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A new version of the successful ARRISCAN will be announced on this year's NAB. Ready for delivery in mid 2009, the ARRISCAN 2k is our new entry model, streamlined for highspeed scanning at an extremely competitive price.

The new model is especially designed to bring the superior ARRI scanning quality and data-centric workflow into emerging DI markets, commercials and 2k or HD remastering applications.

The ARRISCAN 2k is envisioned to grow with customer needs. The basic model can be upgraded step by step, with options ranging from SAN packages up to full 4k camera upgrades.

David Bermbach

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Features at a glance

8 frames per second

3k downsampled to 2k

Internal storage

ARRISCAN CMOS sensor and LED illumination

ARRISCAN film transport

Options (excerpt):

4k camera kit

doubleflash high dynamic range mode

KeyKode reader

IR illumination and optics

Price for basic model will start in the 200.000 price range.

The Speed of 2kA Brand New ARRISCAN Model Coming This Summer

H en r i 4 in Digital Per fection 04

ArriFLeX D-21 Capturing two epic Mini-Series at TV Globo 08

S A P P O r O Black Label Beer Commercial Shot 10 on the ArriFLeX D-21

nike 5 Shoots, ArriFLeX D-21 Scores 11

Camerimage 2008 12

High Definit ion Video Assist HD-iVS 14

Compact Primes 16

Master Macro 100 19

C am a r a s Y L u c e s 20

De-graining Software: Films new Best Friend? 22

ArriSCAn Archive rediscovering the Past 24

Deluxe, Arri and Australia! 26

Leader Asia Pacific Another First for the ArriLASer 26

ArriQCP in Production 27

The next Generation ArriLASer 2 28

Academy Celebrates ArriMAX 30

TrUe BLUe Daylight 32

TrUe BLUe Theater 34

iF Design Award 35

Arri PAX Panels A reference in LeD Light Quality 36

A Selection of Currently Serviced Productions 50

ARRI Rental Germany ARRI Media ARRI Lighting Rental

ARRI Lab TV Drama ARRI Sound ARRI Commercials

ARRI CSC ARRI DI / VFX

Arri PAX KiT at Aardman Animations 38

Arri Caster Series 39 Tunable White Light for Broadcast Applications

Changchun Crashtest Facility 40

TrUe BLUe Technology presented by Professionals in Berlin 42

Knn TV Studios in iraq equipped with TrUe BLUe 42

Virtual TV Studio Designed for Al Hayat, egypt 43

DW-TV Arri LeD-Background 43 illumination System Further Developed

The Lighting essentials Workshops in Asia 44

Lighting Workshops in Stockholm 45

ASC Outstanding Achievement Awards 46

Celebrate Cinematography

The Oscars Fete Magical Movie Per formances 47

Arri Asia Opening 48

Arri at nATeXPO 49

new Arri Website 50

L i g h t i n g

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

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C o n t e n t

Dear Friends and ColleaguesInspiration that is what the Academy of Motion Picture Arts and Sciences really seeks to single out with its Scientific and Engineering Awards. A long series of testimonials from a host of different applications of the worlds most powerful luminaire are an eloquent proof. This years award is an appreciation in more ways than one: although ARRI is known mainly for its cameras, the company has been producing lighting equipment since 1924. The ARRIMAX represents a true milestone, not only because it is our first lighting product to receive the Sci-Tech Award. More than that, it re- defines the entire concept of a luminaire from the ground up. Much of the technology and know-how that was developed for the ARRIMAX is now a platform for further product lines such as the True Blue Series.

The award also acknowledges a field that is not often in the center of attention. In fact, it was the first time in five years that the Academy presented an award for lighting.

A decade of experience has confirmed the ARRILASER as an industry standard and has created a solid foundation on which decisive key technologies and quality standards for the digital domain have been developed. The new ARRILASER 2 combines customer requests, experience and novel developments into an innovative product platform meant to last for many years to come, featuring a completely updated software interface and many additional features.

In many different environments around the globe the ARRIFLEX D-21 has established itself as a proven production standard, one that is clearly oriented towards a film-style quality especially when it comes to serving file based workflows at moderate budgets. We are therefore especially pleased to see the wonderfully impressive images from Brazil, as much as we are proud to have been involved in one of the largest state funded film projects currently in pro - duction in Germany. Together with our services operations we have been able to gather invaluable new experiences to improve our products. Precisely this has always been the main criteria for ARRI cameras reliable performance, whether they are directly supported through us or whether they are completely on their own in some far corner of the world.

Long term protection of investment, product value and continuous customer support: these are the elements that form the indispensable basis for dialog with our end-users. Two products that complement the ARRISCAN currently highlight this topic. First off, a stunning new de-graining process offers a significantly improved quality for post production for HD-distribution, digital and theatrical release. On the other end of the time scale, another product addresses almost century-old vintage films, which impressively prove the long-term stability of the medium. Despite years of use, splices, torn perforation and scratches they represent a cultural treasure, although one that has hardly been unearthed. But even for this difficult and extremely delicate material the ARRISCAN and the comprehensive film-handling expertise behind it provide an ideal basis. The dedicated Wet-Gate and a graphical user interface underscore the commitment to this application field. A completely new addition to this family is the ARRISCAN 2k, which serves as a cost-effective solution for HD and 2k applications and as a stepping stone into the world of film scanning.

A new dimension of image quality is introduced with the HD-IVS video assist system. With its high resolution, wide dynamic range and integrated image processing it sets a standard that approaches the level of current digital acquisi - tion products. Innovative features include the digital removal of ground glass structures, providing images of an unrivalled clarity. Film shoots are thus given a new level of production security and quality.

Size matters may have been the motto of the ARRIMAX but sometimes its the small things that make life that much easier for the professional. No wonder the new PAX system has quickly gained an avid following. Freely selectable color temperature, intensity and virtual gels; compact dimensions that also allow for the worlds smallest green-screen studio; a growing accessory program; a completely stable output those are the ingredients of success. Once again this confirms that there is only one right way to develop products through permanent dialog, not only in the development phase but also and above all throughout the whole life span of the product. Your feedback helps us to keep improving our products to better match the day-to-day needs of professional users and at the same time provides us with the best and most vital source of new inspiration.

We are already looking forward to talking with you.

Franz KrausProf. Dr. Dejan Ilic Jens Schfer

F.l.t.r.: Prof. Dr. Dejan Ilic,Jens Schfer, Franz Kraus

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E d i t o r i a l

Dr. Jo Baier

Currently in post-production, HENRI IV (Ziegler Film, Central), one of the most ambitious German projects

is in its final stages. HENRI IV will be available for theatrical release and as a two-part TV version in HD.

For Director Dr. Jo Baier this was the first film shot entirely with a digital camera: the ARRIFLEX D-21.

As in previous projects, you not only directed, but were also involved in the script writing?Jo Baier: Yes. However, with HENRI IV I was fortunately not completely on my own when it came to distilling a kind of road map out of the 1.500 pages of Heinrich Manns bio-graphic novels. My colleague Conny Cooky Ziesche, the creative producer, virtually took over the entire dramaturgy for the script.

What makes these novels valid or ageless for todays audience?J.B.: All of his life, Henri IV fought against religious fanaticism. We are facing similar conflicts today. His adventurous biography is also intriguing, which had obviously al-ready fascinated Heinrich Mann. Henri IV personifies the rare example of a king who

came to power from humble beginnings. A man that literally built his kingdom with his hands in a certain way, we might call him the Obama of his time. Yet he remained humane and was always committed to hu-manism. Last but not least, he was one of the first sovereigns that could envision a united Europe.

What is the atmosphere of the movie?J.B.: It was important to me that the viewers never have the feeling of looking at a paint-ing but rather at something living. A picto-rial style can be very attractive for a director, especially when dealing with a renaissance topic. I wanted to get away from that as far as possible. Generally speaking, I wanted it to be somewhat wild, unruly, not opulent,

despite the many battles with hundreds of men and animals; a rather sparse look, with an almost documentary perspective, with extremely desaturated colours. Soldiers who spent days on the back of their horses after the battle, without being able to wash have to look simply like that: wet, sticky, dirty. This meant a lot of work for the make-up artists; my idea was that you should nearly smell the period and the dirt. Even the towns were not much more than big cesspits in those days. Consequently, we searched for crumbling venues in order to have suitable background motifs. Our Louvre was a building in Prague that was flooded by the Vitava and in which the plaster fell off the walls all together quite earthy.

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(3,200K) but an intermediate value of 4,100K. This added something grey, a kind of diluted flavor. I wanted to get away from the pictorial light of those days with its candles, torches and soft sepia shades. We could simulate and examine all that during the creative process marvelously, thanks to the D-21.

There is just no way to have this absolute control over the picture when working on 35mm. While we were on the set in the Czech Republic, we would probably have had to wait for days to get back film rushes which may have lead to situations where you simply lose some of the motifs. In the evenings, it was quite reassuring to know that all the things you saw during the day actually were in the can. When shooting on film, it can happen that the rushes look different to the perception you had on the set. This cannot happen with the D-21 at all and that gives you a lot of confidence.

