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th e a l e x a U n iverse // a r r i r aw : l e t t i n g t h e w o r k f l o w // a r r i / f u j i n o n a l u r a // a r r i / z e i s s m a s t e r p r i m e 12 // a c a d e m y awa r d f o r a r r i s c a n // l i g h t i n g : l e d , a s18 & m18

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L i g h t i n gC a m e r aTheALEXAUniverse 04

TheALEXACamera 06

Let t ingtheWorkFlow 10

B E E F –AnARRIRAWWorkflowCaseStudy 14

Cont inuousImprovements–ARRIFLEXD-21Upgrades 16

DigitalWorkflowSolutions 17

H A B E mU S PA PA m 18

F I g L I D E L L E S T E L L E –ARRIRAWwithon-boardredording 20

TrustingtheD-21onL I E T o m E 22

L AT I T UDE 81 DEgR EES NoR T H–onTracingPolarBearswiththeD-21 24

SydneyDanceCompanyTransforms 28

ARRIFLEXD-21inAustralia 30

moonWall–TarekAlarianshootingwiththeD-21inARRIRAW 31

Behindthemagicmirror–THEIm AgINARIUmoFDoCToRPARNASSUS 32

makingaDramaoutof2-Per foration 34

HD-IVSCaseStudies 36

ARRI/FUJINoNAlura–ThenextgenerationofZooms 38

goWideandFast–ARRI/ZEISSmasterPrime12 40

CloseFocusonRedApple 42

WigglingwithmasterPrimes 42

Super16Dream:H U R T L o C k ER WinsBestPictureoscar 43

ASCCelebratesInternationalLanguageofCinematography 43

Intell igentDynamicLEDLightsforSpecialApplications 52

matchingLightSourceswiththeARRIPAXLEDSystem 54

ZDFFernsehgartenbasksinARRITrueBlueDaylight 56

T o U g H B U T FA I R –TVShowreliesonARRITrueBlues 57

ChengSengcelebratesits50thAnniversary 58

SaekiP&CBecomesof ficialLightingDistributor 58

ARRImAXinChina 59

ChinaFilmgroupvisitsBerlinTVStudios 60

m18andAS18sLightItUp 61

N e w s a r o u n d A R R IDigitalProductionWorkshopattheBeijingFilmAcademy 62

JourneyIntoTomorrow'sImages 63

StudentfilmmakerwinsadatewithALEXA 64

CAmERImAgE2009 65

mediaFilmServicesatmediatechAfricaFair 66

ABoldCollaboration–BiggestStudiointhemiddleEasttobebuilt 67

CairoArabmediaFestival 67

NewHorizons–ARRISales 68

ThomasPopp–tolivetheARRIWay 70

VolkerBahnemann:TheSteadyHandBehindARRIInc. 72

4k+ResearchhonoredbySmPTE 74

NewArchiveandRestorationDept.atARRIFilm&TVServices 74

AnARRICAmforHFF 74D i g i t a l I n t e r m e d i a t e S y s t e m sSciTechoscarspayTributetoInnovationoftheARRISCAN 44

ARRISCANArchive 46

FotokemPurchasesARRIRelativitySoftware 50

FocusonCompany3 50

S e r v i c e sASelectionofCurrentlyServicedProductions 75

ARRI Rental Germany · ARRI Media · ARRI Lighting Rental · ARRI CSC

C o n t e n t

Dr. Martin Prillmann (left), Franz Kraus (right)

DearFriendsandColleagues

From the frozen Arctic wastes to the precious frescos of the Sistine Chapel – ARRI products have created unforgettable images at extraordinary locations all over the world in recent months, as the stories in this issue testify. ALEXA, of course, is the biggest story for us this year, and we’ve been looking forward to revealing the details of this groundbreaking camera for some time. In fact, ALEXA is more than a camera; it’s an entire production system. During its development, we’ve had to address the fact that our industry is changing fast, and the needs of our customers with it. We must pay more attention than ever to pragmatic concerns such as providing our customers with genuinely innovative and future-proof tools that will give them an edge now, and prove a sound investment for years to come.

With exchangeable electronics, recording systems and lens mounts, ALEXA is both equipped for today and ready for tomorrow. Perhaps most important of all, however, are the camera’s workflow solutions. Simplicity and choice seem to be the watchwords when it comes to workflow, both of which we’ve made integral to the ALEXA concept. Our Direct to Edit feature inordinately simplifies access to image and audio, delivering time and cost savings that will mark a real milestone in the evolution of production processes. In response to the emergence of workflow as a factor that can determine every technical decision made on a production, we have assembled a dedicated task-force to explore workflow issues and disseminate expert information. The Digital Workflow Solutions Group is a comprehensive point of contact to assist you on your path towards the digital future.

Film still excites and inspires us. As an acquisition format, an exhibition format and an archive format, film remains a lynchpin of the motion picture industry. The discovery of lost reels from Fritz Lang’s METROPOL IS in Argentina and the restoration of early Lumière films in France constitute a vital reclamation of our cinematic heritage. Both projects were digitized with the ARRISCAN and both took advantage of new developments such as the archive gate and the sprocketless drive. At the front end, too, innovation drives film technology forward. Our improved 2-perforation movements for the ARRICAM cameras achieve new heights of engineering precision, and rewrite the rules on the affordability of 35 mm acquisition. The new HD-IVS Video assist units deliver for both, ARRICAM and the ARRIFLEX 435, pristine, high definition monitor images on set, and provide the basis for efficient postproduction workflow thanks to innovative features such as Ground Glass Cancelation.

ARRI lighting technology continues to stride ahead as well: just as the ARRIMAX raised the bar at the top of the wattage scale, the M18 and AS18 are now redefining performance standards at the lower end, offering unprecedented light output – “straight out of a household power outlet,” as our American friends enthusiastically proclaim. Here, as with all of our products, communication with end users and a truly interdisciplinary approach have provided the basis for success.

Franz KrausDr. Martin Prillmann

E d i t o r i a l

Direct To Edit

At the inception of the ALEXA project we looked carefully at what is needed to create digital image and audio in the

most efficient manner, including what it takes to get that content quickly into post and distribution. During our discussions

with industry experts, it became obvious that a modern digital camera system requires much more than just a new camera

with a great sensor - lenses, recording media, recording codecs, electronic accessories, mechanical accessories, batteries

and post production have to mesh perfectly for a smooth journey of content from set to post. The system has to be complete

and all its parts tightly integrated. The challenge was tremendous in scope, more vast and complex than the creation of

the ARRICAM system.

Another important realization was that we did not have to invent everything ourselves. On the contrary, we decided to create a system with an open, future-proof architecture that can tap into existing standards and best-of-class solutions. Where existing methods did not satisfy our demand for highest quality and efficiency, we worked closely with companies such as Apple, FUJINON and others to inte-grate their technologies and experience into the ALEXA sys-tem. Additionally, we built on the strengths of existing relation-ships, such as our decade long close cooperation with ZEISS. The result is the most complete and powerful digital production system ever built.

TheUniverseARRITechnology

At the center of the system is the ALEXA camera, consisting of ARRI core technologies: sensor, image processing electronics and image processing software, all combined under the term ARRI Imaging Technology (AIT). Since no existing approach to electronic viewfinders had won us over, we built our own. The ARRI Electronic Viewfinder EVF-1 is based on the combination of an innovative display with ARRI illumination, electronics, optics and hardware. All this is supported by precision mechanical and optical com-ponents that were designed based on years of experience in building motion picture cameras.

ALEXA is, of course, compatible with the wide range of ARRI mechanical and elec-tronic accessories, including matte boxes, follow focus units, the ARRI Wireless Re-mote System, the new High Definition on-board Monitor HDM-7, the ARRI bridge plate system and the ARRIHEAD. This in-cludes also numerous accessories devel-oped especially for ALEXA.

ThirdPartyComponents

We are grateful for the fantastic contribu-tions from a number of companies who have worked closely with us, integrating their technologies and products into the ALEXA system.

The big news is that ARRI is now one of only a few companies world wide that are offering Apple ProRes hardware products for efficient Direct to Edit func-tionality. Recording the same standard high quality codec that is also used na-tively by the Final Cut Pro editing soft-ware is a revolutionary step in digital production. Not only is this the fastest and easiest method to get high quality images and sound from the camera into an editing system, it also streamlines the entire off-line/on-line workflow.

In order to record ProRes encoded image files onto an on-board recording medium, we have licensed the SONY SxS driver software, which allows the fast data rates necessary to record even ProRes 4444 data onto SxS memory cards.

SONYSxS Cards

Third PartiesOn-board Recorders

Third PartiesARRIRAW

Partner Program

ARRI/FUJINONZooms

ARRI/ZEISSPrimes & Zooms

Panavision and Stills Camera

LensesThird Parties

On-board Batteries

AppleProRes Codec

ARRIImaging TechnologyElectronic ViewfinderMechanics and Optics

Accessories

0 4 C a m e r a

TheUniverse

open,FutureProofArchitecture

The ALEXA system is based on an open architecture with many industry-standard interfaces and compatibility to third party products. This provides more choice to the customer and, in combination with a number of modular components on the camera, makes the system future proof.

We are closely working with third party on-board recorder manufacturers to ensure compatibility with ALEXA. This includes physical mounting issues, remote start/stop, metadata recording and ARRIRAW de-bayering. While there are a large number of recorders that can record HD video, the ARRIRAW T-Link certificate allows an easy identification of ARRIRAW capable equipment. Currently, certified recorders are available from Codex, S.two and Keisoku Giken.

To guarantee a smooth workflow in post when working with ARRIRAW, ARRI has been working with numerous third par-ties that have enrolled in the ARRIRAW Partner Program. Their products can na-tively read and process ARRIRAW data. ARRIRAW capable equipment and tools are available from: ARRI, AVID with the ARRIRAW Avid Plug-in, Digital Vision, DVS, Filmlight, Glue Tools, Iridas, MTI and Pomfort. A complete overview and links to ARRIRAW Partners, equipment, tools and post facilities are available at www.arridigital.com/contacts/partner-program.

A large variety of on-board batteries are available for ALEXA since the camera supports both the Gold and the V-mount standard, in back or top mounted con-figurations.

To protect the investment in ALEXA, three major components of the camera are specifically designed in a modular fashion. First, the module that holds the memory cards is removable. When dif-ferent card standards are available in the future, this module can be easily re-placed with other storage modules. Second, the camera electronics, which comprise the whole right side of the camera, can also be removed and re-placed with an upgraded electronics with advanced features. And last but not least the Exchangeable Lens Mount (ELM) system allows the use of PL as well as Panavision and stills camera lenses, expanding the option of the filmmaker.

Our new partnership with FUJINON has re-sulted in a new family of zooms: the Alura Zoom 18-80 and Alura Zoom 45-250. These ARRI/FUJINON zooms combine the highest optical performance with a practical size, weight and price and are a perfect match with ALEXA.

Our on-going, long-term relationship with ZEISS has produced the greatest range of matched PL mount lenses available, all 100% compatible with ALEXA. This range includes the Master Primes, Master Macro 100, Ultra Primes, Ultra 16 lenses, Lightweight Zoom LWZ-1 and the Master Diopters. Playing on the strengths of this lens range, ARRI and ZEISS are introducing a new Master Prime 12 lens, while continuing to work on many other projects.

SONYSxS Cards

Third PartiesOn-board Recorders

Third PartiesARRIRAW

Partner Program

ARRI/FUJINONZooms

ARRI/ZEISSPrimes & Zooms

Panavision and Stills Camera

LensesThird Parties

On-board Batteries

AppleProRes Codec

ARRIImaging TechnologyElectronic ViewfinderMechanics and Optics

Accessories

Weblinks:www.arridigital.com/teaserwww.arridigital.com/contacts/ partnerprogram

0 5C a m e r a

While the announcement of the ARRI Digital Camera System at IBC 2009 focused on the image quality of the system’s

35 format 3.5K CMOS sensor, the exciting news at NAB 2010 is the upcoming availability of the ALEXA camera,

ARRI’s implementation of the Apple ProRes codec and the camera’s versatile and highly efficient workflows.

The CameraBased on extensive customer feedback and innovative technologies, the ALEXA camera is a 35 format film-style digital camera that is part of a completely new universe of cameras, lenses, accessories and recording solutions supplied by ARRI. Designed for broadcast and feature film productions, ALEXA offers exceptional image performance, is simple to operate, reliable in even the most extreme environments and versatile enough to cover a wide range of workflow and budget requirements.

• Image Performance

– Film-like, organic image quality

– Sharp images for HD and 2K DI

– 800 EI base sensitivity

– More than 13 stops exposure latitude

– Exceptionally low noise

– Same exposure latitude and low noise from 200 to 800 EI

– Excellent color separation

• Efficient and Versatile Workflows

– Efficient Direct-to-Edit (DTE) workflows

ç Record Apple ProRes onto on-board SxS cards

ç for straight online with ProRes

ç for off-line/on-line with ProRes and ARRIRAW or uncompressed HD

– Parallel output of ProRes, HD and ARRIRAW

– Complete metadata

– Integrated color management

• ARRI Product Quality

– Robust and reliable

– Simple and safe operation

– Ergonomic design

– Compatibility with existing accessories

– Worldwide ARRI service

• Open, Future-proof Architecture

– The largest selection of matched PL mount lenses

– Support for third party on-board recorders

– Support for ARRIRAW post tools

– Gold and V mount on -board battery adapters

– Upgradable memory card module

– Upgradable camera electronics

– Exchangeable Lens Mount

Main Features

0 6 C a m e r a

The ALEXA system represents the most ver-satile, fastest and smoothest method to get images, audio and metadata from the set to post and distribution. This is achieved through a multitude of output options, sup-port for Direct to Edit workflows, rich meta-data and integrated color management. The ALEXA camera is unique in that it can simultaneously record Apple ProRes files, output uncompressed HD-SDI video and uncompressed ARRIRAW data. This output versatility makes it ideal for a myriad of productions and workflows from telenovel-as to feature films.

As one of only a handful of companies that have licensed the ProRes codec, ARRI has worked closely with Apple on creating camera electronics that can encode images with the ProRes codec and combine them with audio and metadata into QuickTime files in real time. The Apple ProRes codec family provides an unparalleled combina-tion of multi-stream, real-time editing perfor-mance coupled with impressive image quality for 1920 x 1080 HD or 2K at re-duced storage rates. The availability of such a high powered codec for ALEXA is a revolutionary step that offers a number of dramatic improvements for straight on-line as well as for off-line/on-line workflows, collectively known as “Direct to Edit” (DTE).

Productions that need to get HD images as quickly as possible from the camera into post can record QuickTime/ProRes files onto the on-board SxS cards, pop the cards into a laptop and start editing immediately. This is the fastest and simplest method for increas-ing production efficiency through tapeless, filed-based recording. Recording the content in the same codec that is natively used by the Final Cut Pro editing software removes

the hassle of transcoding and takes full ad-vantage of the speed and power of the editing software. Furthermore, the extremely high quality of the ProRes 422 (HQ) and 4444 codecs means that the edited result can be immediately distributed.

Productions that choose to record in uncom-pressed HD or ARRIRAW for an off-line/on-line workflow gain another benefit: the QuickTime/ProRes off-line editing proxy is created directly in the camera, carrying the exact same images, audio, timecode and metadata as the on-line HD or ARRIRAW material. This removes the time-consuming extra step of ingesting and creating an off-line copy, plus it ensures complete congru-ency between off-line and on-line versions.

As the best recording media for Apple ProRes files, ARRI has chosen SxS cards because of their high data throughput. Two SxS cards can be slotted into a mod-ule on the camera’s left side for convenient on-board recording of QuickTime/ProRes files.

Smoothing out the workflow is rich meta-data in the QuickTime headers, a separate XML file, the HD-SDI video stream and ARRIRAW files. ALEXA generates all the necessary information right in the camera in the correct format and marries it to the image.

Integrated color management allows the cinematographer to apply a look file to any camera output. This is extremely useful for either “baking in” a look, or for recording a “clean” log or ARRIRAW image and apply-ing a look file only to the camera’s monitor HD-SDI output.

To protect our customer’s investment in the ALEXA camera, we have designed the left and the right side as well as the lens mount of the camera in a modular fashion. Attached to the camera’s left side is the Removable Storage Module RSM EC35, which holds the SxS cards. Should another recording technology prove more desirable in the future, it is quick and easy to exchange the storage module for a new one. The camera’s right side contains the control electronics, which can also be exchanged when a new version with expanded functionalities be-comes available. To make a whole new world of lenses accessible to productions, ALEXA is equipped with an Exchangeable Lens Mount (ELM) system. The standard PL lens mount can be removed and replaced with either a Pana vision or a stills camera lens mount.

HowtheWorkFlows… FutureProof

0 7C a m e r a

ALEXA’s unequalled base sensitivity of 800 ISO equivalent, spectacularly wide exposure latitude of over 13 stops and low noise means greater flexibility and efficiency for the cine-matographer on the set. Furthermore, the ex-posure latitude and low noise remain constant from 200 to 800 EI. ARRI Imaging Technology (AIT) ensures the most organic, film-like image quality of any digital camera with natural color rendition and pleasing skin tones. The ALEXA’s 35 format sensor exhibits cinematic, shallow depth of field and creates sharp, natural images for HD and 2K DI. In addition, the ALEXA images also show a very clean color separation, which is particularly im-portant for green screen and other VFX work.

Decades of experience, an obsessive atten-tion to detail and an intimate familiarity with the conditions on a typical set have led to generations of ARRI cameras that are robust, reliable and simple to operate. Those same high quality standards have also been applied to the ALEXA camera, leading to a number of innovative and extraordinary solutions.

Production is tough and cameras have to function anywhere on, below or above the earth in all climatic conditions. To the ARRI engineers, reliability is a mission-critical, must-have feature. In order to fulfill those requirements, ALEXA is built from a single body, a design that is far more rugged and lighter than an entirely modular body. The camera’s electronics are housed in a sealed compartment in the center of the camera. The heat generated by the boards is trans-ported via heat pipes to a heat sink locat-ed in a ventilation shaft at the back of the camera. A single, slow running super-silent fan cools the heat sink. If need be, the fan can be easily exchanged. This system pro-tects the electronics, makes the camera splash and dust proof and ensures proper thermal management of sensor and pro-cessing boards.

To further improve the legendary stability of the ARRI lens mount, ALEXA is equipped with a novel lens and sensor mount design. The lens mount is attached to a stainless steel tube, which itself is attached to the sensor mount. The whole unit is then attached to the camera body. Using stainless steel ensures minimum material expansion or contraction during temperature changes. A stable flange focal depth is ensured by cre-ating a fixed link between lens and sensor mount – even if strong mechanical influences are applied to the lens mount, such as

when a heavy zoom lens is not properly supported.

Equally as important as having a durable camera is a camera that can be operated in a straightforward and safe fashion. For ALEXA we have thought up a completely new control concept that combines a large transflective color screen with dedicated hardware buttons, flexible soft buttons and a jog wheel. Operating ALEXA is even sim-pler than operating the ARRIFLEX D-21, and setting the main parameters like fps, shutter, EI and white balance is something that any-one can learn in a couple of minutes with-out a manual.

We have also included many ergonomic details that will help crews work faster and safer during day to day operations. The camera is compact, lightweight and prop-erly balanced for shoulder operation. Fea-tures like a shoulder arch and 15 mm light-weight rod receptacles are built-in, as is support for video style bridge plates right out of the box. Optionally, the camera can accept its own film style bridge plate BP-12, or can be attached via a small adapter to existing film style bridge plates like the BP-3, 5, 8 or 9. For the greatest flexibility in camera and accessory mounting, ALEXA is equipped with a rosette and two 3/8-16 mounting points on each side. More 3/8-16 mounting points can be found on the view-finder mounting bracket and the handles. Even in the button design have we found potential for ergonomic improvement; dif-ferent button sizes, raised bumps on some buttons and a judicious sprinkling of raised lines and bumps on the camera housing it-self help fingers find buttons quickly and safely even in the dark.

ARRIProductQualit yImagePer formance

0 8 C a m e r a

Weblinks:www.arridigital.com/www.arridigital.com/alexa-reservationwww.arridigital.com/teaser

While an optical viewfinder still provides the best operating experience, it comes at a price and added weight. For ALEXA we have developed the high resolution ARRI Electronic Viewfinder (EVF-1), a viewing system that combines a state-of-the-art tem-perature stabilized 1280 x 768 F-LCOS micro display with an innovative auto-calibrating LED light engine, high-quality coated glass optics and robust mechanics. The system of-fers much more than a conventional electronic viewfinder; it has been specifically designed to meet the needs of professional camera operators by offering high resolution, accu-rate color reproduction, great ergonomics, overscan and extremely minimal image delay.

Multiple options are also available for powering the camera. ALEXA accepts either a 24V power cable from a power supply or battery, or can be equipped with battery adapters that mount either on top and/or back. Battery adapters are available for either Gold or V mount bat-teries. Batteries can be hot-plugged as the camera will instantly auto-switch to the power source with the highest voltage.

Line level stereo audio can be fed into a standard XLR 5 pin connector, and will be embedded into the QuickTime/ProRes files, HD-SDI stream and ARRIRAW data.

Powerfuloptions TheElectronicViewfinderEVF-13Doptimized

Various features of ALEXA make it the per-fect choice for 3D rigs. Careful planning has gone into making sure that each camera will show the same exact timing as all the others for reliable synchronization between left and right eye cameras. A simple master/slave mode makes setting parameters a snap. The camera’s unmatched high sensitivity helps compensate for the light loss in mirror rigs, and its compact size reduces the rig’s size and weight. And last but not least, high dynamic range has been identified as one of the contributing factors to a better stereo-scopic impression for the audience.

0 9C a m e r a

LettingtheWork Flow

ARRI is well known for providing

the professional motion picture

community with innovative, high

quality tools and services. Our

mission has always been to

enable customers in building a

sustainable business based on

reliable ARRI products and

empowering creatives to realize

their visions. While digital

film-style cameras offer many

creative benefits to customers,

it can also result in complex

workflows. ARRI carefully

packages innovative technology

into easy and efficient workflow

solutions. This exclusive intro-

duction provides an overview

of how simple, efficient and cost

effective the ARRI ALEXA is in

getting the job done and simply

letting the work flow.

DigitalWorkflows ALEXAoutputs

With a legacy of over 90 years in filmmaking, ARRI understands the need for simple to use tools that are dependable to allow the filmmaker to focus and the creative process to blossom. The unavoidable complexity needs to be effectively and ergonomi-cally integrated “under the hood”, allowing the user to focus on the job at hand. Developing technology to serve creativity, ARRI must also be aware of the budget considerations that are made and how this impacts production.

A digital camera system with unsur-passed imaging capabilities and in-tegrated workflow features: Like the ARRIFLEX D-21, ALEXA cameras pro-vide widely adopted, proven tech-nologies such as uncompressed HD output over HD-SDI and full sensor resolution that is uncompressed, uncompromised ARRIRAW output through the T-Link interface. Addi-tionally, ARRI has been working on integrating Apple ProRes codecs and QuickTime for unprecedented ease of use and workflow speed.

RussellCarpenter,ASCcommentsonthematerialheshotwiththeD-21inanamorphicARRIRAW:

“I’m timing 5 KILLERS at Efilm. The footage is pretty damn sensational and there is tons of latitude to move the image around… picking out great detail in the highlights… with a minor tweak it looks com-pletely filmic…”©

Cin

emat

ogra

pher

Sty

le

10 C a m e r a

LettingtheWork FlowCompletely new to ARRI cameras is the power to record compressed audiovisual files onto removable solid state memory cards. The unique ability to write Quick-Time MOV files containing Apple ProRes 422 (HQ) or ProRes 4444 onto SxS cards directly in the camera is a groundbreaking step towards interfacing effortlessly with postproduction. In-camera generation of additional files, such as a Final Cut Pro (FCP) XML, allows for transporting additional metadata and workflow automation details to complete a true Direct-to-Edit workflow for Final Cut Pro systems.

ProRes is a high quality, intra-frame codec especially designed for postproduction and editing purposes. The native support provided in Apple Final Cut Studio offers direct access to the complete suite of postproduction tools. The recently introduced ProRes 4444 ad-dresses high quality production demands, emerging as a state-of-the-art finishing codec. It works without the need for chroma sub-sampling, thus treating colour information as equally important as luminance. In addition, it addresses even higher quality demands by supporting 4:4:4 RGB colour at bit depths of up to 12 bit. This is especially beneficial for cinema releases, VFX, keying and image content with detailed, fine colour transitions.

Recording with ProRes codecs, QuickTime wrappers and FCP XML onto SxS cards, creates Direct-to-Edit (DTE) functionality for Final Cut Pro, with an extremely quick edi-torial timeline. Accessing captured files consisting of images and audio is as simple as taking the SxS card from the camera, entering the card into the ExpressCard34 slot on a Mac and dragging the XML file into FCP. The files load directly into FCP.

