize the tried and tested snap-on rod systems from the FF-5

follow focus for unprecedented speed and ease of use. The LWS support can be

used directly with the adapter bridges from the FF-5 for optimal utilization and inventory

flexibility. Adapter rings are available for both cine-style and ENG/EFP-style lenses.

The established ARRI HD Camera Support line now offers a new quick-release baseplate and dual-system lens supports for HD lenses. The quick-release baseplate offers flexibility when switching from tripod to handheld, while retaining a rock-solid and secure attachment mechanism. A dedicated bridge plate allows use of accessories conforming to ARRI studio rod standards with a unique centering adjustment system to compensate for variations in camera base to optical axis measurements.

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In our continued effort to improve our product's performance, we have

developed a technically new communications protocol for the ARRI Wireless

Remote System (WRS). As more and more wireless devices crowd the air-

waves, this update will make the WRS transmission substantially more resistant

to interference, especially from video transmitters.

Focus Puller Dave Cozens has used the yellow washer software from day one. He reports: “I was working with DoP Remi Adefarasin on the feature film FRED CLAUS (with Vince Vaughn, Paul Giamatti, Miranda Richardson, Kevin Spacey and Kathy Bates) in Chicago, and we were one of the first crews to use the yellow software, and in my opinion it worked brilliantly.

The new system worked absolutely faultless, even in tough situations. For instance, we had a setup with a Cablecam, where the remote head was wirelessly controlled, where the video assist was wireless and we were using the ARRI Wireless Remote System to control the lens and we also

The transmission of data by the ARRI WRS is based on our own ARRI Wireless Net-working Protocol. Interference sometimes comes from wireless video transmitters and other wireless devices. A careful analysis of the most common video transmitters has led to new insights into minimizing inter-ference.

The latest software update offers better in-terference resistance by modifying the size and frequency of the data packets for a higher total system data rate and allows even better and smoother motor control even when data packets are lost.

WRS units with the new software are identified by a yellow washer under the antenna. The update will thus be called the ‘yellow software.’ All components of the WRS will be shipped with yel-low software installed. The ARRIFLEX 416 camera will only be available with yellow software. For further information, contact your local ARRI Service Center.

Please note that the yellow software is not compatible with the blue or green software. When updating, all components of the WRS should be updated simultaneously.

yellowontheSet

used the Wireless Remote Control (WRC-1) at the same time. Everything worked perfectly together, there was no interference at all! The ARRI wire-less system is just a fantastic piece of equipment, I use it all the time and all parts of it. I use the Lens Data System to see the lens info on the LDD-FP screen, and I hook the Cine Tape Measure up to it, so it can show me the measured distances on the display.

When we got the first prototypes of the yellow software, we were shooting in a cathedral. So I hooked the system up, and then I walked out of the cathedral while continually turning the focus knob. I had someone from the inside tell me what the lens was doing, and the focus moved perfectly for more than 300 yards (275 meters or 900 feet) distance.

In Chicago we worked with US assistants. So I took out the ARRI system, which we had brought from London, and I said to the first AC ‘This is great, you are going to love this.’ He just made a face. At the end of the show, he took me a side and said: ‘Mate, you were right, that system is fantastic, I am very impressed.’”

WRSyellowSoftwareUpgrade

Wireless Remote System Main Features

• Feature Rich - Full remote control of lens and camera - Lens Data System provides lens info on

LDD-FP display - Wireless speed and depth of field ramps• Modular - Many configurations possible - Simple snap-on connection - Automatic, smart identification of components• Multi-unit capability - Three hand units can communicate with

one camera - Multiple cameras, each with three hand

units are possible on one set• Small & lightweight• Robust transmission (yellow software)• Compatible with film and video cameras• Camera-side transmitter and motor drives are in: - ARRICAMs with Lens Data Box - ARRIFLEX 435 Xtreme - ARRIFLEX 416 Plus - UMC-3 (for all other film and video cameras)

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Unpolarized or circularly polarized light entering the film camera exits the beam splitter's two beam paths as linearly polar-ized light.

DepolarizerLT

With already polarized light, the critical factor is the plane in which the light was polarized. In extreme cases, the polarization in the beam splitter could lead to light only being emitted along one beam path, while no light is emitted along the other path – this would result in image loss.

If light enters the beam splitter at another polarization angle, (in the third example rotated by 90°), the polarization plane of the incoming light would correspond to that of the beam splitter. It is now also possible for the light to be emitted in an upward direction. However, the light emitting from the side is now weaker in intensity.

In any film taking place in present day, a computer or a Tv monitor is usually a standard

prop on the set. If we choose a tube device, the film camera must be synchronized with the

monitor to avoid the black bars in the picture. A TFT display is a helpful alternative, because

it normally doesn't require synchronizing. It could, however, be the case that the image

seen on the TFT display is not visible in the film camera's video assist. This effect is caused

by polarization. Light emitting from a TFT display is linearly polarized. The beam splitter,

which distributes the light in the film camera between the optical viewfinder and the video

assist, also polarizes. If the different planes of polarization do not match, the image from

the filmed display might not reach the video assist.

Allbeamsplit tersusedtodaydisplaythefollowingef fects:

Horizontally polarized light

Horizontally polarized light in x-direction

Unpolarized or circularly

polarized light


in y-direction



Shooting TFT-Displays and Back Projections

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DepolarizerLTThe other optical elements in the beam path – the lens, the aperture, and the ground glass – do not change any of the

fundamental characteristics: Unpolarized light which reaches the camera will also reach the optical viewfinder as well as the video camera. If this light comes from a

TFT display and the polarization plane is not oriented correctly to the beam splitter, no light will reach the Video Assist.

As a result, the ability to view the image displayed on the TFT in the Video Assist recording depends on the relationship of the light polarization of the TFT display to that of the beam splitter. With some TFT displays – very often with computers – the polarization is diagonal to the display. These displays are normally seen in the Video Assist recording. With TV displays, in particular, the polarization lies hori-zontally, while the beam splitter in the ARRICAM LT splits vertically. That's why an ‘erasure effect’ is seen primarily in the ARRICAM LT, leading to the Video Assist either displaying no image, or only a dark

representation of the image on the TFT dis-play. Other monitors could theoretically produce the similar effects with other cam-eras, but this has not yet been observed.

To address this problem, the Depolarizer LT was developed. The linearly polarized light from the ground glass is transformed by the Depolarizer into circularly polarized light, which can pass without interference through the beam splitter.

Similar effects also occur when polarized light from other sources (rear-screen projection, blue screen areas, etc.) reach the camera.

The depolarizer is easily attached between the camera body and the viewfinder of the ARRICAM LT. It is available from April 2007.

Klaus Jacumet

Ident-Number: K2.47758.0

Video cameraHorizontally polarized light


Beam splitter

Ground glass

Shutter mirror

Unpolarized light

Lens

TFT display

Video camera

Beam splitter

Ground glass

Shutter mirror

Lens


Video camera

Beam splitter

Ground glass

Shutter mirror

LensTFT display

Depolarizer

Circularly polarized light

2 3C a m e r a

Lights!Camera!Teargas!In 1999 riots racked Seattle when thousands took to the streets to protest corporate power and globalization at the

World Trade organization summit. BATTLE In SEATTLE is a feature film written and directed by Stuart Townsend

depicting these events through the eyes of protestors, police, the mayor and locals in Seattle. With a budget under

$ 10 million, the independent film shot on Super 16 mm with new ARRIFLEX 416 cameras equipped by ARRI Media.

Cinematographer Barry Ackroyd, BSC (UNITED 93, LOVE + HATE) was tapped to deliver a documentary-style film that would weave actual footage from the event with principal photography shot over five weeks in Vancouver and Seattle. In the September 2006 issue of British Cinematographer magazine, Ackroyd said, “In cinematography, I am all for chance and accident – trying to do things that shouldn’t be possible or do-ing them the wrong way around so it comes out differently.”

The film hosts an ensemble cast including Charlize Theron, Ray Liotta, Woody Harrelson, Andre Benjamin and Michelle Rodriguez.

Also performing with this cast of characters is legendary Cinematographer Haskell Wexler, ASC. Again, blending documen-tary with narrative styles, BAT T L E I N SEAT TLE casts Wexler as himself – a cameraman shooting the protest. This technique of blending actual footage with the filming of staged scenes harkens back to MEDIUM COOL, which Wexler directed in 1968.

The two-time Oscar winner, sent ARRI Inc.’s Bill Russell, VP of Western Operations, a few of his thoughts from the production of BAT T L E IN SEAT T L E:

Extras play the role of protestors Photo courtesy of Bob Hare

HASKELL WEXLER4837 Laurelgrove AvenueValley Village, California 91607November 28, 2006Bill RussellARRI INC. 600 N. Victory Blvd.Burbank, CA 91502

Dear Bill:

Barry Ackroyd is shooting “Battle in Seattle” in Vancouver. I was there

to act the part of Haskell Wexler, a cameraman who gets pepper

sprayed in a riot.You know Barry’s recent work. The film “Wind That Shakes The Barley”

won the Palme d’Or Award at Cannes in 2006 and “United 93” has

been nominated as one of the best-shot films of 2006.Barry is photographing this film in Super 16 with the new ARRIFLEX

416. They have four of them. After my acting scene Barry let me do

some guest shots, handheld shooting out a broken, barred window at

demonstrators being gassed and dumped into a police bus.I know ARRI has a terrific high definition video camera in the D-20, but

this shooting reminded me of the incredible seeing range and look of

film in the Super 16 format. The camera is so compact I easily braced

myself in a corner behind the driver’s seat with a 10:1 zoom.I guess this note from the north is to compliment ARRI for the 416.

I believe what you’ve done for Super 16 will offer a continued good

look to many types of films.Barry Ackroyd joins me in praising the device. Plus he complimented

my shots and acting.Regards,

2 4 C a m e r a

Wexler has compiled some 30-plus docu-mentary credits, including THE BUS, INTER-VIEWS WITH MY LAI VETERANS, BRAZIL: A REPORT ON TORTURE, INTERVIEW WITH PRESIDENT ALLENDE, INTRODUCTION TO THE ENEMY, CIA CASE OFFICER, THE SWINE FLU CAPER, PAUL JACOBS AND THE NUCLEAR GANG, THE TRIAL OF THE CATONSVILLE NINE, THE SIXTH SUN: MAYAN UPRISING IN CHIAPAS, TARGET NICARAGUA – INSIDE A SECRET WAR, AT THE IMAX: AN IMAX DEPICTION OF A ROLLING STONES TOUR, and BUS RIDERS UNION, an in-depth probe of the neglect of public transportation relied on by the Los Angeles working class.

He is also a celebrated narrative film cinematographer who has earned Oscars for WHO’S AFRAID OF VIRGINIA WOOLF? and BOUND FOR GLORY, and additional nominations for ONE FLEW OVER THE CUCKOO’S NEST, BLAZE and MATEWAN. A short list of his other credits include such classics as THE THOMAS CROWN AFFAIR, IN THE HEAT OF THE NIGHT and COMING HOME.

Being superstitious he didn’t have a Virginia Woolf acceptance speech before the Academy Awards. Striding up the steps he thought of thanking director Mike Nichols. Wexler felt it would be the only time in his life to say anything to tens of millions of television viewers. Oscar in hand he said,

“I hope we can use our art for love and peace.” In 1967, those were radical words.

MEDIUM COOL followed. Written and direc-ted by Wexler, this Paramount 1968 release is a melding of the documentary and theat-rical. Film schools around the world study the innovative techniques. Wexler says he stole it all from Jean-Luc Godard.

Between pictures he never stopped shooting documentaries. Introduction TO THE ENEMY IN VIETNAM and many pictures in Central America where proxy wars and state-

sponsored terrorism made shooting dan-gerous on stories often unreported.

“My excitement in making a documentary comes from making discoveries, seeking a truth, to communicate images that may not conform to the original intention,” Wexler said. “When there is an assignment to fill in the colors of a pre-painted picture it may be difficult to trust your gut, to do what’s in your heart. Difficult but not impossible, it’s all part of the game we must learn as artist citizens.”

Wexler’s WHO NEEDS SLEEP? documentary tells the story of film and television crews routinely working sweat shop hours, clock-ing 15- to 18-hour days at the expense of their families, their health, their well being and even their lives.

It was eight years from the first shot until the WHO NEEDS SLEEP? reception at Sundance. “I’m not suggesting that documentaries should take seven-and-a-half years to make, but something magical does happen when I stick with a subject. Real life is not like a theatrical film where fiction doesn’t have to wait for the ‘scene.’ For documentarians, a full picture often emerges in the editing where we find the dramatic structure to cre-ate a reality-based ’fiction,’ hopefully with a story which will interest an audience.”

Wexler has received lifetime achievement awards from the American Society of Cinematographers (1993) and the Camer-image International Festival of the Art of Cinematography (1996). In 1996, he received a star on the Hollywood Walk of Fame.

Bob Fisher and An Tran

For more information:www.battleinseattlemovie.comwww.haskellwexler.com

Wexler prepares a shot with the ARRIFLEX 416

Armored policemen prepare to control the unruly crowd

On an Honor Roll: Haskell Wexler, ASCHaskell Wexler, ASC’s relationship with ARRI began over 30 years ago, as one of the first American cine-matographers to purchase his camera from the Ger-man camera manufacturer. Wexler leads a dynamic life, creating groundbreaking films while advocating for those in need. His amazing career has not gone unnoticed. Recently he was honored with a pair of awards to add to his prestigious collection: a Career Achievement Award from the International Documen-tary Association and the Governors’ Award from the Society of Camera Operators.

Two DoPs in a pod: Wexler and Ackroyd on the set of Battle in Seattle (f. l. t. r.)

Wexler readies for a scene

ABOVE PHOTOS BY CAMERA OPERATOR SCOTT MACDONALD (WWW.SCOTTYMAC.CA)

PHO

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2 5C a m e r a

Dawn of the ARRIFLEX 416:

Super16mmPossessesSetofP A R A S o M N I A

Writer / Director William Malone (HoUSE on HAUnTED HILL, MASTERS oF

HoRRoR) is quite familiar with the horror film genre, but for his latest

offering PARASoMnIA, Malone uncharacteristically set a developing love

story in the path of a mass murderer. The film follows Danny (played by

Dylan Purcell), who meets a mysterious girl named Laura (Cherilyn Wilson)

stricken with parasomnia – a condition that causes her to sleep constantly

and only awaken for fleeting moments. When Danny learns scientists have

plans to do invasive tests on her, he takes her to

his apartment. Little does he know that his sleeping

beauty shares a dark secret with Byron volpe

(Patrick Kilpatrick), a demented murderer.

William Malone directs Dylan Purcell and Patrick Kilpatrick

2 6 C a m e r a

To bring this surreal vision to screen, Malone tapped Cinematographer Christian Sebaldt, ASC (DESPERATION, RESIDENT EVIL APOCALYPSE), who previously worked with Malone on FEARDOTCOM. Despite an extremely low budget, the filmmakers decided from the outset to shoot Super 16 mm using a digital intermediate (DI) transfer to 35 mm for the-atrical release. “I’ve shot three films on high definition (HD) video. I’m very familiar with it, and it’s a great format,” begins Sebaldt. “But Bill Malone and I love film and we always thought somehow we would raise enough money to shoot on film. It seemed the feel of film was a better format for the story, since it’s really a love story set in a spooky environment where very bad things happen. Film just seemed appropriate. There was never a discussion about shooting on anything else.”

To capture the striking visuals for PARASOMNIA, the production managed to get their hands on the newest Super 16 mm camera on the market, the ARRIFLEX 416; along with state-of-the-art lenses, the ARRI / Zeiss Ultra 16 primes. Says Malone, “The 416 is a superb camera – without a doubt the finest Super 16 camera that I have ever experi-enced. The footage from the camera combined with the amazing ARRI / Zeiss lenses is awesome, sharp as a tack, with terrific color depth to rival 35 mm.”

For the film’s look and feel, Sebaldt went for as much camera movement as possible. “We shot with Steadicam as well as on a Panther dolly and a little bit of handheld. It’s a scary, creepy movie, so you’re not truly stationary. In almost every shot, you’re always moving a bit to build some tension between the visuals,” the DP notes.

As a series of murders unfold around Danny and Laura, a police investigation is under- way in his apartment complex. The scenes needed to communicate a sense of urgency and anxiety as Danny struggles to figure out what is going on. “We have shots of people running down the hall,” says Sebaldt. “I love wide lenses and I love long lenses. Both of them have a lot of drama. For the wide lenses, we used the 6 mm and 8 mm Ultra lenses a lot on Steadicam and often very low. Sometimes Operator Mark Coyne would sit on a dolly and hold the camera just an inch off the ground. Because the lenses are so good, they don’t bend and distort, the images are extremely dramatic. What is small in the distance comes rushing at you, even at slow speeds.”

To stay with the genre and keep the film fairly moody, Production Designer Katherine

Vallin had most sets like Danny’s apartment painted rather dark. “They actually required a lot of lighting because of how dark they were painted,” says Sebaldt. “Due to all the camera movement, the light is usually coming through the window to keep equipment from being on the set. Because the walls were dark and so the set walls didn’t disappear, no matter where the lights were pointing through the window, I had to have enough fill light on the walls to have a bit of exposure. They were painted with glossy paint so I could get reflections and pick up a little more light.”

Shooting the dark film was helped greatly with the 416’s bright viewfinder, the same viewfinder designed for the ARRIFLEX 235 35 mm camera. “We all loved the viewfinder. I’ve never seen anything like it in the 16 mm format. The clarity, the color reproduction, brightness and contrast. You get a true reproduction of what you’re seeing, it’s really astounding,” notes Sebaldt, whose next project is the live action feature titled BRATZ.