A big disadvantage of shooting digital has al-ways been the depth of field everything is in focus, from the far back-ground to the closest

foreground. This makes a pic-ture quite boring. Quite under-

standably I got almost carried away by all the D-21s features of

controlling all aspects of the image. Extract-ing persons from the background in dia-logues is an excellent dramaturgical re-source and something I personally welcome as much as a real film look.

During the shooting in Germany, France and the Czech Republic, you had up to three D-21s on the set simultaneously?J.B.: Yes, that was probably one of the most comprehensive packages to have been used on a feature film to date. We had three D-21s in use in the Czech Republic for more than six weeks mainly for the battle scenes. This was really impressive: we had 600 people on horses that rode against each

other. There was no chance to repeat the scenes, so we used the three cameras si-multaneously and continuously: one on a crane, one on a Steadicam and the third one as a hand-held camera. This saved us a lot of time and effort, especially with the ex-pensive and complicated horse stunts. After that, we continued to work with two D-21s until we finished the shooting. At the end of the day, this saved us a lot of time. Con-sidering the enormous effort we invested, a total of 72 days of shooting is extremely short.

How did the D-21 cope with the challenging environmental conditions?J.B.: Even under extreme conditions, the camera just worked perfectly. During the last three days of shooting, we had rain and snow from dawn to dusk and it was freezing cold. The cameras handled the low temperatures and the humidity without any problems, in the same way that they were able to cope with the tons of powdered earth that we threw around to defract the air on the set and create a murky, dusty atmo-sphere. Even the soot particles from burnt newspapers that we blew into the turmoil during the battle scenes couldnt do any damage to the cameras.

The decision for filming digital influences production and distribution as well. What were your concerns?J.B.: We are well aware of the fact that many cinemas are not yet equipped to show the film digital. So we have to print on film for the time being. Actually, my biggest concern was that the HD images could be too sharp a big challenge for the make-up artists, the costume designers and the prop department. But when I saw the screening at ARRI, I felt very comfortable with the pic-ture, it was not as sharp-edged as I had suspected. This was another point where the impression from the on-set monitor did not cheat us.

HENRI IV will be available for theatrical re-lease and as a two-part TV version in HD. The small screen version will be longer and a bit more epic in its narrative perspective. However, our main focus is on the cinema version at the moment primarily because of the sheer impact and the size of the im-ages. In contrast, the TV version will offer more sequences with a more deliberate and detailed narrative style.

How does the D-21 fit into this visual concept?J.B.: Thanks to the digital capture, DoP Gernot Roll and I were able to exactly con-trol our visual concept directly from the monitor. This was just like a dream for me: For the first time in my working life, I could see a picture on a big HD monitor already while on the set, and I could be sure that the picture I saw would be exactly the same as in the film later in terms of resolution, pre-cision and look. We could not only set the aperture and precisely control the depth of field as we wanted, we were even able to alter the colour temperature instantaneously at the camera. The look I was going for was neither daylight (5,600K) nor tungsten

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You recommended using the ARRIFLEX D-21 for shooting HENRI IV?Gernot Roll: Yes after Franz Kraus had encouraged me, I carried out several tests with the D-21 in quite extreme situations during the Spring of 2008. The results were so convincing that I decided to shoot a first movie called MNNERSACHE (Constantin) with the German comedian Mario Barth using the D-21. To me, this was the ideal test run for the large-scale project of HENRI IV. Dr. Jo Baier and executive producer Prof. Regina Ziegler came to Berlin, where we made the final decision to shoot digital. I

prepared identical test shoots on 35mm 3-perforation using a 435 and on several HD formats, using the D-21. Colour timing was done at ARRI Film & TV on the Lustre and the takes were printed on 35mm as split-screens using an ARRILASER. I was very impressed by Jo Baiers openness to get engaged with this new technology.

Is the style of work with digital equipment different to a 35mm camera?G.R.: Actually not I am only interested in the results. In general, the D-21 behaves and feels as if you were shooting on film.

What lenses did you use?G.R.: Ultra Primes and Master Primes, hardly any zooms.

Is there a different approach in lighting your images?G.R.: Yes, because with the D-21, you in-stantly see the result on the large HD screen. Because of that I must admit you become bolder in terms of the creative options, es-pecially with regards to exposure and con-trast range in darker scenes. You dare to push the limits more because you immedi-ately see the result without having to wait for the rushes.

Your conclusion?G.R.: Even in this complex historic context, the D-21 met our expectations in every re-spect. There was just nothing we could have done differently or better on film. There is virtually no risk for the DP to make full use of this technology. We had the courage to shoot entirely in digital with the D-21 and were rewarded with only the best experiences.

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DoP Gernot Roll about his experiences while working on HENRI IV

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F r O M S e T T O P O S T P r O D U C T i O n :

HENRI IV was shot as progressive scan HD, 1,920 x 1,080, RGB 4:4:4 linear, extended range. This way all scenes could be screened without lookup-tables in HD quality right on the set. The footage was recorded primarily to ARRI FlashMags, solid-state digital maga-zines that attach directly to the camera. As a consequence, there was no need for cables between the camera and the recorder a prerequisite for operator Michael Praun to use the D-21 on his Steadicam.

The FlashMags were copied to HDCAM SR on site. At the same time, the takes were checked. When shooting from a tripod, the takes were directly recorded on a Sony SRW-1 HDCAM SR field recorder.

The original tapes (more than 250 in total) were sent to ARRI Film & TV Services for dailies processing. They were checked and securely stored like regular negatives. To make full use the advantages of digital HD recording for the creative editing process, it was decided to work in HD on the Avid Adrenaline media composer. The quality of the footage was in-spected using an HD class 1 monitor and a lab report was compiled as one would do for conventionally shot material. This is an efficient and recommended workflow in order to allow for a quick response to any problems. At the same time, the footage was compressed using a DNxHD-36 codec and loaded onto an HD Avid system. The gen-erated image data were forwarded via

FireWire disk to the editing room on a daily basis. This represents another advantage in time, as the tape-loading could thus be moved into post-production.

During the editing, a promo-trailer was created. Along with the theatrical version (100) of HENRI IV, there will also be a special TV edition (2 x 90). This will be created with the DI-workflow at ARRI, which allows the adaptation of the colour timing from the film version directly to the TV version. This workflow was previously developed for the Constantin productions of BAADER MEIN-HOF KOMPLEX and ANONYMA, which also included a mini-series for TV and a filmed-out version for the cinema.

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ArriFLeX D-21Capturing Two epic Mini-Series at TV GLOBOTypically television productions called 'soap operas' are stigmatized as inexpensive programs, but in

Brazil the situation is vastly different. These high-end TV dramas are now a requirement for every

Brazilian network to be successful during prime time. Made with sophisticated technology using HD

cameras, computer-controlled lights, motorized lighting suspension systems and Hollywood-like

special effects everything is high end, creating a demand for popular Brazilian soap operas to be

exported to 130 countries. Aside from conventional soaps, productions in Brazil of mini-series involve

standards usually achieved by A-class feature films.

TV Globo proudly supplied two ARRIFLEX D-21s, Ultra Prime lenses, and an Ang-nieux 25x250mm HR on two consecutive TV Globo mini-series, CAPITU and MAYSA. The director of CAPITU was Luiz Fernando Carvalho (LAVOURA ARAICA, HOJE DIA DE MARIA) one of the most celebrated Brazilian directors. Adrian Teijido (ANTONIA, ONDE ANDAR DULCE VEIGA?), DP for CAPITU, has shot commercials all over the world in both film and video. Teijido has also worked with Cao Hamburger on several TV Globo and HBO mini-series. He has experience in feature films and works closely with O2 Filmes, Fernando Meirelles (BLINDNESS, CONSTANT GARDENDER, CITY OF GOD) pro-duction company. On his project, Teijido

describes, CAPITU is a five-episode TV nar-rative that is part of a package of four mini-series produced by TV Globo based on Dom Casmurro, a book by the famous Brazilian classical literature writer Machado de Assis.

The first day of testing it rained all day, unusual for Rio but perfect for testing the camera in exteriors. At 7 p.m. there was hardly any more natural light yet the crew just kept on going, delighted with the tests and the amazing looks that were being achieved.

CAPITU was well reviewed when it aired, not only with the professionals involved but also through the millions of spectators.

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Soon after CAPITU was finished, TV Globo decided to shoot another mini-series, called MAYSA with the D-21s also. MAYSA's Los Angeles-based DP, Affonso Beato, ABC, ASC (NIGHTS IN RODANTHE, LOVE IN THE TIME OF CHOLERA) has worked with directors Pedro Almodvar (THE FLOWER OF MY SECRET), Stephen Frears (THE QUEEN) and Walter Salles (DARK WATER).

Beato was very pleased to work on a tele-vision project for a change. He has always been in favor of shooting on film, but the costs for shooting MAYSA in 35mm would have been too high. Notes the DP about the mini-series, Its the story of MAYSA, a famous Brazilian singer from the 50s, 60s who died in 1977 in a tragic car accident. She was a true feminist, a woman living ahead of her time, breaking social rules not only in her private life but also with the public. Follow-ing is what Beato and Teijido had to say about their experiences with the D-21:

How long was the shooting schedule?A.B.: 13 weeks plus four for preparation.A.T.: We had nine weeks of shooting, two weeks for testing and three for pre-production.