AppleProRes Direct-to -PostWorkflow

Other benefits of recording directly in ProRes QuickTime files are:

• No time consuming, processor-hungry and quality-degrading transcoding or codec cascading

• No extra storage requirements for additional files are needed

• No error-prone converting, selecting or entering of metadata is required

• ALEXA generates everything you need, internally, in real time and in the right format.

The ability to apply “Look Files” in ALEXA provides the option of instant dailies straight out of the camera in a directly accessible format – a major time and cost saving fea-ture. An SD card slot is provided in the ALEXA to exchange Look Files. These Look Files can be applied to the output signals for baking the look in, or can be passed on as metadata in files on the SD card.

Besides the integration of the DTE function-ality, ARRI enhanced the HD-SDI output ca-pability through the use of embedded meta-data. Whereas previously it was necessary to choose LUTs (Lookup Tables) or set ARRIRAW parameters manually, now with the develop-ment of the new ARRIRAW v3 Header, ARRI has extended the .ari file format to facilitate a better communication between camera, recorder and postproduction systems. As a result of long term development collabo-rations within the ARRIRAW Partner Program, auto-selection of LUTs or processing para-meters for ARRIRAW are possible. This en-ables simple offline-to-online conforming from compressed or uncompressed HD to un-compromised, highest quality ARRIRAW. ARRIRAW is the only way to access the full potential of the ALEV III sensor, which has colour and dynamic range capabilities far beyond standard HD.

Metadata that will be embedded in the HD-SDI output will also enable remote start and stop functions as well as an auto-selection of con-version LUTs when shooting Log C HD on com-patible recording systems.

LookFiles andothermetadata

11C a m e r a

Adrian Widera

A possible uncompressed workflow that takes full advantage of ALEXA’s powerful internal processing capabilities is one where the simultaneous recording of ProRes MOV files is made onto removable SxS cards in-camera, performed together with ARRIRAW recorded over T Link to certified recorders from companies such as Codex, Keisoku Giken or S.two. The ProRes MOV files offer immediate editing capability in Final Cut Pro. Once the editing sequence is finalized, a tool such as Glue Tools Digital Conform for Final Cut Pro can be used to link the edited ProRes data to the uncompressed ARRIRAW files. This new Glue Tools package consists of a Shot Management Tool, a Conform Tool and a Consolidate Tool. The combina-tion of each of these tools allows the edi-tor to not only perform an "Online/Offline" conform, but also manage colour as well. Such a simple, automated workflow will com-pletely revolutionize the future for uncom-pressed recording, offering accessibility and security for productions ranging from low-budget commercials to high-end TV dramas and of course for motion picture films as well. The Glue Tools ARRIRAW Toolkit and Conform Tool are available at www.gluetools.com

ARRI Automated Workflows (AAW) are now possible with the ALEXA by embedding metadata in:

• HD-SDI Stream

• QuickTime Header

• XML Files

• ARRIRAW v3 Header

With the introduction of the new ARRIRAW SDK, partners will be able to integrate ARRI debayering and image processing algorithms into their systems. Instead of requiring dedicated hardware for fluent playback of ARRIRAW file sequences, our approach is to utilize Nvidia GPUs, allowing the use of standard hardware to accelerate playback and real time processing – creating yet another cost saving and efficiency benefit. Systems using the ARRIRAW SDK can be identified by the ARRI Imaging Technology (AIT) label.

ConformWorkflows

ARRIRAWConverter ARRIRAWSDkand RealT imeCapabilit ies

The ARRIRAW Converter (ARC) has also been updated to support new ALEXA formats and features. The Graphical User Interface (GUI) version for Windows now offers a GPU-based viewer that allows instant pre-viewing of ARRIRAW files. Additionally new command line versions are available for several Linux distributions. ARRI is very pleased to offer ARC also for Mac OS now. The latest ARC installers can be down-loaded at www.arri.com/arriraw and www.arridigital.com/arc

12 C a m e r a

ARRIRAWUncompressed

Bayer-Sensor DataTransported viaSMPTE 372M

ARRIRAWUncompressed

Bayer-Sensor DataHeader / Metadata

For ExampleYCrCb Rec 709

orRGB DCDM

ARRIDigital Camera

.ARI

Master

e.g.DPX

ARRIRAWRecorder

ARRIRAWPostproduction

ARRI T-Link

ProRes 422 (HQ) MOVProRes 4444 MOV

FCP XML

Master

e.g.DPX

S.twoDFR2K-AR

S.twoOB-1*

S.twoFlashDock*

*T-Link Certification still in progress

CodexHigh Res

Media Recorder

ARRIFLEX D-21

Keisuko GikenUDR-D100

Digital VisionNucoda

Glue ToolsARRIRAW ToolkitConform Tool forFinal Cut Studio

™

MTI FilmControl Dailies

IRIDASSpeedgradeFrameCyclerMetaRender

FilmlightBaselight

FilmLight

ARRI Avid PluginAvid MetaFuze

Avid DS

TM

DVSClipster

ARRIRAWConverter

ARRI IMAGING TECHNOLOGY

ARRI IMAGING TECHNOLOGY

+

PomfortSilverStackCinematorARRIRAW

POMFORTfn

SilverStack &Cinemator

Express Card 34 – Content Overview

Wrapper-MOV

Image Metadata Metadata

Audio

Project/Bin FileFCP XML

Metadata

“We’re very excited to see ARRI leveraging the power of NVIDIA® CUDA™ technology” said Andrew Cresci, GM Vertical Marketing at NVIDIA®: “If you’re a director of photog-raphy and you’ve got an entire crew wait-ing for directions on a series of shots, you want to streamline the decision making pro-cess. With CUDA™ parallel processing tech-nology, ARRI can now deliver real-time pre-view of RAW video at full resolution – greatly accelerating the quality and speed of making critical decisions.”

Summary

The ALEXA digital camera system with its variety of recording op tions and seamless integration into the most advanced postproduction systems embodies the ARRI philosophy of building better products for professionals.

By integrating most appropriate technologies, defining interfaces and harmonizing formats, the exchange of media and metadata is optimized between all workflow components. The ARRIRAW Partner Program has proven to be a great network to exchange and co-develop technologies and workflow solutions that reduce complexity and offer increased efficiency.

ALEXA Workflows – simplicity and efficiency from the multi-award winning, leading professional motion picture camera manufac-turer – offering the best tools for the job, and bringing creative freedom and competitive advantage to the user.

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Weblinks:

ARRIRAW Website and SupportARRIRAW Website www.arri.de/arriraw www.arridigital.com/contacts/partnerprogramARRIRAW Customer Support ARRIRAWSupport@arri.de

ARRIRAW T-Link Certified RecordersS.two www.stwo-corp.com Codex www.codexdigital.com Keisuko Giken www.keisoku.co.jp ARRIRAW Capable ToolsARRI ARRIRAW Converter (ARC) www.arri.de/arriraw www.arridigital.com/arcARRIRAW Avid Plug-in www.avid.com, www.arri.com/arrirawDigital Vision Nucoda www.digitalvision.se DVS Clipster www.dvs.comFilmlight Baselight www.filmlight.ltd.ukGlue Tools www.gluetools.comIRIDAS Speedgrade www.iridas.com MTI Film Control Dailies DA www.mtifilm.comPomfort Silverstack/Cinemator www.pomfort.com

13C a m e r a

ARRIRAWUncompressed

Bayer-Sensor DataTransported viaSMPTE 372M

ARRIRAWUncompressed

Bayer-Sensor DataHeader / Metadata

For ExampleYCrCb Rec 709

orRGB DCDM

ARRIDigital Camera

.ARI

Master

e.g.DPX

ARRIRAWRecorder

ARRIRAWPostproduction

ARRI T-Link

ProRes 422 (HQ) MOVProRes 4444 MOV

FCP XML

Master

e.g.DPX

S.twoDFR2K-AR

S.twoOB-1*

S.twoFlashDock*

*T-Link Certification still in progress

CodexHigh Res

Media Recorder

ARRIFLEX D-21

Keisuko GikenUDR-D100

Digital VisionNucoda

Glue ToolsARRIRAW ToolkitConform Tool forFinal Cut Studio

™

MTI FilmControl Dailies

IRIDASSpeedgradeFrameCyclerMetaRender

FilmlightBaselight

FilmLight

ARRI Avid PluginAvid MetaFuze

Avid DS

TM

DVSClipster

ARRIRAWConverter

ARRI IMAGING TECHNOLOGY

ARRI IMAGING TECHNOLOGY

+

PomfortSilverStackCinematorARRIRAW

POMFORTfn

SilverStack &Cinemator

Express Card 34 – Content Overview

Wrapper-MOV

Image Metadata Metadata

Audio

Project/Bin FileFCP XML

Metadata

BEEF AnARRIRAWWorkflowCaseStudyu

u

uuu

u

u

u

u

Earlier this year, Avid released Avid DS v10.3 and Avid

MetaFuze v2.1.0. Installing the ARRIRAW Avid Plug-in

adds native ARRIRAW file support to these products. The

Plug-in is available in two versions: Basic and Premium.

The Basic version is free to use, offering support for full

HD 1920x1080 resolution. The Premium version allows

output resolutions higher than 1920x1080, with faster

and better quality rendering and efficiency gains due to

the ARRI Automated Workflow. The Premium version’s

multi-threading and auto-selection of image processing

parameters make ARRI Automated Workflows simple,

fast and error-free. The Premium version will be shown

for the first time at the NAB 2010 show. “The compatibility

between ARRI & Avid solutions allows our customers to

bridge the gap between production and post production.

ARRIRAW is natively supported in Avid MetaFuze and

Avid DS, creating a seamless integration between offline

to finishing that gives our customers a more efficient and

cost effective workflow, and at a very high quality,” says

Vincent Maza, Avid’s Worldwide Marketing Manager

Post Production.

The ARRIRAW Avid Plug-in can be downloaded

and activated at www.arri.com/arriraw

14 C a m e r a

D-21

StwoOB-1

FlashMag

T-Link

FlashDock eSATA

NucodaFilm Master

Avid MetaFuze

Avid DS

Native.ari v3 Files

DNX MXF’s

ALE

ParameterXML

Avid Media Composer 3.x

AFE

Auto-Select

Conform ALE/AFE

Final Master

RAID

.ari v1 Files

ARRIRAWHeader Editor

Conform ALE/AFE

ARRIRAW Workflow B E E F

EDL

“The combination of ARRI’s Digital Camera System and S.two’s OB-1 on-board recorder provide a compact and reliable setup for ARRIRAW acquisition. Together with the S.two FlashDock and the ARRIRAW Avid Plug-ins the best possible flexibility and highest quality demands in postproduction are met.”Marcos Eberle, 1st AC + Editor BEEF

AnARRIRAWWorkflowCaseStudy

An alternative workflow has just been pio-neered on the production of BEEF, a project of the Stuttgart Film School HdM. ARRIRAW data was recorded onto an S.two OB-1 on-board recorder and .ari files were offloaded with the now available S.two FlashDock to a hard disk RAID. The Avid MetaFuze applica-tion with the ARRIRAW Avid Premium Plug-in was used to transcode the .ari files to Avid DNxHD MXF files. The ARRIRAW Avid Premi-um Plug-in’s multi-threading and auto-selection of image processing parameters made this ARRI Automated Workflow simple, fast and error-free. An Avid Log Exchange (ALE) file was used to transport additional metadata into the Avid Media Composer for editing. From the perspective of the editor, the pro-cess of working with ARRIRAW originated files was completely transparent.

Once the sequence was finalized, an Avid File Exchange (AFE) file was exported from the Avid Media Composer into an Avid DS system. Loading the AFE into an Avid DS al-lowed for conforming the complete sequence, applying either the ARRIRAW processing info from the .ari v3 file header or from the AFE/ALE.

ARRIRAW settings of each individual clip in the sequence could also be changed after-

wards. It was also possible to manually choose parameters during loading of ARRIRAW files. Once the work in Avid DS had been com-pleted, the shots were rendered out. Final grading was performed on a Digital Vision Film Master, importing the sequence and re-linking to the ARRIRAW files and the Avid DS pre-computes. ”Many of our customers have specifically asked for ARRI Digital camera support, so ARRIRAW native file in-tegration as part of our recent Nucoda Film Master 2009.1 release was essential to en-sure we provide the right workflows for our customers and their clients,” says Martin Bennett, VP Worldwide Marketing at Digital Vision.

Adrian Widera

15C a m e r a

Software Upgrade 1.17Over the past months, ARRI has continued improving the D-21. Software upgrade 1.17 further increases its stability and reliability while laying the groundwork for the new features of upgrade 1.18.

The backbone for this is the new centralized parameter management, allowing for a fail-save operation even in a worst case scenario – for example when cutting power off while changing an operating mode. A faster boot-up time and faster mode changes also further improve the D-21’s strengths of being the fastest and easiest digital camera on set.

Outstanding image quality has always been a key feature separating the D-21 from other digi-tal cameras. Software upgrade 1.17 improves the D-21’s image quality by reducing a num-ber of artifacts that could be visible when using high gain factors. While the ghost and H-smear artifacts in the D-21 have been negligible com-pared to the typical CCD smear artifacts any-way, we strove to reduce them even further through sophisticated in-camera algorithms.

Higher serviceability by introducing easier update, log and diagnosis functions conclude the many improvements of this release. Re-lease 1.17 is a pure software upgrade and can be performed by end-customers. To down-load, please refer to the website:

Software and Hardware Upgrade 1.18It is time to take the D-21 to a new level. Up-grade 1.18 builds on top of the solid founda-tion of software upgrade 1.17 and introduces a variety of new features unmatched by any competitor.

60 fps – in 4:4:4 and ARRIRAW

Slow motion can be shot in 4:4:4 or 12 bit ARRIRAW 16:9 up to 60 fps utilizing quad link output. The D-21’s unique dual PIM output capability had that potential all along and it was just a matter of time before adequate capture devices would become available. This feature will be supported soon by a number of third party recorder manufacturers.

Electronic Shutter modes – angles >180°

An increase of sensitivity of up to ½ stop can be achieved by turning the rotating mirror shutter off and utilizing the electronic shutter. While providing more light to the sensor, the higher shutter angle enhances the creative choices of filmmakers by increasing the ex-posure time.

Auto-start Recording

A special flag in the HD-SDI stream can auto-matically turn on recording for selected third party recorders, including Sony SRW-1 and various other third party recorders. This also necessitates a hardware change: the camera left buttons will be re-assigned. The PROG button will now start and stop the mirror shutter independent of recording. Like on the ALEXA, the green RUN button will become a red REC button.

Main Features (Upgrade 1.17)• Reliability Improvements

- Centralized parameter management

- Faster boot-up time

- Faster mode changes

- Easier updating, logging and diagnosis

for service

• Image Quality Improvements

- Reduced ghost and H-smear

Main Features (Upgrade 1.18)• 16:9/60 fps in 4:4:4 and ARRIRAW

- Via quad link (4x BNC cables)

- Will be supported by various third

party recorders

• Electronic Shutter >180°

- up to ½ stop more sensitivity

- Electronic monitoring only, no

optical viewfinder

• Auto-start Recording

- Record flag in HD-SDI stream (like ALEXA)

- Compatible with Sony SRW-1 and various other

third party recorders

- Change green RUN to red REC button

(like ALEXA)

- SHUTTER button starts and stops mirror shutter

independent of recording

• Simplified and Improved Menu Structure

- For safe and fast operation

- White balance in 100K steps

- Rental and user default presets

D-21 Upgrade 1.17 D-21 Upgrade 1.18

- software only - software and hardware

- available for download from website - available through ARRI Digital Camera Service Centers

- free of charge - free of charge All data subject to change without notice.

The ARRIFLEX D-21 remains the top of the line ARRI digital camera with its 4:3 sensor, optical viewfinder and film-like,

organic image quality that matches the ALEXA’s image look. Two new upgrades further enhance the D-21’s capabilities.

ContinuousImprovements–

ARRIFLEXD-21UpgradesSimplified Menu Structure

A further simplified menu structure makes operation even faster, while introducing new functions like white balance setting in 100 Kelvin steps as well as user and rental presets.

The 1.18 software upgrade and modification of the camera left buttons can be performed free of charge at any ARRI Digital Camera Service center.

Main Features Upgrade

www.archiv.arri.de/prod/cam/ arricam/software/in_D21.htm

16 C a m e r a

DigitalWorkflowSo lu t i ons

(f.l.t.r.) Andreas Berkl, Florian “Utsi“ Martin, Christian “Geoffrey“ Grafwallner, Oliver Temmler, Henning Rädlein

DoP Anna Foerster and Camera Operator Sebastian Meuschel currently shooting ANONYMOUS

Recently, the newly founded ARRI Digital Workflow Solutions group presented its

“Workflow Guidelines: Recommended Practice for Shooting with ARRIFLEX D-21.” This technical information is designed to help customers working with ARRI’s first digital camera to decide which workflow best suits their needs. The guide provides an in depth explanation of the individual camera modes, such as HD, ARRIRAW and Mscope™, as well as of the various recording options, and addresses the pros and cons of each of these processes. This takes the hassle out of the complexities of a digital shoot and the postproduction involved in creating the desired final product. An up-date will be soon made available at the launch of ALEXA. The new “Recommended Practices” are going to illustrate and explain more streamlined workflows that are intro-duced by new options such as recording compressed images to onboard memory storage and the ARRIRAW Partner Program.

Digital Workflow Solutions was established in late 2009 and is headed by Henning Rädlein, who was in charge of the Digital Intermediate, Commercials and Visual Effects departments of ARRI’s postproduction subsidiary, ARRI Film&TV. Other members of this task force are: Christian “Geoffrey“ Grafwallner, previously R&D Supervisor at ARRI Film&TV; Oliver Temmler, Application Engineer in the camera department; Andreas Berkl, previously responsible for the super-vision of digital shoots at ARRI Rental Ger-many; as well as the colorist Florian “Utsi“ Martin (THE LOVELY BONES, PERFUME, LORD OF THE RINGS).

Digital Workflow Solutions is entrusted with defining system-based solutions for the inte-gration of ARRI’s digital products, based on existing equipment and with publishing relevant guidelines. They make recommen-dations for the development of file-based workflows for the ALEXA Digital Camera System and are committed to user trainings. Adrian Widera, product manager for stor-age and partner solutions, who initiated the ALEXA Direct-to-Edit concept and developed the ARRIRAW Partner Program, supports the Digital Workflow Solutions group.

In spring 2010 ARRI opens the doors to its new showroom and training center at its Munich headquarters. There, the workflow group will showcase various cameras, all related post-production processes, and offer trainings. The group will also be available as an advisory and service partner, providing their customers

with tailor-made solutions for their individual needs. Equipped with Apple and Avid work-stations, the newly created facility features various HD and raw data storage solutions, as well as show casing data management, finishing and color correction software of various partner companies.

Digital Workflow Solutions will also develop custom-made workflows and solutions for the ARRISCAN, ARRILASER, and ARRICUBE, as well as for their clients’ keykode and meta data management needs. Currently, the group provides support for productions shooting on D-21 in ARRIRAW and for the first feature shot with ALEXA: ANONYMOUS by Roland Emmerich.Henning Rädlein

Contact: digitalworkflow@arri.de

17C a m e r a

TheALEVIIIsensordarestogowherenolightsareallowed

HabemusPapam

1st AC Tommy Mann (left), Director/DoP Ciro Cappellari

Ciro Cappellari, the acclaimed Argentinean-born director, cinematographer and writer, utilised the new ARRI sensor for selected sequences of HABEMUS PAPAM, his latest documentary feature. “We needed some representative shots of Rome, because our film explores the influence of the Vatican on the city,” says Cappellari. “For these shots we wanted a very high picture quality and a dramatic look, so we were filming at dawn and also at dusk. We did some shots of the sun coming through clouds onto St. Peter’s Basilica with at least ten stops of latitude and it was no problem for the ARRI camera. I had the feeling that I was working with a 35mm negative when I saw the pictures.”

The sensor demonstrator of ARRI’s next-generation digital camera system was

put to use at the end of November 2009 on its first professional production.

Boasting a base sensitivity of at least 800 EI equivalent and exceptional

latitude, the ALEV III is a 35-format CMOS sensor that has been specifically

developed for the groundbreaking ALEXA digital camera, which will be

launched this year.

18 C a m e r a

The sensitivity of the ARRI sensor demon-strator proved useful for interiors at the Sistine Chapel, where the production was forbidden from using any lights. “We were filming the architecture and the frescos,” continues Cappellari. “The light in the chapel was exactly the same as when those frescos were painted: a very low light that comes from windows at the top. It was beautiful to be able to film in that same light with the 800 ASA ARRI camera.”

For Andreas Berkl, a support specialist from the ARRI Digital Workflow Team in Munich who provided on-set support, the shoot was an invaluable element of the exhaustive R&D work that ARRI is putting into the new digital cameras in advance of their launch. “The system is still under development, so this was an excellent opportunity to test it in the

field,” he says. “We were keen to use the demonstrator on a real production and we learned a lot.”

The sensor’s unparalleled combination of sensitivity and image quality again proved useful for interiors at St. Peter’s Basilica. “It was important to have high resolution and sensitivity for some POV shots of the children in our story entering the basilica for the first time,” says Cappellari.

Shooting in Log C mode, the camera crew made use of ARRI Variable Primes as well as a range of ARRI Ultra Primes, which allowed staggeringly sharp images of Renaissance masterpieces to be captured in difficult lighting conditions. “Inside the Sistine Chapel we were wide open on the lenses and inside St Peter’s it varied between

T4 and T11,” notes Berkl. “We were using a crane and were panning across the interior, so we used an Iris Control Unit with the ARRI Lens Control System to compensate for exposure changes when we moved from windows to darker areas.”

Editing the material some time after the shoot, Cappellari reports that “although we’re not editing in full resolution, I can already see the incredible quality of the pictures from the ARRI sensor; the colours and the intensity are very strong.” Producer Norbert Preuss concludes that “it all went fantastically well. The images we got are absolutely great and the camera performed very well in extremely low light conditions.”

Mark Hope-Jones

I had the feeling that I was working with a 35mm negative when I saw the pictures.Ciro Cappellari

The images we got are absolutely great and the camera per-formed very well in extremely low light conditions.Norbert Preuss

19C a m e r a

Thefirstfeaturef ilmtocombineARRIRAWwithon-boardrecording

FIGLI DELLE STELLE is an Italian comedy feature, directed and co-written by Lucio Pellegrini and shot by cinemato-

grapher Gian Enrico Bianchi. It was produced by Rita Rognoni and Beppe Caschetto for ITC Movie, Pupkin Production

and Warner Bros. The shoot began on October 12th 2009 and lasted for seven weeks, incorporating locations from

downtown Rome to a glacier 3,900 metres up in the Italian Alps, close to the border with Switzerland.

FIGLI DELLE STELLE

DoP Gian Enrico Bianchi with the D-21 on the Plateau-Rosà glacier at -20°C

2 0 C a m e r a

Gianpaolo Giusti

The production was supplied with ARRIFLEX D-21 digital cameras, S.two OB-1 on-board recorders and ARRI Ultra Prime lenses by the Rome-based rental company D-Vision, which also provided technical and logistical support. Technicolor Rome supervised post-production and, in collaboration with both D-Vision and ARRI, created the best possible workflow to handle the raw, uncompressed data captured by the D-21 cameras with ARRIRAW technology.

“All of us were aware – and a bit scared – that this was the first feature film worldwide to be shot in ARRIRAW with on-board re-cording,” says Pierpaolo Gualà, Managing Director of D-Vision. “As usual there was extremely limited time to establish and fully test a total workflow, which obliged all the people working around this exciting project to make adjustments as the shoot progressed to ensure that the production ran as smoothly as possible.” Cinematographer Gian Enrico Bianchi notes that “in order to get prepared we made many different tests, supported by D-Vision and Technicolor Rome and – apart from a few hitches due to inexperience – we immediately had positive feelings.”

Part of the function of the testing phase was to establish whether or not the D-21 was going to be able to deliver the high quality images that the production demanded.

“During preproduction, after the tests, we happily discovered a quality response that was much better than any optimistic expec-tation, in comparison with any other digital camera,” affirms Gianpaolo Giusti, Digital Services Operation Manager at Technicolor Rome. “The production consequently decided to go ahead and shoot in ARRIRAW. The result had been an extremely clean image, without noise and with a great exposure latitude. We made some tests on film and the result is excellent; the camera records an astonishing quantity of information.”

Bianchi was also extremely pleased with how the D-21 performed. “The image quality was very high and could not only reach a capacity of exposure similar to a 35mm negative, but also achieved a surprising plasticity and precision of detail in the shadows, and a colorimetry that was exactly the one we wanted for the film,” says the cinematographer. “The D-21 has been sur-prisingly reliable performing in different situations; even when we used it in extreme conditions such as 3,900 metres up on the Plateau-Rosà glacier at -20° C it worked perfectly, allowing us to shoot beautiful images. The film has been shot completely handheld with Ultra Prime lenses, and the ergonomic shape of the camera helped a lot, together with the optical viewfinder and automatic shutter.” Pierpaolo Gualà adds that “the optical viewfinder of the D-21 gave the operators a view of the scene identical to what they are used to with film cameras, which gave them more confidence and comfort.”