The Munich-born cinematographer decided to shoot the entire film on Kodak Vision2 7217 200T stock. He says, “Usually I shoot all dark movies with 500 ASA, it’s just easier and the 35 mm stocks are so tremendous with no grain, but here we were deal- ing with a blow-up from 16 mm to 35 mm, even with the manipulation we can do in a DI, there might be grain. We decided to go with 200 ASA film and expose it at 160 ASA to be sure it would be as rich as we could make it.”

Rating the film at 160 ASA required more lights, especially fill light with practicals turned on very low. Says Sebaldt, “We spent more time lighting but it was cer-tainly worth it. There is no visible grain. It’s quite amazing. I’ve never seen DVD dailies from 16 mm film that looked so good. The reasons for this are because of the amazing lenses, the incredible film, plus the transfer to HD.”

Working with Gaffer Miles Anderson, Sebaldt completed his lighting package from Illumination Dynamics with ARRI X 40/25 4K HMIs. “We sometimes used the ARRI X 4Ks with a black reflector to get extremely sharp shadows for night exteriors, which is just beautiful. The ARRI X 4K is one of my favorite lights. The lights we got from Santa Clarita Studios were all Tungsten, but we didn’t have HMIs for night exteriors and big day interiors. Without the big HMI package we got from Illumina-tion Dynamics, I don’t think we could have made the movie, it really made a difference.”

For Malone and Sebaldt, who are sea- soned veterans in the film industry, making PARASOMNIA with a low budget meant making a movie purely on their terms and not within the often confining standards of the Hollywood studio system. However, the filmmakers didn’t allow the lower budget to compromise the film’s production values.

“If we didn’t have the feeling when we started that we couldn’t make the film look good enough, we wouldn’t have started. We pushed really, really hard and we were able to get people in the industry very excited about the film and get behind it. Bill Malone has a huge track record in the horror genre and we knew we would be able to get a lot of publicity for the film.”To up-and-coming filmmakers just beginning to tell their stories, PARASOMNIA is an example of what can be accomplished with the right mix of enthusiasm and an interesting script. Says Sebaldt, “Young filmmakers should just go for it. They need to demon-strate their passion. If they are honest and try hard enough for the industry to support it, I think they can get a lot of discounts and deals. If you have a really good project, sell that project, sell yourself and your ideas. You have to infect people with your passion, make them feel a part of this and get them excited about your wonderful project. It’s possible.”

An Tran

Christian Sebaldt

2 7C a m e r a

This year we focused on the promotion of our new ARRIFLEX 416 camera and the Super 16 mm format. During the festival, there was quite the buzz surrounding the Super 16 format, which was certainly supported by the presence of our new camera. ARRI Sales Coordinator Eric Johnston guided attendees through the features of the 416 on display with the new Ultra 16 lenses. However, the real attraction to the workshops gave filmmakers the opportunity to take the camera on to the streets of Park City for a hands-on experience.

Besides numerous camera presentations, we had approximately 20 filmmakers run-ning several cans of film through the 416. Kodak was kind enough to donate the stock, PostWorks processed the film and

Goldcrest Post New York scanned the negative on the ARRISCAN film scanner.Says Director Deborah J. McDonald, “When I heard the new ARRIFLEX 416 was available to demo during Sundance, I jumped at the chance to put it through its paces. As I lay on my back with my feet pointed up hill, I took my time shooting the crowd passing by on Main Street. The 400-foot mag ran out well before my abs did, and that highlights the 416's ergonomic and lightweight design. I'm definitely looking forward to getting better acquainted with the other features of this camera!”

Thanks to everyone who came to check out the 416.

Franz Wieser

The416Stepsout

For the second time, ARRI joined the Sundance Film Festival by

sponsoring the new York Lounge coordinated by the new York

State Governor’s office for Motion Picture and Television

Development. Additional sponsors were Kodak, PostWorks, Avid,

Greenberg & Traurig, HP and Axium.

at

Director Deborah MacDonald gets down for a low angle shot

Lorette Bayle goes handheld, capturing some atmosphere at Sundance

ARRI’s Eric Johnston meters the light for DP Peter villiani

DP Kris Brearton shoots outside of the nY Lounge

Kodak’s Lorette Bayle and DP Peter villiani get a tutorial on the features of the 416

2 8 C a m e r a

To assist in the production of independent documentaries, a complete filmmaking pack-age was put together that would enable production of a documentary from start to finish. Raffle tickets were sold, with pro-ceeds going to the IDA. The prize includes four weeks use of an ARRIFLEX 416 camera package (including batteries, filters, tripod, zoom lens and magazines) from ARRI, 10,000 feet of Kodak Motion Picture 16 mm film, processing at FotoKem Film & Video, a copy of Production Studio software cour-tesy of Adobe Systems, Inc., and a 12-hour telecine transfer from Laser Pacific. The package is valued at $ 40,000. This is the second year that ARRI has participated in the effort.

Moore will apply the Dream Package towards not only one project, but two documentaries she is producing: B O R D E R ECHOES – ECOS DE UNA FRONTERA and PROJECT JAMBO. If resources are still left after these films, she plans to stretch any remaining resources on yet another docu-mentary ORPHANS OF ADDICTION.

“The Dream Package is truly a dream,” she says. “Films should be a process of thinking and that’s what I’m trying to do with my projects. We know how to squeeze, we are resourceful and we will use the package down to the penny!”

Executive produced and directed by Lorena Mendez-Quiroga, BORDER ECHOES – ECOS DE UNA FRONTERA explores the brutal slay-ings of girls and women in Ciudad Juarez, Mexico, through the eyes of investigative reporter Diana Washington Valdez. Although the documentary screened in September 2006 at the Laemmle Sunset 5 in West Holly-wood, the filmmakers plan to use the Dream Package to reshoot interviews and footage that will benefit from the look of the Super 16 mm format.

Explains Mendez-Quiroga, “There have been over 400 women murdered in this border town and it’s only a stone’s throw away from the U.S. Many of the key suspects behind the murders are rich, powerful men and gangs – people protected by authorities. We wanted to do an investigative journey as to why there is this conspiracy.”

PROJECT JAMBO is titled after an organization that brings cultural exchange between children in Kenya and the U.S. Founded by Sue and Joel Gilbert in 2002, the charity began with “friendship packages” of letters and artwork created by 200 California elementary and middle school children that were delivered to Kenyan children. The documentary chronicles the success of the cultural exchange.

“Through documentary filmmaking, we want to bring light and bring to the forefront many of these issues that don’t make your two minutes of news and really make a change,” says Mendez-Quiroga.

Notes Moore, “We combined our production companies No Color Lines Productions & Song Publishing with Peace at the Border Films & Publishing LLC, together to dedicate ourselves to making films and TV shows that change lives, one film at a time. Not only do we hope to change lives, but we want to empower and make a difference. Our goal for BORDER OF ECHOES – ECOS DE UNA FRONTERA is not only to make a film, but getting an Amber Alert system put in place in Mexico. Our goal for the African project is to provide running water in Kenya.”

For filmmakers like Moore and especially Mendez-Quiroga, who began working on BORDER ECHOES – ECOS DE UNA FRONTERA over eight years ago, finally seeing the fin-ished film is more than seeing their names roll in the credits. “It’s so wonderful to have

a place like the IDA that supports filmmakers like us. Once you see your film up on the big screen and you know the impact that it has to bring about change, it’s the greatest satisfaction. Every sacrifice was worth it,” says Mendez-Quiroga.

Says Moore, “It’s not what you go through, it’s what you grow through. [We] thank you for your support in helping us reach our goal.”

The IDA was founded in 1982 as a non- profit membership organization dedicated to supporting the efforts of nonfiction film and video makers throughout the United States and the world; promoting the documentary form; and expanding opportunities for the production, distribution, and exhibition of documentary. The IDA is committed to continuing its efforts to increase public appreciation and demand for documentary films, videos, and television programs across all ethnic, political and socioeconomic boundaries.

An Tran

For more information, go to: www.borderechoes.com and www.projectjambo.org

IDADreamPackagegivesVoicetoDocumentariesWriter / Songwriter / Producer Shay Moore has won the International

Documentary Association’s (IDA) annual Documentary Dream Package,

an award sponsored in part by ARRI that includes an ARRIFLEX 416

camera rental. The raffle was awarded on Dec. 8 at the conclusion of

the 2006 IDA Awards Gala Benefit.

Shay Moore, winner of this year's Documentary Dream Package

2 9C a m e r a

For Scandinavian customers this means that basically all cameras – be they 16 or 35 mm format – are equipped with the rele-vant time code accessories such as time code magazines or time code exposing modules. Technically, the ARRIFLEX 416 records the same code as the SR 3, which is an 80 bit code on the very edge of the Super 16 image. But even if the code stays the same, the ARRIFLEX 416 makes it even easier, since there is no need anymore to decide for a time code magazine – all magazines can be retrofitted with time code exposure modules.

The time code oscillator can now be trimmed to match the speed of the time code oscil-lator of the audio machine. This feature was taken over from the ARRICAM system. The new 5-pin LEMO time code connectors are more common in the world of time code, and further improve the system.

We took the opportunity to accompany the first ARRIFLEX 416 delivered to Scandinavia to its first production. The Copenhagen- based rental house Kameraudlejningen ApS, provided the equipment for the Locmotion A/S productions’ trailer for the Danish TV Station Viasat. The trailer introduced a pro-gram about testing restaurants and also put to the test a tight production plan: A single day of shooting, the film gets processed

right after the last take and was then tele-cined immediately after that as a best light transfer. To have the results altogether with sound, time code is a great tool. When shooting ended at 6 pm, the film was pro-cessed by 10 pm and completely transferred with synchronized sound by midnight and that included shipping of the film within Copenhagen.

Even if it was a new camera, shooting worked seamlessly in terms of handling and time code operation. Kameraudlejn-ingen prepared a time code synchroniza-tion cable and besides this, everything was quite familiar for the camera crew.

In postproduction, the telecine and color timer was surprised to hear afterwards that it was a new camera type. It worked immediately, and with even better code readability, which is the best statement that nobody has to learn new things. We also visited another major post house in Copenhagen with a similar test film to make sure that everything also works well in this facility.

By the way, Kameraudlejningen is currently providing the 416 for another job, this time a big feature film called KARLAS KABALA, and of course with time code again.

Klaus Jacumet

TheARRIFLEX416 ArrivesinScandinavia

Thomas Kristensen holding the ARRIFLEX 416

Scandinavia was one of the breeding grounds for time code productions,

and their time- and money-saving benefits: over the years this approach

has become a true standard procedure on location, as well as in post-

production. Everyone is familiar with the few simple steps required. Thus

it works reliably and speeds up the process of filmmaking. Especially for

16 mm, cost reduction is an important factor, especially when used as a

source for Tv programs.

IMA

GES

BY

THO

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PS

DoP Henrik Kristensen with the ARRIFLEX 416 on KARLAS KABALA

3 0 C a m e r a

1.661.66

1.661.66

1.78/1.55 SAFE/1.33 SAFE/CGG

1.78/1.78 SAFE/1.33 SAFE

1.85

1.85/1.33 SAFE

2.35

1.33

1.33/1.33 SAFE

2.35 ANAM.

1.33/1.33 SAFE

1.66

1.78

1.78/1.33 SAFE

S16 2.35 anamorphic projected area

for 416 / SR 3 for SR 3 with Advanced light meter

Thefollowingfiberscreensareavailable:

New16mmFiberScreensProduction methods for 16 mm and 35 mm film are becoming increas-ingly similar. That's why ARRI has adapted the layout of the 16 mm fiber screens to fit the 35 mm standard. Additionally, new formats have been introduced to the product line. The hedged area which shaded the outer field on the old fiber screens was replaced with a neutral density area. This prevents the fine lines in the outside area from interacting with the video Assist’s CCD sensor pixel pitch to produce a Moiré effect, which looks like something a plaid jacket would produce in a Tv image.

The new range of products includes ten S16 fiber screens. They are retro- actively compatible with the ARRIFLEX 16SR 3 and Advanced – that's why two N16 screens were also added to the line. The fiber screens are also available with markings for the exposure meter.

All ground glasses show the actual exposed negative image according to DIN 15602 and ISO 5768: for S16 the area is 12.35 × 7.5mm (0.486" × 0.295"), for N16 the area is 10.3 × 7.5mm (0.406" × 0.295") . The area outside this space is reduced in transparency to clearly define the

image area that is actually being re-corded onto the negative. Unwanted objects, such as microphones, can be easily recognized and kept out of the image.

The additional lines within the exposed field represents important areas such as the projected area or the area, which can be represented on all standard television sets (TV safe action area) in the various aspect ratios. According to customer demand, these lines are now solid and drawn through, while on the old screens often only the format corners were in-scribed. An exception are the lines for combined formats which are extreme-ly close to one another – for clarity’s sake, only the beginnings of these lines are marked.

More detailed information, an expla-nation of terms, as well as an overview of all ARRI ground glasses, fiber screens, glow masks and the respec- tive image areas can be found on our website at http://www.arri.de/infodown/cam/ti/format_guide.pdf

The new fiber screens are available for delivery from April 2007 on. The old fiber screens will remain available as long as supplies last.

K2.65111.0 K2.47782.0

K2.65112.0 K2.47783.0

K2.65113.0 K2.47784.0

K2.65114.0 K2.47785.0

K2.65115.0 K2.47786.0

K2.65116.0 K2.47787.0

K2.65117.0 K2.47788.0

K2.65110.0 K2.47781.0

K2.65118.0 K2.47789.0

K2.65119.0 K2.47790.0

K2.65120.0 K2.47791.0

K2.65121.0 K2.47792.0

version for 416 or SR 3 Advanced without light meter

version for 16SR 3 with light meter

Format

S16 1.66 projected area

S16 1.78 tV transmitted

S16 1.33 tV transmitted / 1.33 tV safe action

S16 1.78 tV transmitted / 1.55 tV safe action / 1.33 tV safe action / CGG

S16 1.78 scanned area / 1.78 tV safe action / 1.33 tV safe action



N16 1.33 tV transmitted / 1.33 tV safe action

S16 1.85 projected area / 1.33 tV safe action

N16 1.33 tV transmitted

S16 1.78 tV transmitted / 1.33 tV safe action

31C a m e r a

In early August 2006, the production started in Vienna, Austria and Berlin with the Ger-man part of the story: Katharina von Strahl-berg (Iris Berben) is betrayed by her husband, German officer Richard von Strahlberg (Robert Atzorn) on the eve of World War I. To start a new life she decides to go to East Africa as a nurse. Here she finally meets the love of her life, the British officer Victor March (Pierre Besson).

The real challenge started when the produc-tion moved to Kenya at the end of August for two and a half months: heat, dust, sand and heavy rainfalls were as demanding to the crew as to the equipment. Says DoP Frank Küpper: “The equipment performed really well. Only after very heavy rainfalls on Lamu Island at the Indian Ocean did we have a problem with condensation on the CMOS sensor due to high humidity. But the technicians from ARRI Munich found a fast, easy and effective solution for this problem: Plastic bottles with a drying agent were attached to the PL mount during the night to get the humidity out of the cameras. Apart

from this problem we never encountered a situation were we had the feeling that shooting digital was more critical than analogue.”

Although a bit slower to set up compared to traditional film equipment, the possibility to see and evaluate the images on location by using HD displays and waveform moni-tors was a big advantage for Director Carlo Rola and Küpper.

The HDCAM SR original tapes were down-converted to PAL Digibeta at ARRI Film & TV Services in Munich for offline editing at MOOVIE in Berlin. Solo Avital from Happy-zoda Productions, Tel Aviv, did the com-positing shots and final grading was done by Marc Stevens at ARRI Film & TV Services, Munich.

An average of 8 to 9 million television viewers saw the three episodes on January 8th, 10th and 14th – only one month after the last scenes were shot in Bristol.

Andreas Berkl

AFRIKA,MoNAMoURARRIFLEX D-20 Takes Digital Cinematography to Africa

After a first test in June 2006 in Kenya, DoP Frank Küpper felt confident that the ARRIFLEX D-20 was the right tool

for this historic three-episode ZDF television drama featuring famous German actress Iris Berben. “The D-20 covered

all the tonal ranges under extreme lighting conditions, even dark African and bright European skin tones were

no problem”. Due to the tough postproduction schedule, shooting digital seemed to be the logical choice for Küpper

especially considering the many CGI-effects that were planned.

on a dry lake in Amboseli national Park:DoP Frank Küpper and D-20 equipped with

“workhorse” ARRI Master Zoom

Heat, dust and sand: Two SonY SRW-1 HD decks with monitoring ready to shoot on Shela Beach, Lamu Island

Attack of the British troops – 2nd unit camera operator Heiko Wentorp on Shela Beach, Lamu Island

Historic scenery – AC Dominik Roge preparing to shoot in Lamu Town

Walk the line: 1st AC Andreas Kahnau, DoP Frank Küpper, Key Grip Trevor Watkins, Iris Berben in Lamu Town

3 2 C a m e r a

DoP Frank Küpper framing a detail shot

Frank, after shooting AFRIKA, MON AMOuR, would you use the D-20 for another production?Frank Küpper: Sure! Although it took us a little while to get used to the different technology compared to traditional film, the results were stunning! For a production with so many VFX shots, digital shooting has lots of advantages. No grain, instant availability of the full resolution images and the 35 mm look of the images play a vital role here. But every story probably has its own format: From grainy Super-8 mm to HD or 35 mm, the story will tell you which kind of tools to use.