Had you worked in the HD 24p format or with the D-21 before this project?A.B.: No, however I had plenty of theoretical knowledge about digital. The challenge of working with it was very gratifying.A.T.: I had had a few experiences on com-mercials and corporate projects with HD 24p but this was my first experience with fiction.

What kind of tests did you do during preparation for this film?A.B.: Extensive tests were done in order to create the appropriate looks for the story using the Iridas SpeedGrade OnSet soft-ware integrated with a Cinetal monitor.A.T.: I simulated situations that were similar to the ones that we would be facing during the shoot. On the very first day of the tests we captured a lot of external scenes, night and day, using an Angnieux 25x290mm and I was extremely impressed with the latitude, texture and film look. My attitude was as if I had shot using an ARRIFLEX 435, really

impressive. It was a huge weight off my shoulders and showed me where true digital cinematography is going.

What mode did you shoot in and why?A.B.: I used RGB 4:4:4 Log C and Extended Range because the mini-series will also be transferred to film.A.T.: We chose to capture in HD Cam SR Linear, because we knew that the produc-tion would be shown on television only. We have over 200 hours of material.

How would you describe the look and style of your projects?A.B.: We created three different looks. One for the 40s, when MAYSA was still a girl less saturated with soft colors. Another look for the 50s and 60s, when she became a successful singer, and another look for the 70s, when her life became shakier.A.T.: This was the most challenging project of my entire career. In order to work with Luiz Fernando Carvalho one must be absolutely free from any previously determined aesthetic notions and allow ones sensitivity be on its edge to be ready for any kind of last minute improvisations.Luiz always hinted to me that I should not get attached to a specific time period because this project could actually happen in any given time, in any kind of place and we had to focus on making the drama look contem-porary although it was supposed to have happened in 1860. We designated CAPITU as a huge opera! Luiz made me study up Visconti, Bob Wilson, Kustorica, among others. CAPITU is, above everything, a great visual experience!

How did the D-21 perform in daytime exterior shots?A.B.: Even working in Extended Range with 12 latitude stops I had to be very careful as with any other digital cameras with the

saturation of the highlights. Therefore I used a lot of filters for protection against the bright-ness of the sky and/or some other bright areas. I ended up using an EI 100 ISO look.A.T.: The camera performance was outstand-ing in any situation. In night scenes I used ASA 800 to take advantage of as much light as I could and the noise level was totally acceptable. In exterior shots during the day under the bright, Rio sun the D-21 held up the highlights without clipping and without losing the details of the low lights.

Can you talk about a shot that you are very happy with how it turned out?A.B.: One of the scenes with most impact was the scene of her first suicide attempt in the bathtub. The car accident was also very im-pressive and many people asked us how we did it. Maysa was driving her car over the Rio-Niteroi bridge (a very long bridge that connects Rio to Niteroi, the city across the Guanabara Bay) and it looked like it was a helicopter shot but actually it was computer graphics. TV Globo s pros obtained an Auto-Cad design of the bridge, converted it in 3D, shot all the different textures (sea water, concrete, etc.), dove into a virtual flight and finally gathered (morphing) what we had shot live against a greenscreen. The car crash at the end was real and was shot with four cameras, two of them high-speed, also against a huge greenscreen and mixed with computer graphics. It was really amazing.A.T.: Luiz Fernando Carvalho wanted the wake scene to happen inside a box that would be totally white. A white box measuring 15m x 10m was then built. The walls and the ceiling were made of silk! We used approximately 200 fluorescent lamps and inside the box all actors were dressed in black. I overexposed the walls at 1.5 stops and the result was truly magical with plenty of details in the lows.

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DoP Adrian Teijido shooting CAP ITU

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Mr. Iizuka Mr. Murakami

All cameras were equipped with the same lens, operated at the same T-stop level, and shot four different sets side by side covering daytime, indoor, night scenes, and keying.

This was not an event to make people de-cide about the best system, but to better understand each cameras characteristics, said Pict Inc. Camera dept. manager Mr. Hashimoto.

PICT Inc. has been using D-21 for many commercials since then. The most recent one was shot using three D-21 for Sappo-ro Black Label beer. This series of commer-cials were conceived

by PICT inc. not to look made-up, but to express a more reality-like approach. The location was set in a downtown Japanese Okonomiyaki (Japanese-style hot-plate pizza) restaurant and the actors were directed to chat freely over a period of 7 hours, to get as many typical situations as possible. Mr. Iizuka, PICT Inc.s producer explains:

Long recordings give us more reality and

press live feeling, comments the cameramen Mr. Okabayashi and Mr. Aketagawa.

The color-adjusted contents from the loca-tion and contents with a Log curve were re-corded into three HDCAM SR tapes as dual stream. DIT Mr. Ishimoto explains Log con-tents enables color grading in the post ac-cording to weather changes. We actually did not color-grade in post, but it is still very useful to record both data simultaneously. This shooting was almost like live-shooting and you never knew where the cameras would aim at, so we really wanted to cap-ture everything from highlight to low.

Starting 2009 NAC Rental has tied up a long-term sub-rental contract with PICT Inc..

ARRI always does a very good job to implement user input from all around the world into their products. As a conse-quence our feedback on the D-21 is very positive, comments NACs engineer, Mr. Kozutsumi. This encourages NAC Rental to further enlarge their D-21 basis in Japan.

live-feeling. The first commercial of this series was still shot on 35mm film, but the costs were high since we needed long takes. The second and third issue was filmed on a F900, but we definitely needed more film-like tones to make it realistic and interesting as a commercial. The D-21 covers both issues and obtains very satisfying results, says Mr. Iizuka.

DoP Mr. Murakami of PICT Inc. says: The D-21 gives you the freedom of shooting digital, and the film style including the ability to use all the well known accessories. The set was covered

by three cameramen shooting simultaneously: We were shooting in a good rhythm as we could change the position very quickly, thanks to the optical viewfinder. Skin tones were pleasantly reproduced even with the fluorescent lighting, so we felt a sense of security. The live action was never interrupted by an exchange of media, so this camera really matches the productions needs to ex-

NAC Rental has introduced the ARRIFLEX D-20/21 in Japan already in 2006. Since then numerous commercials,

music videos and other shows had been filmed in a new style. PICT Inc., one of Japans biggest production companies

for commercials tested the field of digital cameras extensively and presented their results to a greater audience.

The individual effective sensitivity and dynamic ranges were tested along with typical workflows in the commercial post.

The event comparing the D-21, a F35, RED ONE and a 535B attracted hundreds of industry professionals to communi-

cate and exchange experience.

SAPPOrO Black Label Beer Commercial

Shot on the ARRIFLEX D -21 by PICT Inc.

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Antonio Paladino: Its a 90-second ad and 60 seconds of that is purely football scenes, most of which is staged action that we had to try and capture as precisely as possible. The difficult thing was that we only had the Premiership stars for a little over three hours.

What kind of preparation were you able to do before the football stars arrived?A.P.: The day before I walked around our set with a video camera and filmed all the setups we would have to shoot. Then I edited the footage in the evening on my laptop so we could see how all those shots would look when they were put together. When the stars arrived the next day we basically copied what we had already done with the video camera.

The action takes place at night; what was your approach to lighting?A.P.: The pitch was lit with sodium lamps and it was just a bit too dark and orange for what we wanted to do, so we put in 12 2k Blondes to tone down the orange colour and bring up the light level a bit. I was shooting 640 ASA and sometimes even 800 ASA on the D-21. Our HD technician [Ben Appleton] made me feel completely secure on set with these cameras, especially as we were using these high ASA ratings.

What lenses did you use on the shoot?A.P.: I used Cooke S4s and also had a set of Zeiss High Speed lenses, the extra stop was very useful on this shoot because we were working with so little light. Sometimes I closed the shutter as well, which meant I couldnt see through the optical viewfinder,

nike 5 Shoots, ArriFLeX D-21 ScoresPremier League footballers including Rio Ferdinand, Wayne Rooney, Fernando Torres and Joe Cole were recently

recruited by UK production company Academy Films for a television commercial promoting Nike 5 sportswear.

Celebrating urban five-a-side football, the spot features a covert night game on a pitch wedged beneath a flyover in

a dark, foreboding inner city location. The soccer stars, several of them in disguise, intermingle with amateur five-a-side

players in a fast and furious contest of teamwork and ball skills. Cinematographer Antonio Paladino had the task

of finding a digital camera that could deal with low light levels and create an edgy, urban look. Having shot a major

Sony commercial with the ARRIFLEX digital camera system last year, he did not hesitate to select ARRIFLEX D-21

cameras, which were supplied by ARRI Media in London.

but it gave me another third of a stop which occasionally I really needed.