The fact that Bianchi wanted a handheld look for the film meant that an on-board recording device was extremely important, as it allowed the D-21 to be operated untethered. Weighing in at less than 3kg, the OB-1 recorder from S.two was ideally suited to the task. “Obviously the need to shoot mainly on the shoulder and in extreme climatic conditions made the on-board recording system much appreciated,” continues Gualà.

“The OB-1 is compact in its dimensions and has the capacity to record up to 30 minutes of footage. In some situations we also used the DFR2K-AR recorder [also from S.two], which is extremely robust but less portable.”

Technicolor Rome helped the production set up monitoring and image appraisal tools on set, working with the crew to ensure that an accurate representation of the captured image colorimetry was available to them throughout. “After a while I learnt how to expose in order to get the best out of the camera by following my instinct,” says Bianchi. “Now I know that the D-21 can record far beyond the compressed raw file visible on the HD monitor on set.”

With the project completed, Gualà comments that “FIGLI DELLE STELLE achieved the goal of finishing on schedule and also of being an excellent film. This success was the result of a fundamental collaboration between D-Vision, Technicolor, ARRI Italia and the experts at ARRI Munich, who supported the

production at every stage.” Production Manager Attilio Moro adds that he “would like to thank ARRI for giving us the opportunity to shoot a feature film with this technology. We have been the first, in Italy, to shoot like this with the D-21 and I would say that it has been a great opportunity to test a new way to make movies with almost the same result as film in terms of quality, but with a lower budget.”

Despite, or perhaps because of the extra effort required to try something for the first time and make it work, Bianchi found the job to be an extremely rewarding one.

“Shooting a movie in the ARRIRAW format has been the biggest challenge I’ve ever had, and now that it’s over I can definitely say it’s been a fantastic adventure,” says the cine-matographer. “I’m looking forward to my next experience with the D-21, which I reckon is a revolutionary camera in many respects!”Antonio Cazzaniga/Mark Hope-Jones

21C a m e r a

TrustingtheD-21on

LIE TO ME stars Tim Roth as Dr. Cal Lightman, a lie detection

specialist who determines the truth by interpreting body

language and psychology. To depict these small tics and

“microexpressions,” the show takes advantage of the

ARRIFLEX D-21’s full sensor and shallow depth of field for

these extreme close-ups. The series is photographed by

Sidney Sidell and Joseph Gallagher, with each Director of

Photography shooting alternating episodes on cameras

equipped by The Camera House.

2 2 C a m e r a

When Sidell was brought onto the project for the show’s second season, he immediately

began doing tests with different camera systems including the Sony F-35, F-23 and RED. “What sold me on the D-21 was the color and latitude,” Sidell explains. “I saw more information from the D-21. The F-35 clipped at a certain point in the high range. Then you’d look at the D-21, it actually would just spike up higher and there was no cut off. It went as far as it could go, and then came back down. With the F-35, there’s an actual cut off point in the high end.”

Sidell’s DP credits include the crime dramas LIFE and WANTED. He previously worked as a camera assistant and camera operator early in his career. “I’m a huge fan of the optical viewfinder on the D-21. It’s easier on the eyes, it shows truer color and con-trast rendition. I can actually light through the viewfinder and the over scan in the eyepiece is great. You get a full frame with ground glass markings. On the F-35 or the Genesis, the frame line is the eye piece viewing area, so the operators don’t have a chance to see if something is entering the frame,” he notes.

LIE TO ME shoots with two to three cameras at a time and on Sidell’s set, the DP chooses to work without a Digital Imaging Technician (DIT). “Coming from a film background, I was really drawn to the D-21 because I didn’t feel that I needed to have an on-set DIT. I have the creative freedom to take a film approach to working in a digital environment and have control of the image. It became a no-brainer to use this camera system,” he says.

The show’s multi-racial cast presents a spectrum of skin tones, often with actors of contrasting tones in scenes together. Sidell’s

deft visual style allows this diversity to be showcased – an ability that he partly credits to the D-21’s handling of skin tones and the lenses that are used. “I have found that the flesh tones are much more pleasing on the D-21 compared to other cameras. They feel really beautiful to me. They are softer and have a much closer look to film. The other cameras truly have more of a video feel. We light different actors and different skin tones in different ways, but I don’t have a problem where one person ‘jumps out’ and the other person disappears, or one person is lit too harshly, the other not. The D-21 isn’t par-ticular to one or the other, it actually picks out those proper skin tones,” explains Sidell.

Besides the D-21’s versatility in rendering skin tones, the cinematographer has been impressed with its capability in shooting night scenes and dealing with under exposure.

“My gaffer and I have been very surprised with this system. We know it has an ASA 200 rating, but I go back and forth from 200 to 400 ASA all the time based on how I want to control the overall lighting balance and depth of field. We did some night work in our first episode shooting with the D-21 and I lit the front of a building two and half stops under key. I rated it at 400. I looked at dailies and the building was almost too bright at two-and-a-half stops under. I realized I can light much more under than I expected and have the confidence to know that I still have plenty of latitude in the under exposure. I’ve been doing some of the night scenes now where the key is two stops or two-and-half-stops under exposed and it looks amazing. The grain was still fine – it held the color and information in the shadows. The blacks held and it was pretty amazing.”

Now in its third season, LIE TO ME airs in over 40 countries around the world.

An Tran

Sidney Sidell

LIE TO ME2 3C a m e r a

Latitude81DegreesNorthontheTrailofthePolarBears withtheARRIFLEXD-21

In order to appropriately document this unique story, it was essential to choose the right equipment. Even more so because our team consisted of just three individuals: director Kai Schubert, assistant Daniel Delbeck and myself. For this reason, the equipment had to be compact; at the same time, however, it had to be of a technical standard that would do justice to our topic. We decided to use the ARRIFLEX D-21, with a Zeiss Master Zoom lens and an SRW-1 unit for recording. Of course we had to consider the question of whether, under these circumstances, the decision to use the D-21 was correct – whether this system could cope with such

It is the end of August, 2009

and the start of a risky experience

with an uncertain ending.

We are departing for Spitsbergen

in search of polar bears –

the most dangerous land-based

predators in the world. Our aim

is to document the ways in which

climate change and global

warming influence the bears’

living environment. We do not

know what kind of unforseen

dangers we might encounter,

or indeed whether we will find

the giant white animals at all.

What we do know is that we can

expect magnificent scenery –

a landscape of unique beauty

and magic, colours of incredible

intensity and conditions that will

challenge us!

2 4 C a m e r a

Latitude81DegreesNorthontheTrailofthePolarBears withtheARRIFLEXD-21

Hans Fischer…started as a DoP at Bavarian TV in 1996 and has shot many documentaries in Germany and around the world in Asia, Africa, and North America utilizing all common production formats. In 2002, Hans Fischer was appointed chief cameraman at Bavarian TV, and as such is responsible for the technical and artistic achievements of all the company's camera teams.

extreme cold, rain, snow and ice. Never before had a D-21 been exposed to such conditions!

It proved to be the ideal choice; the D-21 in 4:4:4 format perfectly captured the depth and scale of the landscape as well as the glinting ice, the thrilling colours of icebergs and glaciers, and the enchanting skyscapes created when the sun sank low on the horizon. It simply allowed us to portray the genuine character of the Arctic and bring it closer to the viewer – this unique and endangered world that is home to the white predators.

Everything worked fantastically, including the initial training at ARRI, the packing of equipment, the journey to Spitsbergen and the loading onto our ship – the MS

Origo. On August 28th, we left the old mining estate of Longyearbyen and traveled northward up the west coast of Spitsbergen – our adventure had begun!

2 5C a m e r a

At first it was important to feel, sense and get acquainted with this landscape that I had never seen before. As I did so, I re-peatedly wondered if it was in fact the right decision to take this technical equip-ment into the far north – into this white emptiness! Our ship passed a barren, fjord-dominated landscape, littered with glacier tongues. The bow appeared al-most to carve the water that lay beneath and in front of us - water that seemed likely to freeze to ice at any moment, given the perilously low temperatures. Daniel unpacked the D-21 and photographed the first test shots, using the ship’s electrical network for a power supply. The SRW-1 was well packed in a polystyrene-insu-lated aluminum box, to guarantee utmost protection against all kinds of weather conditions.

We mounted the D-21 to the bow of the ship - not an easy job, I had to admit. Maneuvering the weight of the camera and Master Zoom across the wet steel deck of the swaying ship all by myself was a real challenge. Once mounted,

the weight of the camera combined with the widely-spread tripod legs resulted in a balancing effect with regard to the ship’s vibrations – vibrations we could not have anticipated. The first images followed.

The adventures of the following days far exceeded our imaginations and our wildest dreams. The ship was groping its way north and leaving the 81st parallel behind; a distance of less than 1,000km now separated us from the North Pole – 1,000km of fog, snow and ice! We ob-served atmospheric lighting displays of incredible intensity - compositions of light that made us forget time and space. But we also witnessed an incident that, most likely, has not been documented in such a way before – cannibalism among polar bears.

On a huge ice floe, we discovered an adult, male polar bear that had just killed another animal of the same species and was starting to devour it – a tragic sight that demonstrated the hopelessness

of the polar bears and the shortage of their food. It was exactly what we were there to document.

The captain rammed the ship through ice almost a meter thick and managed to get us within 200m of the cadaver. The killer polar bear escaped to a safe distance and observed us while we, in turn, did the same! In the meantime, a white fox and the very rarely seen ivory seagull were busy with the cadaver. At day-break, the starving polar bear returned and we successfully captured incredible images.

Further south we found a dead finback in a fjord – for polar bears, the equivalent of a well-stocked fridge! There, we met colleagues from the BBC who were visit-ing this spot to document the dead finback. Our BBC colleagues were more than a little astonished to see a D-21 in use up there in the far north. After ten surreal days in the Arctic we returned to our own world, with images and impressions we had never expected.

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(f.l.t.r.) Kai Schubert, Hans Fischer, Daniel Delbeck

It was an experiment, moreover a success-ful one. Our expectations were surpassed by far – not only due to the unique ex-periences, but also due to the perfect functioning of the technical equipment, even under the most hostile conditions. The camera never failed or refused to work, despite temperatures that varied between lower plus degrees and minus 18 degrees, let alone the dampness and vibrations aboard ship! The optical view-ing system was an invaluable advantage.

To film a documentary with this technology and under these extreme conditions was daring and risky. However, we are more than pleased with the results and would not hesitate to set out on a similar adventure again.

Hans Fischer

The Sydney Dance Company promo

BE TRANSFORMED was the first

TV commercial shot with the

ARRIFLEX D-21 in Australia and

also the first time using the innovative

Mscope mode of the camera.

SydneyDanceCompanyTransforms

DoP Tony Luu ACS shooting a dramatic wide angle shot from the crane.

When creative agency Area 51 was com-missioned to produce a promotional televi-sion commercial for the Sydney Dance Company (SDC) as part of FOXTEL’s principal sponsorship of the SDC, their brief from the artistic director Rafael Bonachela was to create ‘visual art’. Photoplay Films Director Husein Alicajic workshopped a number of ideas and finally settled on the premise of transformation. In the spot, a lone dancer slowly evolves into many, and the dancers’ costumes progress from bare flesh to urban black attire. According to Alicajic, “I wanted to convey an arc that investigated the idea of foetal-like progression.”

The dancers’ organic human form was set against the stark and geometric minimalism of the Deutsche Bank building in Sydney’s CBD. As a corporate sponsor of the SDC, Deutsche Bank allowed the production to film on several floors of their modern high rise facility – a privilege never before afforded to other filmmakers. Alicajic adds, “I think that the setting of this piece was very important to the message that was to be conveyed. The juxtaposition of the soft human form against the clinical modernity of the architecture was something that I wanted to explore. In a way, the dancers’ journey takes them from the top of the structure and delivers them down to the earth where they become more adult and complete.”

As soon as cinematographer Tony Luu ACS was brought on board, he knew that this vision could only be captured in widescreen ratio. “I was presented with a lot of photo-graphs of the building’s spaces, which

contained minimalist greys and glass, punc-tuated with an exposed steel spine that runs all the way down the centre of the building,” says Luu. “There were very graphic lines throughout the structure, so the camera needed to present that in a very formal, designed way. I’d worked a lot with ana-morphic lenses, and I love the softness and texture that they illustrate. Also the shallow depth of field is incredible. So when I offered the idea of shooting anamorphic to Husein he leapt at the opportunity to try it.”

Luu was left with a number of camera options to shoot the spot with: 35mm film, Red one, or the newly arrived ARRIFLEX D-21. “I had just completed shooting with the D-21 on a short film called CREATING FORTUNE, where I was completely blown away by the filmic quality of this new digital camera. It just doesn’t look like any other digital motion picture camera that I’ve worked with. Red anamorphic doesn’t give you the whole width of the lens, and the producers felt that film was a little out of reach. So it was an easy decision.”

The camera was supplied by Cinoptix, who had only recently taken delivery of the camera from ARRI Australia. The D-21 uses a 3K S35mm sensor allowing for recording in a number of formats to a number of devices. Takao Hasuike from Cinoptix comments, “The D-21 can record in 3K ARRIRAW to a solid state or hard drive recorder like the Keisoku Giken and S.Two, or in HD in either 4:4:4 or 4:2:2. In the case of this project, it records in HD to Sony SRW-1 HDCAM SR tape recorder in 4:2:2 dual stream using the Mscope anamorphic mode.”

Because the camera has a full-height sensor, rather than a 16:9 chip, it allows for the use of anamorphic lenses in the same way as with 35mm film. The camera also has a feature that allows filmmakers to squeeze this anamorphic image into a HD dual stream, for recording to the Sony SRW-1 deck. ARRI calls this process ‘Mscope’. Tony comments, “Mscope is an ingenious way to shoot anamorphic on video tape, because it allows you to retain as much resolution as possible through a natively 16:9 recording format. It splits the 1920x1440 image into

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True Anamorphic and beyond HD

SydneyDanceCompanyTransforms

DoP Tony Luu ACS, Director Husein Alicajic, Sydney Dance Company Artistic Director Rafael Bonachela (f.l.t.r)

two streams of 1920x1080 (720 effective) video, one stream containing the even lines and the other the odd lines that can simulta-neously recorded on the one Sony SRW-1 deck. The two streams need to be recom-bined by interleaving the stream A and stream B fields to create what is effectively a 1920x1440 anamorphic image that can then be cropped and unsqueezed to a 3456x1440 digital file for digital cinema. Mscope also allows you to monitor one of the streams on set in HD resolution in the correct aspect ratio on any HD monitor.”

The post production for the commercial was facilitated by Engine, where only one stream of the footage was used for offline editorial. Once picture lock was established, both streams of selected takes were ingested to Flame, where they were combined and ulti-mately resized to 1920x1080 with letter-boxing.

“I think that the results are fantastic, but in reality, for TVC production even using just one of the streams would still deliver great results,” says Luu.

Another feature of the D-21 used by the cameraman was its ability to record Cineon Log gamma and colour space in extended range to tape. “Shooting in Log C means that you can pull so much detail out of the image during the grade, you can read far in to the highlights and into the shadows, and where there is clipping, the rolloff in Log C is quite filmic,” states Luu. “That is quite a relief when having to work with a digital camera.” The camera allowed the cinematographer to monitor both the Log C and a de-logged 200EI equivalent LUT monitoring output, which was fed to Alicajic and Bonachela’s monitors.

In one scene of the commercial, three dancers stand together in a tight line, so that the viewer only sees the first. Slowly, arms and legs appear behind the first body, commencing the transformation that signifies the spot’s theme. Black perspex forms a runway through the bottom of frame that reflects the dancers’ images, and the only interior lighting comes from ten bare kino flo tubes laid on the ground around the borders of the room. The shot was photographed in a meeting room of the 18th floor of the building, looking straight out to a moody grey sky. Luu used only NDs for this scene, choosing to photograph without colour correction filtration to the tungsten camera, lending the image a cool hue. “I love shoot-ing without an 85, it gives an amazingly clean skin tone and washes the picture with a modern, clinical tone that Husein was after,” says Luu. “There is so much contrast in the scene, we thought when we photo-

graphed this that we’d silhouette the dancers against the blown sky, but in post, there was actually so much detail that it was better to leave the shadows and highlights in the picture.”

The cameraman also favoured lighting the dancers with practical lighting balloons supplied by Panalux. The 1.6m diameter balls are air-filled by an onboard fan, and contain 6 x 400w halogen striplights than can be run through a dimmer. An atrium that runs through the high rise building gave the cinematographer a line of sight to see dancers who were set across two floors from across the building. “The ambience from the sky gave a wonderful blue glow inside the structure, which was offset by the warm soft light emanating from the balloons. The balloons were part of the organic, human world where round edges repel the intrusive square lines of the surrounds,” says Luu. The shot was captured from inside a glass-walled elevator, as it rapidly descends.

“It was a fantastic opportunity to shoot incredible dancers in an incredible location with an incredible camera – the experience was… incredible,” adds Luu.

To watch the spot go to www.photoplayfilms.com.au

Tony received a Gold Award at the Queensland and Northern Territory Awards for Cinematography for his work on the Sydney Dance Company commercial.Catherine Hjelm

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(f.l.t.r.) Stefan Sedlmeier, ARRI Australia, with Aquiles Sande and Takao Hasuike from Cinoptix

Selected productions shot using the ARRIFLEX D-21:Production Title Director DoPCreating Fortune David Barker Tony Luu ACSLonely Matty Limpus Chris MilesSydney Dance Company “Be transformed” Husein Alicajic Tony Luu ACSDomino’s Pizza Luke Eve Carl Robertson ACSCassette Kids “Lying around” Pierre Toussaint Stefan DuscioDenim and Thread Alex Weltinger Sidat de SilvaNext Generation Foxtel “Movies” Darren Ralph Tony Luu ACSNext Generation Foxtel “New Channels” Darren Ralph Tony Luu ACSNext Generation Foxtel “HD” Darren Ralph Tony Luu ACSFoxtel “Help Channel” Susan Burchill Simon HigginsNext Generation Foxtel “Download” Darren Ralph Simon HigginsMyer Liz Murphy Tony Luu ACSPepsi Hit Refresh Johan Polhem Hugh MillerSpirited Tasha Mahalm Simon ChapmanBiggest Loser Club Rene Hernandez Simon ChapmanKFC Matt Kamen Dugal CampbellPizza Hut Matt Kamen Danny Pope

(f.l.t.r.) Penne Thornton (Camera Prep), Malcolm Richards (Proprietor), Gerry Liedtke (Service Technician), Dominic Jaeger (Service Technician), Dale Woodrow (Rentals Manager - Melbourne)

ARRIFLEXD-21inAustralia

Cinoptix, the film equipment rental house based in Sydney, acquired the first D-21 on the red continent from ARRI Australia. Aquiles Sande of Cinoptix says: “Consid-ering other high-end digital cameras we finally decided for the D-21. Its film-like image, the quality of ARRI products and their unsurpassable experience convinced us. Working more than 20 years in the industry, you develop a pretty good feeling on what is truly essential.” The D-21 is being teamed up with a set of ARRI/Zeiss Master Primes that includes the recently acquired 21mm and 65mm Master Primes.

Recent productions using the D-21 include the award-winning TV commercial for the Sydney Dance Company, BE TRANSFORMED,

DoP Carl Robertson ACS (left) and Aquiles Sande during the test of the data mode of the D-21 and the Keisoku Giken UDR-D100 data recorder at ARRI Australia

Australia’sARRIRentalPartneraddstheD-21toit’sfleetMalcolm Richards was still a working cine-matographer when he founded CAMERAQUIP back in 1982, and quite understandably his technical standards were equally high, when he planned to make the latest motion picture cameras and equipment available to local pro-ductions. Operating it's rental and service facility in Melbourne now for 27 years, in Brisbane for 15 years, in Adelaide for 12 years and also for 21 years in Singapore, CAMERA-QUIP strongly counts on highly skilled technical staff – trained in camera and lens maintenance – and a fully equipped service department that has many advanced optical and camera test instruments. With a large inventory of 35mm and 16mm ARRI cameras, Zeiss, Cooke, Angenieux and a multitude of other special lenses and accessories it was a logical step to add the ARRIFLEX D-21 in 2009.

Providing equipment and cameras for over a hundred feature films, the same amount of TV series and countless TV commercials in Aus-tralia CAMERAQUIP always was working together with major studios. They supplied not only Oscar winning local productions like SH INE by Scott Hicks, Rolf de Heer’s TEN CHANCES and several films by Paul Cox but also supported ARRI RENTALS with pro-ductions like THE PACIFIC produced by Steven Spielberg and Tom Hanks, Mikael Salomon’s SALEMS LOT and ANACONDAS (2004) filmed in Fiji. CAMERAQUIP also supported the recent productions of THE BANK JOB and THE LOST WEEKEND shot on ARRIFLEX D-20, gaining valuable experience for their latest camera additions.

shot with the D-21 in Mscope mode. “We were very excited about this project, not only because it was the first TV commercial shot with the D-21 in Australia, but also because it was the first time we were using the Mscope mode,” comments Takao Hasuike of Cinoptix. Other productions range from short films, including one filmed by AFTRS, the leading Australian film school, to several TV commercials and music clips.

The productions used the Sony SRW-1 HDCAM SR recorder, but Cinoptix also had an opportunity to test the new Keisoku Giken UDR-D100 data recorder, working with Australian top postproduction houses to implement the ARRIRAW workflow. Footage of this test was also made avail-able to companies such as FilmLight, Autodesk, da Vinci and Pomfort. Australian cinematographer, Carl Robertson ACS, did the photography for the test, which took place at the premises of ARRI Australia in Sydney.Madeleine Davis

Weblink: www.cinoptix.com.au

Weblink: www.cameraquip.com.au

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MOON WALLDirectorTarekAlarianshootingwiththeD-21inARRIRAW

Alarian was very keen to use the D-21 for his new action movie and strongly believed in the outstanding quality and creative freedom an ARRIRAW workflow would provide. CHP Productions (with Alarian acting as its CEO) consequently decided to buy a D-21 and to implement the entire ARRIRAW workflow. But very few could have foreseen the enthusiasm this new technology would generate in Egypt, or the fact that it would drastically change the industry. Egyptian cinema has a long and proud history, and greatly influences the whole Arab world. Tarek Alarian has once again contributed to this history – not only

ASWAR EL AMAR (MOON WALL) is among the titles currently creating the

strongest buzz in the Egyptian film community – not only because director

Tarek Alarian is one of the most renowned action movie specialists, but also

because the show is filmed on the ARRIFLEX D-21 in ARRIRAW mode.

with a new film project but also by develop-ing new industry standards. Antonio Cazza-niga of ARRI Italia spoke with the ground-breaking director.

Antonio Cazzaniga: How are you feeling after the first weeks of production?Tarek Alarian: I’m really enjoying the experience of working with the D-21 on my current feature, especially as I like the idea of shooting everything I need without wor-rying about film stock – this can be essential when you are aiming to make a high class, action-based movie.

AC: It sounds like you’ve taken an uncom-promising approach to the final image quality?TA: The D-21 delivers outstanding images with a unique and truly cinematic look and feel. In addition to working much faster then with a 35mm film camera, I am able to get exactly what I have envisioned.AC: So you are fully satisfied with your camera purchase?TA: Actually not really… I need a second D-21 as soon as possible! I like to work in this style and I am planning to order another camera soon.

Omar Abou-Zeid CPH Executive Producer

“Working with the ARRIFLEX D-21 was an excellent experience and the smoothest introduction you could get to digital cinema. We had to adapt our workflow, but with the support of the ARRI Digital Workflow Solutions team, the whole system offers maximum freedom. My clients soon started to be convinced, as they realized that this truly is the future, especially due to the unique image quality and the very wide dynamic range offered by the D-21.”

…was born in Kuwait in 1963. He graduated in cinema and photography from the University of Southern Illinois, where he also gained his bache-lor’s degree in arts and communication. In 1986 he began a fast-paced career as an executive producer in Greece, moving on to Egypt in 1989 as he prepared his first feature film, THE EMPEROR. This turned out to be a massive success and was screened in Egyptian cinemas for a record-break-ing 26 weeks.EL PASHA followed on from that success and again starred Ahmed Zaki, who had established himself as one of the top stars of Arab cinema after THE

EMPEROR. Then Tarek Alarian took a break from cinema, beginning a successful career in music videos and commercials during which he worked with leading singers and artists of the Arab world.In 1999 he founded his first feature film production company and is now partner and CEO of CPH Productions, which specializes in music videos, TV commercials, TV programs and feature film

productions. The company also has a rental department with a comprehensive inventory that now includes an ARRIFLEX D-21.With his third film, SNAKES AND LADDERS (2001), Alarian made a strong return to cinema. This was not only a commercial success, but also highly praised by critics.The 2004 production of T I TO became one of the greatest challenges of his career, as it was one of the highest budget productions in Egypt and among the best action movies in Egyptian movie history.