Why was the D-20 used for AFRIKA, MON AMOuR?FK: Initially it was the idea of our Producer Oliver Berben and after some tests we decided to use the D-20. We knew that we would have very little time for postproduc-tion and 16 mm would not have been ideal for VFX. It was obvious that shooting HD with a camera that uses a Super 35 mm sensor would give best results and speed up the workflow.

Do you see any disadvantages in shooting digital HD?FK: Modern film stock still can capture a wider contrast range than existing digital cameras. But if you look at film stock before the Vision generation from Kodak, the range was almost the same as it is with digital media today. And sometimes this limited contrast range can have its own visual and artistic effect.

What were your experiences in grading the material at ARRI Film & tV Services in Munich?FK: Our first and vital impression was the total lack of grain. Especially in feature productions this is very often criticized. There is a kind of stereotype with many people who want to preserve traditional viewing habits. But evolution and innovations have always been a driving force in the history of film. And who claims there is a ‘must’ for grain? I at least never missed it for a second and it was a big advantage to have the possibility to lift brightness without enhancing existing grain.

You used the new ARRI Master Zoom very often during the production. What are your impressions?FK: We used the Master Primes for handheld shots or other situations where the big zoom lens was impractical. The Master Zoom matches the quality of the Master Primes perfectly, the only real disadvantage is its weight and size, which makes it a bit hard to handle sometimes. Nev-ertheless the optical quality made it a real workhorse on set.

thank you for taking the time for our inter-view.

Andreas Berkl

InterviewwithDoPFrankKüpper

Production Company: MOOVIE – the art of entertainment GmbH, BerlinProducer: Oliver BerbenDirector: Carlo RolaDoP: Frank KüpperVFX: Solo Avital, Happyzoda Productions, Tel AvivGrading: Marc Stevens, ARRI Film & TV Services, MunichLocations: Vienna, Austria Berlin, Germany Nairobi, Lamu Island, Amboseli, Samburu and

Tsavo National Park and other locations in Kenya Bristol, United KingdomEquipment: Up to three ARRIFLEX D-20 digital cameras One ARRIFLEX 435 SONY SRW-1 HDCAM SR field recorders Astro WM-3013 waveform monitors ARRI/Zeiss Master Zoom and Master Primes

3 3C a m e r a

opensUpNewPerspectivesforLatinAmerica

A complete D-20 package with UltraPrime lenses, a Sony HDCAM SR recorder and an Astro waveform monitor was made available for the duration of the two-week seminar, which was not only open to EICTV students, but – with the support of the Cuban Secre-tary of Culture, Abriel Prieto – also to aspir-ing DoPs from the Cuban film institute ICAIC, who participate in many international co-productions with Latin American countries and Spain.

The seminar was an introduction to the tech-nology of digital image capturing in the HD standard, as well as the possibilities of im-age design closely connected with the new medium. Using the ARRIFLEX D-20 as an example, this was not only to be discussed in theory, but also experienced very prac-tically in real shooting situations. Script writing and directing students at the EICTV had come up with a short movie and they engaged professional Cuban actors, two children and a director from the EICTV. Shooting took place on location at the finca of a farmer’s family, who generously provided their house for five shooting days, the crew moving in with neighbours during that time.After a five-day introduction into digital HD technology and the theory and practical use of the D-20, every seminar participant was able to work with the camera perfectly. The production team consisted of 18 people –

14 camera students, two sound engineers, and two directors. Functions within the team, however, could change on a daily basis. Over the course of the shoot, every one of the camera students in their final semester designed a sequence and also realized it as a DoP. The goal of shooting was to work with the quality of natural daylight as much as possible (only if necessary with additional lighting), and to fully use the visual possibil-ities of 35 mm-style photography.

The film tells a story on two different visual levels – one real level and another that was determined by the children’s daydreams. This was supposed to be realized by means of different lighting directions as well as different camera setups in terms of color saturation and color temperature balance. Also, partial overexposures were used for creating surreal image effects.

Shooting was done with UltraPrime lenses, mostly at an aperture of T 2.0. The resulting limited depth of field allowed for manifold possibilities of developing visual spaces, despite the small size of the finca’s rooms. Since there were not many sources of light inside the house and since the rooms were lit mainly through the windows, high con-trasts were inevitable. Consequently, the camera’s highlight latitude had to be as high as possible. After a few tests, a lighting

index of 160 ASA was deemed the optimum, with a median grey at 32 % image signal and a potential contrast range of approxi-mately 7.5 stops. This setup allowed us to maintain the rooms’ natural lighting condi-tions as much as possible and use only few filler lights. Only the key lights had to be controlled painstakingly by means of diffusion frames in the windows or in direct sunlight. Out in the open, whenever possible, we shot according to the method Nestor Almendros had developed in Cuba, guiding the sun-light into the house using reflectors, and then placing metal blinds to use it as key light inside the rooms.

Our lighting would have hardly achieved such quality had we used our HMIs. The constantly changing position of the sun demanded a precise working rhythm. We really appreciated this light – and the cam-era rewarded its quality with a richness of picture detail that was full of contrast yet still provided finely graduated colors.

D-20The EICTv (Escuela Internacional de Cine y Television) in Cuba celebrated its 20th anniversary in time with the coming of the new year. on this occasion, the curriculum was broadened by adding the important area of digital cinematography. With help from ARRI, the first camera course on digital film photography with HD systems took place. The workshop was held by Rolf Coulanges, a director of photography (bvk) and professor for image design at the Academy of Media in Stuttgart.

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With the ever-increasing interest in the D-20, the last six months has proved to be very busy on a world-wide scale. The camera has been showcased at events, taken part in workshops and serviced many notable productions, below is a list of the highlights.

D-20ActivityTimeline

September 2006 IBC show Amsterdam, Holland Cinec show Munich, Germany BBC HD Demo Day London, UK 200 attendees – Directors, Producers, DoPs Seminars on HD production techniques and practical demonstrations, with the D-20 being one of the highlightsOctober 2006 BIFCOM event Pusan, Korea Appeared on ARRI booth Workshops at Opticalcam Seoul, Korea rental company November 2006 Master class with Finnish Society Helsinki, Finland of Cinematographers NAt Expo show Moscow, Russia Appeared on ARRI booth

December 2006 Camerimage cinematography festival Lodz, Poland D-20 & HOGFATHER workshop with DoP Gavin Finney, BSC training Workshop for US and Los Angeles, USA Japanese rental partner techniciansDecember 2006 transmission of HOGFAtHER UK Largest ever drama commission by SKY TV and the first major drama project shot with the D-20 (2 × 90 mins)January 2007 transmission of AFRIK A MON AMOuR Germany television drama by ZDF TV (3 × 90 mins)February 2007 IDIFF La Rochelle, France International Digital Film Forum Completion of shooting Toronto, Budapest, on tHE COMPANY Puerto Rico US television drama series for Sony Pictures TV (6 × 60 mins) transmission of Frito Lay USA tH IS IS H IStORY commercial during Super Bowl prime-time March 2007 HOGFAtHER screening at BAFtA London, UK Q&A with Director, DoP & Producer CABSAt Dubai, United Arab Appearing on Filmquip Media booth Emirates (ARRI Media rental partner) British Society of Cinematographers London, UK New Equipment Show. Appearing on ARRI Media booth Completion of shooting on London, UK tHE BANK JOB – feature film

RolfCoulangesRolf Coulanges (bvk) first studied philosophy with George Picht, then camera and directing at the Film and Television Academy (DFFB) in Berlin. Since 1979, he has worked as a free-lance cameraman for documentary and motion pictures. As a director he shot several documentary movies, mostly in Latin America, among them the movie SACY PERERE, which was honoured at the 1985 London Film Festival. For several years, he taught cinematography at the DFFB and at the Film Academy Ludwigsburg, and from 2000 – 2006 he headed the cinematography department at the international film academy EICTV in Cuba, where he has worked as a free-lance teacher since 1992. Among his latest works as a cinematogra-pher are the documentary films DAS PRINZIP DORA, CHERCHER LA VIE, and MORD IM KOLONIALSTIL – PATRICE LUMUMBA, EINE AFRIKANISCHE

TRAGÖDIE (by Thomas Giefer, Grimme-Prize 2000), as well as Harald Bergmann’s black and white motion picture about the life of Friedrich Hölderlin, SCARDANELLI.Rolf Coulanges was appointed to the Academy of Media in the Spring of 2001. There he teaches image design and lighting for film and digital cinematography.

The EICTV is the most important academic project of the foundation New Latin American Film and its president Gabriel Garcia Marquez. Instead of relying on a staff of full-time professors, the school has lived on the support of guest teachers from many different countries since its founda-tion. The project proves that an unusual idea often brings about more than a mere financial support. Among the guest teachers one can find such well-known personalities as Francis Ford Coppola, Ettore Scola, Peter Greenaway, Constantin Costa-Gavras, Tomás Gutiérrez Alea, Fernando Solanas, Mrinal Sen and Jean-Claude Carriere, to name only a few.Founded in 1986 in San Antonio de los Baños, about 40 km from Havana, EICTV also carries the nickname “film school of the three worlds”. At the time, the Cuban government allowed for the foundation of an interna-tional, materially and politically independent institution to educate a new generation of filmmakers for the countries of Latin America, Africa and Asia. The project itself developed from an initiative of the Argentine filmmaker Fernando Birri and the Colombian novelist Gabriel Garcia Marquez, who also supports the project with his Nobel Prize. Its first director, Fernando Birri, is the co-founder of the movement of the new Latin American Cinema. The main idea is to offer film and television training for students from countries in which comparable institutions can-not be financed. By now, a type of experimental “laboratory of ideas” has developed from this. Its creative potential, in the meantime, has helped the EICTV to international renown.The construction of a TV studio last year was the starting point for a pro-ject which had been prepared for a long time: an integrated training in film, video and television as an extension of the classic film training, a vital practical addition as there are only few alumni of EICTV who will get a chance to shoot motion pictures in their home countries. Experts for television and cinema, however, are badly needed in these countries – all the more since some Latin American countries are about to build their own, independent television system. There, working with HD stands for an independence from the film laboratories in neighbouring countries, where today the film negatives still have to be sent for developing.

EscuelaInternacionaldeCineyTelevision

D-20inJapaneseCommercialsIn autumn 2006 NAC Rental started to rent out the ARRIFLEX D-20 for several commercials. Among them, a commercial shot for the Suzuki Motor Corporation that used the D-20 and along with it the ARRIFLEX 435 for the highspeed part. DoP Syuhei Umene of Crank, one of the major commercial production companies mentioned: “There is no ‘video-like’ in this camera: You can not distinguish it from other film cameras. The big advantage of the D-20 is that you can operate it like any other film camera. We were also able to use the same set of accessories.” He has worked for another commercials on Hitachi washing machines. In this pro-duction, he used the D-20 to avoid changing film magazines when shooting a scene with a little child. A third commercial was done for Nexon, Japan.

Rolf Coulanges and his workshop participants

3 5C a m e r a

While five years ago digital cameras and cell phones were the biggest thing in consumer electronics,

the most popular phrase nowadays seems to be “HD.” one could think that the “H” in HD stands

for “Hype.” Although professionals have a clear definition for HD (1920 × 1080 pixels, at least 24 full

frames per second, preferably 4:4:4 color resolution), at electronics stores we see the “HD-Ready”

sticker on hardware which offers considerably less performance (1280 × 1024 pixels, 4:2:1, strong

compression, etc.). on display is a large monitor showing images that are usually interpolated

standard definition (720 × 576 pixels). What the catchword HD means for the living room is – on a

different quality level – comparable to the discussion of 2k vs. 4k in professional postproduction –

expectations, and sometimes just basic information couldn’t be more contradictory. Yet an increasing

number of major film projects are already being successfully completed in 4k. So, it’s high time for a

technically-based appraisal of what we really mean by 2k and 4k. This article strives to make a start.

THEENDoFHyPE–REALITyBEgINS

4K+

3 6 D i g i t a l I n t e r m e d i a t e _Wo r l d w i d e o n t h e M o v e

The first part will start with the terms resolution and sharpness, focusing on the subjective perception of the viewer. This introduction will be based on real image examples from 16 mm and 35 mm films which, despite the complexity of the subject, should be possible to present without too much reliance upon mathematics. Part two will describe the information content of 16 mm, 35 mm, and 65 mm film images and how they can best be transferred into the digital world. How do the various opera-tional steps in the analogue or hybrid pro-duction chain (digital intermediate) influence

this content? The third part will illustrate these interrelationships and influences using projected analogue and digital images.

Seeing is believing – of course we can’t actually show these images on paper. To escape the limitations posed by the print environment, these sample images in their original resolution can be downloaded from our FTP server at:

ftp2.arri.delogin: 4FilmPassword: ARRI

Resolution and Sharpness… that’s what it’s about when we talk about 4k – at least superficially. Yet these aren’t the only image parameters, not even the most important – but they’re certainly the ones most discussed, and for a good reason: here you can immediately interpret the results optically, without extensive instrumentation or special expertise – even though it’s easy to be fooled by your own eyes …

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Resolut ionTo determine resolution, a raster is normally used, employing increasingly fine bars and gaps. A common example in real im-ages would be a picket fence displayed to perspective.

In the image of the fence, we can see that the gaps between the boards become increasingly difficult to discriminate as the distance becomes greater. This effect is the basic problem of every optical image. In the foreground of the image, where the boards and gaps haven’t yet been squeezed together by the perspective, we can recognize a large difference in brightness. The more the boards and gaps are squeezed together in the distance, the less difference we see in the brightness.

To understand this effect better, we will enter the brightness values along the yellow arrow into an x/y diagram. The brightness differ-ence seen in the y-axis is called contrast. The curve itself functions like a harmonic os-cillation. Because the brightness changes not over time but spatially, from left to right, we call the x-axis spatial frequency.

We can measure the distance from board to board (orange arrow) on an exposed image, 35 mm negative, for example. This distance describes exactly one period in the brightness diagram. If such a period in the film image continues, for example, over 0.1 mm, then we have a spatial frequency of 10 line pairs per millimetre. (10 Lp/mm, 10 Cycles/mm or 10 periods per mm). Visu-ally expressed, a line pair always consists of a bar and a “gap.” It’s easy to see in the image: the finer the reproduced structure, the more the contrast will be “slurred” on that point in the image. We have reached the limit of the resolution when we can no lon-ger clearly differentiate between the struc-tures, that means that the resolution limit (red circle) lies at the spatial frequency where there is just enough contrast left to clearly differentiate between board and gap.

Fig. 1: “Real world” example for a resolution test pattern Fig. 2: Brightness along the yellow arrow in Fig. 1


Test image B – 16 mm

35 mm 16 mm Microscope

Constructing the test

Using picket fences as our example, we can only describe the resolution in one direction. Now there are some experts out there who think that we only need to add some Venetian blinds to the image and the world of the image analyst looks better already. Internationally and scientifically, we have agreed upon a system of standard-ized test images and line pair rasters to determine and analyze resolution. Horizon-tal and vertical rasters are thereby distrib-uted over the image surface.

To carry out such a test with a film camera, we used a setup as displayed in Fig. 4. The transparent test pattern was exposed with 25 fps and developed. In Fig. 5 you can see the view through a microscope at the image center (orange border in Fig. 3)

Resolution Limit 35 mm

Camera: ARRICAM STFilm: Kodak 5245 50 ASALens: HS 85 mm F 2.8Distance: 1.65 meter

If you download the image 35_micro.tif and look at it on your monitor with a zoom factor of 100 % you can see that the finest spatial frequency that still can be differen-tiated lies between 80 and 100 Lp/mm. We’ll assume for our calculations a limit of 80 Lp/mm – here’s how we arrived at the smallest discernible difference.

Lines and Gaps are equally wide, ergo:

Resolution Limit 16 mm

Camera: 416 Film: Kodak 5245 50 ASALens: HS 85 mm F 2.8Distance: 1.65 meter

If you substitute the 35 mm camera for a 16 mm camera but leave all other parameters the same (distance, lens), an image will result (image 16_micro.tif) that is only half the size of the 35 mm test image, but resolves exactly the same details in the negative.

= 0.006 mm for the smallest detail

0.012 mm2

Fig. 3: Area captured with 35 and 16 mm negative (yellow / green border) and cutout viewed in the microsope (orange border)

Fig. 4: Setup for camera resolution test with transparent test pattern

1 mm80 Lp

= 0.012 mm per Line Pair


Results

This test is admittedly an ideal case, but the ideal is the goal when testing the limits of image storage in film. In our test, the smallest resolvable detail is 0.006 mm large on the film, whether 35 mm or 16 mm. Across the full film width there are then 24.576 mm / 0.006 = 4096 details or points for 35 mm film and 12.35 mm / 0.006 = 2048 points for 16 mm film. I purposely refer to these as points and not pixels because we’re still operating in the ana-logue world.

These statements depend upon the following:

a) we’re looking at the center of the imageb) the film sensitivity is not over 250 ASAc) exposure and development are correctd) focus is correcte) lens and film don’t move against one

another during exposuref) speed < 50 fps

Digital

Of course the exact same preconditions would also exist for digital cameras (if there were a true 4k resolution camera on the market today); only the negative processing would be omitted. Thus in principle, this test is also suitable for evaluating digital cam-eras. In that case, though, the test rasters should flow not only horizontally and verti-cally, but also diagonally, and, ideally, circularly. The pixel alignment on the digital camera sensor (bayer pattern) is rectangular in rows and columns. This allows good reproduction of details which lie in the exact same direction, but not of diagonal struc-tures, or other details which deviate from the vertical or horizontal. This plays no role in film, because the “sensor elements” – film grain – are distributed randomly and react equally well or badly in all directions.