What were the advantages of shooting this commercial on HD for you?A.P.: I guess every DoP is a bit hesitant using HD rather than film, but there were some significant advantages. Night exteriors are particularly demanding, because there is a fine line between over-lighting the set and leaving it too dark. HD takes the strain out of it because you have the monitor and what you see is what you get.

I was operating the A-camera and most of the time I was relying on the on-board Astro monitor because it is such good quality. My HD technician was keeping an eye on the waveform and would let me know if there were any problems, so I was able to just

concentrate on the image. Judging from the monitor, I was very confident using the 800 ASA setting.

Another interesting situation was the very last shot of the day: we had to get an image of a security guy sitting behind his CCTV screens, so we found a gritty little corner of a building. When I came to the set there were these ugly fluorescent strip lights on the ceiling and I ac-tually quite liked the look and colour of them so I didnt use any additional lamps, I just shaped the light with black flags and created shadows around the image. The scene was basically lit with six or seven flags and it was having the monitor that let me do that. It was such a pleasure to fine tune the light and shadow in that way.

Mark Hope-Jones

Antonio Paladino with the D-21

11C a m e r a

above: Judith Petty, Amy Vincent, Charlie Hertzfeld, Don Henderson (f.l.t.r.)

AMY VinCenT ASC 16mm WorkshopHow was your Camerimage this year?Amy Vincent: It was my first time at Camer-image and I was fortunate that my seminar was the last one, so I was able to enjoy the whole festival beforehand! I was also able to spend time with Judith Petty [ARRIs Head of Corporate Marketing] putting the workshop together and convincing people like Charlie Hertzfeld from Technicolor, Don Henderson from Kodak and Wolfgang Baumler with the Hawk anamorphic lenses to come and join us. I think that was what made the seminar really work for the students it wasnt just one per- son, it was a group of people discussing Super 16 in the context of every stage of the production workflow.

Well that perfectly reflects the collaborative atmosphere at Camerimage.A.V.: Exactly. One of the real inspirations for how the workshop came together was that I was invited to the Image Forum launch. At first it sounded dreadfully boring, but it was an absolutely inspiring presentation where you had Kodak, Fuji, Panavision, ARRI, profes-sional cinematographers and a bunch of post-production people combinations of people that are normally competitors all coming together to discuss Super 16 as a format.

So the Image Forum launch influenced your approach to the workshop?A.V.: The Image Forum was the inspiration for the preliminary part of the presentation, with Judith moderating and me, Charlie and Don discussing Super 16 and all the advances that have been made. Then we had the Hawk anamorphics come along for the second part of the presentation. After the discussion and a Q&A session we set up a big table where the students were loading magazines. The really fun part was when we asked for some volunteer directors to shoot with the ARRI-FLEX 416. The directors hired cinematogra-phers and the cinematographers hired gaf-

fers, and the three teams got to light and shoot a scene. Ive had a lot of feedback from the students and I think that when you let them actually have a go instead of just talking at them, it really helps to open their minds.

Given the efforts of the Image Forum, its reassuring to see so much interest in Super 16 from the next generation of cinemato-graphers.A.V.: Well, even though the new generation has grown up with digital technology, their passion for storytelling comes from a huge legacy of movies that were originated on film. I also think that the photochemical process still holds a degree of magic. It doesnt have that instant gratification of being able to set up a digital camera with a calibrated display and see exactly what youre going to get theres an element of mystery to it.

What are your own experiences with the Super 16 format?A.V.: My thesis film at AFI was Standard 16 and we did an optical blow-up, so that shows how long ago that was! I recently shot the movie HUSTLE & FLOW with an ARRIFLEX SR 3, Zeiss Super Speed lenses and Kodak Vision2 stocks. That film illustrates how being able to do a Digital Intermediate is really one of the major factors in maintaining Super 16 as a viable format for theatrical release. Even more recently I did a TV pilot for HBO called EASTBOUND AND DOWN on Super 16.

Have you had the chance to shoot with the ARRIFLEX 416?A.V.: My first experience with the 416 was when ARRI put one at CSC in New York and we managed to procure it for an HSBC bank commercial. I think we were one of the first jobs to take the camera out and there was no turning back for me after that; I would ask to shoot Super 16 over 35mm just because I wanted to use the camera again! And Im

not just saying that, I really love the 416. For the HSBC commercial we were in and out of all kinds of vehicles, so having these tiny cameras that we could mount all over them was a great experience.

Did the workshop make you readdress your own views about Super 16?A.V.: I was having lunch in Hollywood the other day and I ran into Dariusz Wolski [ASC], who did the PIRATES OF THE CARIBBEAN movies. Hed just finished shooting ALICE IN WONDERLAND for Tim Burton and he came running up to me and said, Amy, Amy, Im shooting a movie in Super 16! Somehow Ive sort of become the Super 16 person I dont know how but when I saw the enthusiasm and support being put behind Super 16 at the Image Forum meeting that was really some-thing. Just seeing all the research, expertise and energy still going into bettering an al-ready incredible format really inspired me. The Image Forum is ultimately about keep-ing choices about the image in the cinema-tographers hands, and thats important.

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Cinematographers, equipment manufacturers, students and film lovers flocked once

again to Ldz in Poland for the 16th Plus Camerimage. The ARRI booth was, as usual,

a hive of activity and interest, with the latest products and developments on display.

Thomas Popp, ARRIs Director of Sales & Marketing, Camera & Digital, was awarded

a Friend of the Festival Badge for supporting Camerimage since its inception and

ARRI put on a number of events, including its famous end-of-festival dinner. Bill Lovell,

Head of ARRI Medias Digital Department, led a panel discussion during which Sean

Bobbitt BSC, John Lynch, Bernhard Jasper and Chris Plevin shared their experiences

of using the ARRIFLEX D-21 camera. A pair of world-class cinematographers collabo-

rated with ARRI to present two of the most popular events of the entire festival. Roger

Deakins ASC, BSC hosted a lighting workshop entitled From Documentary to Drama,

while Amy Vincent ASC led a 16mm workshop. Here, they recount their thoughts and

memories of Camerimage 2008.

rOGer DeAKinS ASC, BSC Lighting Workshop

Camer image 2008

Camerimage is a fairly unique event in that in brings together leading cinematographers with enthusiasts and students. Would you agree with that?R.D.: Yes, and thats whats so great about it. So many people show up and that seemed especially true this year. It was really good; I met people Id never met before, caught up with people I hadnt seen for a while and also spoke with endless numbers of students and budding cinematographers the whole range. Its nice because everybody is just there theres no hierarchy to it.

Of course, leading an ARRI workshop is a pretty direct way of involving yourself in that spirit of openness and knowledge sharing.R.D.: And that was kind of nice. A large part of the workshop was dominated by a Q&A structure. Its hard to do much in terms of practical lighting when youve got four or five hundred people in the room! I had a 12-by-12 diffusion frame and I couldnt use it because I literally didnt have the space,

so I kept the lighting minimal and went through some tricks and techniques I use.

With an audience of aspiring cinematogra-phers, demonstrating what can be achieved with simple tools is a valuable lesson.R.D.: Thats very true and its something I like to do because students often say to me, Its all very well for you, you can have anything you want, but what can I do with only a couple of lamps? Well, there are loads of techniques you can use to light a scene without ever touching a standard film light.

Youve got your own website (www.roger deakins.com), which incorporates a cinema-tography forum. How did that get started?R.D.: It got started because Id done a couple of seminars and afterwards there were just so many people with so many questions that my wife said, Why dont we start a website? It was sort of a way to stop answering the same questions so many times! My wife set it up because shes a computer wizard and

weve had it going for a few years. Its actu-ally getting almost too big now and taking too much time! That said, I finished a film only a few weeks ago and I was managing to keep up with the website. Id go on for half an hour or so every weeknight and do a few more hours at the weekend. I keep my replies fairly simple and thats the trick really. Its become more of a forum with open conversation and people can search previous discussions, which helps with not addressing the same issues over and over again.

You also have a selection of your own still photographs on the site. Are you still finding time to take pictures, despite all your work on the forum?R.D.: I add to it now and then, but I only really put it up as a talking point and because peo-ple had asked to see a few different images. I actually find taking still pictures really hard! I took a few in Poland but theres only one or two I really like now Ive come back and had a look at them!

13C a m e r a

The advantages of the new ARRI HD-IVS in detail:

Improved definition & dynamic rangeThe new sensor has 1,920 x 1,080 pixels and the resolution is always full sensor size, even while the film camera is running. This im-provement is an extremely visible one, since the existing IVS has 768 x 494 pixels (NTSC version), with only 50 % vertical resolution in camera run mode. With the new CCD sensor, the HD-IVS will deliver an improved dynamic range of approximately three ad-ditional f-stops, compared to the old SD-IVS.