Weblink: www.tarekalarian.com

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Behindthemagicmirror

NicolaPecorinidiscusseshisworkonT HE Im Ag IN A R IUmoF D o C ToR PA R N A SSUS

Terry Gilliam Nicola Pecorini

THE IMAGINARIUM OF DOCTOR PARNASSUS was shot in 4-perforation 35mm with ARRICAM Lite cameras and ARRI Ultra Prime lenses by cinematographer Nicola Pecorini. Equip-ment for the London shoot was supplied by Technovision Rome, with additional equipment and support from Denny Clairmont for the Vancouver shoot.

The film is about two very different worlds – modern day London and inside the Imagi-narium; was that a challenge?Nicola Pecorini: Yes – it was like two different movies. In fact it was like three movies because at the end we had a four-week stint shooting models at Bray Studios. We had completely opposite approaches to each; in London it was night and we had neither the budget nor the desire to relight all of London, so I had to rely on the public lighting and adapt to that. In the Imaginarium it was a case of forming the basis of images

Director Terry Gilliam’s latest feature is a characteristically offbeat kaleidoscope

of fantastical imagery and eccentric characters. It tells the story of Doctor

Parnassus, a 1000-year-old monk whose dealings with the devil have made him

immortal, though his archaic travelling theatre goes almost unnoticed by the

modern world. The centrepiece of his theatre is the Imaginarium, a magic mirror

that transports unsuspecting audience members into a world that mingles their

imaginings with those of Doctor Parnassus. The film looked like it might run

aground when star Heath Ledger tragically died part way though production,

until Johnny Depp, Colin Farrell and Jude Law stepped in to fill his shoes.

that would be completed later with a mixture of CGI and models. We used models because Terry loves mixing mediums and he knew exactly what he wanted, but also because it was actually cheaper.

You were shooting with ARRICAMs, is that right?NP: We had two ARRICAM Lites as the main cameras. If a Lite is well maintained it’s a very, very quiet camera and we never had any problems with sound. We occasionally had a 535B as a third camera and also a 35BL-III, which belongs to Terry and which we always have with us. He got it around the time of TIME BANDITS [1981]

What was Terry’s ARRIFLEX 35BL-III used for?NP: It’s always useful to have another camera on the set. Within my crew I try to let one of the focus pullers operate a camera and one of the 2nd ACs pull focus on that

camera. Normally they don’t get an oppor-tunity to practice so I like doing that and as long as there’s a video assist you can see what they’re doing. During preproduction we actually considered making the movie just with the BL; I think it’s the most brilliant camera ever made – it’s simple and it’s a workhorse.

Were formats other than 35 mm considered?NP: Yes – we did consider digital. My own feeling about digital is that it is very far from reaching the quality and richness of film stock. There are technical reasons for that, and also subliminal reasons, but we didn’t want to be snobbish about film so I did tests with various digital cameras. The only one that got close to being satisfactory was the ARRIFLEX D-21, but the most interesting thing is that we made accurate comparative bud-gets – not just for shooting but all the way down the line through postproduction – and

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it turned out that digital was going to be more expensive for us than film.

Were you generally shooting single camera setups, or were you often on two cameras?NP: For the London shoot we always shot with two cameras, if not three, although we never compromised the first camera. That could be frustrating for the B- and C-cameras because for about 90% of the time in London the A-camera was using a 14mm and was about a foot away from the actors. The other cameras would have to use extremely long lenses by Terry’s standards – a 32mm or 40mm – and steal little moments when they could. On the visual effects portion of the shoot we mainly used a single camera because each shot had been budgeted for, although we often had two stages going at the same time in order to accommodate the schedules of the guys who came in [to replace Heath Ledger].

When Heath died it must have seemed impossible that you could go on.NP: First and foremost Heath was a really close, dear friend and it was a big blow. I was on DON QUIXOTE and I couldn’t stand the idea of yet another of Terry’s movies going down the drain, especially when in my opinion we had a great movie in the can up to that point. Within the grief of the moment, my first thought was that we can’t let the movie die as well because Heath was really in love with the whole project and it would have betrayed his memory to let it drop that easily.

Where you having to shoot wide open on the London night shoots?NP: There were certainly situations where we had to shoot wide open, but I relied a lot on the Kodak stock. I knew the Vision2 5218 pretty well, but the [Vision3] 5219 came out just as we started preproduction,

so I got a few rolls. We tested it and it is superior – not in terms of [dynamic] range but in how clean it is – although we wanted London to look really gritty so I used the 5218 for London and the 5219 for all the stage work in Vancouver. I never put any filters in front of the lens; I love the Zeiss lenses and the way they capture everything, and the more texture you have, the more you can do in the DI afterwards.

You also had the Ultra Prime 8R; what did you use that for?NP: There are many shots made with the 8R in the movie. We used it inside the [theatre] wagon because the wagon was so small; we also used it for stage work – for live action elements that we knew were going to be framed in a very wide shot in our models. It’s fantastic, the work they’ve done on that lens; I’m in love with it.Mark Hope-Jones

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makingaDramaoutof2-PerforationHow ARRI’s Unique 35mm Format Can Slash TV Production Budgets

The ARRI 2-perforation format offers budget-conscious productions an econom ical route to the image quality of 35 mm. As film is advanced by 2 per forations instead of the traditional 4, previously unused space between frames is eliminated and so both film stock and film processing costs are approximately halved. Although 2-perforation offers obvious benefits as a widescreen format for feature films, many producers are now taking advantage of its cost savings and image quality to bring exceptional production value to television dramas. ARRI News spoke to two cinematog-raphers who have recently used 2-perforation to create visually compelling work for the small screen.

ADAmSUSCHITZky

DoP of the British 2-perforation mini-series EMM A (2009), a four-part period drama for the BBC.

How was 2-perforation chosen as an acquisition format for a 16:9 broadcast?Adam Suschitzky: The producers were cer-tain that they wanted to shoot on 35 mm film, but they knew they didn’t have the budget to shoot 3-perforation and the technical re-quirements meant that unfortunately 16 mm was not a viable alternative. There was some heavy snowfall about a year ago – before I came on board – and the producers took the opportunity to send out a 2-perforation camera for a snow sequence in the script. That was the first thing they got back and they were absolutely amazed by the quality.

Did you test the format yourself before the shoot?AS: I did. There were some HD quality control guidelines in place stipulating that we could only shoot a quarter of the pro-

duction on 500 ASA stock. I went away and shot tests on all the different stocks and the 500 ASA passed every single test; the tech-nical department couldn’t believe their eyes at how good it was, even with the zoom in to a 16:9 frame, so at the start of the pro-duction they revised their figures and I think in the end there was no restriction at all on the stock. All credit to the BBC for recognis-ing the results and letting us go ahead with it.

And did the tests make you happy as well?AS: I was delighted that we could keep EMMA on film and it’s such an insignificant loss of quality; you still have the depth, the tonality, the highlights, the colour range and the subtlety of 35mm, as well as the cam-eras, accessories and lens ranges. The real beauty for our production was that it was a character piece with long dialogue scenes that could last for several days of the shoot. 2-perforation is an ideal format for that be-cause you get 21 minutes from a 1000-foot mag. It saves time, it saves money and you don’t have to interrupt performances.

You used ARRICAM cameras; did you have the Lite as well as the Studio?AS: Yes – we had a Studio as the main camera and a Lite as our B-camera, and we did lots of Steadicam with it. Again, many of the Steadicam shots were very long, so getting eight minutes from a 400-foot mag became an extremely practical tool.

Adam Suschitzky and the crew during the shooting of EMMA

Adam Suschitzky (without shades) and his crew on a set of EMMA

Paddy Considine starring in RED R ID ING

A scene from RED R ID ING

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What postproduction route was taken and how were dailies handled?AS: We had it all scanned with a tech-grade; after that everything was in the digi-tal domain, although we would go back to the neg for any particular shots where we felt that the tech-grade had not got the best from the neg. We worked to a fairly stan-dard television setup, with a Grade-1 CRT monitor. I assume the workflow was very economical – it was certainly quick, efficient and got the full quality of the neg. The dai-lies were dealt with by Ascent Media and they would do a one-light, though I was taking stills of every setup, grading them and sending them to the lab as references.

In general is 2-perforation a format you’d recommend to others or use again yourself?AS: I had people telling me that it would be disastrous and that if we couldn’t afford 3-perforation I should be on a digital for-mat, and how wrong they were – it just per-formed flawlessly. I think 2-perforation is an absolutely ideal format for TV – it’s fast, economical and has all the quality of the best film format around. I’d use it again to-morrow.

IgoRmARTINoVIC

DoP of the British 2-perforation production RED R ID ING: 1980 (2009), the middle film of a three-part drama serial for Channel 4.

RED RIDING is a trilogy of films, each of which was shot in a different format. Why was that and how did you come to use 2-perforation for the middle film?Igor Martinovic: Even though the project started out as a TV series, our approach was to shoot it as a feature film. We wanted to

achieve a stylised look that would be remi-niscent of thrillers from the 1970s. The pro-ducer, Andrew Eaton, was fantastic because he let the directors and DoPs of all three films decide what format they wanted to use. Widescreen was our format of choice from the beginning and 2-perforation fit perfectly because our budget was relatively low and we knew that 35 mm would look better than the Red, which was the other choice. We also didn’t want to go anamorphic because we needed to use less stock and we wanted lightweight equipment.

Was the film transmitted in 2.35:1 on television?IM: It was transmitted in widescreen and we knew that the 2.35:1 frame was safe even when we were filming, so we could use the edges of the frame in our composi-tions. I was pleasantly surprised by how much freedom one can get as a DoP in the English television system. The interesting thing is that because each episode was made as a film, the series went on to have a life in film festivals and is actually playing in cinemas in the U.S. right now.

Was this the first time you had shot 2-perforation and did you make tests?IM: This was the first time. I was very hap-py to find that ARRI Media in London had numerous 2-perforation cameras and their support was first class. We filmed tests and projected them because the format was new for everyone involved, including the post house. In some ways 2-perforation is a bridge between 16mm and 35mm, and we wanted to see how far we could push the film into underexposure. We were hap-py to have a bit of grain because of the subject matter and because we were mix-ing in some grainy archive footage from the 1980s.

What cameras and lenses did you have?IM: We had only one body – an ARRICAM Lite – and we used ARRI Master Primes. Often we had to shoot wide open on the Master Primes because the combination of the bud-get and the schedule meant that we weren’t able to have huge lighting setups for the night exteriors. Shooting wide open really helped because we needed every last stop.

Did the longer takes possible with 2-perforation ever prove useful?IM: We never had a scene with a really long take, but psychologically it makes a big difference for the actors to be able to shoot continuously for long periods of time. Some times I would hear an actor say ‘Why haven’t they changed that mag?’ because they’re used to mags being changed all the time! In dialogue scenes especially it really allows the actors to do one take after an-other, so their concentration doesn’t get broken.

What postproduction route was taken and how did you get dailies?IM: We were seeing Beta SP dailies on the set, which were done at a lab up in Leeds, where we were shooting. When we went down to London the rushes were scanned in 2K at LipSync Post and we graded on a big screen in a DI suite.

Looking back, was 2-perforation a format that suited a project that has crossed over from television to theatrical release?IM: Absolutely – I was very happy with the outcome and it was nice to see the film pro-jected on the big screen as well. 2-perfora-tion worked perfectly for both mediums.Mark Hope-Jones

Igor Martinovic at the eyepiece

3 5C a m e r a

The ARRI HD-IVS uses innovative digital technology to create 1920 × 1080 high definition, wide dynamic range video assist images for the ARRICAM and ARRIFLEX 435 film cameras. With such significantly increased performance, the HD-IVS facilitates better judgment of focus and more visible detail, espe-cially in shadow and highlight areas. Excellent color reproduction and low noise are combined with ARRI's unique Ground Glass Cancelation (GGC) technology to create beautiful, high resolution preview images.

This clearly demonstrates ARRI’s continued development for film cameras: With a comparatively small update, existing equipment easily fits into the most

advanced workflows offering decisive advantages of a hybrid imaging world.

HD-IVS CASESTUDIES

The HD-IVS for the ARRICAM Lite

3 6 C a m e r a

JoHNCHRISTIANRoSENLUND

Tell us about yourself as a cinemato grapher.John Christian Rosenlund: I don’t like to say that I have any particular speciality; stories that attract me can be anything from two men in a row-boat to big historical dramas. I like anything that comes from the heart. My goal for any new film project is to find the unique voice of that particular story and build the technical needs around it, creating the maximum artistic space and freedom

within technical and budget limitations.

What kind of production did you use the HD-IVS on?JCR: It was a feature film called HOME FOR CHR ISTM AS, which was produced, written and directed by Bent Hamer. Bent is well known to international audiences; his previ-ous films include KITCHEN STORIES [2003], FACTOTUM [2005] and O’HORTEN [2007]. The story takes place in a small Nordic town: it is a cold, snowy night, just a few hours before the Christmas Eve celebrations and we follow five different stories that cross each other, one way or another.

We had ARRICAMs: one Lite and one Studio, and we were shooting wide open with ARRI Master Primes. The stock was Kodak Vision3 500T.

Because the film was all night scenes – and because I do not like to create the typical

Hollywood blue moonlight – there were some difficult lighting conditions. It was especially hard on my focus puller, Ingeborg Klyve, but she is among the very best and did a fantas-tic job in the dark.

What are the key advantages of the new HD-IVS?JCR: When I first heard about the HD-IVS at IBC I pushed hard to get it on board this show. Film is for me the most advanced and optimized format when it comes to shooting a feature film; there are still no digital cam-eras that can match the contrast ratio, color depth, resolution and technical stability that 35mm film can offer. However, the low reso-lution video assist units on film cameras very often suck. After all, nowadays even YouTube is HD.

When directors see the monitor image from an HD video camera they love it because they see a sharp image; they see the actors’ expressions and details in the scene that they have not seen before. This kind of ex-perience can be one more silly argument to shoot digital; it is therefore very important that film can also offer a monitor image that gives the director the ‘HD eye’. Our film took place entirely at night. The sharp HD picture from the HD-IVS gave us a better possibility to judge the picture both artisti-cally and technically, especially in situations when I had to rely on the video assist alone, for example when we used a remote head.

Nic Sadler shooting the Nydrle commercialJohn Christian Rosenlund shooting a scene for HOME FOR CHRISTMAS

Weblink: www.arri.de/camera/professional_camera_accessories/electronic_accessories/hd_ivs.html

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“I'm really enjoying the HD tap. Hard to ima- gine shooting film now without it.”Director Mikael Salomon currently shooting THE LOST FUTURE

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What did you do with the HD images?JCR: The brain behind the setting up and use of the HD-IVS was my camera assistant, Ola Austad. Besides being a very good CA, he is excellent with computers, which does help. Everything recorded was saved as QuickTime files and imported into [script supervisor] Aslaug Konradsdottir’s laptop, so she always had every scene available as a QuickTime. We used the HD-IVS to-gether with the AJA Ki Pro [a portable ProRes file recorder]. A pre-adjusted sound channel wirelessly transmitted to the Ki Pro, which handled the sync delay from the HD-IVS in an easy way.

NICSADLER

Tell us about yourself as a cinemato grapher.Nic Sadler: I studied film at Curtin Univer sity in Perth and then moved to London to work as a camera assistant, most notably for John Mathieson BSC. Later I began working as a cinematographer, shooting music videos and concerts for artists including Nick Cave and REM, as well as short films and hundreds of commercials. Five years ago I moved from London to LA and currently work shooting commercials and movies. I am also a partner in a company that develops iPhone appli-cations for the film industry, called Chemical Wedding.

What kind of production did you use the HD-IVS on?NS: We were shooting a commercial in New York with a company called Nydrle. The di-rector was the LA-based Peter Nydrle and the producer was Jan Scott. We shot with the ARRICAM Studio using only the ARRI Master Zoom, with no filtration on Kodak Vision2 200T stock. The whole project was shot against green – the live action foregrounds being composited into backgrounds created in postproduction. We had a pre-visualization to work toward and everything was shot at 24 fps, other than one insert shot at 60 fps.

What are the key advantages?NS: Video assist image quality is crucial when shooting for special effects, especially with greenscreen. It is possible to do on-set chroma keying to help place actors in environments created by the effects house. Before, video assist systems did not have sufficient image quality to allow a good assessment of how foreground and background elements sit together; the new HD-IVS is a drastic im-provement in this respect.

Clients are becoming used to seeing a high quality image now that shooting on HD has become more prevalent. Having the HD-IVS allows me to continue shooting on film and also keep agency and client people happy. I was very impressed with the HD-IVS and it performed perfectly during the shoot. It was less trouble to use that a normal IVS;

the image quality was superb and I will be recommending it on all future projects.

What did you do with the HD images?NS: We used the HD-IVS GGC [Ground Glass Cancellation] function to reduce ground glass texture, which was fantastic. The picture quality was already excellent, but the GGC added a huge improvement to the image. Our video assist operator was using 14" Panasonic HD monitors and had an AJA recording unit that allows the HD image to be recorded in ProRes 422. Though we didn't have the facility on this shoot, these files can then be transferred directly into Final Cut Pro. Having editing facilities on set is fast becoming standard; this new HD-IVS fit right in with that trend, keeping film a valid choice in situations where on-set editing and pre-viz is a prerequisite.

ARRI/FUJINoNAlura

ARRI and FUJINON have joined their

extensive expertise to create a completely

new family of modern cine zooms.

Using the latest in optical design tech-

nology and innovative manufacturing

techniques, the ARRI/FUJINON Alura

Zooms combine the highest optical

performance with an amazingly small

size, weight and price.

TheNextgenerationofZooms

Experience has shown that for most productions, two types of complementary zooms are needed: a wide and a long zoom. The wide Alura Zoom 18-80 and the long Alura Zoom 45-250 are a set of matched PL mount cine zooms that have been optimized for digital cameras and will work as well for film cameras. While they exhibit excellent optical performance, their size and weight has been kept practical, allowing crews to work fast on the set. The Alura Zooms combine the utmost in optical quality with speedy production efficiency.

Both lenses share a maximum open aperture of T2.6. Great care has been taken during the design phase to ensure that the T-stop remains truly consistent over the whole zoom range, avoiding the common decrease in light level across the zoom range (zoom ramping) of other zoom lenses. This is especially useful when the Alura Zooms are used on digital cameras, where a drop in light levels becomes quickly visible.

Both Alura Zooms exhibit high contrast and high resolution for sharp, punchy images. While the special optical design ensures an evenly illuminated image on the sensor or film

plane, internal reflections like flares and veiling glare have been greatly reduced through the use of FUJINON’s multi-layer EBC (Elec-tron Beam Coating) lens coating. This en-sures maximum light transmission and a high contrast image with clear highlights and true, deep blacks. Color fringing is mini-mized through the use of extraordinary dispersion glass. Breathing (an unwanted change in image size when focusing) has been greatly reduced especially at the wide end, where it is most noticeable and annoy-ing. Nine iris leaves provide round, out-of-focus highlights and a pleasing, organic bokeh.

Order Numbers

ARRI/FUJINON Alura Zoom 18-80/T2.6, with meter scales K2.47930.0

ARRI/FUJINON Alura Zoom 18-80/T2.6, with feet scales K2.47931.0

ARRI/FUJINON Alura Zoom 45-250/T2.6, with meter scales K2.47932.0

ARRI/FUJINON Alura Zoom 45-250/T2.6, with feet scales K2.47933.0

FUJINON Zoom Extender 1.4x K2.47926.0

FUJINON Zoom Extender 2x K2.47927.0

Another priority during the development phase was achieving a consistent optical quality. While it is easy to create a lens with good performance at some combina-tions of focus setting and focal length, the Alura Zooms show a high level of consistency of contrast, resolution and field illumination across the whole focus and zoom range, which demands a true mastery of optical design.

The Alura Zooms are part of a carefully as-sembled production system. Their compati-bility with ARRI digital and film cameras as well as ARRI accessories has been assured

3 8 C a m e r a

• Matched Wide and Long Zoom – Two PL mount cine zooms for digital and

film cameras: Alura 18-80 and Alura 45-250

– A matched wide and long zoom for an efficient production workflow

– Small size and low weight for quick and easy handling on the set

• Fast and Steady – T2.6 – Consistent aperture over entire zoom

range

• Outstanding Optical Performance – high resolution, high contrast – Even field illumination – Minimized ghost and veiling glare due to

FUJINON multi-layer EBC coating – Greatly reduced chromatic aberration

through the use of extraordinary disper-sion glass

– Minimized breathing, especially at the wide end where it counts

– 9 iris leaves for round, out-of-focus highlights and a pleasing, organic bokeh

– Optimized for ALEXA 2K image format (35 format, 16:9, image circle = 29.08 mm), covers up to DIN Super 35 4:3 (image circle = 30mm)

• Consistent Optical Performance – Consistent contrast, resolution and field

illumination across the whole focus and zoom range

• Film Style Ergonomics – Compatible with film and digital ARRI

cameras and accessories – Robust construction – Large, easy-to-read precision focus scales

on both sides – Matched to existing prime lenses

• Easy Servicing – Front and rear elements can be exchanged – Zoom centering mechanism – Feet/meter focus scales can be exchanged

T E C H N I C A L D A T A

ARRI/FUJINON Alura 18-80 45-250

Lens Mount1 PL PL

Focal Length Wide 18 45

Focal Length Long 80 250

Focal Length Ratio 4.4 5.6

Aperture T2.6 – T22 T2.6 – T22

Close Focus2 0.7m / 2’4" 1.2m / 3’11"

Magnification Ratio3 1:5.5 1:4

Length4 285mm / 11.2" 370mm / 14.6"

Front Diameter5 134mm / 5.3" 134mm / 5.3"

Maximum Housing Diameter 134mm / 5.3" 153mm / 6"

Weight (Kg) 4.7 7.5

Weight (lb) 10.4 16.5

Operation Temperature -10°C to +50°C / +14°F to +122°F

Storage/Transport Temperature -20C to +60°C / -4°F to +140°F

1. Positivelocking54mmstainlesssteellensmount2. Closefocusismeasuredfromthefilm/sensorplane3. Magnificationratioistherelationshipofthesizeofanobjectonfilm(firstnumber)tothesizeofthatobjectinreallife(secondnumber)attheclosefocusandthetelephoto

zoomsetting4. Lengthismeasuredfromthelensmounttothefrontofthelenshousing5. Diameterofthelens/matteboxinterface6. Thedistancefromtheentrancepupiltothefilm/sensorplane.Positivenumbersindicatedanentrancepupilinfront,negativenumbersindicatedanentrancepupilbehind

thefilm/sensorplane.Theentrancepupil(oftenmistakenlycalled"nodalpoint")isthecenterofperspective;movingthecamera/lenssystemaroundthecenteroftheentrancepupilpreventsparallaxerrors.Whilelargelyirrelevantforliveaction,thismeasurementisimportantforspecialeffectswork.

7. Theimagediameter(ID)isthediameteroftheimagecircleneededfortherespectiveformat.8. Horizontal(H),vertical(V)anddiagonal(D)anglesofviewforaNormal35Academycameraaperture(aspectratio1.37:1,dimensions22mmx16mm/0.866"x

0.630")9. Horizontal(H),vertical(V)anddiagonal(D)anglesofviewfortheAlexa/D-21HDcameraaperture(aspectratio1.78:1,2880x1620sensorpixels,dimensions23.76

mmx13.37mm/0.935"x0.526")10. Horizontal(H),vertical(V)anddiagonal(D)anglesofviewfortheAlexa2Kcameraaperture(aspectratio1.78:1,3072x1728sensorpixels,dimensions25.34mmx

14.26mm/0.998"x0.561")11. Horizontal(H),vertical(V)anddiagonal(D)anglesofviewforaDINSuper35Silentcameraaperture(aspectratio1.33:1,dimensions24mmx18mm/0.944"x

0.709")Alldatasubjecttochangewithoutnotice.