TestimageA–35mm TestimageB–16mm

Fig. 5: Microsope view on 35 mm negative (left) and 16 mm (right)


SharpnessIs resolution and sharpness the same? Look at both images and quickly decide which is sharper.

Although the image on the left is comprised of twice as many pixels, the image on the right, whose contrast at course details is in-creased with a filter, looks at first glance to be distinctly sharper.

The resolution limit describes how much information makes up each image, but not how a person evaluates this information. Fine details such as the picket fence in the distance are irrelevant to our perception of sharpness – a statement which can easily be misunderstood, the human eye, in fact, is well able to resolve extremely fine details. This ability is also valid for objects at a greater distance. The decisive physiological point, though, is the fact that fine details don’t contribute to the subjective perception of sharpness. Therefore, it’s important to clearly separate the two terms resolution and sharpness.

The coarse, contour-defining details of an image are most important in determining perception of sharpness. The sharpness of an image is evaluated when the course details are shown in high contrast.

A plausible reason can be found in evolution theory: “A monkey who jumped around in the tops of trees, but who had no conception of distance and strength of a branch, was a dead monkey, and for this reason couldn’t have been one of our ancestors,” says the palaeontologist and zoologist George Gaylord Simpson (http://de.wikipedia.org/wiki/George_Gaylord_Simpson). It wasn’t the small, fine branches that were important to survival, but rather the branch that was strong enough to support our ancestor.

Fig. 6: Resolution = Sharpness?

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Fig. 7: Modulation Transfer Function (MTF) and the Heynacher Intergral

Fig. 8: Heynacher Integral for both Cameras in Fig. 6

In the 1970’s, Erich Heynacher from Zeiss provided the decisive proof that humans attach more value to coarse, contour-defining details than to fine details when evaluating an image.

He found that the area below the MTF curve corresponds to the impression of sharpness perceived by the human eye (the so-called Heynacher Integral). Expressed simply: the larger the area, the higher the perception of sharpness.

It’s easy to see that the coarse spatial fre-quencies comprise the largest area of the MTF. The further right we move into the image’s finer details, the smaller the area of the MTF.

If we utilize our camera example from Fig. 6 again and look at the corresponding MTF Curve it is quite obvious that the red MTF curve frames a larger area than the blue MTF curve, even if this one shows twice the resolution.

MtFModulation Transfer Function – a monstrous word from the field of optics which describes the relationship between resolution and sharpness, and which is the basis for a scientific confirmation of the phenomenon described above. The modulation com-ponent in MTF means approximately the same as contrast.

If we evaluate the contrast (modulation) not only where the resolution reaches its limit, but over as many spatial frequencies as pos-sible and connect these points with a curve, we arrive at the so-called Modulation Transfer Function (MTF).

On the x-axis we see the already-established spatial frequency expressed in Lp/mm, on the y-axis, instead of brightness we see modula-tion. A modulation of 1 (or 100 %) is the ratio of the brightness of a completely white image to the brightness of a completely black image.

The higher the spatial frequency – in other words the finer the structures in the image – the lower the transferred modulation. The curve seen here shows the MTF of the film image seen in Fig. 5 (35 mm). The film’s resolu-tion limit of 80 Lp/mm (detail size 0.006 mm) has a modulation of approx. 20 %.

Modulation =( I Max – I Min )

( I Max + I Min )

A left < A right

A leftHeynacher Integral

Heynacher Integral

A rightHeynacher Integral


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2 K SCAN 4K SCAN

0.012 –0.024 mm= 20 – 40 Lp / mm

0.006 mm= 80 Lp / mm

For simplicity’s sake, we will forgo an explanation of the difference between sine-shaped (MTF) and rectan-gular (CTF) brightness distribution in such test patterns. However, all relevant MTF curves have been measured according to ISO standards (FFT of slanted edges). Nyquist theorem and alias artifacts will be treated in part II.

For Experts

A Little PracticeLet’s forget the picket fences and test images for a moment and see what all this means for an actual film image. Please load image 2K_scan_crop.tif and 4K_scan_crop.tif onto your computer and look at them side to side on your monitor. Both images come from one film image shot under ideal condi-tions and scanned in 2k and 4k respectively.

Why does the 4k image look better than the one scanned in 2k? Surely not because

SummaryPartI 1 The resolution limit of 16 mm and 35 mm film is a detail size of

0.006 mm, which corresponds to a spatial frequency of 80 Lp/mm.

2 Sharpness does not only depend on resolution. The modulation at lower spatial frequencies is essential.

we can recognize an eyelash with a size of 0.006 mm, but rather because coarser objects such as the iris or large lashes (0.024 – 0.012 mm) in the 4k scan show distinctly more contrast.

Do you have comments or questions or would you like to be prenotified for part II and III? Please let me know (Email below).

Dr. Hans [email protected]

Comparisonimages2k4k

Fig. 9: Sharpness differ-ence of a 2k and a 4k Filmscan (difference in modulation)


Company3optsfor

ARRISCANThe search for the right scanner began with comparisons of different models. “We sur-veyed all available scanners on the market before choosing the ARRISCAN. Factors important to us were repeatability, resolu-tion, film handling, dynamic range, noise levels, color reproduction and geometric accuracy,” says Sonnenfeld. “We actually shot our own 35 mm test footage and the original camera negative was scanned on every machine considered. The resolution [ of the ARRISCAN ], color reproduction, repeatability and consistent geometric accu-racy were very good.”

As an extremely popular post facility, CO3 must be able to meet the demands of their many clients while taking on new projects. Three ARRISCANs are in use at the Santa Monica facility and one is housed in New York. “Our present scanning capabilities are very, very good, but overlap with our existing core telecine business. Dedicated scanners allow us to reach into new markets

Following careful evaluation and testing, Company 3 (Co3), a full-service postproduction boutique in Santa Monica, CA and new York City, has purchased four ARRISCAn film scanners. Special-izing in commercials, music videos, feature films and episodic television, the facility was founded in 1997 by Stefan Sonnenfeld and Mike Pethel. Sonnenfeld, who acts as President and Managing Director, is also an award-winning colorist with credits like DREAMGIRLS,

MIAMI vICE and PIRATES oF THE

CARIBBEAn: DEAD MAn‘S CHEST.

without diminishing our strong telecine business,” he explains.

Sonnenfeld plans to employ the ARRISCAN to scan negatives for digital intermediate work on feature films. “The ARRISCAN is the core of our A-level digital intermediate work. The biggest movies of 2007 will be served by these scanners. We are also moving towards nonlinear grading for com-mercials and the ARRISCANs will be used to digitize the film negative in highest possi-ble quality,” says the colorist who recently worked on 300.

The ARRISCAN, which was recently used on the documentary CINEMATOGRAPHER STYLE, employs a mechanical pin-registered film transport that ensures steady scanning and flexibility. The ARRISCAN is capable of scanning at 8 frames a second with pin registration and capable of winding at 2 meters a second.

As a colorist, Sonnenfeld sees the benefits of pin-registered scanning in a commercial market. “Much of our commercial work is VFX intensive and currently using an HD 4:4:4 workflow. Using higher quality, pin registered scans and data files will make the downstream compositing work easier and more efficient.”

The ARRISCANs are now in full operation at Company 3.

An Tran

Stefan Sonnenfeld, President and Managing Director,

of Company 3 (Co3), a full-service postproduction

boutique in Santa Monica, CA and new York City


BERLIn ALEXAnDERPLATZ was shot on location in Berlin and in the Bavaria Studios in Munich

Hanna Schygulla in the role of “Eva”

one of the advantages of shooting film is the great longevity of film material. Even decades-old material can be scanned in the highest quality digital format available, allowing the copyright owners to market the re-release in the best possible way. This can be seen in the re-releases of blockbusters like Star Wars, and is now also practiced for classic films of historic importance, like Fassbinder‘s BERLIn ALEXAnDERPLATZ.

BERLIN ALEXANDERPLATZ, directed by Rainer Werner Fassbinder, was shot between June of 1979 and April of 1980 on location in Berlin and in the Bavaria Studios in Munich. It is a mammoth 15 – 1/2 hour episodic explo-ration of the character of Franz Biberkopf, the ‘hero’ of Alfred Döblin s acclaimed novel, as well as the Alexanderplatz area of Berlin that he inhabits. Fassbinder himself called it “a series of nasty little episodes each of which could provide the obscene popular press with the obscenest of front-page stories”. Because of its close and intimate look at the human condition and its many plots and

The much heralded premiere of the re-mas-tered BERLIN ALEXANDERPLATZ was at the Berlinale in Berlin in February of 2007. Having gone through the Digital Intermedi-ate process, the work is now available as a pristine 35 mm print, HD master and as a DVD box set.

Jochen Hähnel & Marc Shipman-Mueller

subplots that are weaving in and out of the narrative, it is considered an important part of Fassbinder‘s body of work.

Originally shot on Regular 16 mm film for budgetary reasons, BERL IN ALEXANDER-PLATZ has been re-mastered to its original beauty by ARRI Film & TV. The footage was scanned on an ARRISCAN with 2 K resolu-tion, followed by touch-up and repair work as well as a new color grading. The artistic supervisor was Fassbinder cinematographer Xaver Schwarzenberger, who completely reworked the color grading of the material.

“When we shot this material” he recalls, “we were told to shoot on 16 mm film, which was standard for a television production. Nobody thought about future uses back then.” Juliane Lorenz, editor of BERLIN ALEXANDER-PLATZ and now the president of the Fass-binder Foundation, appreciated that “the ARRISCAN was able to extract the full range between light and dark that is contained within the 16 mm negative.“ The digital remastering is a joint project of ARRI, Cine-Postproduction and Bavaria Film.

Günter Lamprecht is Franz Biberkopf, the “hero” of Alfred Döblin s acclaimed novel

Barbara Sukowa as Emilie “Mieze” Kasunke and Günter Lamprecht as Franz Biberkopf

FassbinderRemastered


ARRILASERHost

lin

lin

Intermediate & PrintDigital Camera

Telecine

Film Projection

± RGB

Grading System

OOG

ARRI CUBE

With the ARRISCAn and the ARRILASER, ARRI offers the best input and output devices for the DI process. For a

perfect result on the screen, however, a proper Color Management System is just as essential. Regardless of how the

images are viewed – be it on a monitor in post production or through a film or digital projection on the big screen –

colors should always look the same. The ARRICUBE enhances, the existing ARRI CMS in functionality and accuracy

of results. The new name reflects a sophisticated and refined 3D look-up table (LUT) technology.

T he Nex t gene r a t i o n ARR I Co l o r Managemen t Sy s t em

ARRICuBE Preview LutsWhen working with logarithmic files, a 3D LUT is needed in the grading session to pre-visualize the images correctly. An ARRICUBE preview LUT for all our partners‘ devices is available on the web. The LUT adjusts the digitally displayed image to match a film pro-jection. They are based on averaged mea-surements and are not specific for a certain print or negative film. ARRICUBE partners are Assimilate, Autodesk, Barco, Chrome, da Vinci, DVS, Iridas, Nucoda and Quantel. In cooperation with Autodesk a comprehen-sive set of LUTs has been developed for the most common display and film stock combi-nations. Those LUTs are to be released by Autodesk at NAB 2007.

Standard ARRICUBE Preview LUTs are available for testing and free of charge @ www.arri.de

ARRICuBE for Video LookIf the post production is done in a video environment the files will contain ITU 709 RGB Values. To record the files to film, however, the colors need to be converted into density values first. This can be done on the fly in the ARRILASER software. A new image processing node allows a 3D LUT to be directly applied to the outgoing data. A new set of 3D LUTs for different display and film stock combinations will be delivered with the next upgrade. This also opens the way to ARRICUBE customization with

the ARRILASER. The existing method using two ICC profiles is of course maintained for customers using their own ICC profiles.

ARRICUBE for Video Look is available as an option to the ARRILASER.

ARRICuBE CustomizationA company-specific 3D LUT can be compiled in an ARRICUBE customization process to provide a perfect match. Measurements from the individual display devices and from the film are utilized to build a unique 3D LUT that reflects all parameters in the companies’ process – from the monitor setup to the film laboratory process. This unique LUT can be used both as a Preview LUT and as a Video Look LUT for the ARRILASER.ARRICUBE Customization can be ordered for the ARRILASER or for each of our partner grading systems.

A R R I C U B E

In a video workflow the images have to be converted into logarithmic data for the recording. The ARRICUBE is used in the ARRILASER image processing to preserve the colors in this conversion step

In a DI workflow (logarithmic) the images stay in their logarithmic file format. The ARRICUBE is needed as a preview lut in the grading process to simulate the look of the film out

The re a re t h ree ways t o imp lement t he ARR ICUBE i n t he p roduc t i on p ro ces s :


HD Monitor

Enhancing MeasurementsThe quality of a 3D LUT strongly depends on the quality of the measurement. On the digital side standard devices can be used to measure colors. However on the film side this can be a tricky task. To tackle it, ARRI’s R & D department has now designed a brand new machine: The CHARACTERIZER. Based on the body of an ARRISCAN, the CHARACTERIZER uses a monochromator instead of the camera to measure the colors of print film. The results are highly reprodu- cible and easy to obtain. Significantly better matches between print film projection and digital projection can be achieved by using this new method of print film measurement together with new algorithms to generate 3D LUTs. This new method now is implemented in all three pillars of the ARRICUBE.

Quality factors in CMSA Color Management System incorporates many individual parameters. Consequently each 3D LUT contains a complete set of values. If only one of the parameters needs to be different, a new 3D LUT is necessary.

On the digital side we deal with the parameters:

• characteristic of monitor or digital projector• calibration of monitor or digital projector• surrounding light conditions

On the film side:• recorder calibration• negative film characteristic• print film characteristic• printer lights• screen reflection• film projection lamp

3D Luts DemystifiedEach color can be described with three values within a given color space. A lookup table now transforms the original values by assigning different values, according to the specific correction needed. While a 1D LUT can only change the contrast of an image as it changes each input value sepa- rately without considering the other two channels, a 3D LUT maps each input triple to an output triple. As a result, all three attributes of a color can be controlled independently: lightness, hue and saturation.

Color reproduction on film is totally different from that in the digital realm: The light from the projection lamp is partly absorbed by the color dyes of the film stock. The specific form of the spectrum and as a consequence the chromaticity changes with the lightness. Together with the form of the spectrum, the maximum values of the spectrum are also changed. The combination of different color dyes results in something that is called a multiplicative color mixing. The gamut of the film can be imagined as a curved body.

No linear transformation can convert this into the straight body of the video gamut. Instead, a 3D lookup table takes care of the appropriate non-linear transformation between both color gamuts.

On the digital side, the color space of a monitor or a DLP projector is characterized by an additive color mixing: all colors are created by a combination of the emission spectra of the three phosphors (monitor) or the transmission spectra of the color filters in the beam path (projector). As a conse-quence, the color gamut – the volume of all possible colors – of a monitor or a DLP projector looks like a linearly distorted cuboid with straight edges.

Logarithmic filesThe logarithmic file format (Cineon or DPX) can be regarded as the digital version of an interpositive. It presents a positive image, but it keeps the characteristic of a negative. Logarithmic files look “flat”: the blacks are too high and the whites too low. But never- theless, when film is the acquisition and the output medium, the logarithmic file format is the perfect choice as it linearly encodes the densities of the film negative. Because of this, it has the best ratio between file size and necessary information content.

Sibylle Maier

Fig. 1: 1D-LUT: In a LUT each input value is processed without looking at the values of the other color channels. In the example the red input value “50” is transformed to “70” no matter what the values in the green and blue channels are

Fig. 2: 3D-LUT: A 3D-LUT defines for each input color triple an output triple, in the example the red input value “50” is transformed to three different output values depending on the green and blue values


The prototype implements a universal con-troller to allow the precise setting of different lighting modes and allows control of several LED fixtures. The 15 × 15 cm LED Mini panels offer homogenous light distribution and a very wide beam angle. They are equipped with a selector switch for several presets and with a dimmer to be used independently of the LED controller.

To attain valuable feedback, ARRI recently showcased the prototype to a number of talented Hollywood filmmakers including Visual Effects Director of Photography Alex Funke (K ING KONG, THE LORD OF THE R INGS trilogy).

Alex Funke discussed ARRI’s LED technology while he was visiting the ARRI Lighting factory.

“I can see all kinds of places where this would be a great toolkit, like tabletop or commercial lighting. It would be great for

ARRILEDTechnologyDazzlesIndustry

Following thorough research trials,

ARRI is now demonstrating a

prototype of high quality lighting

panels that utilize light emitting

diodes (LEDs). not yet available as

a product, ARRI LED technology

combines LEDs with the require-

ments of the professional lighting

industry.

toy commercials, especially when we have the toys in environments. The beauty of this is you just dial it until you have the output you want. I can control any spill by using simple accessories and have beautiful high-lights,” he notes. “It’s a soft source, but very, very bright – you can have it right next to the camera.”

The user can choose between the simulation of a tungsten source or a daylight source. In the ‘film‘ mode, the generated light has a precise color temperature and excellent color rendering (CRI > 95), which bears com-parison with any conventional light source. Two controllers allow color correction in the orange-blue direction (CTO-CTB) as well as in the green-magenta direction (minusgreen-plusgreen). This eliminates the need for any color correction with gels.

“It’s a beautiful eyelight. With this, you can-not only change the brightness, but you can

also change the color. If you want actors to walk out of the green fluorescent light of the hallway into the Tungsten light of the oper-ating room, you can shift from one to the other,” explains Funke. “It’d be a dream!”