HD video assists for ARRICAM Studio ARRICAM Lite 435 ES /Advanced / Xtreme

Superb image performance HD resolution: 1,920 x 1,080 Three stops more dynamic range than current IVS Sharp, high contrast images with excellent color reproduction Clean image through Ground Glass Cancellation (GGC) Less noise and fewer image artifacts through optimized exposure control

Additional features Capture of individual HD images onto a USB stick Automatic Defect Pixel Correction (DFC)

3 x HD-SDI outputs With overlay, without overlay and switchable 4:2:2 HD progressive, progressive segmented frame or interlaced 23.976, 24, 25, 29.97 or 30 fps

HD-IVS for 435 Xtreme

HD-IVS for ARRICAM Lite HD-IVS for ARRICAM Studio

off the system via a conventional USB stick. All the well-known features of the exist ing IVS have been retained, such as optimized mechanical and optical integration into the camera system. Existing standard definition IVS units can be replaced with the new HD-IVS on ARRICAM cameras within a few minutes. Only on the ARRIFLEX 435 is it necessary to re-wire a few cables in the camera body, which can be done by all authorized ARRI service centers or by trained electronic technicians.

High Definition Video Assist HD-iVSHDTV is on its way to becoming a commonly used TV standard. Up until now, however, the quality of video assist units

on film cameras has remained standard definition. One might argue that it is the quality of the film image that matters

and that a standard definition video assist does the job required of it, but many filmmakers are questioning why a

sophisticated film camera still employs a decade-old video tap when digital imaging has progressed so far in that time.

And this is much more than just an aesthetic question; higher resolution facilitates better judgment of focus, improved

dynamic range and more visible detail, especially in shadow and highlight areas. In other words: an HD video assist

provides much more information about the take and shows more clearly if it was good or not.

The new ARRI HD-IVS goes even further: it comes with software that electronically com pensates for the grainy effect created by the ground glass texture. This effect is strongly visible in conventional video assist images, especially at small apertures. With the motorized iris of the HD-IVS lens, the noise in the image can be reduced still further; the IVS automatically adjusts for an optimal com bination of light level on the sensor and electronic gain. Additional im-provements include three BNC output sockets and a USB interface that allows selected images to be put on and taken

14 C a m e r a

ground glass structure compensation are possible. User-friendly software update procedures ensure that the system remains up-to-date as new features become avail-able.

4:3 and 16:9 lensesTwo different, dedicated prime lenses can be used with the HD-IVS video assist camera. The 4:3 lens is optimized for taller aspect ratios such as 4:3 and anamorphic formats, and permits the entire 4:3 ground glass image to be displayed at 1,440 x 1,080 pixel reso-lution on an HD monitor, leaving black vertical bars to the left and right of a pillar box image. These black bars optionally display metadata or the OSD menu.The 16:9 lens is optimized for aspect ratios of 16:9 or wider. A 16:9 aspect ratio image from the ground glass is displayed at 1,920 x 1,080 pixel resolution on an appropriate monitor. The use of two prime lenses ensures maximum aperture is maintained at all times, which would not be possible with a zoom lens. Prime lenses can be exchanged quickly and easily at a camera rental house.

Image store on USB stickSelected images can be transferred and stored as standard files on a USB stick via

Ground glass cancellation (GGC)The video assist records its images from the ground glass in the film camera; this ensures that framing and the impression of depth of field are identical between the film and video assist images. An electronic compensation reduces the grain structure of the ground glass in the live HD-IVS video assist image, generating a noticeably cleaner image. To create a reference, it is necessary to record a few images of neutral grey whenever a new ground glass is put into the camera; this teaches the grain structure to the system.

Motorized irisIdeal video assist image quality is always a result of a perfect combination of the aperture setting of the video assist lens and the elec-tronic amplification of the video signal (gain). Fully motorized setting of the video assist aperture allows for minimum gain, thereby reducing noise and image artifacts. Image brightness can be controlled with the gain keys on the panel of the IVS or by using the on-screen display (OSD) software.

Software add-onsThe HD-IVS comes with a powerful image processing unit. Software-based image pro-cessing such as dead pixel correction and

Retains most other IVS features Design and lens optimized for the associated camera body Flicker-free operation (can be switched off) Integrated frame line inserter Integrated text inserter (camera speed, battery voltage,

shutter, timecode, user text line, camera status) Note: some features not available on older 435 cameras

On-screen menu and controls via keyboard for the most important settings Automatic and manual gain control White balance: indoor, outdoor, manual and one-push white

Old SD format (enlarged on image center)

HD-IVS with ground glass cancellation (enlarged on image center)

HD-IVS without ground glass cancellation (enlarged on image center)

a USB interface on the HD-IVS. Images from a previous take may be loaded back into the system and used for the compare function, well known by users of the SD-IVS. This function means that stored images can be superimposed over live images to show the differences, which is extremely useful for table-top and stop-motion cine-matography.

Versatile HD-SDI modes & outputsA wide range of standard display and re-cording devices can be used with the HD-IVS, offering great flexibility in outputting signals. The system supports 23.976, 24, 25, 29.97 and 30 fps interlaced, segmented and progressive. Two output methods are avail-able, as with the existing IVS. One BNC socket feeds plain video, which is just the image, not overlaid by any kind of meta-data. The other BNC socket feeds video overlaid by metadata, such as camera speed, footage counter etc. The new, third BNC socket can be switched between the two systems, providing much greater flexi-bility and meaning different mini monitors can be used.

Klaus Jacumet

15C a m e r a

Compact Primes

ARRI is pleased to announce a new set of high quality PL mount lenses for digital and film cameras.

The Compact Primes are based on the award-winning optics of ZEISS ZF still photography lenses,

which have been further optimized and built into completely new lens housings designed specifically for

cinematography. Benefiting from the uncompromising standards of motion picture equipment manufacturing,

the Compact Primes are an affordable set of prime lenses that deliver high image quality as well as the

ergonomics and robust construction demanded by the rigors of life on the set.

W e L C O M e T O T H e F A M i L Y

16 C a m e r a

Professional Quality on a BudgetThe long and highly successful collaborative relationship between ARRI and ZEISS has resulted in many products including the Ultra Primes, Master Primes, Ultra 16 lenses, Master Diopters and the Lightweight Zoom LWZ-1-lenses that have raised the bar of cinematography optics to unprecedented heights. Now comes a new series of prime lenses for a growing niche in the market: the Compact Primes offer professional quality

on a budget and have been designed for both film cameras and the emerging gener-ation of 35 format digital cameras. They address the notable lack of affordable, high quality PL mount lenses available for the large numbers of 35 format digital cameras that have entered the market place. Such cameras deserve lenses that do justice to their sensors, but that can also take the rough, daily han-dling that filmmaking involves.

Affordable PL mount lenses

For all PL mount digital and film cameras Covers up to full format still image size

(24 x 36 mm)

Advanced optical performance

Modern lens design High resolution & contrast Great flare suppression through

T* coating and internal light traps Low distortion Color matched Unique 14-blade iris for natural, circular

out-of-focus highlights

Cine style housing

PL mount positive locking and solid Cine quality housing is robust and reliable Strong, precision construction stable with

lens motors Calibrated lens scales Focus rings turn in standard cine lens direction Standard housing dimensions for all focal

lengths Standard focus and iris gear positions Compact and lightweight for handheld and

Steadicam

C o m p a C t p r i m e s m a i n F e a t u r e s

Designed for the CinematographerNo matter what their optical characteristics, still photography lenses that have simply had their mounts adapted to fit onto film and digital motion picture cameras are not up to the job. Different stills lenses have focus barrels that rotate in different directions and all the lenses are different sizes. By contrast, everything about the Compact Primes is designed for professional cinematography: the calibrated focus ring turns in the direction all other cine lenses turn; the purposefully chosen larger diameter provides a substan-tial rotating circumference for more precise focusing and plenty of room for clear lens markings.

Robust ConstructionWhen you hold a ARRI/Carl Zeiss Compact Prime in your hand, you can immediately feel that it is a lens made for the rough world of professional filmmaking. The housing is rugged and durable, and its solid construc-tion also helps when using lens motors be-cause the Compact Primes will remain stable in the PL mount; they will not wobble like many stills lenses do when used for cine work. Fast and easy lens changes are ensured since all Compact Primes have the same di-mensions, and all have focus and iris gears in the same position. When you take off one focal length and put on another, you dont have to waste any time adjusting accessories before you carry on shooting.

17C a m e r a

LENS PRODUCT COMPARISON

Compact Primes Ultra Primes Master Primes

Cine quality robust housing

Standard housing dimensions

Standard focus / iris ring position

Calibrated lens scales

Round iris for natural out of focus bokeh

Flare suppression (1) ++ ++ +++

Stable performance across + ++ +++ whole T-stop range

Resolution + ++ +++

Evenly illuminated field + ++ +++

Close focus performance + ++ +++

Image geometry (2) + + +++

Breathing (3) + + +++

Color matched

Super color matched

Linear iris scales

Constant widest T-stop

Lens Data System (4)

Extended T-stop range

Reversible focus scales (m / ft)

Temperature stabilized torque

Permadur gear surface

Widest aperture T1.5 to T3.6 T1.9 T1.3

Number of lenses available 7 16 14

Widest / longest focal length 18 85 8 180 14 150 (in mm)

Image area covered full format still image ANSI Super 35 ANSI Super 35 24 36 mm 24.9 18.7 mm 24.9 18.7 mm 9.45 14.17 " 0.980 0.7362 " 0.980 0.7362 "

Consistently Sharp, Punchy ImagesIn terms of their optical quality, the Compact Primes are equally at home on the new crop of 35 format digital cameras as they are on 35 mm film cameras. The modern lens design, as well as the cine manufacturing process and tight tolerances, produce low distortion, high resolution and excellent color rendition for consistently sharp, punchy images.