Entrance Pupil6

Angle of View H – V – D Normal 358

ID = 27.20mm7

Angle of View H – V – D Alexa/D-21 HD9

ID = 27.26mm7

Angle of View H – V – D Alexa 2K10

ID = 29.08mm7

Angle of View H – V – D DIN Super 3511

ID = 30.00mm7

ARRI/FUJINON Alura 18-80

at 18 mm 264.0mm / 10.4" 62.8° - 48.0° - 74.1° 66.8° - 40.7° - 74.3° 70.3° - 43.2° - 77.9° 67.4° - 53.1° - 79.6°

at 50 mm 231.6mm / 9.1" 24.8° - 18.2° - 30.4° 26.7° - 15.2° - 30.5° 28.4° - 16.2° - 32.4° 27.0° - 20.4° - 33.4°

at 80 mm 213.9mm / 8.4" 15.6° - 11.4° - 19.3° 16.9° - 9.5° - 19.3° 18.0° - 10.2° - 20.6° 17.1° - 12.8° - 21.2°

ARRI/FUJINON Alura 45-250

at 45 mm 234.4mm / 9.6" 27.5° - 20.2° - 33.6° 29.6° - 16.9° - 33.7° 31.4° - 18.0° - 35.8° 29.9° - 22.6° - 36.9°

at 150 mm 2.0mm / 0.1" 8.4° - 6.1° - 10.4° 9.1° - 5.1° - 10.4° 9.7° - 5.4° - 11.1° 9.1° - 6.9° - 11.4°

at 250 mm -101.5mm / -4.0" 5.0° - 3.7° - 6.2° 5.4° - 3.1° - 6.2° 5.8° - 3.3° - 6.7° 5.5° - 4.1° - 6.9°

through meticulous planning and extensive testing. Like all other ARRI products, these zooms have been constructed to stringent environmental requirements for the rough conditions of professional production, be that in the Arctic or the Amazon. Equally important is fast and easy operation: large, easy-to-read precision focus scales on both sides of the lens make focus pulling a snap.The Alura Zooms’ color characteristics, as well as their handling, are matched to ex-isting prime lenses in ARRI’s outstanding repertoire. With two new extenders (1.4x and 2x) developed specifically for FUJINON PL mount zooms, ARRI now offers the widest range of cine lenses for all professional pro-duction demands, including zooms, high speed primes, standard speed primes, ex-treme wide angle and telephoto primes, macro, extenders and diopters.

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goWideandFast> > >

While ARRI already offers the largest matched collection of PL mount lenses available, we are continually striving to

expand the range with additional lenses that offer a new and fresh look. The brand new ARRI/ZEISS Master Prime 12

combines an extreme wide angle with the highest optical quality and a fast speed of T1.3 for the creation of truly

unique images.

One of the unmatched strengths of the ARRI/ZEISS prime lens program for digital and film cameras is the availability of ex-treme wide angle lenses, including the Ultra 16 lenses at 6, 8, 9.5, 12 and 14mm, the Ultra Primes at 8, 10, 12 and 14mm and the Master Prime 14mm. No other company offers such a wide range of matched primes with so many wide angle options. The ARRI/ZEISS wide angle primes represent state-of-the-art optical design, demanding the highest manufacturing skill, an expertise that only very few companies possess.

With the Master Prime 12, ARRI and ZEISS now add another dimension to this extraor-dinary visual mix: speed. The Master Prime 12 has a widest open aperture of T1.3,

Order Numbers

ARRI/ZEISS Master Prime 12/T1.3, with meter scales K2.47618.0

ARRI/ZEISS Master Prime 12/T1.3, with feet scales K2.47718.0

which is a very unusual stop for such an extreme wide angle lens. In addition, it also shares the unmatched optical perfor-mance and straight image geometry of the other Master Primes. The combination of those qualities is unique and allows for the creation of images that have never been seen before. The Master Prime 12 is the ideal lens for a fresh new look at wide establishing shots, sweeping vistas, shoot-ing in small rooms or chase sequences, amongst many other uses.

The expansion of optical technologies into previously impossible designs has resulted in individual lenses and lens sets with unique qualities for every situation on the set. With the ARRI/ZEISS Master Prime 12, ARRI now

offers an extreme wide angle lens that is fast with Master Prime optical quality for unique shots.

4 0 C a m e r a

ARRI/ZEISSmasterPrime 12

Main Features

• A One-of-a-Kind Lens

– Extreme wide angle – 12mm

– Straight image geometry – rectilinear design

– Fast – T1.3

• A One-of-a-Kind Look

– Wide, straight and fast are a unique combination

• A One-of-a-Kind Family

– 15x Master Primes from 12 to 150mm

– True T1.3

– Matched optical quality

– Color matched to Ultra 16, Ultra Primes, Lightweight Zoom LWZ-1, Master Diopters

T E C H N I C A L D A T A

ARRI/ZEISS Master Prime 12

Type11 Distagon T* XP

Lens Mount1 PL LDS

Aperture T1.3 – T22

Close Focus2 0.40m / 16"

Magnification Ratio3 1:16.5

Length4 249mm / 9,8"

Front Diameter5 156mm / 6.1"

Maximum Housing Diameter 156mm / 6.1"

Weight (Kg) 2.9

Weight (lb) 6.4

Entrance Pupil6 38.09mm

Angle of view

Normal 358

ID = 27.20mm783.87° – 66.44° – 96.13° H – V – D

DIN Super 359

ID = 30.00mm788.85° – 72.70° – 101.97° H – V – D

ANSI Super 3510

ID = 31.14mm790.98° – 74.78° – 104.26°H – V – D

Notes support post included

OperationTemperature:-20°Cto+40°C/-4°Fto+104°FStorage/TransportTemperature:-40Cto+70°C/-40°Fto+158°F

1. Positivelocking(PL)54mmstainlesssteellensmountwithLensDataSystem(LDS)contacts

2. Closefocusismeasuredfromthefilm/sensorplane3. Magnificationratioistherelationshipofthesizeofanobjectonfilm(first

number)tothesizeofthatobjectinreallife(secondnumber)attheclosefocussetting

4. Lengthismeasuredfromthelensmounttothefrontofthelenshousing5. Diameterofthelens/matteboxinterface6. Thedistancefromtheentrancepupiltothefilm/sensorplaneatfocus=infinity.

Positivenumbersindicatedanentrancepupilinfront,negativenumbersindicatedanentrancepupilbehindthefilm/sensorplane.Theentrancepupil(oftenmistakenlycalled"nodalpoint")isthecenterofperspective;movingthecamera/lenssystemaroundthecenteroftheentrancepupilpreventsparallaxerrors.Whilelargerlyirrelevantforliveaction,thismeasurementisimportantforspecialeffectswork.

7. Theimagediameter(ID)isthediameteroftheimagecircleneededfortherespectiveformat.TheselensesaredesignedforthelargestIDgivenhere.

8. Horizontal(H),vertical(V)anddiagonal(D)anglesofviewforaNormal35Academycameraaperture(aspectratio1.37:1,dimensions22mmx16mm/0.8661"x0.6299")

9. Horizontal(H),vertical(V)anddiagonal(D)anglesofviewforaDINSuper35Silentcameraaperture(aspectratio1.33:1,dimensions24mmx18mm/0.944"x0.7087")

10. Horizontal(H),vertical(V)anddiagonal(D)anglesofviewforanANSISuper35Silentcameraaperture(aspectratio1.33:1,dimensions24.9mmx18.7mm/0.980"x0.7362")

11. T*XPisthetrademarkforthehighendZeissanti-reflexlenscoatingthatreducesveilingglareandotherreflections.XPstandsforextendedperformance.

Alldatasubjecttochangewithoutnotice.

ATechnologicalChallengeEven five years ago, the creation of a 12mm lens at T1.3 with Master Prime optical quality would have been technologically impossible. However, recent advances in high tech optics design, testing and manufacturing have allowed ARRI and ZEISS to start thinking about new and innovative lens designs.

One of the main contributors to achieving such a unique combination of qualities was the use of aspherical lens elements. Aspherical lens elements have been used for a while now in many ARRI/ZEISS primes because of their ability to reduce size and weight while improving image quality. After a number of optical re- designs it became clear that the Master Prime 12 required two aspherical elements in order to reach the desired optical quality. Further-more, the aspherical front element had to be of a size that exceeded anything incorporated into cine lenses before. Luckily, the creation of large aspherical lens elements is a technology that has been aggressively developed by ZEISS’s Semiconductor and Nanotechnology business units. With their assistance it was possible to create such a lens element and to develop the necessary special testing instrumentation. A new pinnacle in optical design and manufacturing has been reached with the Master Prime 12.

The Master Prime 12 aspherical front element (left) in com - parison to the Ultra Prime 8R aspherical front element (right) while manufacturing.

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(f.l.t.r.) Colin Lennon, Viv Scanu, Ben Zadig

CloseFocusonRedApple

Wiggling withmasterPrimes

Borce Damcevski wiggling with the Master Macro 100

The New York Times called THE WIGGLES “The band that rocks the cradle!” and with over 23 million sales of their DVD’s they are a phenomenon. I’ve been THE WIGGLES Director of Photography for over fifteen years and just as they have evolved with their productions, I too have progressed. I started shooting the guys with SP betacam, moved to digital betacam and currently shoot High Definition. While I’m pleased to see the progress of various formats, it is

Red Apple Camera Rentals in Sydney purchased the 100mm Master Macro from ARRI Australia in December last year. The company has now acquired all 15 Master Prime lenses, completing the set available from ARRI.

“The 100mm Master Macro is an amazing lens, its quality surpasses that of any other macro lens in the market today,” says Viv Scanu, DoP and owner of Red Apple Camera Rentals. “It’s super sharp with beautiful focus drop off. The images are vibrant and contrasty, perfect for not only macro work but also conventional photo-graphy, I really love shooting with it.” The

100mm Master Macro has proven to be popular amongst Red Apple’s many lenses. It has been used on a number of table top shoots, some of which include high profile brands such as “McDonald’s” (DoP Danny Pope, ACS) and “Golden Circle”.

Red Apple has an extensive range of ARRI film cameras and single sensor digital cameras, the 100mm Master Macro crosses paths seamlessly and is used on both formats, delivering breathtaking images.

“We are now waiting for the next generation of ARRI digital cameras to be included in our inventory”, says Scanu, “we can’t wait.”

secondary to the glass that I put in front of the camera. Along with these formats, comes a progression of lenses I have used; from Standard Definition to High Definition and now 35mm Master Primes.

The most recent WIGGLES production is DOROTHY THE DINOSAUR's third TV series, which I used the Master Primes on. THE WIGGLES Director, Paul Field said, “How can I go back to any other lenses after using the Master Primes? They’ve taken our production to a new level.” His view is shared by so many of my clients in the commercial and corporate world.

After twenty-five years in this industry, I am finally able to use lenses that are incompa-rable. Working at T1.3 enables me to put the viewer’s eyes exactly where I want them, whether I shoot digital or film.

Borce Damcevski, DoP and owner of “8 Days A Week Productions” in Sydney and ARRI Australia have a vivid, long term relationship. In August 2009 Borce took delivery of his Master Prime set of eight lenses including the 100mm Master Macro, which he then completed by another Master Prime and a Lightweight Zoom LWZ-1 in November 2009.

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ASCCelebratesInternationalLanguageofCinematography

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Christian Berger, AAC, Alar Kivilo, ASC, CSC and Eagle Egilsson claimed top honors in the three competitive categories at the 24th Annual Ameri-can Society of Cinematographers (ASC) Outstanding Achievement Awards celebration at the Hyatt Regency Century Plaza Hotel in Los Angeles on Feb. 27, 2010.

Berger, who hails from Austria, won the feature film competition for THE WHITE RIBBON. Egilsson, a native of Iceland, earned top accolades in the episodic category for DARK BLUE (VENICE KINGS). Kivilo, who is

Super16Dream:HURT LOCKERWinsBestPictureoscar

from Canada, was the recipient of the tele-vision movie/miniseries award for TAKING CHANCE.

The other nominees in the feature film cate-gory were Barry Ackroyd, BSC for THE HURT LOCKER, Dion Beebe, ASC, ACS for NINE Mauro Fiore, ASC for AVATAR and Robert Richardson, ASC for INGLOURIOUS BASTERDS.

The American Society of Cinematographers is a non-profit association dedicated to advancing the art of filmmaking. Since its charter in 1919, the ASC has been committed to educating aspiring filmmakers and others about the art and craft of cinematography. Currently, the membership roster comprises 302 cinematographers who hail from about 20 different countries.Bob Fisher

view with four handheld cameras simulta-neously for the majority of the production. This portability was an important factor while shooting on location in Jordan.

Bigelow enlisted cinematographer Barry Ackroyd, BSC, who is known for putting viewers right in the moment – as seen on productions like UNITED 93 and BATTLE FOR SEATTLE.

THE HURT LOCKER was Ackroyd’s first Oscar nomination for Best Cinematography.

“Everything about this movie – the directing, script, camera work, music, editing – was conceived from the beginning with the single goal of creating that heightened sense of realism that underscores the tension, without losing the layering of these compli-cated characters,” says Bigelow.

Outstanding performances also brought much acclaim to the film PRECIOUS, shot on ARRICAMs provided by ARRI CSC.

Nominated for Best Picture, directing, film editing, Best Actress, adapted screenplay and supporting actress, the independent film took home Oscars for the last two categories.An Tran

THE HURT LOCKER took home top honors at the 82nd Acad-

emy Awards, garnering Best Director for Kathryn Bigelow and Best Motion Picture of the Year. The Iraq war film follow-ing a maverick bomb technician played by Jeremy Renner marks

the first time a female has ever won the Oscar for directing.

To transport audiences into the reality of the high intensity, emotionally charged experience of a bomb squad, the film-makers chose to capture scenes on Super 16. Since the film was indepen-dently financed, the lower cost of Super 16 was certainly appealing. This decision was not solely determined by budget, the filmmakers also wanted to take advantage of the high production

value the Super 16 look brought, along with great versatility of the medium. Bigelow wanted to show multiple points of

Kathryn Bigelow

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SciTechoscarsPayTributeto InnovationoftheARRISCAN

The Academy of Motion Pictures Arts & Sciences honored

15 achievements at the annual Scientific and Technical

Awards presentation on Feb. 20th in Beverly Hills – among

them Michael Cieslinski, Dr. Reimar Lenz and Bernd Brauner

for the development of the ARRISCAN film scanner. The

evening was hosted by actress Elizabeth

Banks (W., SPIDERMAN 3). She said, “I

really am truly honored to be part of this

evening. It’s a great reminder of every-

thing that goes into what we see at the

movies.”

This marks the 16th Scientific and Technical Award that has been bestowed upon the innovators of an ARRI product.

Cieslinski, Lenz and Brauner were honored for “the development of the ARRISCAN film scanner, enabling high-resolution, high dynamic range, pin-registered film scanning for use in the digital intermediate process.” Cieslinski is credited with designing the innovative LED illumination and serving as

project manager for the scanner, while Brauner developed the film transport and Lenz developed the sensor feature.

The ARRISCAN represents the first step in transferring film images into the digital realm, enabling powerful digital intermediate work. The ARRISCAN utilizes a specially designed CMOS area array sensor mounted on a micro-positioning platform and a custom LED light source. More than 120

Professor Dr. Reimar Lenz, in collaboration with his brother Dr. Udo Lenz – is responsible for the “core” of the ARRISCAN: the CMOS image sensor, originally designed for digital cameras. The ARRIFLEX D-20 and D-21 also utilize this sensor.

Based upon these parameters, ARRI designer Michael Cieslinski developed the concept for a new groundbreaking film scanner towards the end of year 2000. The objective was to digitalize film material at its highest possible speed, at the same time providing utmost precision and the best possible resolution up to 6K. A precisely controlled LED light engine together with the calibration of the scanning system were the core features that formed the basis for outstanding image quality as well as being able to exactly reproduce scannings.

The software controlled, intermittent filmtrans-port mechanism of the new designed scanner guarantees precise image steadiness even when scanning 16- and 35mm material at higher framerates. During this process, the film transport flexibly adjusts to the material’s properties in order to allow scanning modern movie productions as well as antique, hundred year old and seriously damaged archival material. In charge of chief responsibility for programming this complex drive system was Bernd Brauner, mechatronics developer at ARRI Vienna.

Today, the majority of renowned postproduction houses have an ARRISCAN. 120 units are in use worldwide – not only to cover current productions, but also to rescue our filmic heritage into a digital future or restore material thought to be partially lost. ARRI supports these achievements by offering archival film gates, wet gates and real ‘sprocket-less’ film transport. For those who already own an ARRISCAN, these technical innovations can open up complete new avenues of postproduc-tion work.Markus Frees

The team behind the ARRISCAN

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SciTechoscarsPayTributeto InnovationoftheARRISCAN

Michael Cieslinski (left), Dr. Reimar Lenz (center) and

Bernd Brauner (right) accepting Scientific and Engineering

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ARRISCANs are in use worldwide for digital intermediate, as well as scanning film for commercials, restoration and digital dailies applications.

The ARRILASER film recorder is the last step in the ARRI family for the digital intermediate chain, bringing the final look of the production back onto film for audiences to watch in theaters. In 2002, Franz Kraus and Dr. Jo-hannes Steurer of ARRI, along with Wolf-

gang Riedel of the Fraunhofer Institute, accepted a Scientific and Engineering Award from the Academy “for the design and development of the ARRILASER Film Recorder.”

Recent productions that have utilized the ARRISCAN include THE BL IND SIDE, UP IN THE AIR, THE TWILIGHT SAGA, NEWS MOON, TRANSFORMERS, REVENGE OF THE FALLEN and many more.

Since 1930, AMPAS has conducted a program for honoring artisans whose contributions have made it possible for the movie industry to exist and evolve. 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.An Tran

4 5D 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

ARRISC AN Archive

NewToolsforthemostComprehensive RestorationScanPackageonthemarketToday

Last year the ARRISCAN made

a huge impact on the world of

digital restoration. Image quality

and resolution alongside high

dynamic range scanning and cold,

perfectly calibrated LED illumination

made the ARRISCAN the machine

of choice for restoration facilities

as well as ARRI TV restoration

scanning projects.

A highly flexible computerized and modular film transport is at the centre of the ARRI SCAN’s unique benefits when it comes to preserving our film heritage. The soft archive mode, intro-duced last year, has been refined and is now the perfect tool for adjusting any ARRI SCAN film transport to the needs of damaged, brittle and shrunken film material up to 100 years old.

The archive mode now features the deacti-vation of pin registration, the reduction of strain on the film and decreased scanning and winding speeds, as well as easy-to-use frame line correction for non-standard fram-ings. This allows severely damaged film mate-rial to be scanned, even when several perfo-rations are missing. Much less manual repair work is necessary on a project scanned on

4 6 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

Standard ARRISCAN sprockets have up to 3.5 % of shrinkage tolerance

Exchangeable sprocketless transport system

Even severely damaged and shrunken film can be scanned with standard ARRISCAN film transport

an ARRISCAN rather than run through an optical printer. This results in a faster turnaround time and less manipulation of the original historic film.

But the new film transport is not the end of the ARRISCAN archive story. Our goal is to develop the ARRISCAN into a device that is able to scan 100% of all existing film material, not stopping at the difficult bits and pieces. That’s why ARRI has de-signed new hardware options that can trans-form any industry-standard ARRI SCAN into the ultimate tool for tackling the challenges of archive material.

NewSprocketlessTransportSystem

Hope for hopeless cases – an entirely new sprocketless transport system started to evolve in early 2009. Beginning with a working prototype system we undertook the scanning of several 110-year-old Lumière perforated films for the Italian restoration specialists L'Immagine Ritrovata. The successof this project not only convinced L' Immagine Ritrovata to get an ARRISCAN Archive them-selves, but also inspired us to continue de-veloping this powerful tool.

The final product will be shown for first time at NAB 2010: it is a modular transport that

can be exchanged between normal sprocket transport and a sprocketless version in less than one minute. Unperforated or badly dam-aged material, which up until now could not have scanned on any machine in the world, can now be digitized in perfect quality.

Unlike the capstan transport of telecine-style scanners, framing can be adjusted electroni-cally without the need of a sprocket or optical perforation detector.

4 7D 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

dry

Pin registered 16mm wetgate

The Wetgate Tower

The new 35mm Archive Gate provides a much wider and higher aperture and is ideal for

scanning non-conforming film formats with even higher frames than regular 4perf material

The new 35mm archive gate

Pinless 35mm wetgate

New35mmArchivegate

Derived from the original archive gate and with input from ARRISCAN restoration users, we are introducing a new V2 archive gate with an especially enlarged scan area. The new and entirely pinless gate has an aperture that is not only wider (28mm) but also higher (21.5mm) than the normal 35mm frame. This allows for easy scanning even of severely damaged film material that needs to be sta-bilized after scanning, and also allows for overlap scanning. Because of the high aper-ture the new archive gate is ideally suited to scanning unconventional film formats that might have even higher frames than normal 4-perforation material.

New16mmand35mmWetgateSystem

For the first time ever on a modern, high-quality film scanning system, a complete set of 35mm and 16mm wetgates is now avail-able for the ARRISCAN.

For best results in scratch removal, film labs and archives have always relied on wet-gates, which use special liquids with a re-fractive index close to that of the film base to fill and conceal scratches. The wetgate scanning results on the ARRISCAN are sen-sational for both black-and-white and colour film. Image details that had been hidden in the scratched film become visible again, while the MTF of the scan process is exactly as good as with a normal dry scan.

This technology can save months of digital retouching and even rescue films so badly damaged that no previous digital restoration process could ever have brought them back to life.

The ARRISCAN wetgates are unique not only in their ability to work with low toxic liquids as opposed to the traditional perc-systems, but also because they do not use silicon lips to dry the film after scanning. ARRI’s gate design uses compressed air and a vacuum to remove any liquid from the material, avoiding the risk of further damaging the precious orig-inal film. Any ARRISCAN can be prepared for wetgate use within one day of service work and can then be switched back and forth between dry and wetgate use in seconds.

4 8 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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Wetgate scans can rescue films that could not be restored any other way

wet

TheLumièreProject

At the Grand Lyon Film Festival 2009

110 year old lumiere-perforated film scanned on ARRISCAN

CurrentProductions

Numerous restoration projects have recently made use of ARRISCAN technology to scan historic material. These include a joint effort between ARRI and HS-Art to restore the first film ever made in Georgia: a portrait of ru-ral life filmed in 1911. High profile work has also been done on an ARRISCAN in Munich for the famous 1973 16mm project of Rainer Werner Fassbinder: WELT AM DRAHT (DoP Michael Ballhaus). A new documentary about Leo Tolstoy, who died 100 years ago, is currently being produced in Russia. ARRI has been brought in for the scanning and restoration work, which is extensive because the film will be completely made up from original footage of Tolstoy during the last years of his life.

Probably the most prestigious project to have made use of the ARRISCAN is Fritz Lang’s 1927 masterpiece: METROPOLIS. New footage from the film, recently discovered on 16mm in Argentina, has been scanned for restoration. This allowed, for the first time, the original release version of METROPOLIS to be shown at the 60th Berlin International Film Festival in February 2010.

With its scanning quality, efficiency and reliability, the ARRISCAN has already set the industry standard. Now it conquers the past and secures our film heritage into the future.

David Bermbach

“A number of tests carried out in Munich gave us excellent results,” states Davide Pozzi, CEO at L’Immagine Ritrovata. “The ARRISCAN Archive GUI is a tool that would take our film restoration laboratory a great leap forward in quality. So we decided to add an ARRISCAN Archive with the prototype of the sprocketless transport to our machine inventory in August 2009. Our clients are very pleased by the quality level we have now reached.”

The most important project so far carried out with the aid of this elaborate piece of machinery is the restoration of more than 100 films by the Lumière brothers for the Lyon Institut Lumière. All films dated

back between the end of the nineteenth century and the beginning of the twentieth.

The materials available for restoration were for the most part original nitrates of the Lumière per foration system (a single, round perforation on the side of every frame). The ARRISCAN’s sprocket less transport system was the only tool that could perform a quality scan of such invaluable films.

The restoration of these films premiered to an audience of 5,000 people at the opening of the first Gran Lyon Film Festival in Lyon, France, on October 23, 2009.Elena Tammaccaro (L'Immagine Ritrovata)

Weblinks:www.immagineritrovata.it/www.arri.de/ digital_intermediate_systems/ arriscan.html

4 9D 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

After putting four machines into place, Colorist and Co-Founder Stefan Sonnen-feld and VP of Engineering, Mike Chiado, found they could efficiently utilize the ARRISCANs not only for theater-bound DI work, but also replacing many telecine services with true scanning for all film-originated material, including commercials and music videos.

We spoke with Sonnenfeld and Chiado about their decision to use ARRISCANs for film-originated work, even in cases where the final delivery spec is an HD master.

Why use a full -fledged scanner for commercials and music videos, rather than a telecine system if the final product isn't destined to be seen at a resolution higher than HD?

Sonnenfeld: When it comes to feature DI work, the scanners enable us to bring more of the original image information from the negative to our colorists' bays. We want to bring

the same level of quality to every film project we work on – whether it's features, commercials or music promos.

Do you find that the quality difference between using a scanner, compared with telecine, holds up even if the final product is viewed at a lower-resolution HD format?

Company 3 is a high-power grading

and digital intermediate facility in

the industry for feature films,

commercials and music videos. To

deliver the quality of work its clients

demand, in 2007, Company 3

acquired what it believes to be the

best scanning technology available

– ARRISCANs.

FotokemPurchasesARRIRelativitySoftwareFotoKem, a leading full-service motion picture post production house, has recently added the powerful Relativity software suite to their arsenal of existing ARRI Digital Intermediate Systems products including the ARRILASER and ARRISCAN systems. The Relativity suite offers innovative tools for fast, efficient and interactive control of image texture caused by film grain and electronic noise, as well as video standards conversion and content re-timing, all using sophisticated motion estimation techniques.