In ‘theater’ mode, the user may choose between hundreds of stored filter spectra that are placed virtually in front of the light source. Light schemes in theatre and for events can be precisely reconstructed. Fur-thermore, an ‘effect’ mode freely adjusts saturated colors and an extremely wide color space (gamut) gives creative users the space for their own lighting ideas. ARRI LED technology continues to undergo further evaluation and improvements before its release as a product.

An Tran / Timo Müller

4 8 L i g h t i n g

Colour Rendering Index (CRI)

Colour Rendering Index (CRI)

ARRI LED Mini Panel (daylight preset) CCT = 5600K, CRI = 95

ARRI Compact 200 with HMI lamp CT = 5600K, CRI = 96

Standard RGB LED light engine (set to daylight) CCT = 5600K, CRI = 20

Standard engine with ‘daylight‘ white LEDs CCT = 5600K, CRI = 80

tu

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St

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pres

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–

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rG b L ED En G i n E 't u n Gs tEn' w h i tE L ED

t u n Gs tEn rEFErEn CE A rr i L ED m i n i PA n EL

ARRI Junior 300 with halogen lampCT = 3200K, CRI = 99

ARRI LED Mini Panel (tungsten preset)CCT = 3200K, CRI = 95

Standard RGB LED light engine (set to tungsten) CCT = 3200K, CRI = 20

Standard engine with ‘tungsten‘ white LEDs CCT = 3200K, CRI = 80

rG b L ED En G i n E 'DAyL i G ht ' w h i tE L ED

4 9L i g h t i n g

rbbStudioinBerlinisSettingStandardsinLighting

The highlight of the turn-key solution is the new, LED-based background lighting system: With a total length of 100 m (330 ft) and an altitude of 8 m (26 ft), it covers all four studio walls. Behind that: LED modules with a size of 219 × 127 mm (8.6" × 5") each, spe-cially developed for this application, carrying 3 × 6 RGB LEDs. These mod-ules are the result of an intensive cooperation between the research and development department of ARRI Cinetechnik, Stephanskirchen, man-aged by Erwin Melzner and the American semiconductor manufacturer Color Kinetics. Saturated colours, a colour space of more than 16 mil-lion colours, applicability for virtual production and an intelligent software control system that is able to repro-duce a vast variety of effects clearly demonstrate the advantages over

any conventional concept, based on RGBW fluorescents.

During the run-up phase, the precise module grid was determined in relation to the fixed distance of 1.20 m to the projection foil. Furthermore, the compati-bility of the PWM dimming with 3-CCD digital cameras had to be examined. Excellent heat dissipation – to optimise the lifespan of the LEDs – as well as the system’s EMC were further test cri-teria. And finally, a number of different projection foils and the panel align-ment had to be tested to obtain opti-mum results regarding colour satura-tion, brightness and an even colour gradient. All testing was performed in close cooperation with the rbb, whose Project Managers were Götz Schillmann and Helmut Kotwenko, head of the light-ing and props department.

5 0 L i g h t i n g

Latest generation ARRI telescopes, a completely new developed control system and a LED-based back-lighting system in a size totally unique for Tv studios are the highlights of the new studio A of Rundfunk Berlin Brandenburg (rbb), the regional public broadcast station for Germany’s capital Berlin and the surrounding federal state of Brandenburg. It took only seven months to refurbish this some 800 sqm large studio in close cooperation with ARRI Lighting Solutions. The broadcast station will meet demanding new requirements with the help of this unique stage: Daily changing formats like talk shows, magazines and sport programmes demand high flexibility, short changeover times and embody a high demand of architectural and lighting design on the studio environment. Furthermore, the studio is able to accommo-date an audience of up to 450 people. In a few months, the production will entirely move to the 16 : 9 widescreen format – and in the long run possibly to a high-definition standard. Successful formats like KLIPP UnD KLAR, THADEUSZ, SCHEIBEnWISCHER, or PoLYLUX are not only broadcast regionally, but nation-wide within the collaborative programme of the ARD, the working committee of the public broadcast stations in Germany.

system. Headed by ARRI Lighting Solutions, the PCS 2100 series was considerably enhanced. At rbb, it controls the movements of various suspension equipment, like motorised suspensions, hoists, motorised panthographs or chain hoists. Even the control of motor yokes and dimmers has been integrated into the system. Main focus of the development was the adaptation to modern operating systems and the precise tailoring around customer needs. The central user interface, running on a touch panel (19", resolution 1280 × 1024), is a perfect platform to clearly display studio A’s infra-structure, consisting of 150 telescopes, dis-tributed across 36 rails. The central user interface can be moved freely in the studio and can be connected to any of the several wall-outlets. The display of the user inter-face is then adjusted in steps of 90° to the actual position.

The user interface is an integral part of a complex, bi-directional, hierarchically struc-tured real-time bus, whose data transmis-sion is based on the industrial standard Process Field Bus (ProfiBUS, EN 50 170). In this case, ARRI builds on a proven and very stable data transmission system, whose development started back in the 90s at SIEMENS for data transmission in industrial automation. ProfiBUS features a maximum data rate of 12 MB/s, a maxi-mum user data length of 244 Byte, the cove-rage of long communication distances, scalability and a high degree of standardis-ation. ProfiBUS is future-proof, under ongo-ing development and new upgrades, like ProfiNET, are just about to be implemented in the industrial field.

Interested in further details of this convincing concept? Don’t hesitate to contact the ARRI Lighting Solutions team at +49 30 678 233 22

The potential the new system releases for creative lighting design is most impressive. This goes together well with economic argu-ments like the long lifespan of LEDs and the low heat dissipation, enhanced electri-cal safety thanks to a low-voltage supply as well as the possibility to expand the system in any direction.

Also, the latest generation ARRI motorised suspensions were optimised. Innovative gliding sheets provide for a better vertical movement. A newly developed trolley with specially-designed rollers delivers excellent running characteristics on all rails. Apart from that, the compact and quad-shaped tubes, made from premium steel, offer a num-ber of advantages. At rbb, the telescopes can be used over-grid – a very strong argu-ment, when it comes to serviceability.

Also, the radial deviation was consider-ably reduced to better support accessories like motor yokes. All together, the design team in Stephanskirchen, headed by Klaus Stegmaier, managed to integrate more than 20 years of manufacturing expertise into this new generation of telescopes.

Naturally, the control of 150 telescopes requires an intelligent and reliable control

rbbStudioinBerlinisSettingStandardsinLighting

51L i g h t i n g

InterviewwithgötzSchillmannThis spring, Studio A of the rbb’s broadcast centre on Berlin’s Masurenallee went on air again after a refurbishment break of only seven months. From the lighting point of view, it is considered to be one of the most modern studios of its type in Europe. What was the reason for this multi-million Euro investment ?

Götz Schillmann: The old machinery did not comply anymore with the safety stan-dards. Productions were only possible dur-ing a transitional period and under imposed conditions. Additionally, new requirements came from the broadcast station: Among other things, it should become possible to record programmes with up to 450 visitors in this 800 sqm studio. However, the pres-ence of audience in a studio is governed by firm directives for the public broadcasters in Germany.

At the same time the production costs were to be reduced – as everywhere – and the use of the studio’s capacities was to be optimised. The only way to cope with all those requirements was to considerably improve efficiency – meaning shorter change-over time and a higher degree of automation.

rbb is setting standards in lighting: For the first time ever a LED background lighting system of this size was installed. On top of that, there is a new combination with a projection foil and a newly developed con-trol system for the suspension equipment installed. Would it have been possible to reach the goals mentioned above with the help of conventional technology ?

G. S.: Most likely, but our bid invitation was deliberately kept very open in a technical sense. All competitors were allowed to pre-sent conventional concepts – but also tech-nically more advanced suggestions. At public broadcast studios in Germany, investments of this type are conceived for an utilisation period of more than 10 years. Therefore, innovative strength and guaran-teed future of the solutions suggested was an important selection criterion.

You selected ARRI Lighting Solutions, a subsidiary of ARRI in Munich, to be general contractor. Why ?

G. S.: Quite a number of positive factors accumulated here: The seriousness of an

innovative concept, ARRI’s decades of experience in lighting, and the availability of resources to put the entire concept into reality in only seven months. Furthermore, the project team at site in Berlin proved to be very capable. Last but not least, the excellent price-performance ratio should not be concealed.

the eye catcher of this studio is the gigan-tic LED lighting system. It has a total length of 100 m (330 ft), an altitude of 8 m (26 ft) and was installed behind a projection foil. What do you think the benefits of LED technology are ?

G. S.: Initially, compared to conventional fluorescent back lighting systems, we got a considerably improved visual colour ren-dering. Additional advantages are the low service costs as well as completely new scopes of lighting design thanks to dynamic effects.

What role does the expected long-term transition to high definition video play?

G. S.: As it has just been discussed on a HD symposium of the ITR (Institut für Rundfunk-technik = Institute for broadcasting technol-ogy) in Munich, we are also convinced that we are better off using LED lighting technol-ogy considering the new requirements regarding flexibility, purity of colours and lighting precision. Please keep in mind that there is a different depth of field with HD.

Are you going to use the LED lighting system also for virtual purposes?

G. S.: Because of its uniformity and quality of colour rendering, the system is ideally suited for Chromakey applications.

the brightness of the LEDs is controlled by a pulse width modulation (PWM). this has been discussed controversially over and over again. How about your practical experience?

G. S.: PWM dimming is a prerequisite for high constancy of colours. If the colour is achieved by RGB mixing and the light source is dimmed, then the chromaticity coordinates do not change. Because of the asynchronous operation of the single LED modules, no interference is visible in the image of 3-CCD cameras. Furthermore, following intensive EMC measurements, it could be shown that the PWM dimmers and the installed switching power supplies do not cause any failures of the studio equipment.

A pure white wall wash also is a frequently discussed and critical aspect of LED lighting.

G. S.: This is exactly where the rbb’s new solution is so convincing: The visual result is far above our expectations. This is achieved by the precise colour mixing of the RGB LEDs, where white LEDs are not used deliberately.

How important is it to select the right projection foil?

G. S.: This was a main focus in our tests. There was no comparable experience available from other users. So we had to perform extensive tests and measurements to obtain optimum results regarding colour saturation, brightness and an even colour gradient. We tested quite a number of dif-ferent foils at the specified minimum dis-tance of 120 cm (4 ft) with diverse installa-tion densities of the LED modules and under variable camera angles. After all that testing, we decided to use a newly- developed foil from specialist manufacturer Gerriets. For our application, it offers the optimum transmission behaviour, best colour saturation and the least sensibility to inci-dent light.

5 2 L i g h t i n g

Are there more features of your LED lighting solution?

G. S.: The control is mainly based on the Ethernet protocol. Using a special software, we are able to address every single module. Thus, the system can be expanded in any direction and provides various dynamic effects. Considering that there are more than 2.600 RGB modules, each consisting of 6 x 3 LEDs, conventional control through DMX would just have not been practical at all. In cooperation with ARRI, we aim at a second phase upgrade of the controller software where it will be possible to control pre-programmed effects directly from the lighting console.

A further highlight of the technical ligh-ting concept is the control of the suspen-sion equipment. Here at rbb, it is used with 150 ARRI telescopes for the first time. Where do you see the benefits?

G. S.:What really convinced us was the considerably improved user interface – compared to what was on the market be-fore. Especially when used in a studio of this size, the system offers a full range of advantages: On the hardware side, it uses standard IP components and the network is mainly Ethernet-based. Thus, the parallel use of terminals is provided. The hardware is – up-to-the-minute – fully compliant with the RoHS standards of the European Union. A short booting time, low noise emissions, flexible interconnec-tion with the studio’s infrastructure, and a remote control system that meets the

requirements of the necessary dual band system (currently under development) were further decisive factors.

For its studio A, rbb selected ARRI motorised suspensions, manufactured in ARRI’s Stephanskirchen workshop.

G. S.: We are happy that ARRI is such a very stable partner. They have a 20-years-tradition in building motorised suspensions that is now carried on. This development assures that we will have service available throughout the intended long utilisation period. Furthermore, our contacts work just a few minutes down the road.

Thanks to their thin-walled steel construction, the monopoles provide technical advanta-ges. In our case, these are long guideways over-grid that we can use to freely position the lamp heads. The small radial deviation of the telescope is important to allow for the later use of motor yokes.

Mr. Schillmann, thank you very much for this interview. We are looking forward to further joint projects!

G. S.: And I would like to state that it was a real pleasure working with ARRI Lighting Solutions. You have always been very responsive – in both a pragmatic and unortho-dox way – to our changing demands that were mainly caused by the various regulations that apply to public broadcasters in Ger-many. Only through a joint effort, it was possible to put this ambitious project into reality – in such a short period of time.

5 3L i g h t i n g

TH

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With THE BOURNE ULTIMATUM, the Robert Ludlum trilogy comes to the final show-down. Partially shot in Berlin, Germany by Director Paul Greengras and Director of Photography Oliver Wood, Gaffer Ronald Schwarz utilised lighting equipment provided by ARRI Rental, Munich.

“It was a night scene that we shot in Berlin on the Platz der Vereinten Nationen (United Nations Plaza). The task was to light a

courtyard from above the roof of the sur-rounding buildings,” Schwarz explained.

“We had to realise a really flexible lighting solution which provided enough light inten-sity even at distances of 190 m. Usually we use a Musco LightTM for those applications, but this time we decided to go for an array of motorised ARRI HMI fixtures. We would have loved to use only ARRIMAX units, but it was difficult enough to get the three we had. All other units in Germany were rented

With the introduction of the award-winning ARRIMAX 18/12 and the MaxMover, ARRI Lighting

sets new standards in the motion picture lighting industry. needless to say, the high performance

system has attracted other sections of the lighting industry as well. Recently, ARRI Lighting was

able to present the ARRIMAX and the MaxMover to the lighting team of the

world’s largest floating stage in Austria. But first, the following report will give

an update on the latest applications on location.

ARRIMAX 18/12 & MAXMoveR – The ARRI LIghTIng DReAM TeAMThe M

AX Fi

les: P

art III

The M

AX Fi

les: P

art III

5 4 L i g h t i n g

THE BOURNE ULTIMATUM

In another location in Berlin, at the train station Lichtenberg, the ARRIMAX had to cover distances up to 250 m. It was also a night shoot and the scene was set in Moscow. “We had real bad weather during the three days we shot in Berlin, but the ARRI equipment again proved to be a reliable solution for this kind of application,” Schwarz explained.

out. It is amazing how good the ARRIMAX worked for this application. It was a won-derful light source that after making it a little bit harder, became a perfect sun replace-ment. The advantage of a lensless system, with focus ability, really worked for us. The light really reminds me of the old carbon arc lights,” Schwarz confirmed the feedback we also received from other gaffers.

ARRIMAX 18/12 & MAXMoveR – The ARRI LIghTIng DReAM TeAM

At one of the most spectacular spots in the theatrical world, ARRI Lighting presented the MaxMover and the ARRIMAX 18/12 during a product demonstration. The Bregen-zer Seebühne and the Bregenzer Festspiel-haus are not only architectural sensations located in a beautiful area, but also high-profile theatres with worldwide acclaim. Most famous because of its floating stage with the auditorium sitting on shore, the Bregenzer Festspielhaus is also renowned as a demanding venue – especially regard-ing all technical installation aspects.

ProductPresentationattheWorld’sLargestFloatingStageinBregenz,Austria,attheLakeofConstance

5 5L i g h t i n g

convinced Reinhold Müller and his team of the precise and smooth movements that can be realised by the MaxMover.

Currently in preparation on the floating stage is the opera TOSCA from the Italian composer Giacomo Puccini. Since TOSCA will be a mainly tungsten-illuminated opera with only a few daylight 4k and 12k PARs, there is no real need to invest in new day-light fixtures for this season. But we are always interested in innovative products for realising attractive lighting atmospheres, Reinhold Müller explained.

As much as Reinhold Müller was pleased with the performance of the ARRIMAX 18/12 and the MaxMover, he also pointed out that for his applications a colour changer and a dimming solution is a necessary feature.

Since ARRI Lighting is already working on a new concept for an 18kW fixture colour changer, the Bregenzer Festspielhaus will be definitely a possible working location for the ARRI Lighting Dream Team.

Timo Müller

Mathis Richter from the ARRI sales team, Werner Wolf from LB Electronics in Vienna (ARRI’s official representation in Austria) and Timo Müller, Product Manager of the MaxMover and the ARRIMAX 18/12, demonstrated to Reinhold Müller the setup of the MaxMover in combination with the ARRIMAX 18/12. Reinhold Müller is responsible for the lighting equipment at the Bregenzer Festspielhaus.

The product presentation was held on the “Werkstattbühne,” a 1675 m2 and 9.6 m high workshop stage that is normally used for preparing stage decorations, but also works as a venue for rock concerts, balls, trade shows and other events requiring this kind of space. At the time of the presentation the workshop stage was empty and therefore a perfect location for demonstrating the light performance of the ARRIMAX 18/12.

Reinhold Müller was particularily interested in the beam spread and the light level at distances over 30 m. Due to the dimensions of the floating stage and its two lighting towers standing on shore, distances of 30 m and more are not unusual, Reinhold Müller explained. He was very pleased with the shadow quality and the overall look of the light field. Once the spot reflector was installed on the ARRIMAX, Reinhold Müller confirmed that this was exactly what he needed for the outside installation.