The T* lens coating, special internal light traps and proprietary matte black paint on the lens interior result in excellent flare sup-pression for images with high contrast, clearly defined highlights and deep, rich blacks.

Improving on the ZF DesignThe ZF lenses are recognized as being optically unsurpassed in the world of stills photo graphy; they have superb stray light suppression and a more three dimensional look than other professional stills lenses. The ARRI/Carl Zeiss Compact Primes take the very best elements of the ZF lenses and improve upon them, with tighter mechanical and optical tolerances, a more precise op-tical adjustment during manufacturing and stricter quality control. A unique 14-blade iris, not present in the ZF design, ensures precisely repeat able iris settings, a pleas-ing bokeh and organic, perfectly circular out-of-focus highlights.

Ideal for 35 Format Affordable Digital CamerasAt a lower price than the Ultra Prime lenses, the Compact Primes are a natural comple-ment to affordable digital cameras. Their quality is such that they will meld perfectly with the existing family of Ultra Primes, Master Primes, Lightweight Zoom LWZ-1 and Master Diopters on any digital or film production.

(1) The Compact Primes and Ultra Primes contain a number of flare suppressing measures, including the T* lens coating, internal light traps and lens interiors painted with several types of proprietary black paints of different refractive indices. These measures ensure a high contrast image with clearly defined highlights and deep, rich blacks. For the absolute minimum in flares and internal reflections, the Master Primes are equipped with the T*XP lens coating and additional, strategically placed internal light traps.

(2) Master Primes contain special moving elements (Dual Floating Element technology, patent pending) and aspherical lens surfaces to eliminate geometric distortion. This is especially noticeable with wide angle lenses.

(3) Master Primes contain special moving elements (Dual Floating Element technology, patent pending) that virtually eliminate breathing (an unwanted shift in image size when focus is changed).

(4) The Ultra Primes are available both in a standard, non-LDS version and in an LDS version.

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Unlike most other macro lenses, the Master Macro 100 has been designed and built specifically for motion picture cinematogra-phy; it is not a re-housed stills photography lens. The optical performance of the lens matches that of the Master Primes, with which it shares features such as exotic glass materials, special lens coatings and aspheri-cal glass surfaces that require ultra-high precision in design and manufacture. While other macro lenses create images that are visibly darker and softer in the corners, the Master Macro exhibits remarkably even illumination and resolution across the whole Super 35 frame. It also benefits from an ad-vanced, multi-bladed iris, resulting in round and natural-looking out-of-focus highlights.

The front element of the Master Macro 100 is set back within the lens housing, which protects it from the reflected light that can so often be a problem when lighting subjects positioned close to the front of a lens. In effect, the forward section of the lens acts as a shade, absorbing any stray light. This, in combination with the T* XP anti-reflex coating, strategically painted lens rims and special light traps, means that cinemato-graphers need spend far less time worrying about unwanted light on the image than with any other macro lens. It also means that the

Master Macro exhibits unsurpassed contrast and low veiling glare.

While a quick close-up can always be grabbed by using a Master Prime with a Master Diopter, the Master Macro 100 is the tool of choice when extreme close-ups of the highest image quality are required, for example on a high end commercial. With a maximum magnification ratio of 1:1, it can also get closer to a subject than diopters would allow. Super Color Matched to the Master Primes, Ultra Primes, Ultra 16 lenses and LWZ1, the Master Macro allows cine-matographers to create a consistent look on set rather than in post.

In order to maximize both the ruggedness and versatility of the lens, the Master Macro 100 has been constructed without mechanical exposure compensation. Instead, iris adjust-ments compensating for light loss at close focus distances can be made by hand, or alternatively by a lens motor. Since the Master Macro is compatible with the ARRI Lens Data System (LDS), it is able to com-municate electronically with ARRI cameras. This allows the needed exposure compen-sation to be displayed on a monitor or to be made automatically by the ARRI Lens Control System (LCS) as focus is adjusted.

The Master Prime series the most sophisticated 35 format lenses ever manu-

factured have now been expanded with a spectacular macro lens: the

Master Macro 100. With a 1:1 magnification ratio and maximum aperture of

T2.0, the Master Macro delivers phenomenally sharp and contrasty images

for extreme close-ups of the highest visual quality. Dedicated to Macro Work- 100 mm macro lens with 1:1 magnification ratio- novel optical design optimized for close-up work

Developed for Motion Pictures- specifically created for cine applications- Wide T-stop range: T2.0 (infinity)/T4.3 (close

focus) to T32

Master Prime Optical Quality- based on Master Prime technology- high resolution, high contrast- dramatically reduced flare- brilliant, vibrant colors- low geometric distortion- minimized chromatic aberration- Super Color Matched to Master Primes, Ultra

Primes, Ultra 16 lenses, Lightweight Zoom LWZ-1

Master Lens Ergonomics- long focal length allows greater distance to subject- expanded focus scale (1.4x revolutions) for

greater accuracy - focus scale shows distance, magnification ratio

and T-stop compensation- individually calibrated focus scale- simple and robust construction (no mechanical

exposure compensation)- can be used with lens motors- focus and iris scales in standard Master Prime positions

Lens Data System- LDS for display of T-stop compensation on WRC-2- optional electronic exposure compensation with

lens motors

m a s t e r m a C r o 1 0 0 m a i n F e a t u r e s

Master Macro 100 A Close-up on Quality

19C a m e r a

For more than a century, Argentine filmmaking has been one of

the most important in Spanish-speaking cinema. Over the

decades, movies from this region have surpassed language

barriers to impact the rest of the world and for several years

now, much international production has arrived in South

America for filming. Jonas Pagazaurtundua, Camera Department

Manager of rental house Camaras Y Luces (C&L), explains this

rich filmmaking tradition has led foreign production companies

to the region. Over the past years, the South American

production market has grown strong. Several economic

circumstances have transformed our country into an excellent

option due to exchange rate difference. These economic

advantages wouldnt have created such an increase in

international production without the support of professionals

and equipment in the local industry. Added to this, we have

to consider the wide range of geographic, climate and

cultural alternatives.

A large part of gear and service for these projects comes from Camaras Y Luces, located in Buenos Aires, Argentina. The equipment center and motion picture studio is well known for providing the latest tech-nology and meticulous service to local and international productions. Founded over 30 years ago by Cinematographer Jose Maria Pagazaurtundua and his wife, Isabel, with only a 35mm ARRI IIC, the operation has flourished into a much bigger enterprise that serves big budget Hollywood filmmak-ing to regional independent projects. Some credits include Robert Duvalls ASSASSINA-TION TANGO, SEVEN YEARS IN TIBET with Brad Pitt, EVITA with Madonna and Antonio Banderas, IMAGINING ARGENTINA with Banderas and Emma Thompson, TORRENTE 3 (a co-production from Spain), the foreign film OSCAR nominee SON OF THE BRIDE (El hijo de la novia) and the latest James Ivory film, THE CITY OF YOUR FINAL DESTINATION.

www.camarasyluces.com

Motion Picture Gauchos:

CamarasY Luces

2 0 C a m e r a

Since [the beginning], attention has been centered on small details and in continuous investment on technologies to reach full client satisfaction, says Jonas Pagazaurtundua.

Today, C&L has 120 employees who cover the whole process of providing local and worldwide clients a good service. We pro-vide camera, lighting and grip equipment, also generators and studios. We are proud of offering a complete service. Our clients or future clients can find all they need, or almost everything, at Camaras Y Luces.

With 57 film cameras in its inventory, the comprehensive infrastructure of Camaras Y Luces allows the capability of handling multiple shows at once. Usually we provide [gear for] multinational commercials for the USA, Europe and Latin America, low and medium budget feature films, short films and documentaries. It is important that we have the facilities and resources to handle several large productions at the same time. For example, last month we supplied more than 10 camera units for a live concert.

This supply of film cameras includes ARRI-FLEX 416 Super 16mm cameras, ARRICAM STs and LTs, ARRIFLEX 435 Xtremes, 235s and also cameras converted for 3-perforation. In the digital realm, Camaras Y Luces includes the ARRIFLEX D-21 in their vast inventory.

The ARRIFLEX D-21 has broken ground on a number of productions, often projects that have smaller budgets and cannot afford to shoot on film. We started our digital de-partment two years ago. For that purpose we chose the D-21, which has already made several commercials, music videos and an important local feature film. The response of the digital market has been positive, not only for the D-21s excellent image quality but for its reliability and performance, he notes.

For lighting, the facility owns powerful ARRIMAXes and MaxMovers amidst a huge inventory of other ARRI fixtures.