Explains Paul Chapman, FotoKem’s Senior VP of Technology, “FotoKem and ARRI have had a long history and this is part of the reason why we are here together with Rela-tivity. ARRI has a great reputation, not just as a product manufacturer but also with technology. We wanted to partner with ARRI for this exciting new tool.” The collabo-ration between the companies around Relativity began earlier this year when FotoKem hosted the product’s launch event for the American Society of Cinematogra-phers at their Burbank facility.

ARRI Relativity software is powered by Pixel Strings™, the first engine to harness the potential of GPU-based parallel processing for motion estimation and spatial-temporal image filtering. In its most comprehensive version, the entire Relativity software bundle is currently comprised of four different applications: Texture Control, Clean, Film Simulation and SpaceTime Converter.

Following a rigorous testing process, FotoKem configured the Relativity software for their

particular needs to include Texture Control, Clean, Film Simulation and SpaceTime Converter. With Texture Control, one can manipulate the level of film grain and electronic noise, mixing and matching the textures of 16mm, 35mm and digitally acquired images for a particular effect or visual continuity, and (if desired) even generate synthetic grain with Film Simulation. Clean provides an efficient single pass removal of both white and black randomly located dust, fibres, and small scratches for material transferred from film. The SpaceTime Converter allows time resampling for creative tempo changes, slow motion and speed ramp effects. It also allows the conversion of any TV or motion picture format into another, with crop/zoom, spatial resampling, frame rate conversion, de-inter-lacing and addition or removal of 3:2 pull-down through an easy-to-use interface.

Chapman notes, “Here at FotoKem we are implementing the frame conversion and grain reduction tools. We ran the software through a significant period of evaluations. Our team felt the tool was user friendly and effectively did the job in such a way that it increased productivity.

FotoKem was established in 1963 and today the post facility offers a full menu of services for features and commercials including film processing, timing and printing, telecine, restoration, in addition to filed-based work-flows, digital intermediate pipelines and services for new camera technologies including the ARRIFLEX D-21.An Tran

5 0 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

How have your commercial and music video clients reacted since you started scanning all their film material this way?Chiado: The reaction has been very positive from our commercial clients. In addition to the increase in quality, they are happy with the nonlinear workflow and the ability to grade shots in context.

Sonnenfeld: What I hear has more to do with the quality and how much of the visual information from the negative we're able to work with during the grading process. The more picture information the colorist starts with, the better the results can be.

Isn't everything migrating to digital cinema-tography? Looking to the future, do you still feel the investment in four film scanners was a good one from a business standpoint?Sonnenfeld: The majority of commercials are still shot on 35mm film and many people prefer the look and quality you get when you shoot film. But that is changing slowly and we’ve developed a DCC (Digital Camera Capture) division to address projects shot digitally.

Chiado: We have the infrastructure to work with material shot on any of the major digital cameras – many of which are great for certain applications. But film continues to be the best choice for a lot of projects. Many of our clients see film as the best medium for their needs, and we expect that to be true for some time.An Tran

Sonnenfeld: With a good 2K scan, a colorist gets to work with more of the infor-mation that the cinematographer captured on the original negative. It's always better to have more information than less – it gives you a more robust image to start with and lets the colorist have more room to finesse the look.

Chiado: Also, with a scan-ner, you're starting out with full-resolution red, green and blue channels. You aren't losing information in order to work with a particular HD codec.

Why did you choose the ARRISCAN?Chiado: We compared the images from a number of scanners. In terms of stability, noise, resolution, and overall image quality, ARRISCAN was the best. It lets us work at higher than 2K resolution if the project requires it. Generally, for feature work, we use the option that scans at 3K and then down-rezzes to 2K. The scanner offers a number of options – we can scan at 6K and down-res to 4K. I like the double flash option, which lets you hit the film with twice as much light; it reduces the noise and pulls a more dynamic range from the original, especially if you start out with a particularly dense negative.

Were there other features specific to the ARRISCANs that sold you on them as

opposed to the other scanners you considered?Chiado: The pin registration was a factor. Producers can send our scans to any visual effects house with the knowledge they have optimal quality, pin-registered images to work with. They don't need to transfer certain material differently because it's part of a visual effect. They don't have to re-transfer a series of shots additional visual effects elements are added in later.

Are there other advantages to going the scanning, rather than the telecine, route?Chiado: With an all-data workflow, we don't need to worry about physically moving tape elements around. The media sits on our SAN (storage area network). All of our bays are networked so if a project is moved to another suite, it's just a question of accessing data – the DPX files, the color corrector session file, an EDL (edit decision list) – and the colorist is ready to go. Of course, you have all the advantages that go with random access to media: Nobody has to waste a client's time queuing up tapes or changing film rolls; the colorist isn't forced to access shots in the order they were captured. Also, it’s great when changes are made to the cut and a new EDL is sent from editorial. In a tape-based system, changes can turn into a complex procedure involving additional dubs and often a loss in quality. We don’t experience those issues working this way.

FocusonCompany3File-basedWorkflowAchievedwiththeARRISCAN

51D 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

With the flexibility and dynamic features of LED technology, it was just

a question of time until these advantages were fully exploited for

quality control and testing applications. Over the past months teams

from the camera and lighting units at ARRI have joined this trend to utilize the

full potential of LEDs in combined projects with our R&D and testing labs.

We are confident that this “camera-light-coupling” will enable a whole new

world of measuring devices and new features to be developed for service

teams and end users.

SkinTonesandSensitivityTheDeterminationofStaticandDynamicQualityParameters

As part of a bachelor thesis novel approaches to the pictorial assessment of camera systems have been developed. One component of this work has now been realized in close col-laboration between ARRI Quality Manage-ment in Munich and ARRI Lighting in Stephans-kirchen.

For a reproducible analysis of the very im-portant aspect of skin tone reproduction of camera systems, artificial busts have been created by special effects make-up artist

Birger Laube ( PANDORUM). The color of these busts largely corresponds to the color of human skin tones.

The three busts with European, African and Asian skin tones were placed in a studio set-up, which is lit with innovative LED illumi-nation. This allows the verification of the skin tone reproduction of camera systems under realistic, yet reproducible conditions in arti-ficial light as well as daylight situations. An-other application of this test scenario is the comparison of camera systems in terms of sensitivity and noise.

Simon Pott

Dr. Markus Ludwig, Head of Product Management Lighting

Dr. Hans Kiening, Head of Quality Control Labs at ARRI

The three busts were used to verify the skin tone reproduction of camera systems

Intelligent,DynamicLEDLightsforSpecialApplications

5 2 L i g h t i n g

iPAXThe ARRI PAX LED Kit with True Match LED Technology is a very flexible lighting kit, pro-viding natural light characteristics and an almost endless color palette that can be set with maximum freedom by adjusting color temperature, green correction, dimming and hue/saturation levels.

So far, this extensive range of features could only be controlled manually with the Wireless

LEDsinIntegrationSpheresThe increasing digitization of film and video camera systems will cause more and more different models to flood the market. To check the quality of these systems, typical image parameters such as dynamic range, noise behavior, or even color reproduction are compared with standardized testing proce-dures in order to make a statement about differences. Full format charts are crucial in order to test cameras as a whole system and their image quality. In addition to the small tolerances in the manufacturing pro-cess of the test images, it is also the quality of light which illuminates the test panels that will be of fundamental importance. In-tegrating spheres guarantee a sufficient uni-formity of the illumination and offer the possibility to adjust brightness without a shift in color.

A major disadvantage of current systems is the limited lifetime of the bulb and the inability to represent more than one color temperature without the use of filters. With the modification of an integrating sphere implementing the ARRI LEO LEDs it is possible to generate calibrated color configurations and a variety of lighting situations. This greatly expands the possible set of testing situations:

Light Controller. Time to add a software and hardware package for full control of all this features – the “iPAX” concept was born.

With this experimental software the user can now control all features from a computer, either manually or by macros – it can even translate any kind of external voltage signals to display them on the ARRI PAX LED. Analog signals can be analyzed and converted into RGB, HSI or Filter values. In addition to that, the output can be triggered with external sources, too. A typical application will be to get sig-

nals out of a computer to create real lighting effects that accurately represent those in a virtual video, image or 3D environment.

Michaela Giglmeier, Lorenz Gerold

The zemax wireframe graph

The Wireless Light Controller

Camera systems can be tested throughout a full range. For example, differences in camera reactions to daylight and artificial light are now metrologically recordable. Effects that occur when illuminating with saturated red, green or blue light can also be made visible.

Through thorough calculation and simulation of new lighting positions all interfering ob-jects inside the integrating sphere could be removed. With all those modifications it was possible to achieve much greater ho-mogeneity across the entire width and height of the lighting aperture compared to old systems.

Philip Schneider

5 3L i g h t i n g

The test set-up with LED lights

Conventional integrating sphere

phot

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Read

matchingLightSourceswiththeARRIPAXLEDSystemWatching production experts set up shots is an interesting pleasure – and one

you can always learn from. In this case it was even more interesting: conventional

light sources were mixed with a VFX light making full use of the ARRI PAX’s

potential to copy in-frame practical light and to add an invisible extra punch

where necessary. Digital Lighting Designer, Mark Read (Hypercube, Boulder CO)

provides us with a deeper insight into his current work:

“To match the ARRI PAX LED system with inci-dent or reflected light from practical on-set sources, we first measure the colour by using an electronic camera,” explains Digital Light-ing Designer Mark Read. “Through shooting the practical light source we assign the proper RGB values from the footage. When film is shot – like in our current project – we use L*a*b values obtained from a spectrophotome-ter, which are converted to RGB/HSB. Actu-

The final key sequence was a low light dra-matic set with a pick-up truck and constantly changing external lights. When the truck was properly lit, there was no easy way to get a natural "glow" from the dashboard to illu-minate lead actor Chris Kelly.

The dashboard offered us the natural "fire-side glow" that we wanted, but this was im-possible to get with gels – a) for reasons of missing space behind the steering wheel, and b) – much more complicated – because we also wanted to incorporate all the changes the fast way. The sequence was a very complicated one and needed some camera, set and lighting changes as well. There was a constant need to adjust not only the bright-

For ANNIE LALLA the task was to measure the white point of the light and the light values of a source in one portion of the composition (the practical lights and am-bient lighting spill). The PAX system was used to obtain the same color values and white-point (or desired offset) in the rest of the composition, to amplify the rich tone of the lamps to fill the room.

ANNIE LALLA, DoP & LT: Mark Read

Close-up from a scene of ANNIE LALLA

PAX behind the set-up of ANNIE LALLA

THE SACRIFICE OF OLD SAN JUAN

ANNIELALLA

ness of the light, but also the colour, as the reflections and the external lights changes from shot-to-shot. In post any failure would have meant a great deal of colour correction and windowing, if possible at all. The ability to know exact spectral data of the actual lighting at the set also enabled the Digital Intermediate of our film project to offer a pre-cise reproduction for the final D-Cinema re-lease throughout the postproduction process.

In less than a minute, we checked the lights and put them in place.

Director: AK HottmanDoP: Pablo BerronDigital Lighting Director & Colorist: Mark ReadGaffer: Dylan RumneyProducer in charge of Digital Intermediate: Claudia Meglin

5 4 L i g h t i n g

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matchingLightSourceswiththeARRIPAXLEDSystem

Thehistorybehind markRead’squestforPAXDoing productions from concept to mastering, we needed to implement a common lighting and white-point. As a consequence our initial purpose for investigating adjustable LED lighting was to have a precision system al-lowing us to establish and select between various white points (D55, D60, D65, etc.), taking into account that the absorption and reflection can change a room’s lighting from the nominal D55 a lamp may produce in a black-body environment, to a shift that changes

the apparent white-point by hundreds or even thousands of degrees. Even if the paint and decor is consistent, it is never neutral, so we wanted to have a way of setting the room ambiance to a nominal 5500K to exactly match the D55 white-point of the screening.

Within only a few minutes of using the ARRI PAX system, we knew we had a far more powerful tool than we ever dreamed of. It was not only capable of calibrating and matching viewing environments to each oth-er for color matched dailies, editorial, color correction and final review, but also capa-

ble of matching viewing environments to practical on-set environments, or to match the lighting of practical on-set elements to each other, in multiple different shots.

With PAX we are able to match lighting con-ditions from one viewing environment to an-other, from one set to another, and from one VFX layer to another, not to mention the creative control allowing us to match practical in-frame lighting and to simply dream-up new lighting expressions that make the shot have the punch it was missing before.Interviews: Dr. Markus Ludwig

ally it has become a very easy task to re-produce these values with the PAX system by just setting them in the PAX controller.”

“Absorption, reflection and transmission also needs to be considered, and it helps tremen-dously to be able to fine tune the light by the turn of a knob. With gels this used to be a painful and time-consuming process. Any light source can be easily replicated or be invisi-

Next we adjusted the temperature and the color, zeroed-in on the specific reflected ambiance that was desired.When Actor Chris Kelly took his place on the set, final adjustments were made without interfering with the production process, using a remote camera monitor

and the wireless PAX control. There was no delay in shooting caused by the ongoing adjustments of the ARRI PAX LED system and all the shots were consistent in end appearance, though the actual conditions changed throughout the scene, requiring PAX adjustments to be made.

Presets can be recalled for reference and versioning with the press of a button. When the camera needs to roll, the setting for the shot can be recalled instantaneously.

bly enhanced in case its light emission is to weak for the desired effect. Fireplaces, can-dles – even lightning bugs might be perfect candidates for such a treatment. The palette of effects is ranging from a subtle enhance-ment to the most dramatic VFX light used to exaggerate – all of this right during shoot-ing.”

“In case of lighting for VFX, the values set in PAX can be brought to post for perfect matching. An-other aspect of VFX is compositing multiple scenes that are shot separately, but are planned to have a common lighting. With PAX the ability to set and match is vast: Lamp type, color tem-perature, white point, filter emulation and lu-minance can all be recalled at the push of a button. This does not only apply to complex CGI scenes, where images are composited with 3D. Almost any time we used a grading window to enhance or illuminate an actor’s face for example, we found out, we can do it much better and faster if we shoot it right away with the PAX system.”

“If you are going digital you might even watch the set monitor and make real-time adjustments with the wireless PAX remote controller. As the lighting on a set is subject to frequent last minute adjustments this offers a very comfort-able way to respectively balance your lighting in almost no time at all.”

“For us, the ARRI PAX system is the most revo-lutionary lighting instrument since long. We thoroughly tested the PAX Kit on some of our productions, when it still was in its prototype state and were already amazed. Our Studio carries truckloads of lighting equipment, but these lights are what we always dreamed of.”

With the ARRI PAX system, colour temperature, HSB values, overall brightness and a myriad of filters and gels can be reproduced – be it in front of a daylight, tungsten, or any other light source with a desired wavelength. LED units can be controlled precisely by a multichannel wireless remote.

Mark Read

5 5L i g h t i n g

ZDFFernsehgartenbasksinARRITrueBlueDaylight

area that experiences some extreme weather conditions was impressive proof of ARRI product quality. However, there were new challenges for the team at ARRI Lighting Solutions, as ZDF wanted to optimize the positioning of the headlamps as well as keep some of the existing equipment. The revised concept called for a specific approach and careful installation precautions, due to health and safety concerns about the live audience. By using special lifting equipment the ARRI engineers solved this problem, enabling a safe installation despite the narrow access area.

The new automated lighting system now incorporates ARRI Fresnel daylight lamps, including the True Blue Daylight D40, 6kW and 12kW Daylight Compact lamps, as well as some motor yokes that were replaced. Other motor yokes were completely over-hauled, while the smaller 4 and 6kW motor yokes were renewed.

“The competent handling of this project by ARRI Lighting Solutions again impressed us,”

Small wonder that ZDF approached ARRI again when it decided to re-equip the show, given that the existing system worked for 12 years without any major complaint. Such prolonged year-round use in an outdoors

12 years ago, ARRI installed the lighting system for one of the most

popular shows of German public broadcaster ZDF, which is in turn one

of the largest networks in Europe. Broadcast live from the garden of the

ZDF headquarters in Mainz-Lerchenberg, TV Garden goes on air with 16 to

20 Sunday morning shows each year and reaches an audience of some

three million viewers, representing a market share of up to 23 percent.

Additionally, between 2,500 and 4,000 live audience members attend

each show on site in Mainz.

says Josef May, project manager at ZDF. “We especially appreciate the decidedly higher quality of the newest generation of ARRI True Blue Daylights. There are so many technical improvements that are essential to us. The renewal of our outdoor studio with this kind of technology also perfectly fits into a bigger modernization concept that ZDF has consistently worked on over the last year.”

ZDF has repeatedly commissioned ARRI in recent years for some decisive projects, such as the brand new virtual studio for its most prestigious news show, Heute. More than 50 ARRI True Blue Tungsten lights were installed in this newly-built virtual studio. ARRI is also omnipresent in other studios: earlier the Berlin project team designed and supplied the control system for the 200m2 automated Studio 2, which is home to such programs as Auslandsmagazin (international news magazine) and Politbarometer (political opinion research center).

Norbert Wunderlich

Virtual News Studio at ZDF

5 6 L i g h t i n g

Successful TVshowrelieson ARRITrueBlue

TOUGH BUT FAIRFrom January 2001, the 75-minute weekly program was aired by state-owned broad-caster ARD alternately from its Cologne WDR studio and a studio in Berlin. As of October 21st 2009, the production has found a new home in the ultra-modern TV Werft (TV dock-yard) Studios, located at the East Port in Berlin.

Equipping the new studio was an easy decision for Helmut Audrit, Managing Director of TV Werft: “With ARRI Lighting Solutions we were able to build on previous and very successful co-operations, like equipping our Studio 3, which hosts the SAT.1 Morning Show,” says Audrit. “We also could be assured of completing instal-lations within the very tight time schedule the project demanded. Together with ARRI product quality and functionality, these were the deciding criteria for again relying on ARRI Lighting Solutions as a competent partner.” The lighting installation for the approximately 425 m2 Studio 4 was de-signed for the production of HD programs and completed by ARRI Lighting Solutions in September 2009.

HART ABER FAIR (TOUGH BUT FAIR) is a political talk show hosted by Frank Plasberg and one of the most successful

formats on German TV. Five high-ranking guests are typically confronted with questions and discussions about a recent,

controversial issue in politics, economy or society. The program has been honored with numerous awards, including a

German Television Award for ‘Best Information Program’, an Adolf Grimme Prize in the ‘Information and Culture’

category and the Bavarian Television Prize.

Markus Eicher, the technical director of the studio, was especially impressed by the flexible grid and rail system and its 50 new ARRI True Blue pole-operated headlights, mounted on pantographs, and also by the accurate fitting of an RGB background illumination system. A new ACN network system (ETC NET3) rounds off the installa-tion, to meet all the needs of a modern and integrated control for both the lights and the suspension system.

Specific lighting effects for the set decoration are reliably and effectively integrated into a comprehensive control system. A greater number of moving heads can now be easily positioned with the new network technology. Usually the integration of moving heads requires significantly more planning, material and installation, which were not necessary in this case. Expenditure of time and costs was reduced to a minimum.

Another challenge of the project was having to consider a huge variety of viewing angles, as the show is recorded in front of a live audience. As a consequence, maximum

flexibility had to be achieved, as has been the case with other projects that ARRI Light-ing Solutions has previously designed and installed for TV Werft. Formats such as ‘maz & more’ (SAT1 Morning Show) and ‘SAT1 – The Magazine’ have already made their HD-equipped home just next door in Studio 3, within Berlin’s creative media center.Norbert Wunderlich

5 7L i g h t i n g

Saeki P&C is now the official lighting distributor for ARRI in South Korea. This appointment represents the latest strategic move by ARRI ASIA to provide a better service for Korean customers. Established in 1977, with headquarters in Jongro-Gu, Seoul, Saeki P&C has been a leader in photo-related products, such as cameras, lighting and support items. Although primarily a distributor, Saeki P&C has also extended its business into retail, and now has a head office, two retail outlets and two warehouses. The retail

SaekiP&CBecomesofficialLightingDistributor

stores will improve the displays of ARRI lighting products for both the public and professionals.

As a leading distributor of lighting products in South Korea, Saeki’s broad experience in photo-related sales and service will make a major contribution to ARRI’s penetration of the Korean market.Jessica Choy

To celebrate its 50th year, Cheng Seng Trading Company held a huge party on November 1st 2009 at the Taipei Denwell Wedding House to share this special moment with business partners and almost 800 guests.

“Cheng Seng has always been a loyal and reliable partner to ARRI,” says Paul Ivan, Managing Director of ARRI ASIA.

“Although I’ve only been involved for two years, I’ve recognised Cheng Seng’s commitment to our customers and to the further development of our business in Taiwan. Management and employees combine knowledge, experience, skill and passion, which makes working with them a pleasure and a success.” Paul Ivan then presented David Chiu, Manag-ing Director of Cheng Seng, with a Silver Lion, a symbol of strength and loyalty,

ChengSengcelebratesits50thAnniversary

showing ARRI’s appreciation of Cheng Seng’s great work.

Cheng Seng has always been dedicated to showcasing ARRI products given any opportunity. At the party, Cheng Seng set up an ARRI T5 fixture: professionals were present to demonstrate and introduce the unique features of the ARRI equipment. As well as supporting its sales and marketing efforts, Cheng Seng also invests a great deal in training and has organised a series of lighting workshops and open houses at which people can test ARRI lighting and professionals can demonstrate and explain the qualities of ARRI equipment.

Established in 1959, Cheng Seng Trading Co., Ltd is a lighting distributor in Taiwan who has been representing ARRI for over 15 years.Jessica Choy

5 8 L i g h t i n g

October 1st 2009 marked the 60th anni-versary of the founding of the People’s Republic of China. The Grand Gala, featur-ing a light cube performance engaging more than 4,000 trees of LED lights and a dazzling fireworks show, was the culmi-nation of a series of events celebrating this special day. 12 ARRIMAX and 6 ARRI 18K Daylight lampheads were selected for illuminating the Grand Gala that evening, supported by Zhonghe Studios and ARROW Studios.

Ma Qingyuan, designer of film and TV lighting for the Grand Gala and President of Zhonghe Studios, who is working on production for the upcoming Shanghai Expo and boasts clients of famous brand, shared his thoughts with ARRI NEWS.

How did you get involved in this event?Ma Qingyuan: Sha Xiaolan, the Chief Lighting Designer for the Opening and Closing Ceremonies at the Beijing Olympics, was also the Chief Lighting Designer for this event. I worked with Sha at the Beijing Olympics, and he invited me to help him here.

How big is the lighting area? Which lamp-heads were used?MQ: In addition to the lighting system for the special effects, it was necessary to light the entire main performance area. We tested many ARRISUN 6Ks on the first rehearsal but found the illumination was not enough and

ARRImAXinChinaIlluminat ingthegrandgalaonT ian’anmenSquare

the positioning of lampheads was restricted too. As a consequence we had to reduce the quantity of lampheads while at the same time increasing the illumination. In this scenario, ARRIMAX became a must!

To illuminate the main performance area, 200m x 500m in front of Tian’anmen Tower, only 12 ARRIMAX and 6 ARRI Daylight 18K lampheads were needed due to the light output and the superb quality of illumination with the ARRIMAX.

Besides a powerful and even illumination for a big area, were there any other requirements to be met?MQ: As you can see from the pictures, a special frame was set up to position the lampheads on each side of Tian’anmen Tower, very close to the leaders of the

Central Government and important over-seas guests. Safety is always a vital issue and so ARRIMAX’s German TÜV certification was passed to Central Government officials for approval. The safety issues were also checked by ARRI whose quality was highly praised by the Central Government.

How well did the lighting system cope with the heavy Beijing rain?MQ: The rain was unusual in Beijing at that time of the year, but we had arranged special plastic covers for each lamphead. These covers protected the lampheads as they warmed up and were then taken off so all the lampheads were working from 7.00pm to 2.00am, without any shutdown! That’s amazing, and a tribute to ARRI’s products.Pearl Guo / Jessica Choy

Ma Qingyuan

5 9L i g h t i n g

The group also included Mr. Cheng Yang, general manager of CFG Digital Cinema Line Co. Ltd., Mr. Ma Ping, a senior colourist of the China Film Huairou Studios, Mr. Liu Zhiping, a senior engineer of the China Film Huairou Studios and Pearl Guo, as an associate of ARRI Asia.

The first stop in Berlin was at the rbb-studio that was equipped with a LED backlight system and a sophisticated ARRI-control system for the installed lighting by ARRI Lighting Solutions. The guests from China were impressed by the high efficiency of the automated studios and were particularly interested in the options to save all of the lights’ positions within the special control system and to be able to recall those basi-cally by the push of a button.