The MaxMover functionality and the way ARRI has implemented the operation control,

F.l.t.r.: Werner Wolf, Reinhold Müller, Timo Müller

Werner Wolf is demonstrating the shadow quality

5 6 L i g h t i n g

The ARRI LIghTIng DReAM TeAM

With the introduction of the MaxMover FP (Fully Programmable), ARRI Lighting now provides moving light solutions up to 18kW in daylight and up to 24kW in tungsten.

The FP option provides full DMX functional-ity as found on most moving lights. Therefore, in order to work in an environ-ment with other moving light applications where larger professional control consoles are used, the fully programmable option is needed.

The option is either available as an upgrade from the standard analog MaxMover or the MaxMover will come with the fully programmable DMX option already installed.

With the FP option installed, the user may choose between three ways of controlling the MaxMover. First, there is the hardwired analog hand controller that provides an easy control of pan, tilt and focus. The

second choice is the “Basic Operation with DMX“, which basically translates the function of the analog hardwired hand controller into DMX. Simple DMX controllers, as used in typical location applications may be used with this option of the MaxMover.

The converter, of the FP version provides both, “Basic Operation with DMX“ and the fully programmable option. With an easy accessible operating menu onthe actual MaxMoverFP converter theuser may switchbetween Basic andFP operating mode.

Timo Müller

Analog handcontroller

DMX channel setup (Basic option):CH1 – PanCH2 – TiltCH3 – Focus

At a glance

Adjustable Width from 6kW – 24kW

Universal Adapter Plate with Quick Snap In

80kg / 176lbs Weight Load

Remote Control incl. (analog)

DMX Converter Optional

Wireless Operation (W-DMX)

Hanging & Standing Operation

Very Precise Movement Control

Adjustable Slipping Clutches (0 – 80Nm)

90 – 265VAC 50/60Hz

IP54 / Protection Class I

Basic DMXconverter

FP DMXconverter

DMX channel setup (FP option):CH1 – Pan coarseCH2 – Pan fineCH3 – Pan speedCH4 – Tilt coarseCH5 – Tilt fineCH6 – Tilt speedCH7 – FocusCH8 – Release (50% +/–10%) and home position (90 – 100%)

MaxMoverAdvancestotheNextLevel

5 7L i g h t i n g

THEREDMACHINE

Conventional wisdom regarding low-budget movies is that one should never even con-sider doing a period piece. But when we set out to co-direct our first feature, THE RED MACHINE, we ignored all that advice and decided to make a caper adventure set in Washington DC of 1935, with flashbacks to Tokyo of 1928.

THE RED MACHINE is the story of a profes-sional thief who is forced to help a Navy spy steal a machine that the Japanese mili-tary is using to transmit its secret messages. Years ago, in a used bookstore in New Orleans, we‘d come across a book that men-tioned in passing how the Navy used to do these kinds of clandestine operations, and we thought that a heist like that would make a great basis for a movie. But the idea sat waiting, until we did a 10-minute film called GANDHI AT THE BAT from which we gained a lot of experience. This first project also introduced us to the two actors who star in THE RED MACHINE, Lee Perkins, who plays the Navy spy, and Donal Thoms-Cappello, who plays the thief.

To help give the movie a distinctive look, we made a very stylized choice with the color palette. Whenever we’re in the world of the Navy, the set dressing and costumes are gray, blue, black or white, with hard light and shadows. The thieves’ world is browns and greens, with softer, more indi-rect lighting.

Very early on, we began collaborating with Gaffer Brian “Fletch” Fletcher, who even watched our rehearsals with the actors, studying what they would be doing so that he could devise ways to enhance the per-formances through the lighting. Fletch says

ARRI is well-known for offering the best gear to big-budget Hollywood movies, but we also provide

a variety of options for filmmakers with much smaller pocket books. Written and directed by Stephanie

Argy and Alec Boehm, THE RED MACHInE was shot in and around Los Angeles. With Boehm

behind the camera, the filmmaking duo strived for high production values despite a low budget. ARRI

came into play in the form of a versatile lighting kit, helping to illuminate the stylized look of the

production. Here, Argy and Boehm tell us about the experience of shooting TH E R ED MACH I n E.

The gelled ARRI 650 lights the officer as he recuperates in the hospital

Lt. Robert Eldridge Dean (Bryan Larkin) in a hospital bed, in a flashback to Tokyo, 1928 PH

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shoot – breaking another common rule of indie production. Many independent shoots are 15 – 18 days or less, but Pro-ducer Ken Cortland, Production Manager Jason Miller and First Assistant Director John Clarkson found a way for us to have a 27-day schedule – not luxurious by any stretch, particularly for so ambi-tious a movie – but enough that we could allow ourselves a little more time to explore.

When we look at our footage, and at the sheer number of locations and char-acters and costumes and props, it seems almost impossible that we could have pulled off something like this – and yet there it is. While it would certainly have been simpler to make a movie with just a few characters, set in one location in the present, this was the movie that we felt compelled to make – and it was amazing to see what a dedicated, ingenious crew could pull off.

Co-Directors Stephanie Argy and Alec Boehm

that having so much pre-production time was unusual for him. “Generally I get the script two days before we start, I pick up the lighting package the day before, then we start shooting.” Preparation was one thing that didn’t cost anything extra, and we did a lot of experiments to get ready for the movie.

Despite our low budget, we were able to attract a wonderful crew, which made it a real joy to go to work every day. Especially key to the movie’s success were Production Designer Mel Horan, who found a way to recreate the 1930s using little more than construction paper and a few pieces of string, Fletch, who never stopped trying to figure out a better way to do things, and Key Grip Jay Aebi, who simply never stopped.

We shot all of THE RED MACHINE in prac-tical locations, many of which were quite small, with little room for lights and other equipment. For that reason, we found that our principal lighting tool was an ARRI lighting kit consisting of a 1K, a 650 W and two 300 W lights. The two 300 s were able to get into very tight areas without taking up much space. The 650 provided a great rim light and was also an important ele-ment of our Navy world, where we used it mostly for hard, frontal light. The 1K with a small Chimera created a nice soft light that supplemented our natural lighting, particu-larly in the thief’s world. We also had a few very specialized lighting set-ups. For ex-ample, one sequence, in which our thief and spy break in and dismantle the code machine, was lit entirely by the actors’ flashlights, which were specially retrofitted with MR-16 bulbs.

Lt. Harrison Llewelyn Petrie (Roger Ainslie) (left), about to get slugged by Lt. F. Ellis Coburn (Lee Perkins), in a flashback to Tokyo, 1928

The outcome of the setup: navy spy Lt. F. Ellis Coburn (Lee Perkins), Japanese naval attaché Ichiro Shimada (Eddie Lee) and thief Eddie Doyle (Donal Thoms-Cappello), have tea in Shimada’s apartment (f. l. t. r.:)

The lighting setup to simulate back-scatter light from exterior windows

Our overall goal was to maintain the period feeling with the lighting and not have it look like a modern movie. Fletch was espe-cially proud that we used a Kino Flo only once on the movie – and even then we used it in an unconventional way, as an over-head softbox illuminating a diplomatic con-ference taking place in Japan.

Before Fletch began working in film, he spent years as a theatrical lighting designer, which came in very handy for our flashbacks to Japan. We decided to restrict brightly saturated colors – particularly red – to our flashbacks, so that there would be an al-most visceral shock when those sequences appear on screen. Fletch proved to be absolutely fearless about bringing in highly saturated colors, including reds, yellows, pinks and greens.

We also tried to use natural lighting as much as we could. This dovetailed nicely with our decision never to have days longer than 12 hours: when the sun went down, we had to stop shooting. Rather than having long days, we instead had a relatively long

Prepping a scene in the office of navy Intelli-gence, Cryptanalysis Department. F.l.t.r.: Co-director Stephanie Argy, Bryan Larkin (as Com-mander Robert Eldridge Dean), David Ross Paterson (as Admiral McAdams) and co-director Alec Boehm. In the back-ground is Digital Media Assistant David Grenz

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CSI engineer Luca Baroncelli

Would you ever spend money and resources to light up

something if you already knew that nobody will look at it

and no filming will be done? This is exactly one of the jobs

of CSI, a primary Italian certification and testing center

in Bollate close to Milan. CSI has just set up a brand new

climate chamber utilizing a massive ARRI lighting package

to create a solar simulation system. Along with this, their

crash test system is also equipped with ARRI lampheads for good reason.

A new car model must be qualified by an increasing number of rigid tests, since local restrictions and required test procedures differ from country to country. For a modern crash facility, it is essential to accommo-date a multitude of test procedures with the shortest possible turn-around time between the different sessions. Also the extra thermal stress that is put on the cars should be minimal in order not to influence the measurements at all. Increasingly stringent requirements for crash testing are indeed a

challenge for lighting manufacturers. Best filming conditions for multiple camera positions require an adequate brightness and perfect uniformity all around the impact area.

Giuseppe Ciminaghi of HI-TEC, a system integrator company specializing in crash test installations, worked in close coopera-tion with Alberto Scotti from ARRI Italia. They based their project for CSI Bollate on HMI lighting in order to achieve the highest

efficiency of all technologies (> 90 lm/W) with the smallest amount of fixtures to deliver the required light level. At the same time, the heat emission is relatively low. Additional IR-filtering further reduces this effect even to a minimum without sacrificing light output.

Antonio Cazzaniga, General Manager of ARRI Italia met CSI’s engineer Luca Baroncelli, Full scale Crash Test laboratory Manager head of CSI Bollate.

Can you please give us a brief descrip-tion of CSI Bollate activities?We do car tests mainly for two different types of certification – one for the European market and one for the American market. These certifications state the safety of the vehicle. Each certificate requires many different tests – be it the sheer quantity of different tests, as well as tests that have to be done repeatedly. For the American market we test, for example, the ‘roll-over’. This is rolling the car completely over by 360° after a crash test to verify any leak of petrol. The ‘out of position’ test is done to check the air-bags’ behavior when i.e. a

CSIBollateInstallsARRILampheads inanAutomotiveCertificationCentre

6 0 L i g h t i n g

CSIS.p.A.Headof fice– V.leLombardia2020021Bollate(MI)E-mail:info@csi -spa.com

child is sitting in an unusual position at the moment of the crash. All in all, about one year is needed to complete a certification. The final crash everybody knows is just the end of a long series of tests. We have 65 engineers working on our computers to gather all data and evaluate the results.

The tests we carry out are done repeatedly to get a realistic response. It is essential that in each of them the conditions are identical. This quite naturally involves a very careful choice of the technical equipment. We work on an extremely tight schedule and any technical failure would result in a very costly delay – both in terms of the material and the time needed to restore the system and repeat the test.

What kind of lighting system was installed in your laboratory?We worked in close cooperation with our system integrator HI-Tec of Milan to find the best and most robust system. ARRI’s refer- ences and expertise in these fields became very obvious during the evaluation process. For the crash test zone we installed 14

ARRI Compact 4kW powered by 14 boost ballasts. We control them via DMX from our central control room.

We decided to use the existing rig trussing that is now oversized thanks to the boost system and the efficiency of these lamp-heads. They allow us to reduce the number of lampheads and consequently the weight of the whole system.

Another point of strength on this project was ARRI’s combination of dim and boost technology. Typically 4 kW HMI light sources are driven at 50 % power during the non-impact period. Shortly before the impact the power is boosted to 200 %, producing temporarily twice the nominal light output for a very short time – typically only five to ten seconds. All together, this method reduces the number of lights needed and the heat load on the test subject.

Since we are continuously growing, we must be able to fulfill all the new tests methods that are requested by the automo-tive industry. Consequently the lighting

system is always subject to expansion in the near future.

What is the technical background for your solar simulation system?Our request was for a full spectrum solar simulation system in accordance to DIN 75220 to be installed within a climatic chamber for solar ageing tests on full vehicles. This specification calls for an irradiance of 1.050 W/m2 on an irradiated area of 5.100 × 2.000 mm with an uniformity of +/–5 – 10%.

The operating temperature ranges from –10° C to +60° C with a relative humidity up to 95 %. The climatic chamber is 8 × 7 × 5 m large – all in all very demanding conditions for every piece of equipment. And in contrast to the tested subjects, the installed lampheads remain in place continuously.

thank you very much for your time!

CSIBollateInstallsARRILampheads inanAutomotiveCertificationCentre

The type-testing of an automobile involves the verification of its conformity to the relevant standards, both as a whole and in detail. It requires the execution of an extremely large number of tests that range from the testing of the reliability of the mechanical parts (brakes, engine, steering wheel, etc) over the vehicle’s safety aspects (crash, belt and seats connections, head-rests, etc) to the testing of the ergonomic and comfort aspects (visibility, command identification, defrosting and demisting, etc). The tests also include the exact measurement of the vehicle’s dimensions and mass and of noise and exhaust emission. In the components sector, bumpers, dashboards, steering wheels, safety belts, tires, tanks and rear-view mirrors are subjected to behavioral and type tests in accordance with the ECE UNO, EEC, StZVO (Germany), FMSS (USA), JIS (Japan) standards. The Mechanical Tests Laboratory is recognized by FIA (International Automobile Federation) for the type-testing of Formula 1 cars, sports car components (seats, safety belts) and safety garments (racing driver suits).

The crash laboratory for automobiles employs the most recent and advanced propulsion and control technologies that manage and guarantee impact velocities in the range of 4 to 80 km/h with a precision within 0.1 km/h, for vehicles having a weight up to 3500 kg. The control system is designed to run an acceleration ramp between 0.1 and 0.5 g. The crash tests are filmed with high-speed video systems that permit digital filming up to 1000 fps of all crash tests. The positioning of the video cameras permits filming from either side as well as top or bottom view of the tested automobile. Such films can be further evaluated by computer to obtain additional engineering dynamic behavior data and can be converted to VHS cassette system for distribution and archiving.

61L i g h t i n g

This was the first ASC Award for Lubezki, who was nominated along with Dick Pope, BSC for THE ILLUSIONIST; Robert Rich-ardson, ASC for THE GOOD SHEPHERD; Dean Semler, ASC, ACS for APOCALYPTO; and Vilmos Zsigmond, ASC for THE B L ACK DAHL IA .

Lubezki relied on ARRI‘s camera equipment to capture director Alfonso Cuarón’s latest film, shooting with an ARRICAM Lite, ARRI-FLEX 235 and ARRI / Zeiss Master Primes. The filmmakers desired an extremely com-plex and unprecedented 12-page shot that involved actors inside a moving vehicle. To accomplish this shot, the team employed an ARRIFLEX 235 camera mounted onto a Doggicam Sparrow Head 400 and two Power Slide rail systems.

ASCAwards–CelebratingtheBest

Emmanuel Lubezki, ASC, AMC took top honors in the feature film competition for CH I LDREn oF MEn

at the 21st Annual American Society of Cinemato-graphers (ASC) outstanding Achievement Awards on Feb.19 at the Hyatt Regency Century Plaza Hotel.

Additional ASC award winners were: John Stokes, ASC with the top award in the televi-sion movie / miniseries / pilot competition for the TNT miniseries N I G H TM A R E S A N D DREA MSCAPES: FROM THE STOR I ES OF STEPHEN KING (UMNEY’S LAST CASE) and David Moxness, CSC with the episodic TV award for The CW’s SMALLV I L LE (ARROW).

Allen Daviau, ASC was given this year’s Lifetime Achievement Award. Daviau earned Oscar nominations for E . T . T H E E X T R A -TERRESTRIAL, THE COLOR PURPLE, AVALON, THE EMP I RE OF THE SUN and B U G SY.

Martin Scorsese honored Michael Ballhaus, ASC ( T H E D E PA RT E D, GA N G S O F N E W YO RK ) with the organization‘s International Achievement Award. The director said,

“[ Michael ] always reminds me that despite all the difficulties, we’re blessed to be doing this kind of work.”

Director Ron Howard was honored with the ASC Board of Governors Award, which is presented annually to an individual who has made extraordinary contributions to advancing the art of filmmaking.

Joseph Sargent presented his long-time collaborator Donald M. Morgan, ASC (SOMETHING THE LORD MADE, WALKOUT ) with the Career Achievement in Television Award. Richard Benjamin bestowed the ASC Presidents Award to Gerald Hirschfeld, ASC (MY FAVO R I T E YE A R , YO U N G FR A N K EN -S T E I N ).

The ASC John Alonzo Heritage Award was presented to two student filmmakers, Brian Melton from the North Carolina School of the Arts and Lyle Vincent from the NYU Tisch School of the Arts. Alonzo shot such classics as H A R O L D A N D M AU D E , L A DY S I N G S T H E B L U E S , N O R M A R A E and S C A R FA C E .

The ASC Outstanding Achievement Awards were inaugurated in 1987 for the purpose of recognizing and inspiring the quest for artistry in narrative filmmaking. There are currently some 290 members from many countries around the world, and another 145 associates in allied fields. For information, visit the ASC Web site at www.theasc.com.

Martin Scorsese congratulating Michael Ballhaus

F. l. t. r.: Michael Goi, ASC vice President, Brian Melton, Lyle vincent

Daryn okada, ASC PresidentEmmanuel Lubezki with his ASC Award

Director Ron Howard

6 2 N e w s a r o u n d A R R I

The atmosphere is wonderful – everyone there is dedicated in some way or other to cinematography, and everyone openly shares their experiences. With over 360 cinematographers attending from 36 coun-tries along with 1200 film school students and 50,000 cinemagoers, the festival is on a truly international scale.

As one of the main sponsors, ARRI was represented in the main festival hall by the ARRI Rental Group who had a stand pre-senting the ARRIFLEX D-20 film-style digital camera, the ARRIMAX 18/12 with the MaxMover, the ARRIFLEX 235, ARRICAM Studio, ARRIFLEX 416, ARRI/Zeiss Master Zoom, Ultra Prime 8R and Ultra 16 lenses.It’s impossible to capture every facet of this unique event, but below is a selection of activities that ARRI was involved in.