When selecting equipment we always consider current and future requirements of

the market and quality, trying to be in the technological forefront through continuous acquisitions of products we can rely on such as ARRI, says Pagazaurtundua.

Besides offering solid equipment, power and transportation, the company can also supply state-of-the-art soundstages. C&L owns Studio City Pilar, a production space located in a suburb of Buenos Aires 30 minutes from the city. Five stages have been built and three more are currently under construction.

When Jose Maria Pagazaurtundua began this enterprise three decades ago, he wanted to offer something better than what he experienced as a cinematographer renting equipment. Since then, this notion of giving filmmakers the best tools and service has not changed bringing productions from all over the world to work in the region and continue a tradition of creative storytelling for years to come.An Tran

21C a m e r a

Digital Film Central was Vancouvers first DI facility. Beginning as a boutique style facility in 1999, the company

initially offered film-recording services to the emerging digital revolution indie crowd under the name Digital Film

Group. In 2006 the company expanded greatly to provide a full DI service including film scanning with ARRISCAN,

colour grading and conform with BaseLight, and output to film with ARRILASER.

before after

De-graining Software: Films new Best Friend?

Canadian company Digital Film Central develops a new de-grain technology that produces stunning results in combination with the ARRISCAN

2 2 D i g i t a l I n t e r m e d i a t e S y s t e m s

Over many years of recording hundreds of low-res indie video projects to 35mm, Central (as it is now known) developed specialized image processing techniques for cleaning up image artefacts before film-recording. ATANARJUAT THE FAST RUNNER, which won the Camera DOr at Cannes in 2001, stunned the world and proved that NTSC could be converted with film-like quality thanks to Centrals magic touch. Guided by eight years of experience and hundreds of feature film optimizations from video, the companys ex-perts felt they could perform similar miracles with a film source. This led to the develop-ment of the DSGR (Detail-Specific Grain-Reduction) technology that is becoming widely known today.

DSGR came about after Central founders James Tocher and Curtis Staples analyzed the ARRISCANs ability to oversample Su-per 16 mm film at an incredible 3k resolu-tion (equivalent to a 6k scan on 35mm).

We realized that Super 16 had never been scanned at this resolution before, says Tocher. We were seeing image de-tail in that tiny piece of celluloid that we never knew was there, but the bad news was that it was hidden behind all that grain, which we could also see better than ever before.

Centrals image cleanup specialists went to work on trying to de-grain the Super 16 footage with the intention of offering lower-budget feature films a film alternative to all the digital cameras being thrust at them. A cinematographer himself, Tocher felt there were many filmmakers who were not totally sold on the emerging digital camera technol-ogies. There was a lot of hype around new digital cameras, but these cameras were of-ten un-proven, or the shooting aspects and workflows were often too cumbersome for in-dies, he says. We felt that if people could see through the grain into what Super 16 had to offer, they might still choose film a proven format they could trust.

Curtis Staples, business partner and Man-aging Director of Central, describes the dif-

ference between DSGR and previous de-graining techniques: We didnt feel that any of the existing technologies were ade-quate for the new reality of HD and what people could now see at home on their big flat screens. We also wanted to blow this stuff up to full theatrical. The usual techniques of blurring the image until the grain got mushed into itself, then trying to sharpen back what was left over, destroyed a lot of real detail and was just not good enough anymore. The funny thing is that people never noticed before because the telecines and scanners werent good enough to see all the detail available on the Super 16 negative in the first place. That has all changed with de-vices like the ARRISCAN.

DSGR works on a different principle than previous methods by analyzing the image detail and eliminating only the grain not the detail. Tocher explains, this had never been done before to our knowledge. Un-like previous approaches, DSGR preserves all the details, like smoke and atmosphere or fine patterns. This has been a common complaint of DPs in the past the atmo-sphere they used to get more depth out of the format was being lost due to excessive softening during the de-graining process. Nowadays scanners are getting much better detail out of Super 16; we needed a better de-graining tool to go with that.

DFC has successfully used the DSGR process for many of its recent feature film DIs, including FREESTYLE, ALIEN TRESPASS, FREEZER BURN, SAVING LUNA and KALAMITY. The demand for this de-grain process has grown significantly as word has spread, prompting great interest from out-side post companies. Says Staples, It was obvious we couldnt meet the growing demand for this service. We needed to turn DSGR into a product that others could buy. But DFC isnt set up to develop a software product. Fortu-nately, we found a great company called Cinnafilm. Tocher continues, Cinnafilm has been developing and refining GPU-based parallel processing for many years and has been the perfect partner for us. Were going to be unveiling the results at NAB this year.

DSGR not only optimizes Super 16 and 35mm for theatrical presentation, the cleaner pictures it produces make Blu-ray and HDSR masters look stunning. Film grain can derogate the results of image compression used in DVD mastering and digital broadcasting, a prob-lem so severe that it led the BBC to ban 16mm as an acquisition format for all productions from 2010. This was upsetting news to many program makers because film still has signifi-cant advantages over digital acquisition. Film negative has greater exposure latitude, leav-ing more creative possibilities in colour cor-rection. Shooting on film is a proven, safe, and reliable workflow. Last but not least, broad-casters and production companies want to capitalize on their existing investments in film cameras and equipment.

DSGR technology gives film a new life. Offer- ing a grain-less image to the encoders makes the compressors more efficient and reduces pixel blocking by dramatic proportions. ARRI has used the new technology for various pilot projects in 16mm and 35mm (2-perforation and 3-perforation) in their own postproduc-tion department in Munich. The reactions of clients have been enthusiastic, indeed some DPs were speechless when they saw the re-sults; they had never seen de-grained imag-es with so much depth and detail.

DFC uses the DSGR process to match film footage especially stock footage with principal photography shot digitally. It has also been successfully applied in situations where shots needed a 150 % or higher zoom, or extreme blow-ups of plates in order to create camera moves in post. The new pro-cess offers plenty of opportunities for older programs stored in archives that are waiting to be released on Blu-ray. DSGR assuages distributors fears of picture quality com-plaints when re-releasing older catalogue titles on a high quality digital format.

For more information:www.degrain.de

afterbefore

2 3D i g i t a l I n t e r m e d i a t e S y s t e m s

this option we have been able to scan some material which was refused by the standard scanner.

Laboratoires clair, the world famous Paris film lab that has been in business for over a century, is now utilizing its ex-perience with digital cinema technology for a project that in-

volves restoring and remastering 150 films over just 2 years. In 2008 a crew of 15 res-toration specialists at clair started working on legendary films including ORPHE (Jean Cocteau, 1950) which was projected digi-tally at the Cannes Film Festival, LA TRAVER-SE DE PARIS (Claude Autant Lara, 1956), RAZZIA SUR LA CHNOUF (Henri Decoin, 1955), LE CERVEAU (Gerard Oury, 1969) and LA FOLIE DES GRANDEURS (Grard Oury, 1971).

The clair restoration workflow includes the ARRISCAN, which can be operated in standard mode as well as in archive mode, says Frantz Delbecque, Technical Director at Laboratoires clair. Some ma-terial has damaged perforations or the shrinkage is too high to scan it with pin registration. In these cases, we use the ARRISCAN without pin registration. With

The first ARRISCAN to be dedicated entirely to restora-tion work was in-

stalled in early 2008 at the Austrian Film Archive in Vienna. From the beginning, this system was equipped with a prototype of the ARRI wet gate technology, which will be a new product available in 2009.

High profile work has been done in Vienna, including a trailer from Ernst Lubitschs last silent movie ETERNAL LOVE, and early Path productions such as the film LES EQUI -L IBRISTES GODAYOU, made in 1911 and coloured by hand.

The base material was nitrate film theatre prints with deep scratches on the base and emulsion sides, and slight decomposition, explains Markus Wessolowski, Head of Collection, Austrian Film Museum. For a

Markus Wessolowski, Head of Collection Austrian Film Museum

Christian Ruel,

Assistant Director of

tech nical innovations and

resources, National Film

Board of Canada

ArriSCAn A r ch i ve r e d i s c o v e r i n g t h e P a s tARRISCAN technology brings cinematographic history back to the audience. In recent years it has not only been

postproduction houses at work on the restoration of old films; film archives and film collections, dedicated to the

preservation and restoration of film heritage, have also taken the big step into the digital world. With the help of the

ARRISCAN they are bringing the past back to life and back to movie theatres. The release of the brand new ARCHIVE

GUI presents an opportunity to review what the ARRISCAN has already achieved in the world of digitizing celluloid

gems from the back catalogue of world cinema.

Frantz Delbecque, Technical Director, Laboratoires clair

Soon after the installation in Austria, the Yugoslav Film Archive in Belgrade also opted for the ARRI-

SCAN to digitize its vast film inventory, and then in early 2009 the National Film Board of Canada had its own ARRISCAN installed in Montreal.

Christian Ruel, Assistant Director of tech-nical innovations and resources at the

trailer my colleague Raoul Schmidt and I used the prototype of the ARRI SCAN 35 mm wet gate. In the archive mode, without pin registration and using the soft film transport, the gentle scan process produced a posi-tive result. The beta version of the wet gate looks very promising and although it still needs improvements, it will be a major fac-tor in the restoration process. Thanks to the wet gate we were able to optically minimize the scratches on the base side, so in the digital restoration phase we almost exclu-sively had to work on the scratches on the emulsion side.