Next stop on the tour was the “TV Werft” (TV dockyard) at Stralauer Avenue and its specifically HD oriented lighting installation. Studio 3 hosts the “Morning Show” of SAT1 TV Channel using a green-box system

designed by ARRI. Since the Chinese Film Group currently plans on a similar system for their own shows, commercials and other film productions, this was of particular inter-est for the delegation. This highly flexible system is intended to replace the currently practiced setup in China, where lighting systems are usually not permanently in-stalled.

Norbert Wunderlich

The China Film Group Corporation (CFG) is China's largest and most influential state film

production company. In October 2009 a delegation led by CTO, Mr. Chen Fei came to

Germany to meet with the ARRI Managing Board Mr. Franz Kraus and Dr. Martin Prillmann in

the Munich Headquarters, and continued their journey to Berlin to get a first hand impression

of German TV studios equipped and technically designed by ARRI Lighting Solutions.

(f.l.t.r.) Frank Schlammer, Pearl Guo, Cheng Yang, Norbert Wunderlich, Chen Fei, Sigrid Müller, Ma Ping (senior colorist), Liu Zhiping (senior engineer)

ChinaFilmgroup visitsBerlinTVStudios

(f.l.t.r.) Norbert Wunderlich, Sigrid Müller, ARRI Lighting Solutions, Mr. Chen Fei, Mr. Cheng Yang

rbb Studio

SAT. 1 TV Studio

(f.l.t.r.) Pearl Guo, Chen Fei, Frank Schlammer, Sigrid Müller

6 0 L i g h t i n g

* “Into the wall” denotes a single, 20A 120VAC electrical outlet on a single circuit.

m18andAS18sLightItUp

Based on the design principles of the Academy Award©-winning ARRIMAX, the M18 and

ARRISUN 18 have been shining on a wide array of productions, testing their versatility

and intense illumination while remaining extremely efficient. Known as the “Brightest HMI

you can plug into the wall,”* the M18 is a lens-less, open face lighting fixture that combines the desired

light distribution from the optics of a PAR and a Fresnel fixture. The unique ARRIMAX reflector design creates

diverging rays to produce a crisp shadow. The ARRISUN 18 offers narrower beam angles using common

ARRI spread lenses and a PAR reflector in combination with spot, medium and flood focus settings.

From lighting up product shots, to actors to enormous live events like the Super Bowl, here’s a sampling of what some other talented crew in lighting had to say:

Them18andAS18wererecentlysuppliedbyIlluminationDynamicsandputtothetestonABC’sTheBachelorSpecial:

“Thank you so much for letting me try out the new ARRI AS18 HMIs on The Bachelor Special recently. What I have always liked

about HMIs in the 1200 PAR family was the fact that I could get a lot of daylight punch in a small package and still be able to plug it into any household 20 amp circuit.

What I did not like was because of the smaller size of these lights, they tend to be spotty even with a Fresnel lens. The new ARRI AS18 and M18 solve this problem and still can be plugged into any 20 amp circuit. I love the extra output of the 1800 watt globe. The new design of the reflector is amazing. The 18 has a soft, beautiful field of coverage and intensity from edge-

to-edge to perfectly fill up a 4' by 4' silk. Drop in a Fresnel lens and it is very, very close to a Fresnel fixture. This is truly a ver-satile light. Now that we have the M18, the ARRIMAX 18/12 kW... We need all the in-betweens. Keep up the great work.”Dennis Weiler, Lighting Director

Dennis Weiler

“You guys hit a grand slam with [the M18]. Seriously. I've used it with four different DPs and the

reaction has been huge. Plus, the guys love it. It is a very quick light to set up and with no lenses, super fast to adjust intensity.

I've used it in several situations where it has done the duty of what would have been a 4K PAR. We've used it with a Chimera, hung straight down, bounces, direct, off of MAX Menace arms, car rigs… Pretty much in every conceivable situation and its per-formance was fantastic.”Michael Bauman, Gaffer

Michael Bauman“On the very positive experience I had with the new 1800 Par and Max (M18)… It worked perfectly on the sets for the Super

Bowl in Miami. The difference in output compared to the 1200 was amazing.”Bill Brennan, Head Lighting Designer and President JustLighting www.justlighting.com

Bill Brennan

“I came to Miami with Epoch films to shoot a Heineken commercial… I scouted a mixture of day exteriors and large day

interiors, seaside, with windows looking onto the inlet. I knew we needed at least three 18Ks to balance the interiors and fill the exteriors. Bill Hennessey at CSC men-tioned he had the new ARRI M18 available and I thought this was the job to give it a

try. My first reaction was surprise at the spot to flood range and the punch of the lamp – to think I could plug it into house power! Day 2, I put a Chimera bank on the M18 and used it as a keylight that moved easily from room to room. By Day 3 it was a scorching backlight at full spot on the product and later the bounce fill opposite three diffused 18Ks. So easy, so versatile, I can see it's bright future…Thanks, ARRI!”John Moore, Gaffer

John Moore

61L i g h t i n g

DigitalProductionWorkshopattheBeijingFilmAcademy

Dr. Scherle (right) and Pearl GuoProfessor Mu Deyuan

Following the successful lighting

workshop at the Beijing Film

Academy (BFA) in 2008, ARRI

presented another well received

two-day workshop at end of 2009

on one of the most discussed items

in the industry: the digital production

workflow. Participants from the

Beijing Film Academy and the China

University of Communication not only

had the chance to get their own

hands-on experience of the latest

technology, but also to learn from

masters in the industry.

If one picture is worth a thousand words, then what is a film worth? In order to fully experience the incredible power of state-of-the-art technology, showreels were presented shot with the Master Macro on an ARRIFLEX D-21 and also on the next digital camera generation ALEXA. The workshop’s partici-pants were actually stunned by the breath-taking beauty of these images. The Master Macro is the product of a joint effort of ARRI and ZEISS that delivers phenomenally sharp and contrasty images with vibrant colours for extreme close-ups of the highest visual quality.

On the first day of the workshop, Dr. Scherle, Vice President of ZEISS, and Nicola Balle, Marketing Manager shared insights into the inspiring history of ZEISS and the sophisti-cated lens technology; ARRI Digital Manager Alexander Vollstädt continued with an in-depth presentation on digital production workflows.

The following day a special workshop was held for professors and students at the BFA.

The Academy plans to set up a new course for video engineers, to keep up with the fast development of digital production. Alexander Vollstädt shared his experience in feature film production using the ARRIFLEX D-21 in the US and Germany. A wide range of topics, such as recorder formats, camera settings, the necessary equipment on location and for post-production were discussed – all being part of the knowledge a future video engineer must be deeply familiar with. “The workshop was a great bonus for BFA professionals and students,” as Professor Mu Deyuan, Dean of the Cinematography Department of BFA, remarks.

ARRI is especially grateful for the support of the Beijing Film Academy and Jebsen as the long time partner and local distributor which helped to make the two-day work-shop such a success.

Pearl Guo / Jessica Choy

62 Wo r l d w i d e

Professor Wolfgang Thaler

JourneyintoTomorrow sImages

Expert lecture under the guidance of Mercedes Echerer (middle), Alexander Wieser, Synchro – Film & Video Postproduction, Henning Rädlein – ARRI Business Development, DoP Gernot Roll, DoP Christian Berger, Karl Matuschka – broadcasting expert and media consultant, DoP Stephan Musil (f.l.t.r.)

In the podium discussion that followed, Chris-tian Berger was one of several cinemato-graphers to take part in a Q & A session. Berger was nominated for an Academy Award this year, in recognition of his work on THE WHITE RIBBON, which also garnered him a Hamilton Behind the Camera Award at the November 2009 ceremony in Los Angeles.

The event at the Vienna Film Academy was sponsored by LB-electronics, Angénieux, the Austrian Association of Cinematogra-phers and the University for Music and Performing Arts, as well as ARRI. Besides students of the Vienna Film Academy, a diverse range of guests participated, in-cluding representatives from the technical, production, rental, postproduction and service sectors.

Prior to the event, images shot by VFA students with ARRIFLEX D-21 and ARRICAM cameras were screened. The idea of pre-senting these shots to the public first arose during the grading sessions at ARRI Film &

Under the guidance of DoP Gernot Roll (HENRI IV, BUDDEN -

BROOKS), the Vienna Film Academy hosted a D-21 workshop

at the end of last year. More than 100 film creatives took the

opportunity to attend lectures and obtain information on the

latest product developments. Moreover, they were given the

chance to get some hands-on experience of cutting edge

technologies.

TV in Munich, and the idea was finally realized last autumn. The digital (2K HD projection) and analogue (35mm film) shots were projected via split-screen and then passionately discussed.

A lively discussion ended in a mutual agreement that the opportunity to ex-change experiences should be repeated as soon as possible.

Expert lectures incorporated the following subjects:

• ARRI LED lighting technology for film and television

• Digital Intermediate Systems – DIS• Digital ARRI cameras– Focus, resolution, contrast, sensitivity– Important quality parameters for

evaluating digital camera systems– Raw Data Capturing / ARRIRAW Partner

programs• ARRI Relativity – de-grain and versatile

manipulation of moving images

Werner Wolf/MM

6 3Wo r l d w i d e

Professor Christian Berger with the ARRICAM

DoP Gernot Roll

The expert lecturers

Shubham Kasera(f.l.t.r.) Renos Louka, Hans Salzinger, Shubham Kasera

Presenting the award was Renos Louka, Group Managing Director of ARRI (UK).

“We work hard to support up-and-coming filmmakers at ARRI, so the strong focus on students at Pune mirrors our own philosophy perfectly,” says Louka. “It is important to celebrate those whose careers are just beginning, as well as those who lead the industry. Shubham will be among the first to use ARRI’s new-generation digital camera, reflecting our belief that in order to develop as filmmakers, students must have access to the latest professional tools.”

For the 8th Pune International Film Festival in January 2010, ARRI

sponsored a new award in the student competition – the ARRI Promising

Student Cinematographer Award. In conjunction with Whistling Woods

International – Asia’s largest film, television, animation and media arts

institute – ARRI presented the inaugural award to cinematographer

Shubham Kasera for his work on the short film MAI. His prize will be the

exclusive use of an ARRI ALEXA digital motion picture camera and a full

set of lenses for 150 days over a two-year period.

Kasera studied at St. Xavier’s college in Calcutta and worked in advertising as well as documentary editing before enrolling at Whistling Woods on a two-year cinematog-raphy course in 2007. “The subject of MAI really interested me because it had a lot of scope to try various stocks and lighting techniques,” he says. “The film is about the mother-son bond and the sorrow of separa-tion – once in the past, when the mother leaves her son to pursue her career, and

then in the present, when she passes away. So I had the opportunity to create two different looks, rather than just one, which meant I was able to experiment. For the past I went for a slightly grainy look and shot with an older Kodak stock – the 5279 500T. The past was given a slight yellowish tint and a bluish tint was given to the present-day scenes, many of which take place in a hospital.”

When asked how he intends to use his prize, Kasera reveals that he has plenty of ideas and ambition. “We’re scripting a couple of feature film concepts, so our goal is to shoot a full feature in the time we have with the ALEXA,” he says. “Having the camera is going to be very helpful for raising addi-tional finance because it shows that we al-ready have ARRI supporting the project.”

Ravi Gupta, Executive Director of Whistling Woods International, states: “Whistling Woods welcomes ARRI as its partner in the Student Film Competition. We are proud to be associated with ARRI in their quest of providing high quality, high definition cameras to the filmmaking world and hope that Shubham enjoys the benefits of the highly advanced ARRI camera to the fullest.”Mark Hope-Jones

StudentfilmmakerwinsadatewithALEXA

6 4 Wo r l d w i d e

Dr. Martin Prillmann (right) presents the Silver Frog to Krzysztof Ptak

CAmERImAgE2009DoP Dean Cundey ASCDoP Michael Ballhaus BVK, ASC DoP Roberto Schaefer ASC

DoP Chris Doyle HKFCTerry Gilliam took home a special director's award DoP Ed Lachman

An exceptionally diverse collection of films were nominated in the main competition, though in the end the winning cinematogra-phers were Giora Bejach (Golden Frog award for LEBANON), Krzysztof Ptak (Silver Frog award for THE DARK HOUSE) and Marcin Koszałka (Bronze Frog award for REVERSE).

The latest ARRI products and developments were on display at the ARRI stand, which attracted a constant stream of visitors. Cine-matographers who stopped by to speak with ARRI employees included Michael Ballhaus BVK, ASC, John de Borman BSC, Dean Cundey ASC, Bruno Delbonnel AFC, Chris Doyle HKFC, David Odd BSC, Miroslav Ondrícek ACK, ASC, Roberto Schaefer ASC, Dante Spinotti AIC, ASC and Vittorio Storaro AIC, ASC.

An ALEXA demo model and the ALEV III sensor demonstrator were the focus of

Staff from a multitude of ARRI companies travelled to Łódz in Poland

for the 17 th Plus Camerimage International Film Festival of the

Art of Cinematography in November 2009. The festival, which ARRI

has been proud to sponsor for several years, attracts manufacturers

and service providers as well as both established and aspiring

filmmakers from all over the world.

interest on the stand. Feedback from visitors was extremely positive and it is clear that the industry anxiously awaits the launch of the ALEXA digital motion picture camera system. On seeing pictures shot with the new sensor, Roberto Schaefer commented that “the image was startling…a beautiful moody, accurate image: super sharp, inky blacks with great detail. I also was able to hold the full size and weight, non-functional mock-up of the EVF version. So far it looks to be a top competitor in the arena.” In addition, ARRI LED lights on the stand gen-erated good interest, as did the Professional Camera Accessories and the ARRIFLEX 416.

ARRI hosted a number of extremely successful events, including presentations covering the forthcoming ALEXA range, ARRI Relativity postproduction software and ARRIRAW. Oliver Stapleton BSC presented an excep-tionally well attended lighting workshop

about ‘Poor Man’s Process’, a traditional technique designed to achieve believable in-car sequences without the expense of location work, CGI, greenscreens or even back projection. The following day, Don McAlpine ACS, ASC shared some of the skills and experience acquired over his illustrious career at another lighting work-shop.

As ever, ARRI wound up its presence at Camerimage by hosting an invitation-only dinner, which once again was a truly memorable event. The 192 attendees included many top cinematographers and practically every award nominee was present to collect their nomination plaque.Mark Hope-Jones

6 5Wo r l d w i d e

mediaFilmServicesatmediatechAfricaFair

(f.l.t.r.) Allan Fyfe,Lee Romney, Jannie van Wyk

The event took place from 23-25 July 2009 at the Coca-Cola Dome in Northgate, Johannes-burg. Almost six thousand people attended the show, with the main areas of interest for visitors including broadcast, film and produc-tion, sound, lighting, staging, rigging, com-puter music and production tools.

In anticipation of the 2010 FIFA World Cup, which South Africa is hosting this summer, the fair opted for a general soccer theme. Media Film Service rose to the occasion by covering its stand in mini-soccer balls; this not only drew considerable attention but also helped Media garner a Gold Stand

Media Film Service, the leading film equipment rental company in South

Africa, took part last year in South Africa's only all-inclusive broadcast, AV,

media, film and entertainment fair: Mediatech Africa.

Award! Reflecting ARRI’s ongoing commit-ment to international service and support, Media’s stand was a perfect platform for showcasing how the latest cutting edge ARRI technology can benefit filmmakers.

Media Film Service and ARRI agent Movie Mart have exhibited at Mediatech previously, but their presence has always been relatively restricted due to budget constraints. The 2009 Mediatech show represented a step up from what has been done in the past and provided a perfect opportunity to blow visitors away with new technologies in true ARRI fashion. It is evident that Mediatech

Africa is an invaluable opportunity to meet and connect with key players in the industry, as well as demonstrate equipment.

ARRI specialists Lee Romney and Allan Fyfe aroused much excitement with a demon-stration of the new portable LED lighting range and the new Master Macro 100 lens. Another product that particularly captivated the attention of broadcasters and sports enthusiasts was the ARRI Hi-Motion digital camera. The ARRIFLEX D-21 also generated significant interest from visitors, with Gideon Furst of Media Film Service on hand to share his vast HD knowledge and experience.

The Mediatech exhibition is primarily focused on the African film and broadcast industries, and the brilliant attendance rate ensures that South African companies can make connections with prospective Northern African clients whom they would otherwise struggle to contact. In light of the forthcoming World Cup, there is unprecedented interest in South Africa and Mediatech 2009 saw broadcasters and filmmakers from through-out Africa attending the show to network with one another and view the latest tech-nological innovations.Tracy van Wyk

6 6 Wo r l d w i d e

Antonio Cazzaniga and Mohamed Ashoub

(f.l.t.r.) Minister Anas Al-Fiqqi, Mohamed Ashoub, Antonio Cazzaniga

Dr. Martin Prillmann, Adel Adeeb, Franz Kraus (f.l.t.r.)

CairoArabmediaFestival

ABoldCollaborationBiggestandmostmodernstudiointhemiddleEasttobebuilt

This festival is among the most important exhibitions to take place in the Arab countries. Organized by ERTU (the Egyptian Radio & TV Union) under the auspices of Mr. Anas Al-Fiqqi, Minister of Information, the 2009 event was held in Cairo's Media Production City between November 11th and 15th.

Minister Anas Al-Fiqqi officially opened the trade show at the booth occupied by ARRI, where the company was represented by local distributor New Vision and its CEO Mohamed Ashoub. Delegates from 18 countries and all fields of the industry, ranging from producers and creatives to distributers, and executives, attended the exhibition. The rapid growth of the Egyptian media industry was best reflect-ed in the enthusiastic response to top-of-the-line products such as the ARRIFLEX D-21.

During the exhibition, Antonio Cazzaniga presented the ARRI Italia Excellence Award

to Mohamed Ashoub, CEO of New Vision and ARRI representative for camera and light-ing, for his outstanding sales performance.

“It is an interesting and rewarding task to serve the Egyptian industry during this time of growth,” says Ashoub. “In a period of financial difficulties, product quality and long lasting investments are essential to my customers. I am proud that the D-21 has already been sold in Egypt and that it will be soon followed by other sales. These efforts took us not only to commercially good results, but also paved the way to the recently signed agreement between ARRI and the Good News Group, for which I have worked long and hard. The decision to create the biggest and most advanced production center in Egypt impacts the entire Arab world, and we should not forget the skill and the strong mission of DoPs and producers to follow an innovative and courageous way in cinema.”Antonio Cazzaniga

The Good News Group is the leader in the Egyp-tian media industry. Thanks to the efforts of its CEO Adel Adeeb and strong cooperation with Antonio Cazzaniga from ARRI Italia, which is responsible for the Egyptian camera market, an agreement was signed to establish the big-gest state-of-the-art film studios in the Middle East. This exciting announcement was made during a crowded press conference held on August 31st at GN's Grand Hyatt Hotel movie theater in Cairo. At the table with Adel Adeeb were Franz Kraus and Dr. Martin Prillmann, representing the ARRI Group of companies; Mohamed Ashoub, ARRI’s agent in Egypt and Antonio Cazzaniga, who managed the pre-phase of this agreement.

Preparations are now underway to build an initial 14 studios. They will be equipped with the latest technology available for filming - cameras and lighting, DI, colour grading and a lab for printing. In addition, a large

number of set decorations will be built. The actual construction is scheduled to begin in spring 2010 in the Sixth of October City, and will last for the next three years. The facilities will be used for Good News films, while also providing the most sophisticated base for local and foreign productions.

“The studios are going to give work to 2,000 young Egyptian technicians, who will be trained by the ARRI team,” says Adel Adeeb.

“They will also be the first in the Middle East to host the technology for an entirely digital filmmaking solution. I want our studios to provide better special effects, more space to be creative and technology that will save you time. This is the added value that we will be providing to the market.”

Adeeb’s cost savings already received a boost earlier this year with the government’s decision to exempt filming equipment from

customs duties to ensure that international and domestic filmmakers are able to use the latest in technology.

The signed memorandum with ARRI is seen as the first milestone of a strong and deep relationship. By seeking the advice and support of ARRI, the Good News Group guarantees that the most advanced and future-proof systems, workflows and equip-ment will be put in place.

Egypt already reached a first peak as an international shooting location due to its scenery and studios during the mid 70s, when it was nicknamed the ‘Hollywood of the Middle East’. Today, the Egyptian film industry is rapidly growing again and sales of ARRIFLEX D-21 cameras and the ARRISCAN film scan-ner are clear signals of an uncompromising, high-end approach.Antonio Cazzaniga

6 7Wo r l d w i d e

NEW HORIZONSWhy have the camera and Digital Inter­mediate Systems (DIS) Product Groups been combined into a single Business Unit?

Stephan Schenk: We feel that image capture and postproduction are becoming increasingly connected. The cameraman’s decisions now have a big impact on the best route through post, so our strategy on the camera side must take account of that. In today’s industry post houses are thinking about buying their own camera equipment and rental companies are thinking about what postproduction services they can offer. With all that going on, it’s important that the camera sales team is sensitive to DI needs and the DIS sales team sensitive to camera needs. The simple answer is that film and television production workflows are changing, so we can best serve the industry by echoing those changes internally.

What motivated the incorporation of sales operations into the product business units?

Stephan Schenk: Walter Trauninger and I head the Camera and DIS Business Unit, and we share the same goal: respond­ing to customer needs as swiftly as possible. We have amalgamated sales into the Busi­ness Unit in order to streamline operations

With technology advancing

and the industry evolving faster

than ever before, ARRI has been

reorganising its internal structure

in order to meet today’s

challenges and provide the best

possible service to customers.

Stephan Schenk, ARRI’s

General Manager of Camera and

Digital Intermediate Systems,

discusses the structural changes and

the positive benefits they will bring.

and encourage teamwork with the technical departments. Product management and sales are now under a common leadership, which leads to synergies and makes de­tailed knowledge more directly available to customers while bringing first­hand cus­tomer feedback into R&D and production.

This collaborative approach has already proved very beneficial and everybody now feels part of the team. It benefits cus­tomers, but also motivates staff by creating a vibrant and positive atmosphere; this is an exciting time for the industry so it should be an exciting time to be working at ARRI, because we are one of the companies that are shaping the future.

Has the new ALEXA camera prompted any structural changes?

Stephan Schenk: While the ALEXA project continues a long tradition at ARRI of developing groundbreaking products, many of the specific technologies involved are so innovative and new that we must adjust ourselves around them in order to take fullest advantage of their potential. We have, for example, set up a group called the Digital Workflow Group, which brings together all the experts from various divisions within ARRI. The task of this team

Your New Contacts(in alphabetical order)

Natasza ChroscickiConsultantnchroscicki@mac.com

Markus FreesDirector Sales DIS, EMEAmfrees@arri.de

David GreenSales Manager DIS, EMEAdgreen@arri.de

Sheila Hauer­HeschCustomer & Sales Supportshauer­hesch@arri.de

6 8 Wo r l d w i d e

NEWHoRIZoNS Stephan Schenk

is to analyse the workflows of our customers, define a recommended workflow for our digital cameras and communicate that workflow internally and to our customers.

Because of the speed at which digital technology is moving forward we have also backed up Marc Shipman-Mueller – our product manager for cameras – by hiring Hendrik Voss from Band Pro. He brings additional expertise in digital acquisition, 3D and lenses, so he will be a product manager for specific products in those areas.

Have other new people been brought in?

Stephan Schenk: One of the great things about both the ALEXA project and the structural reorganisation is that we are attracting real talent to the company. We have instigated a targeted recruitment drive in order to increase both technical and regional expertise. Markus Frees joined us in September 2009 from Da Vinci Systems; he’s heading up a sales team for DIS. In December we brought in David Green, a 19-year Cintel veteran who had also been at Da Vinci. Recently we welcomed back Matthias Klein, who has rejoined ARRI to oversee regions in Western and Eastern Europe.

In terms of regional expertise, we announced at Micro Salon in France that Natasza Chroscicki, who heads Image Factory, is now our official contact person for the French market. We also have a new French-born sales manager in Munich - Johan Meunier - who will look after the Mediterranean region and act as a contact for ARRI Italy. This drive to install represen-tatives with specific regional knowledge is an ongoing one and we expect further appointments in the near future.

Will adjustments to the sales structure affect sales support?

Stephan Schenk: We are expanding our customer & sales support capacity and have also made new appointments in this area because we are seeking to improve the links between our customers, our sales managers and our internal ship-ping and accounting departments. Sheila Hauer-Hesch and Anja Leibensberger re-cently joined our sales support team, both of whom have considerable experience working in customer support at prestigious companies.

In the UK we have directly connected the ARRI sales staff to the sales operation in Munich, which will improve sales support

by increasing the expertise available to customers. The sales team in the UK remains the same, but by centralising stock we will make the ordering process more efficient and improve the communi-cation chain.

Have there been other changes with regards to ARRI’s daughter companies around the world?

Stephan Schenk: We have already started working much more closely with our subsidiaries in Asia and the Americas to ensure that the needs of our customers all over the world are taken into account when we define products and services.

So that could bring benefits to future products as well as current sales customers?

Stephan Schenk: Like all of these changes it’s a positive move, designed to facilitate our overriding goal of bringing the best products to market and providing filmmakers with as much creative freedom as possible.