November 27, morning, Lighting with Paint & Lights Workshop: An audience of more than 200 cinematographers, camera assistants and producers were treated to a workshop session in the Opus film studio. Cinematographer and Director Jon Fauer, ASC first showed a number of classical paintings, while contemplating how they would have been lit with modern lighting instruments and techniques. While working his way through art history, he also pointed out how technology changed the style of paintings. Then Fauer gave an overview of set proce-dures, and proceeded to light and stage a scene in a living room set and a table top product shot.

November 27, afternoon, the Super 15 Ren-aissance: A workshop on the new ARRIFLEX 416 camera and the renaissance of the Super 16 film format. Marc Shipman-Mueller, Product Manager for Film Cameras and Lenses at ARRI explained that over 50 feature films, TV movies, commercials and documentaries have already been shot with 416 pre-production cameras. Jon Fauer gave an overview of the tremendous changes the Super 16 format has gone through in the last five years. He said,

“With the improvements in film stock, lenses and scanning technology, Super 16 looks as good as 35 mm looked five years ago. This means that Super 16 is the ideal medium for independent feature films and high definition television.”

Cinematographer Christoph Chassée con-cluded by relating his experience of work-ing with the 416 camera and the Ultra 16 lenses during the TV movie TANGO, TANGO. Chassée said that the brighter viewfinder has also a higher resolution, which helped him during low light and night shoots. He stated, “With the 416, I feel that I can now see exactly what the film will see.” He also mentioned that he insists on shooting with modern lenses (Ultra 16 and Ultra Primes), as the gain in image quality is enormous. He concluded, “Especially in Super 16, it is very important to use a good lens. I have gone as far as shooting tests to convince the producers to spring for the Ultra Primes, and when they see the difference, they always go for it.”

Saturday, December 2, ARRIFLEX D-20 Film-Style Digital Camera Workshop: Bill Lovell, ARRI‘s Product Manager for Digital Cameras, gave a presentation on the latest technical developments of the ARRIFLEX D-20 and how the camera is being used on a variety of international productions. Cinematographer Gavin Finney, BSC showed key scenes from the recently completed major two-part TV drama, Terry Pratchett‘s HOGFATHER for Sky TV. This was followed by a practical work-shop during which the audience was invited onto the film set to take part in familiarizing themselves with the new technology.

CINEMATOGRAPHER STYLE Screening with Jon Fauer, ASC: The art and craft of film-making was celebrated with the screening of CINEMATOGRAPHER STYLE to an audi-ence of 1500. The 90-minute documentary sponsored by ARRI, Kodak and Technicolor, weaves a collage of commentaries by 110 cinematographers on the art of telling stories with moving images.

ARRI also hosted the DoP dinner with over 100 in attendance. Now recognized as a regular event at the festival, the evening provided further opportunities for the cine-matographers to meet and discuss the tech-nical and creative aspects of their craft in a relaxed setting.

Marc Shipman-Mueller and Judith Petty

Christoph Chassée on the set of Tango, Tango with the ARRIFLEX 416

Every year Camerimage gets better and better. For those who have not had the pleasure of attending, the festival is dedicated to the art and craft of cinematography. It is held annually in Lodz, a small town in Poland, two hours from Warsaw. Screenings, retrospectives, exhibitions, seminars, discussion groups and workshops are attended by a large number of cinematographers, camera assistants and students.

F. l. t. r.: Thomas Popp, Fritz Gabriel Bauer and Phil Radin

F. l. t. r.: Marek Zydowicz, Robbie Greenberg

A group photo with attendants of the 14 th Camerimage14 t h CAMERIMAgE

6 3N e w s a r o u n d A R R I

Berlin

ale2

007

Can it be this simple – this might be the

very first question every participant might

have asked. Some 60 young creatives

of the Berlinale Talent Campus now know

better: Yes – it is just fun and the results

are breathtaking when you are lucky

enough to find an instructor to guide you

with the very first steps.

The Talent Campus camera workshops

had been sponsored by Kodak and ARRI –

and they represented a clear highlight,

not only for the participants, but also for

the companies presenting their products:

in this case, the vision2 film stock and the

brand-new ARRIFLEX 416 were able to

show off their best qualities.

Four workshops were held during three days with a main focus on practical, hands-on experience. Following a very condensed introduction, a few catchwords were enough to bring forth some brilliant filmic concepts and ideas. “Think about the ability to influ-ence time and movement with a film camera, think about depth of field and the poetic quality of light, film and contrast – this is, what is really different from video,” remarked Kodak instructor Bart Durkin and lit the spark. In an amazingly short time, concepts evolved to put this claim into a practical test – and into beautiful pictures. Bart Durkin of Kodak and Matthias Schulze, a Steadi-cam Operator, who assisted in the work-shops, reported on their experience.

Bart Durkin: “I was amazed by the diver-sity of people in the groups we have been working with. Participants and students came from 25 different countries, and each brought their own talent. This is quite an unusual situation. Within our event, we try to reach people who normally don’t have the opportunity to shoot on film.

“The feedback is overwhelmingly positive, not only for the program itself, but also for the results on film. The participants receive a brief but effective overview of the technique and mechanics of a film camera. We usually disassemble it for them to show all the com-ponents. Here in Berlin, we received many questions regarding the new ARRIFLEX 416. And we were lucky enough to have just recently been briefed on that camera, so we could answer in detail.”

Bart Durkin explaining the ARRIFLEX 416

StopBy.ShootFilm.


“What Matthias and I personally love is the ergonomics of it: being able to do hand-held shots, and then change quickly to the tripod, the better center of gravity, the bright viewfinder and the electronic interface now being similar to the other ARRI cameras – these are wonderful improvements.”

Matthias Schulze: “To me the best features are the viewfinder and the integrated IVS. As a Steadicam operator it makes my life a lot easier when you can rely on a bright and decent image on the monitor. The cam-era is also incredibly silent. Sometimes it is even hard to tell if it is actually running.”

Bart Durkin: “More filmmakers and pro-ducers are now realizing the true potential of 16. Consider the vast improvements of films stocks, like the Vision2 platform. These films are specifically designed to be opti-mized for scanning, both in a conventional

telecine and in a high-end scanner. Couple this fact with the improvements in scanning devices, camera optics, being able to make full use of digital intermediate technology, and then release in a 35 mm print … Produc-ers are now realizing the incredible potential of the S16 mm format. Consider as well the global infrastructure and support for 16 mm and 35 mm film … you can travel to practi-cally any major city in the world and find equipment, facilities, lab and post services.”

One of the realizations made by the parti-cipants is the nature of the film set. Every-one on the set, including the crew, talent, and director is more focused on their work. Everyone knows when the film camera is rolling, and the candence and discipline in-volved in shooting is much different than video production. On many video sets, there is a tendency to ‘keep rolling, tape is cheap’. While this may seem more creative and free-

Bart Durkin | Kodak Cinematographer

Bart Durkin has served as cinematographer and producer at Kodak for the past 9 years, testing new motion picture emulsions and shooting demonstration films, as well as teach-ing and creating content for Kodak Cinema-tography Workshops globally. Bart has taught Cinematography Workshops in Argentina, Brazil, Canada, the Czech Republic, Greece, India, Japan, Korea, Lebanon, Mexico, the Netherlands, Norway, Poland, Romania, Swe-den, Thailand, Turkey, and in the United States.

Previously, he worked on a number of indepen-dent films, moving up the ladder from electri-cian to gaffer to cinematographer. Currently, he is freelancing, based out of Rochester, NY.

flowing, the economic impact of this style of production is felt in post production, when the volumes of material must be sorted out.

The workshops here in Berlin were great fun and I am looking forward to the screening of the results in two days. This is always a very emotional experience, not only for the participants, but also for me – I gain a lot from teaching these workshops.”

To bring young filmmakers together is one of the goals of the Berlinale Talent Campus, an intensive weeklong program that ran from February 10 to 15. One of the more informal events was the Early Bird Breakfast at the “Hebbel am Ufer”-Theatre sponsored by Kodak and ARRI. Despite the long film-nights, discussions and parties it was a well-attended event and a welcome opportunity for networking and meeting. This year the Campus selected over 350 young filmmakers from all over the world to attend workshops, lectures and panel discussions. All aspects of filmmaking were explored, including cutting-edge technology, creative tools, stylistic trends, future markets and philosophical per-spectives. “To give emerging talents the opportunity to form relationships with their peers from around the world is an impor-

tant task. We are honored to be a part of this exciting global experience and to offer a stepping stone in these promising film-makers‘ careers,“ says Thierry Perronnet, marketing director for Kodak's Entertainment Imaging Division in Europe, Africa and the Middle East. On behalf of ARRI, Thomas Popp, Director Sales for Germany, Austria, Switzerland, Eastern Europe, Middle East, welcomed the guests.

Thierry Perronnet

EarlyBirdBreakfast fortheTalentCampus

Students working with the ARRIFLEX 416


Slawomir Idziak

Slawomir Idziak is a native of Poland and has compiled more than 40 feature films in the course of his career. He has frequently collabo-rated with director Krzysztof Zanussi on such films as THE CONSTANT FACTOR, IMPERATIVE,

THE YEAR OF THE QUIET SUN, POWER OF EVIL, and INVENTORY. Idziak is perhaps best known for his work with director Krzysztof Kieslowski, including PEDESTRIAN SUBWAY, part five of THE

DECALOGUE, THE DOUBLE LIFE OF VERONIQUE

and THREE COLORS: BLUE. He was nominated for an Academy Award for his work on BLACK

HAWK DOWN, which also received accolades from multiple industry organizations. Idziak’s U.S. credits include GATTACA, PROOF OF LIFE,

and KING ARTHUR.

EyetoEye withaView -Finder–NewPerspectivesforaEuropeanFilmmakingHaving just wrapped filming for HARRY POTTER AND THE ORDER OF THE PHOENIX, DoP Slawomir Idziak took off some time to lecture at the Berlinale Talent Campus on Kodak’s invitation. “I have been working on HARRY POT TER V now for about one year,” he reported after the lecture: “The whole picture was shot almost entirely in the studio and in incredibly big sets. While you usually set up 20 to 30 lamps for a contemporary movie, I had to manage 600 to 800 a day for this one.” The ARRICAM system was his camera of choice: “We used the ARRICAM mostly on a Technocrane. Normally we did not go for a multi-camera system, just one or two cameras. For handheld shots and Steadi-cam, we occasionally had the ARRIFLEX 235 on the set – a great camera. I was also able to take a look at the Master Primes and the new 8 mm Ultra Prime – today there are many developments around that offer new possibilities and perspectives.”

A consequent question would be: What in-spires you? “When you are offered to shoot a picture, many DoPs think of the graphical

part and the iconography in the first place,” Idziak says, “Personally I’d rather do a lot of reading around the subject. I am inspired by literature. For instance, when I did B L ACK HAWK down, I read a lot of books about the psychology of a modern battle-field, and this also shows up in the pictures and the light.”

In his one hour lecture, Idziak strongly pleaded for a new and different approach: a future cinematographer must not only be creative, but also needs to find new ways to make the most effective use of his or her skills. It is not so much about different pro-duction departments, about art, but also about cooperation, psychology and open-ness: “Musicians, even when they meet for the first time, sit down and play music, they improvise. Filmmakers start their meeting by arguing who will be the leader,” he said, at the same time pointing out on the ‘historical roots’ of this phenomenon, which can be found in much greater complexity of the productions and in being responsible for big budgets. “Sometimes filmmakers have been very lonely with their decisions, but there are also some very good and open collaborators …”

The lecture was followed by an extensive Q & A session and inevitably, Idziak was asked about his cooperation with the re-nowned filmmakers he has worked with, concentrating on Krzysztof Kieslowski and Ridley Scott.

Drawing on his 35-year experience in the industry, Idziak is planning a new and unique teaching and film project for this year under the name of filmspring 2007 (www.filmspring.eu).

J. Thieser

Slawomir Idziak answering questions at the

Berlinale Talent Campus


August 3

NY Premiere at Florence Gould Theatre sponsored by Kodak, followed by an industry reception at the French Institute. After a week-long run at the Laemmle’s Santa Monica theatre in August, CINEMATOGRAPHER STYLE was exhibited in eight cities across the country.

October 6 and 7

Mill Valley Film Festival screened the film in addition to presenting a panel titled “Visual Storytelling.” Judy Irola, ASC, David Mullen, ASC and Daryn Okada, ASC (participants of CINEMATOGRAPHER STYLE) discussed the documentary along with their techniques and approaches to filmmaking.

October 12

At the Sundance Educational Summit in Utah for film school deans and fac-ulty from 50 colleges and universities, representing over 50,000 students.

October 20

The 14th annual Hamptons International Film Festival screens the documen-tary as part of their Special Presentations category.

November 10 and 11

Oscar winner Vilmos Zsigmond, introduces CINEMATOGRAPHER STYLE at the Denver International Film Festival.

November 15

A special screening for the British Society of Cinematographers was pre-sented at Pinewood Studios, organized by Joe Dunton, with food and drinks courtesy of ARRI Media.

November 16

Michael Goi, ASC introduced the film at the University of Oklahoma.

November 26

Next stop was Lodz, Poland, home of the Camerimage Film Festival. The screening began at 11:45 pm to a packed house of 1500 people. It was the largest single screening of the film. Simultaneous translation via wireless headsets was provided.

December 4

In 2005, Vittorio Storaro, ASC, AIC, was interviewed for the filming of CINEMATOGRAPHER STYLE at the historic Coolidge Theatre in Boston, so it was only fitting that the New England premiere would be in the same venue, a year later. On the film, Storaro said, “It is wonderful to see and hear so many colleagues and friends. It is without any doubt an important document. It is very exciting to know so many artists, their thoughts, their desires to express themselves in a modern art form like Cinemato-graphy. It is very educational. Our personal style is coming from inside, in expressing ourselves through that personal style we are learning the meaning of our lives.”

Additional screenings took place in Denmark, for the Danish Society of Cinematographers on Dec. 6, and for the Netherlands Society of Cinematographers on Dec 19. Other venues included the High Falls Film Festival in Rochester, New York; Avignon Film Festival, The Ft. Lauderdale Film Festival, The Imago European Federation of Cinematographers conference in Portugal, The Association of Brazilian Cinematography in Sao Paolo and many others. Steven Poster, ASC, President of the International Cinematographers Guild, introduced CINEMATOGRAPHER STYLE in Chicago, and a few weeks later Kodak brought it to Minneapolis.Worldwide demand has been so great that Kodak and Technicolor generously made an additional twenty 35 mm prints from the ARRILASER film-out print master, bringing the total to over 50 prints worldwide. These prints are loaned out to festivals, cinematographer societies or accredited film school, distribution is arranged by Kodak and ARRI worldwide.CINEMATOGRAPHER STYLE is now available on DVD in both PAL and NTSC. It can be ordered directly from the American Society of Cinematographers Bookstore www.theasc.com. A portion of the proceeds is donated directly to the ASC Education and Building Fund.Conceived and creatively guided by Bahnemann, a short 10-minute film that began as an inquiry into the digital age of film grew into a 90-minute feature. With an outline on a paper tablecloth made over three years ago in a New York bistro, Franz Wieser, John Johnston, John Dowdell, Charlie Herzfeld and Bob Hoffman set into motion Volker’s vision of a historic film that celebrates cinematography. The efforts were recognized by Daryn Okada, ASC President at the 21st Annual ASC Awards on Feb. 18.

F.l.t.r.: Executive Producer of CInEMAToGRAPHER STYLE and ARRI Inc. President volker Bahnemann with Director Jon Fauer, ASC

Russ Alsobrook

CInEMAToGRAPHER STYLE goes to Sundance

Denis Lenior

Site of the 2006 Camerimage Festival

FromCamerimagetoCoolidgeC i n E m A t o G r A P h E r s t y L E :

CInEMAToGRAPHER STYLE, the feature documentary directed by Jon Fauer, ASC and starring 110 cinematographers from 15 countries, continues to be shown to audiences around the world. Sponsored by ARRI, Kodak and Technicolor, the award-winning film was made possible by Illumination Dynamics, Avid, Gold-crest, Clairmont Camera, ARRI CSC, Taylor & Taylor, Joe Dunton and many other companies and crews.

Cinematographer Denis Lenior ASC, AFC commented to Fauer, “You have done an incredible film, amazingly constructed and articulated, and on top of that you have made us all look handsome and intelligent, you are a wonderful director. Thank you.”The film opened to a standing-room only audience in the James Bridges Theatre at the Los Angeles Film Festival on June 25, 2006, followed on June 27 by a gala industry screening at the Academy of Motion Pictures Art and Sciences Samuel Goldwyn Theatre. Cinematographer Russ Alsobrook, ASC attended that screening. ”I loved not hearing the questions or a narrator or any of the other thousand cliches we witness in non-narrative films. Yet, this is a narrative film. It tells the story of cinematography and art and the movies in the most elegant way I've ever seen,” he said. “Thumbs up … Way, way up. I am honored to be included in this wonderful enterprise.”