D i g i t a l I n t e r m e d i a t e S y s t e m s2 4

EqUI LIBR ISTES GODAYOU

before and after restoration (courtesy of Austrian Film Museum)

A rr iSC A n A r ch i ve GU i

The electronically controlled ARRISCAN film transport had been envisioned for the handling of fragile and damaged film material since its original design back in 2004. Since 2007 the film transport software modules have allowed the pin registration to be deactivated and the transport speed to be slowed down. Now in 2009 a set of improved archive features is accessible through the new Archive GUI.

Available to all ARRISCAN customers (and free of charge for all machines under service contracts), the new software module allows users to customize the existing standard ARRISCAN film transport and accommodate film in any condition with the click of a button.

Features at a glance: Disable the pin registration for shrunken

film material Adjust the framing even during scan job

execution - for example when a bad splice shifts the frame line position

Vary the winding speed Adjust the step speed on the fly Reduce torque on the film for very

brittle material

The new module allows for fast, easy setup and scanning of material of any age. From the restoration of 100-year-old historic material to the HD remastering of a feature shot 20 years ago, the ARRISCAN adjusts to the job at hand not vice versa.

National Film Board of Canada, comments: We have purchased an ARRISCAN film scanner so that we can process delicate and damaged film. The ARRISCAN is able to work with film in almost any condition, allowing some of the damaged jewels in our collection to be digitized in 2k, 4k, or even 6k resolution. This is no small feat when our vaults contain films dating back to the early 20th century.

We are still at the beginning of the imple-mentation process of our ARRISCAN, con-tinues Ruel. We need to get acquainted with its use and capabilities. However, from what we have seen so far, the integration of this new piece of equipment into our exist-ing system infrastructure and workflows will be much easier than anticipated. The ARRI-SCAN possesses built-in software and data base functionalities that will easily fit with our own, which is much appreciated. In addition, we have got stellar service from ARRI so far.

Thilo Gottschling (ARRISCAN Archive Services)David Bermbach (ARRISCAN Project Management)

D i g i t a l I n t e r m e d i a t e S y s t e m s 2 5

Deluxe Sydneys General Mangager Anthos Simon, Digital Services Manager Rob San-deman and I/O Technical Supervisor Simon Alberry were delighted to receive two ARRI-LASERs complementing the two machines they already had. The increased capacity guaranteed that all necessary copies could be delivered on schedule for the premiere screening of AUSTRALIA in Sydney on No-vember 20th 2008. Over 60,000 feet of film was recorded in just 23 days for AUS -TRALIA, 45,000 feet of it in the last 11 days.

The complete DI postproduction was ac-complished by Deluxes in-house DI facility EFILM, resulting in the majority of the camera negative being scanned with the ARRISCAN. All ARRISCANs were essentially fully occu-pied until one week prior to the premiere, working around the clock to scan a total of more than 1.1 million frames. The last frames scanned were requested on the Friday be-fore release, when there were only three reels left to put to film. During the scanning

f.l.t.r. Stefan Sedlmeier, General Manager ARRI Australia; Rob Sandeman, Digital Services Manager Deluxe; Tom Altenried, Service Manager DIS; Henry Yekanians, I/O Operator Deluxe; May Lo, I/O Operator Deluxe; Simon Alberry, I/O Technical Supervisor Deluxe.

Operator Control Room of Film I/O

f.l.t.r. Chairman Mr. Kevin Cheng; Chief engineer manager Mr. Ching Fa Lin; Jebsen Engineer Mr. Kevin Lai; Jebsen Sales representative Mr. Glavin Huang.

The Taiwanese film industry has joined the ranks of those that benefit from the superior image quality of the ARRILASER, with Leader Entertainment Company becoming the first customer in this market.

DeLUXe, Arr i AnD

A U S T r A L i A !Deluxe Sydney Gets Three Addit ional Arri Di Machines to service Luhrmann's AUSTrALiAIn a joint effort between Deluxe Sydney and ARRI Australia, represented by General Manager Stefan Sedlmeier, the film-out capacity of Deluxe Sydney was recently doubled in order to support the final stages of Baz Luhrmans epic film AUSTRALIA.

f.l.t.r. LAPCC Chairman, Mr. Kevin Cheng; the Director of Taiwan Government GIO Department of Motion Picture, Mr. Chen and LAPCCs General Manager, Ms Ivy Lee.

Leader Entertainment Company has one of the most advanced postproduction facilities in Taiwan, known as Leader Asia Pacific Creativity Center (LAPCC). After comparison recordings and an extensive testing process, LAPCC made the decision to go with the film recorder that has become an industry stan-dard the ARRILASER. LAPCC purchased its ARRILASER in June 2008, and held a celebratory launch party on October 15th.

The event was a great success and attracted at least 200 attendees, including a lot of film producers, directors and cinematographers. Officials from the Taiwanese Government also attended the event, to encourage LAPCCs contributions to the countrys expanding film industry.

A N O T H E R F I R S T F O R T H E A R R I L A S E R

and recording of AUSTRALIA, the I/O room at Deluxe was probably the most frenetic ARRI-equipped DI room in the world.

In 2007 Deluxe, trading as ATLAB, replaced their existing two film scanners with ARRI products. This decision was based on the superiority of the product and Deluxes global decision to use ARRISCANs as their dedicated film scanning device.

ARRI Munichs DIS Service Manager, Tom Altenried relocated to Sydney to train a service technician and develop a service network to support the local market. Jared Rogers, Junior Technician will take over the service portfolio for the ARRILASER and ARRISCANNERs from May 2009, when Tom will return to Munich.

The demands of the film AUSTRALIA proved once again that the ARRISCANs reliability, image quality surpass that of every other film scanner on the market.

D i g i t a l I n t e r m e d i a t e S y s t e m s2 6

ARRIqCP, ARRIs new quality control player for digital cinema packages

(DCPs), has made its debut on two major international productions. ARRI Film

& TV recently put the versatile tool to use when given the task of creating

German language versions including inter-titles of the feature films MILK

and DEFIANCE. The encrypted DCP of each film had to undergo a quality

control check before the audio could be replaced with a German sound mix

and German inter-titles exchanged for the English originals.

The main feature of the ARRIQCP that allowed it to complete all of these processes on a very tight schedule is its ability to play back encrypted DCPs directly to a 2k moni-tor over DVI instead of using a digital cine-ma projector. The visible water mark gener-ated by the ARRIQCP for security reasons when playing back any encrypted DCP on a monitor melded seamlessly with the entire process.

QUALITY CONTROL PROCESSFirst of all the DCP in its original version was loaded onto the ARRIQCP to locate sequences that had to be replaced. As the encrypted DCP was delivered on a SATA hot-swappable disk, it was simply plugged into the available hot-swap slot of the ARRIQCP. Right away the DCP could be played back in real time with-out any of the delays associated with ingesting data onto local storage.

The next step of the QC process was the verification of inter-title timecodes. Once the QC was done, each relevant sequence was advanced to, and a cue-point list was generated. This list was then exported to be used later for the insertion of German inter-titles. Thus the several timeline functions of the ARRIQCP allowed for a fast check of the sequences.

MASTERING AND INSERTIONBased on the cue-point list, the clean back-ground with rendered German titles was encrypted with DCP mastering software and inserted into the relevant reels. Finally the new reels were synced with the Ger-man sound mix and rendered as an encryp-ted DCP. The new DCP, which contained the German audio as well as the German inter-titles, was then checked again for packaging errors, picture encoding and

Workflow with ARRIqCP ARRIqCP Screenshot MILK

audio sync with the ARRIQCP, before being delivered to the customer. The QC functions of the ARRIQCP ensured that the DCP was not only running smoothly on a specific cinema player, but on every cinema player, to conform with DCI specifications.

During the first beta test period, ARRI Film & TV also mastered three DCPs for the Ger-man film festival Berlinale. The feature films JOHN RABE, STORM and DEUTSCHLAND 09 all had to be supplied with subtitles, so the ARRIQCP was used for fast integrity and sync checks. With the ARRIQCP even changes on the day of delivery were possi-ble and none of the customers experienced any delay in receiving a validated DCP.

Matthias Ritschl, Roman Gadner

A r r iQCP in ProductionField report of the first beta site, Arri Film & TV

D i g i t a l I n t e r m e d i a t e S y s t e m s 2 7

The ARRILASER 2 Status Monitor Trillian image processing separations workflow

Trillian image processing subtitling workflow

Ten years into its lifespan, the ARRILASER remains the world-renowned workhorse of the film-recording market

and continues to set the standard in image quality. Several upgrades over the last decade have maintained

an unrivalled level of performance without any compromise in reliability. To integrate the latest developments

in electronics and software, and to incorporate the feature requests that have been raised over the years by

our customers, the time has come for a new base version of the ARRILASER. Although there will still be a

few different models available, all of them will now be deri