Mark Hope-Jones

Hendrik VossProduct Manager hvoss@arri.de

Matthias KleinSales Manager Camera, EMEAmklein@arri.de

Johan MeunierSales Manager Camera, EMEAjmeunier@arri.de

Sheila Hauer-HeschCustomer & Sales Supportshhesch@arri.de

Anja LeibensbergerCustomer & Sales Supportaleibensberger@arri.de

6 9Wo r l d w i d e

ThomasPopp–tolivetheARRIway

In 1955, Thomas Popp began his career to become a precision mechanic and success-fully finished his vocational training three and a half years later - not only as the best of his age group and the best graduate of ARRI – but also as the best precision mechanic in all of Munich. For his achievement, Thomas Popp was awarded not only by the Chamber of Commerce but by ARRI company founder August Arnold personally – an event that could be compared to receiving knighthood. In 1966, he acquired an additional degree as a state approved technician at the Oscar-von-Miller Polytechnikum, followed by another degree as master of business administration in 1973.

It is a story about how fast fifty-five years of working

experience can fly by – yet, it is no retrospective, but

rather a close-up of someone who does not really fit

into the scheme of “retirement”…

In the sixties and seventies, working as a design engineer, Thomas Popp was primarily involved in the development of the very successful ARRITECHNO 35, the ARRIFLEX 35 BL and the ARRIFLEX 35 III. According to the requirements from Jost Vacano, he de-veloped independently, based on the 35 IIC-X-Ray, the 35 IIIC. Sophisticated image challenges demanded a very mobile, versa-tile camera: thus the worldwide renowned film classic DAS BOOT was realized, which has set significant standards to date.

“In practical use – For practical use“ was ARRI’s motto right from the beginning: “We never wanted to hide behind the drawing

board,“ comments Thomas Popp. This also included unfamiliar tasks: from September to December 1985 and in cooperation with architect Erich Durnes, Thomas Popp reno-vated the ARRI cinema in record time – on schedule to host the Bambi Film Award Celebration.

A new era began: in addition to high-quality mechanical engineering, more and more electronics entered the camera construction and assembly. As the responsible project manager, Thomas Popp concentrated on the ARRIFLEX 535. In 1989 he took over the product management for the ARRI medical technology; a product area that incorporated

5

5 2006 at Camerimage6 2002 with

Jean Luis Deriaz7 2010 at Marburger

Kamerapreis 8 Jost Vacano with the

ARRIFLEX 35 III

76

1

7 0 Wo r l d w i d e

tolivetheARRIwayboth analogue and digital technologies. Thomas Popp does not consider these two as opposites – whether with regard to the tech-nical approach or to his gradual changeover from the engineering to the sales department. For him, it was a logical consequence of his business training. The desire, “to see beyond the end of your own nose,” as one says in German, is perhaps his most important motivation until today.

Under his leading management, a consider-able variety of new developments for the clinical sector were realized in the years to follow: the ARRIPRO 35 which later turned into the LOCPRO 35, with appropriate mobile ARRILAB, the QANSAD System and the ARRI OSCAR. Products which almost seamlessly and smoothly continued the outstanding success of the ARRITECHNO X-ray camera. For a company at home in the film business, this was a mostly uncharted territory, how-ever, with almost 13,000 ARRITECHNO cameras sold, a considerable sales turnover was achieved.

Long before in the seventies, Thomas Popp had laid down another milestone for this business sector, when he developed and marketed, in collaboration with Philips: the first so-called DCI system for archiving in medical technology – DCI for Digital Cine Imaging - a very early forerunner of data transfer from electronic images into the long-term storage media film.

He was entrusted with this topic when it came to continuing the improvement of image processing in the medical sector, in cooper-ation with diverse heart research centres as well as OEMs. In 1999 ,Thomas Popp, on behalf of ARRI, is awarded with the “Supplier Quality Award“ by Philips-Best.

In the new millennium, completely new markets came into focus – this time, not only from the technical, but even more from the geographical point of view: from 2001 on Thomas Popp intensified his ambitious work and focused on Eastern European and Central Asian states which had previously only been accessible to a certain limit for political and economic reasons. This task required large scale restructuring and a person who has always regarded special tasks as challenging opportunities, not as barriers. ARRI has become a rocksteady partner for the increasing cinematographic boom in these countries. Therefore, it was not surprising that a TV team for the German network “Deutsche Welle“ accompanied Thomas Popp during his trip from Moscow to Kiew to report about the newly awakening media market.

In 2002, Thomas Popp took over the manage-ment for the camera and digital sector on a directorial level – the worldwide network of agencies was expanded, for example in Dubai, Russia, Kasachstan, Asia, the Arabian World… the rapidly increasing globalization points the way for business development and brings with it an increased demand not only for technology, but also long years of experience and a very personal commitment.

In 2004, Thomas Popp was appointed Sales Director and together with Sigrid Müller, he also took on the position of Managing Director of the newly founded ARRI Lighting Solutions in Berlin, which, aside from other projects, plan and provide equipment to many studios in the emerging markets.

“To act as a team player today is more im-portant than ever,“ is his credo and his re-cruitment criteria is very individual – back

in 1966, he already founded the FC ARRI and has trained the company football team for years. Aside from all the technology, Thomas Popp s dedicated ambition mainly focuses on seeing the human side, making partners and personal contacts. A good product always remains part of a complete unit. It is this very attitude that marks his character and for which he was distinguished in 2008 at Camerimage. Thomas Popp was the first person to receive the Golden Frog Award as a Festival Friend; since its foun-dation, he had supported the Festival. Camerimage`s increasing success has made it an important meeting place for renowned camera creatives worldwide. In 2010, Thomas Popp was admitted to the BVK as extraordinary member – a special honour granted only once before to an ARRI member. Furthermore, since 2007, he has been entrusted with activities in the board of managers “Fördergemeinschaft Filmtechnik Bayern – FGF e.V.”.

All this does not sound like retirement, even if, after a working period of fifty five years, he would have earned one. However, a true member of the ARRI family, as is Thomas Popp s very personal definition, “does not compromise: You have to live and breathe ARRI. Experience is not something you can pick up and hand over like a camera or a light. A slow, calm and supportive develop-ment towards to retirement is advantageous for customers, too. This means I will still be available as a consultant for some time.” That is his concept for the time to come.

2

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1 + 2 1973 Design Engineer Thomas Popp3 1978 with Erich Kästner and Otto Blaschek

4 1998 with Bob Arnold and Max Welz

3

71Wo r l d w i d e

Volker’s career at ARRI actually began even earlier, with an apprenticeship at Arnold & Richter in Munich. It was not for a love of movies or fine engineering, but because of the company’s close location to his home that guided his decision as a 16 year old. This choice would change the company forever.

After this three-and-a-half year apprentice-ship and another year of specialized service training, Volker decided to leave Arnold & Richter for another industry in Mexico. But when Paul Klingenstein needed technical support for his expanding business as distributor for Arriflex equipment in the United States he contacted Volker and soon, the young man headed to New York to start his new job as camera service technician. It goes to the credit of Paul Kingenstein in recognizing and awakening Volker’s potential to turn this job into a career.

Volker was promoted to Service Manager and, in 1972 became Vice President, Mar-keting for ARRI’s expanding product line. Although ARRI cameras and equipment had always been very popular with European

filmmakers, Hollywood, with its different crew structure and production approach had not embraced this equipment for other than second unit, handheld and documentary work. Volker realized that in order for ARRI cameras to become a standard production tool, the equipment needed to adapt to the specific demands of American crews.

Volker also recognized that ARRI needed to establish a stronger product identity. Having engaged a talented art director, he began to co-write the copy for ARRI’s advertising, which he continued to do throughout his career.

He worked closely with cinematographers and crew who put ARRI equipment through the paces. Spending many a night on set, occasionally even loading magazines, he listened to their needs, knowing that this feedback would result in the improvement and refinement of ARRI’s equipment. Many of these artists realized Volker was an ally to their craft and in 1974, he became the youngest associated member of the American Society of Cinematographers.

VolkerBahnemann:TheSteadyHandBehindARRIInc.

After 48 years with ARRI, Volker Bahnemann, President and CEO of ARRI Inc.

and ARRI/CSC is stepping down, ending a prolific career that helped shape

this imaging technology company into the largest and most reputable motion

picture equipment manufacturer in the world. Volker has been with ARRI Inc.

since its inception and in his 32 years as CEO, he has not only contributed

and witnessed the organization’s growth but also the production industry’s

technical and artistic evolution.

Volker Bahnemann and Jon Fauer

Volker Bahnemann on CINEMATOGRAPHER STYLE

7 2 Wo r l d w i d e

That same year Volker was named President of Arriflex Company, then a division of Berkey Photo Inc, a large photographic product marketing company. Four years later, with the support of Arnold & Richter, Volker separated Arriflex Company from Berkey Photo Inc. and formed the new Arriflex Corporation as the very first subsidiary of the German company. Operating in the U.S. – the largest and most important film market in the world – Volker, had very significant input and influence in new product development, solidifying ARRI’s position during a period of rapid techno-logical change in the industry.

From this vantage point he was able to fore-see and initiate many important develop-ments and refinement of significant film-

making technologies such as the ARRIFLEX 35III, ARRIFLEX 765, ARRIFLEX 435, IVS and ARRIFLEX 235 cameras as well as ARRI/ZEISS High Speed and Variable Prime lenses. These products had groundbreaking impact on the way films are shot and helped evolve story-telling in ways that were previously not possible. All of these innovations have been recognized by the Academy of Motion Pictures Arts and Sciences with Scientific and Technical Awards.

But while ARRI was well known and respected for its camera products, it had no presence at all in motion picture lighting. Recognizing the potential of HMI technology for film lighting (developed by Osram and Dr. August Arnold), Volker started an uphill battle against a well-established industry-wide equipment base. Recognizing his lack of lighting market experience, he hired Charlie Davidson, a seasoned lighting salesman and together they built a great team. The rest is history.

Attracting the right people, giving them the support and confidence to reach the highest level of performance they are capable of has

been the company wide management style implanted by Volker. This is also expressed by his company motto: Quality, integrity, stability.

In 1986, under Volker’s direction, ARRI acquired Camera Service Center in New York where he also served as President and CEO. Since that time CSC has grown to become one of the largest, most respected full-service rental houses with operations in New York and Ft. Lauderdale. In 2002, an opportunity arose to acquire Illumination Dynamics (ID), a small lighting rental company in Los Angeles which, together with a Charlotte, North Carolina facility has since expanded greatly to serve movie, sport and special events productions nation wide.

Volker became a member of the Academy of Motion Picture Arts and Sciences in 1977 and served on the Scientific and Technical committee for many years. In 1997 he was awarded the prestigious John Bonner Medal of Commendation ”in appreciation for out-standing service and dedication in uphold-ing the high standards of the Academy of Motion Picture Arts and Sciences.”

In 2002, the Society of Motion Picture and Television Engineers (SMPTE) presented him with the Fuji Gold Medal Award “for out-standing achievement in the motion imaging industry.” He holds several US patents in the field of contrast control and color balance for variable output lights for photography.

Under his direction, ARRI quietly contributed much to the education and advancement of aspiring cinematographers. Producing several instructional films and books, contributing a large collection of books on film technology to the ASC library and supporting AFI graduate projects, are just some examples.

In 2003, Volker together with his long time friend Jon Fauer developed an idea for a film about the art and technology of filmmaking. He co-wrote and produced, with Jon Fauer shooting and directing, the project titled CINEMATOGRAPHER STYLE, which eventually captured over 100 interviews with cine-matographers from all over the world. The film screened internationally and it continues to educate and inspire audiences about the power of filmmaking. In describing the project, Volker stated, “The subject of the film is the art and craft of cinematography. It is about how everything, from life experiences to technology, influences and shapes an individual’s visual style. Because of the powerful impact that the visual style of a movie can have, this documentary may

offer contemporaries valuable insights into the dramatic choices cinematographers make.”

Developing and providing the right tools for these talented storytellers, has always been Volker’s objective as he helped guide ARRI into the 21st century. Technology continues to evolve, and with it is ARRI - always looking ahead but mindful of its legacy and experience in providing the best equipment for filmmakers.

Quality, integrity, stability – it can’t be expressed any better.

Beyond his role at the helm of ARRI Inc., Volker has been an active pilot since 1968, and holds a commercial pilot’s license with Instrument, Multi-Engine and Flight Instructor ratings. This interest and some continuing involvement in the industry he lived and loves will provide a fulfilling and fitting transition from his dynamic and successful career at ARRI.An Tran

....with Otto Blaschek during the Oscar Ceremony 1989

.... with Fred Schuler (left) ....with Charlton Heston

7 3Wo r l d w i d e

Extensive research in all related fields of the industry is one of the finest tasks when designing new products. For almost sixteen years Hans Kiening is now active in ground-breaking research at ARRI. One of his tasks was to take a deeper look into the aspects of image resolution, and how this transfers throughout the entire production chain – from the acquisition with different systems

and formats through the digital realm to the final projection in cinemas. In 2007 he started publishing his results, cleaning up with some of the myths involved, and de-veloping valid standards for comparison pur-poses. His series of articles was continued until 2009, when the Society of Motion Picture and Television Engineers honored him with the prestigious SMPTE Journal Award.

4k+PublicationshonoredbySmPTEDr.HanskieningreceivesJournalAward

Dr. Hans Kiening (2nd row, 3rd from left)with SMPTE Award winners in 2009

Established at the beginning of this year un-der the responsibility of Thilo Gottschling, the new restoration and archiving department is targeting the emerging market of moving image preservation using both photochemical and digital techniques.

Based on the whole range of the ARRISCAN archive options and the market-leading soft-

ware tools ARRI Film & TV Services has been handling digital restoration projects for years, increased demand has led to the setting up of this dedicated department. Recently the wet gate scanning and digital restoration of 70 minutes of a hundred year old footage for a documentary about novelist Leo Tolstoy started.

NewArchiveandRestorationDepartmentatARRIFilm&TVServices

Professor Slansky (right) and Philip Vischer (ARRI)

munichFilmAcademyinvestsinARRICAmAn ARR IC A m fo r HFF

“We continue to regard 35mm and 16mm film as an essential, indispensable format for training and educating potential cam-era creatives, directors and producers. For this reason we have invested in an ARRICAM. Moreover, we are going to install a full digital film processing pipeline for 16mm/35mm in 2K with an ARRISCAN in our new building, which we plan to move into 2011.

Also, HFF (Munich Film Academy) will, of course, offer different digital recording sys-tems to provide students with the full and complete spectrum of recording media. Pro-fessor Michael Ballhaus, designated head of the new camera VII sector, already had the opportunity to use the ARRICAM during this year s camera seminar.”

Professor Peter C. Slansky, HFF (Hochschule für Fernsehen und Film), Munich

74 Wo r l d w i d e

ARR

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Title Production Company Director DoP Gaffer Best Boy

SEX AND THE CITY 2 Avery Pix, inc. Michael Patrick King John Thomas John Velez Ryan Rodriguez

GULLIVER TRAVEL'S Fox UK productions Rob Letterman David Tattersall BSC Eddie Knight Stewart Monteith

LAW AND ORDER: UK (SERIES 2) Kudos Film and Television James Strong David Luther Mark Clayton Benny Harper

ASHES TO ASHES (SERIES 3) Kudos Film and Television David Drury Bolazs Bolygo Chris Bird Tony Flesher

LUTHER BBC Stefan Schwartz Julian Court Brandon Evans Colin Powton

BEL AMI Bel Ami Productions Limited Declan Donnellan / Hagen Bogdanski John Colley Vince Madden / Andy Cole Nick Omerod

KILLING BONO Cinema Three SPV 3 Ltd. Nick Hamm Kieran McGuigan Brian Livingstone Carlo McDonnell

WHITE CHAPEL 2 Carnival Film & Television David Evans David Odd Alex Scott Rob Osbourne

YOUNG, UNEMPLOYED AND LAZY Big Talk Productions Richard Laxton Richard Mott Shawn White Tony Hannington

ATTACK OF THE BLOCK Big Talk Productions Joe Cornish Tom Townend Julian White Matt Wilson

ARR

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Title Production Company DP / Lighting Director Gaffer Equipment Supplied

WHY DID I GET MARRIED TOO A O Productions I, Inc. (Tyler Perry) Toyomichi Kurita ARRICAM ST & LT 3-Perforation ARRI CSC FL

BLACK SWAN Lake of Tears Matthew Libatique, ASC ARRIFLEX 416, 16SR3 HS (S) ARRI CSC NJ

THE CONVINCER Cinemechanics, Inc. Dick Pope, BSC ARRICAM ST & LT, (S, 3-Perforation) ARRI CSC NJ

LIGHTS OUT TMV Productions Richard Rutkowski Phil Testa Lighting & Grip ARRI CSC NJ

CRITICS CHOICE AWARDS Bob Bain Productions Tom Kenny Conventional & Automated Lighting Illumination Dynamics

THE BACHELOR 14 AND Syndicated Oscar Dominguez Conventional & Automated Lighting Illumination Dynamics

WARREN THE APE MTV Peter Smokler John Tanzer Lighting Illumination Dynamics

MILLER LITE COMMERCIAL H.S.I. Irv Blitz Miles Watanabe Lighting & Grip Illumination Dynamics

GOSSIP GIRL Gossip Girl WBTV Ron Fortunato, ASC Tom Percarpio Lighting & Grip ARRI CSC NJ

MERCY Open For Business Frank Prinzi, ASC Gene Engels Lighting & Grip ARRI CSC NJ

ARR

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Title Production Company Director DoP Equipment

ZIMMER 205 Neue Schönhauser Film Rainer Matsutani Jan Fehse ARRICAM ST/LT, 2-Perforation, Master Primes, Lighting, Grip

UNKNOWN WHITE MALE Zwölfte Babelsberg Film Jaume Collet-Serra Flavio Martinez Labiano ARRICAM ST/LT, 3-Perforation, ARRIFLEX 235, Lighting, Grip

DAS BLAUE VOM HIMMEL d.i.e. film Hans Steinbichler Bella Halben ARRICAM LT, 3-Perforation, Master Primes, Lighting, Grip

THE SOLITUDE OF PRIME NUMBERS Bavaria Pictures Saverio Costanzo Fabio Cianchetti ARRICAM ST/LT, 2-Perforation, ARRIFLEX 235

THE APPARITION Fünfzehnte Babelsberg Film Todd Lincoln Daniel Pearl Lighting, Grip

EMILIE RICHARDS Polyphon International Michael Keusch Stefan Spreer ARRIFLEX 416, Ultra Primes

BLOODRAYNE 3 Boll AG Uwe Boll Mathias Neumann ARRICAM LT, 3-Perforation, Master Primes, Lighting

DIE LIEBE KOMMT MIT DEM CHRISTKIND (AT) Mona Film Peter Sämann Claus Peter Hildenbrand ARRIFLEX 416, Ultra Primes

WIE MAN LEBEN SOLL DOR Film David Schalko Marcus Kanter ARRIFLEX D-21

ARR

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EDIA

Title Production Company Director DoP Equipment

WHITECHAPEL (SERIES 2) Carnival Film & Television David Evans David Odd BSC ARRIFLEX D-21

BOUQUET OF BARBED WIRE Mammoth Screen Ashley Pearce Mike Spragg ARRIFLEX D-21

THE EAGLE OF THE NINTH Belmont Productions Kevin Macdonald Anthony Dod Mantle BSC, DFF ARRICAM LT 3-Perforation, Grip

THE NUBAN PROJECT Nuban Productions Gabriel Range Robbie Ryan ARRICAM ST, ARRICAM LT, ARRIFLEX 235 2-Perforation

AFRICA UNITED Film Africa Debs Gardner-Paterson Sean Bobbitt BSC ARRICAM LT 2-Perforation

KILLING BONO Cinema Three SPV 3 Nick Hamm Kieran McGuigan ARRICAM ST, ARRICAM LT, ARRIFLEX 235 2-Perforation

ALBATROSS CinemaNX Niall MacCormick Jan Jonaeus ARRIFLEX D-21, Ultra Primes

LUTHER BBC Various Julian Court / Tim Fleming ARRIFLEX D-21

LAW & ORDER: UK (SERIES 2) Kudos Film and Television Various David Luther ARRIFLEX D-21, Ultra Primes

ASHES TO ASHES (SERIES 3) Kudos Film and Television Various Adam Suschitzky / Simon Archer / Balazs Bolygo ARRIFLEX D-21, Grip

TAMARA DREWE Ruby Films Stephen Frears Ben Davis BSC ARRICAM ST & LT 3-Perforation, Grip

THE SPECIAL RELATIONSHIP Trilogy Films Richard Loncraine Barry Ackroyd BSC ARRICAM LT 3-Perforation

75Wo r l d w i d e

Iden

t Nr.:

K5.

4402

5.DKey Contacts

Product SalesARRI Cine Technik Business Unit Camera & Digital Intermediate Systems Stephan Schenk +49 - (0) 89 - 38 09 - 1044 sschenk@arri.de

ARRI Cine Technik Business Unit Lighting ARRI Lighting Solutions Sigrid Müller +49 - (0) 30 - 678 23 30 smueller@arri.de

ARRI Italia, Antonio Cazzaniga +39 - 02 - 26 22 71 75 acazzaniga@arri.it

ARRI Inc., USA, Glenn Kennel +1 - 818 - 841 - 7070 gkennel@arri.com

ARRI Canada, Sebastien Laffoux +1 - 4 16 - 2 55 33 35 seb@arrican.com

ARRI ASIA Ltd., Paul Ivan +852 2571 6288 pivan@arriasia.hk

ARRI Australia, Stefan Sedlmeier + 61 (2) 9855 4300 ssedlmeier@arri.com.au

Rentals ARRI Rental Deutschland Thomas Loher +49 - (0) 89 - 38 09 - 1440 tloher@arri.de

ARRI Media, Philip Cooper +44 - (0) 1 89 54 57 100 pcooper@arrimedia.com

ARRI Lighting Rental, Tommy Moran +44 - (0) 1 89 54 57 200 tmoran@arrirental.com

ARRI CSC (NY) Simon Broad, Hardwrick Johnson +1 - 212 - 757 - 0906 sbroad@cameraservice.comhjohnson@cameraservice.com

ARRI CSC (FL), Ed Stamm + 1 - 954 - 322 - 4545 estamm@cameraservice.com

Illumination Dynamics (LA) Carly Barber, Maria Carpenter + 1 - 818 - 686 - 6400 carly@illuminationdynamics.com maria@illuminationdynamics.com

Illumination Dynamics (NC), Jeff Pentek +1 - 704 - 679 - 9400 jeff@illuminationdynamics.com

Film & TV Services Key Account: Angela Reedwisch +49 - (0) 89 - 38 09 - 1574 areedwisch@arri.de

German Sales: Walter Brus +49 - (0) 89 - 38 09 - 1772 wbrus@arri.de

Lab: Martin Schwertführer +49 - (0) 89 - 38 09 - 2091 mschwertfuehrer@arri.de

Commercial: Philipp Bartel +49 - (0) 89 - 38 09 - 1514 pbartel@arri.de

Digital Intermediate: Harald Schernthaner +49 - (0)89 - 3809 - 2002 hschernthaner@arri.de

VFX: Dominik Trimborn +49 - (0)89 - 3809 - 2073 dtrimborn@arri.de

Sound: Bernd Clauss +49 - (0) 89 - 38 09 - 1810 bclauss@arri.de

www.arri.com

ARNOLD & RICHTER CINE TECHNIK GmbH & Co. Betriebs KG Türkenstr. 89 · D-80799 Munich phone +49 - (0) 89 - 3809 - 0 fax +49 - (0) 89 - 3809 - 1245

Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 Munich Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita MüllerWith additional text by: David Bermbach, Antonio Cazzaniga, Madeleine Davis, Jessica Choy, Hans Fischer, Bob Fisher, Markus Frees, Lorenz Gerold, Michaela Giglmeier, Pearl Guo, Catherine Hjelm, Mark Hope-Jones, Klaus Jacumet, Dr. Markus Ludwig, Simon Pott, Marc Shipman-Mueller, Henning Rädlein, Philip Schneider, Stefan Sedlmeier, Elena Tamaccaro, An Tran, Adrian Widera, Werner Wolf, Norbert Wunderlich, Tracy van WykArtwork: Jochen Thieser, Uwe Heilig, Markus KronbergerPrinted 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 2010

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

2010

April 12 – 15 NAB Las Vegas

April 27 – 29 CPS Moscow

June 03 – 06 CineGear Los Angeles

June 15 – 18 Broadcast Asia Singapore

June 15 – 18 Koba Seoul

June 22 – 24 Testing Expo Stuttgart

August 22 – 25 BIRTV Beijing

September 10 – 14 IBC Amsterdam

September 18 – 20 cinec Munich

October 19 – 21 Satis Paris

October 21 – 23 Broadcast India Mumbai

October 22 – 24 LDI Las Vegas