Jon Fauer & An Tran

Here’s a tour of where C INEMAtOGRAPHER StYLE has been since then:


ARRIMAn ’56

Tibor vagyóczky HSCBudapest – Hungary

WitnessoftheHistory

In November 2006, Hungary celebrated the fiftieth anniversary of the revolution of 1956. On this occa-sion the Hungarian society of cinematographers (HSC) organized their annual Golden Eye film festival and presented the Legend-ARRIMAN Awards to those who captured the events 50 years ago: János Badal, Árpád Burza HSC, István Hildebrand, László Kovács ASC-HSC, Béla Langmár, Mihály Mátrai HSC, József Mikó, János Toth, Tibor Vagyóczky HSC and Vilmos Zsigmond ASC-HSC. These veteran cinematographers were not only spectators, but the ones who preserved the historic events for gener-ations to come. Why did we call it the ARRIMAN Award ? Because it was the ARRIFLEX II camera they used to capture the dramatic footage during the riots.

In February 2007 Stefan Sedlmeier was appointed general manager for the recently established subsidiary ARRI Australia PTY Ltd. in Sydney. The operation not only includes Camera Rental, Sales and Marketing for ARRI’s entire product portfolio but also a powerful service department for the areas of Australia and New Zealand.

Following his studies in electrical engineer-ing, Stefan Sedlmeier had already gained experience at ARRI Film & TV from 1992 through 1998 as Technical Manager of the Telecine Services. He then joined SONY Broadcast & Professional Europe in Cologne as Product Manager for Postproduction. He next moved on to Philips Broadcast in Weiterstadt, Germany, where, aside from

Stefan Sedlmeier

NewgeneralManagerofARRIAustraliahis product sales and marketing responsi-bilities, he was able to increase his expertise in finances, general management and team building in his position as Director of Product Management, which he continuously held during the acquisitions by Thomson Multi- media and later Grass Valley.

“Now I am more than happy to get the opportunity to help with ARRI’s growing business in the Australian market and to lead an already powerful team,“ he says. In his new role as General Manager, Stefan Sedlmeier will concentrate on increasing ARRI’s visibility and market presence.


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BROTHERS BLOOM Brothers Bloom Rian Johnson Steve Yedlin Grip

DéSENGAGEMENT Pandora Filmproduktion Amos Gitai Christian Berger ARRICAM ST / LT

DIE LAWINE Tellux Film Thomas Kronthaler Christof Oefelein ARRIFLEX 416 Plus, ARRIFLEX 16SR 3

HAFEN DER HOFFNUNG – DIE LETZTE Ufa Filmproduktion Leipzig Joseph Vilsmaier Jörg Widmer ARRIFLEX 16SR 3, ARRIFLEX 435, Lighting, FAHRT DER WILHELM GUSTLOFF Grip

EINOHRHASEN Barefoot Films Til Schweiger Christof Wahl ARRICAM ST / LT, 3-Perforation

KRABAT Claussen + Wöbke + Putz Marco Kreuzpaintner Daniel Gottschalk ARRICAM ST / LT, Filmproduktion 3-Perforation, Lighting, Grip

MEINE SCHÖNE BESCHERUNG X-Filme Vanessa Jopp Hans Fromm ARRICAM ST / LT, ARRIFLEX 435, 3-Perforation, Lighting

PRISONERS OF THE SUN Miromar Entertainment Roger Christian Ed Wild ARRIFLEX D-20, ARRIFLEX 435

SUMMERHILL – s.a.n.set Film- & Fernseh- Michael Karen Peter Joachim Krause ARRIFLEX 16SR 3 Pro EINE LIEBE IN MALAYSIA produktion

THE CHRONICLES OF NARNIA: Walden Media Andrew Adamson Karl Walter Lindenlaub ARRICAM ST / LT, ARRIFLEX 435, PRINCE CASPIAN ARRIFLEX 235, Lighting, Grip

THE COMPANY Sony Pictures Mikael Salomon Ben Nott ARRIFLEX D-20, ARRIFLEX 435, Lighting, Grip

TOWN CREEK Up a Creek Productions Joel Schumacher Darko Suvak ARRICAM LT, ARRIFLEX 435, ARRIFLEX 235, 3-Perforation

TRANSSIBERIAN Castelao Productions Brad Anderson Xavi Gimenez ARRICAM ST / LT, Ligthing

WARUM MäNNER NICHT Constantin Filmproduktion Leander Haußmann Tilmann Büttner ARRICAM ST / LT, 3-Perforation, Lighting, ZUHÖREN UND FRAUEN Grip SCHLECHT EINPARKEN KÖNNEN

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title Director DoP Equipment

THE BOURNE ULTIMATUM Paul Greengrass Oliver Wood ARRICAM LT, ARRIFLEX 235

FRED CLAUS David Dobkin Remi Adefarasin BSC ARRICAM ST, ARRICAM LT

BAKER STREET Roger Donaldson Michael Coulter BSC ARRIFLEX D-20

EASTERN PROMISES (working title) David Cronenberg Peter Suschitzky BSC ARRICAM ST

FAQ Gareth Carrivick John Pardue ARRIFLEX D-20

MISS MARPLE Various Various ARRIFLEX 16SR 3

RUN FAT BOY RUN David Schwimmer Richard Greatrex BSC ARRICAM ST, ARRICAM LT

WHEN DID YOU LAST Anand Tucker Howard Atherton BSC ARRICAM ST SEE YOUR FATHER

INSTINCT Terry McDonough Ben Smithard ARRIFLEX 16SR 3

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title Production Company Director DoP Gaffer Rigging Gaffer Best Boy

EASTERN PROMISES Focus Features David Cronenberg Peter Suschitzky BSC John Colley Vince Madden Andy Cole (working title)

BAKER STREET Skyline (Baker Street) Roger Donaldson Michael Coulter BSC Terry Edland Tony Hayes Paul Toomy

28 WEEKS LATER DNA Juan Carlos Fresnadillo Enrique Chediak Alex Scott Paul Murphy Roy Branch

IN BRUGE Focus Features Martin Mcdonagh Micky Coulter Andy Long Warren Ewen Mark Hanlon

RUN FAT BOY RUN Gold Circle Films David Schwimmer Richard Greatrex BSC Peter Goddard Warren Ewen Warren Ewen

THE OTHER BOLEYN GIRL Boleyn Productions Ltd. Justin Chadwick Keiran McGuigan Mark Clayton Ian Franklin Benny Harper

SPOOKS Kudos Omar Madha / Damien Bromley / James Summers / Richard Potter Richard Potter Charles Beeson Keiran McGuigan Mark Clayton

MANSFIELD PARK Company Pictures Ian B MacDonald Nick Dance Darren Harvey Chris Allkins

BRITZ Mentorn Peter Kosminsky David Higgs Steve Kitchen Pat Sweeny Pat Sweeny

CAPE WRATH Eccosse Films Duane Clark John Daly BSC Tom Gates Dave Bourke

HOLBY BLUE Kudos Bryn Higgins Ian Leggitt Jo Allen Bill Bullpitt

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title Production Company D.o.P. Gaffer Equipment Supplied by

30 ROCK NBC Michael Trim, Vanja Cernjul ARRICAM LT ARRI CSC NY

ACCIDENTAL HUSBAND Intermediar William Rexer ARRICAM ST / LT ARRI CSC NY

CANTERBURY LAW Topanga Productions Mott Hupfel Jonathan Lumley ARRIFLEX 416, ARRI CSC NY Lighting, Grip

NEW AMSTERDAM New Amsterdam Stuart Dryburgh ARRICAM ST / LT, ARRI CSC NY ARRIFLEX 235, 3-Perforation

OCTOBER ROAD October Road Productions Theo van de Sande ASC ARRICAM ST / LT ARRI CSC FL

ONE MISSED CALL Missed Call Productions Glen MacPherson ASC ARRICAM ST / LT ARRI CSC FL

REGGAETON Ellen Gordon Productions Zoran Popovic ARRICAM ST / LT ARRI CSC FL

STEP SHOW Gotta Step Productions Inc. Scott Kevan ARRICAM ST / LT ARRI CSC FL

SUNSHINE CLEANING Big Beach Films John Toon ARRICAM LT, 3-Perforation ARRI CSC FL

THE BACHELOR VX Oscar Dominquez Automated Lighting Illumination Dynamics (Lighting Designer)

THE BOURNE ULTIMATUM Beach City Productions Oliver Wood Russell Engels ARRICAM ST / LT, ARRIFLEX 435, ARRI CSC NY ARRIFLEX 235, Lighting, Grip

THE SOPRANOS HBO Alik Sakharov ASC Kevin Janicelli Lighting , Grip ARRI CSC NY Phil Abraham

THE TYRA BANKS SHOW VX Oscar Dominquez Automated Lighting Illumination Dynamics (Lighting Designer)

THE WORLDS BIGGEST VX Oscar Dominquez Automated Lighting Illumination Dynamics LOSER (Lighting Designer)

title Production Company Director DoP Equipment

BUSHELLS TEA 166 Pty Ltd Tim Pietranski Tristan Milani ARRIFLEX 16SR 3

CLASSIC HITS FM Steam Motion & Sound Myles Conti Dan Freene ARRIFLEX 435, 3-Perforation

E-TRADE Plaza Films Paul Middleditch Danny Ruhlmann ARRICAM ST / LT, ARRIFLEX 435

HALLS Plaza Films Paul Middleditch Danny Ruhlmann ARRICAM ST

IAMS PET FOOD Good Oil Films Matt Murphy Callan Green ARRICAM LT

JOHNNY KAPAHALA CameraTech Eric Bross Horacio Marquinez ARRICAM ST / LT, ARRIFLEX 435

JULY IN AUGUST Chamec Holdings Pty Ltd Joel Pront Danny Ruhlman ARRIFLEX D-20

LEXUS Japco Productions Wayne Maule Allen Koppe ARRIFLEX 435 Extreme, 435 Advanced

LOVE MY WAY Southern Star Prod. Various Louis Irving ARRIFLEX 416, ARRIFLEX 16SR 3

MAJOR CRIME Kapman Wyld Peter Andrikidis Joe Pickering ARRIFLEX 16SR 3

MCLEODS DAUGHTERS Millennium TV Various Various ARRIFLEX 16SR 3

MIX 106.5FM Steam Motion & Sound Myles Conti Dan Freene ARRIFLEX 435, 3-Perforation

NINTENDO SDF Nathan McGuiness Daniel Ardilley, ACS ARRICAM ST

ST GEORGE Plaza Films Paul Middleditch Tristan Milani ARRICAM ST

VASELINE 8 Commercials Tim Gibbs Garry Philip ARRIFLEX 435 Extreme

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title Production Company Director Services

HERR BELLO collina filmproduktion Ben Verbong DI, VFX, Titles

ANGSTHASEN collina filmproduktion Franziska Buch DI, VFX, Titles

ULZHAN Volksfilm Volker Schlöndorff DI, VFX, Title

NEUES VOM WIXXER Rat Pack Cyrill Boss und DI, VFX, Titles Filmproduktion Philipp Stennert

AFRIKA MON AMOUR Moovie – the art Carlo Rola DI, VFX of entertainment

DAS WILDE LEBEN Neue Bioskop Film Achim Bornhak DI, Titles

DIE WILDEN KERLE 4 Samfilm Joachim Masannek DI, Titles

AM LIMIT Hager Moss Film Pepe Danquart DI, Titles

BERLIN ALEXANDERPLATZ Bavaria Atelier und RAI, Rainer Werner DI REMASTERED im Auftrag des WDR Fassbinder

Theater Release

HERR BELLO collina Filmproduktion

WILDE KERLE 4 Samfilm

CHARLESTON & VENDETTA Blue Pen d.o.o.

DER GEKÖPFTE HAHN Film-Line Productions

PORNORAMA Constantin Filmproduktion

STELLUNGSWECHSEL Claussen & Wöbke & Putz Filmproduktion

Foreign Dubbing

HEARTBREAK HOTEL Neue Tonfilm München

ELISABETH I Neue Tonfilm München

FANTASTIC FOUR II PPA Pierre Peters-Arnolds Film

HOSTEL II PPA Pierre Peters-Arnolds Film

LADY CHATTERBY Neue Tonfilm München

ZUSAMMEN SIND Mina Kindl WENIGER ALLEIN Synchronisationen

TV-Release

BÖSES SPIEL TV60 Filmproduktion

DIE ZEIT DIE MAN Rich & Famous Overnight LEBEN NENNT

ANNAS ALPTRAUM teamWorx

TARRAGONA Zeitsprung Entertainment

UNTER VERDACHT X Pro GmbH

DAS DUO – LIEBESTOD TV60 Filmproduktion

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Customer title Production Company Agency Director DoP

FERRERO GIOTTO Eduardo e+p commercial Xynias, Wetzel Agust Baldursson Nicolaj Bruel

MCDONALD’S Asia Wochen /diverse Picture Sharks Heye & Partner Paul Harather Matthias Fuchs

FREUNDIN (ZEITSCHRIFT) Diverse Heye & Partner Oliver Diehr

CARRERA X-Pro / Go e+p commercial Reiner Holzemer Peter Aichholzer

ATU (AUTO-TEILE-UNGER) Diverse Bakery Films Serviceplan Ralf Huettner Serge Roman

TOYOTA AURIS Sunrise GAP Films Change Communications Charly Stadler Stefan von Borbely

TOYOTA Formel 1 R.TV Film & Fernsehen Tobias Heppermann Thomas Stokowski

CORTAL CONSORS Science Fiction Serviceplan D. Bardini / J. Schoepfer

CORTAL CONSORS Gold Serviceplan D. Bardini / J. Schoepfer

STABILO Schriftbild First Frame Serviceplan Norman Hafezi Bernd Wondolek

MCDONALD’S Hüttengaudi Hager Moss Commercial Heye & Partner Jens Junker Marc Rogoll

FISHERMAN’S FRIEND Diverse GAP Films Megacult Philip Haucke Pascal Walder

MCDONALD’S Los Wochos Rapid Eye Movement Heye & Partner Werner Kranwetvogel / Dieter Deventer E.C.K. (Food)

MENTOS Putzfrau Regiepapst specktakulär Andreas Einbeck

PLAYMOBIL Sommer 2007 e+p commercial Reiner Holzemer Peter Aichholzer

SüDWESTBANK Gameboy Leithaus Dongowski & Simon Werner Kranwetvogel Dieter Deventer

MCDONALD’S Schmecktakel G.L.A.S.S. Film / Heye & Partner Christian Aeby / Peter Meyers/ Rapid Eye Movement (Food) E. C. K. (Food) John F. Keen (Food)

BAYERISCHE STAATSOPER Vogelfänger Media TV Angres Fons Hickmann m23 M. Büsges, F. Hickmann

SONY ERICSSON Valentine’s Serviceplan Martin Graf / Niels van Hoek

MüLLER FROOP Wette Made in Munich Springer & Jacoby Caroline Link Bella Halben

WILLIAMS Formel 1 R.TV Film & Fernsehen Tobias Heppermann Thomas Stokowski

FERRERO Garden e+p commercial Hp Albrecht Sönke Wortmann Britta Mangold

RED BULL Formel 1 R.TV Film & Fernsehen Tobias Heppermann Thomas Stokowski

title Production Company Director DoP

AM LIMIT Hager Moss Film / Lotus Film / Quinte Film Pepe Danquart Wolfgang Thaler

ANNAS ALBTRAUM teamWorx Roland Suso Richter Matthias Fleischer

DAS GEHEIMNIS DES Stream Films Marcus O. Rosenmüller Klaus Merkel KÖNIGSEES

DAS WILDE LEBEN Neue Bioskop Film Achim Bornhak Benjamin Dernbecher

DIE LAWINE Tellux Film Thomas Kronthaler Christof Oefelein

SCHWERE JUNGS Olga Film Marcus H. Rosenmüller Torsten Breuer

ERIK NIETZSCHE Zentropa Productions Jacob Thuesen Sebastian Makker Blenkov

FAIR TRADE Michael Dreher Filmproduktion Michael Dreher Yann Philippe Blumers

FATAMORGANA Enigma Film Simon Groß Peter Steuger

HERR BELLO collina filmproduktion Ben Verbong Jan Fehse

HOW TO COOK YOUR LIFE megaherz GmbH Doris Dörrie Doris Dörrie / Jörg Jeshel

KRABAT Claussen + Wöbke + Putz Filmproduktion Marco Kreuzpaintner Daniel Gottschalk

MEER IS NICH Ostlicht Filmproduktion Hagen Keller Philipp Kirsamer

MEIN LEBEN & ICH – STAFFEL 6 Sony Pictures Richard Huber Günter Handwerker

MORDSHUNGER Zeitsprung Entertainment Robert Pejo David Slama

NEUES VOM WIXXER Rat Pack Filmproduktion Cyrill Boss / Philipp Stennert Jochen Stäblein

PRINZ EDOUARD, MAX MINSKY X Filme Anna Justice Ngo The Chau UND ICH

PRO 7 MäRCHENSTUNDE – Rat Pack Filmproduktion Tommy Krappweiss, Erik Haffner Stephan Schuh STAFFEL 2

RATHAUS FOLGE 1–13 BR Franz Xaver Bogner Harry Bruntz

RUMPELSTILZCHEN Provobis Andi Niessner Philipp Kirsamer

SOMMER 69 Constantin Filmproduktion Marc Rothemund Martin Langer

STELLUNGSWECHSEL Claussen + Wöbke + Putz Filmproduktion Maggie Peren Christian Rein

STRAJK – DIE HELDIN VON DANZIG Provobis Volker Schlöndorff Andreas Hofer

TRAUMHOTEL DOMINIKANISCHE REPUBLIK Post One Otto Retzer Peter Zeitlinger

ULZHAN Volksfilm Volker Schlöndorff Tom Fährmann

SPRING BREAK IN BOSNIA SBIB Production Ltd. Richard Shepard David Tattersall

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arri news magazine nab issue 2007

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