vision arri 12-2005

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Interview with DoP Andrew Lesnie, ACS The Robber Hotzenplotz A German fairy tale Digital Intermediate The new Lustre Grading Suite ARRIMAX Has Landed The most powerful HMI on the planet Bleak House BBC uses HD for period drama KING KONG Vision ARRI The Biannual International Magazine from the ARRI RENTAL & POST PRODUCTION ENTERPRISES 12/05 ISSUE 1 It’s monster!

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  • Interview with DoPAndrew Lesnie, ACS

    The RobberHotzenplotzA German fairy tale

    Digital IntermediateThe new Lustre Grading Suite

    ARRIMAX Has LandedThe most powerful HMI on the planet

    Bleak House BBC uses HD for period drama

    KING

    KONG

    VisionARRIThe Biannual International Magazine from the ARRI RENTAL & POST PRODUCTION ENTERPRISES

    12/05 ISSUE 1

    Its monster!

  • AUSTRALIAARRI Australia, Sydney Cameras, DigitalRod Allan, Bill RossT +61 298 554 [email protected]@arri.com.au

    CZECH REPUBLICARRI Rental PragueLighting, GripArno SiebergerT +42 023 431 [email protected]

    GERMANYARRI Rental BerlinCameras, Lighting, GripFritz SammerT +49 303 468 [email protected] Rental CologneCamerasChristian HilgartT +49 221 170 [email protected]

    ARRI Rental MunichCameras, Digital, Lighting, GripThomas LoherT +49 893 809 [email protected]

    ARRI Film & TV Services, MunichFilm Lab, Digital IntermediateVisual Effects, Sound, Studio,Cinema

    Key Account Manager Angela ReedwischT +49 893 809 [email protected]

    Director National Sales Walter BrusT +49 893 809 [email protected]

    Head of ARRI Lab Josef ReidingerT +49 893 809 [email protected]

    Head of ARRI Digital Film Henning RadleinT +49 893 809 [email protected]

    Head of ARRI SoundThomas TillT +49 893 809 [email protected]

    LUXEMBOURGARRI Rental LuxembourgCamerasSteffen DitterT +352 2670 [email protected]

    UNITED KINGDOMARRI Lighting Rental, LondonLightingTommy MoranT +44 1895 457 [email protected] Focus, London Short term lighting hire for commercials & promosMartin Maund, George MartinT +44 1895 810 [email protected]@arrifocus.com

    ARRI Media, London Cameras, Digital, GripPhilip CooperT +44 1895 457 [email protected]

    ARRI Crew, London Diary ServiceKate CollierT +44 1895 [email protected]

    USAARRI CSC, New YorkCameras, Digital, Lighting, GripSimon Broad, Hardwrick JohnsonT +1 212 757 [email protected]@cameraservice.com

    ARRI CSC, Florida Cameras, Digital, Lighting, GripEd StammT +1 954 322 [email protected]

    Illumination Dynamics, LALightingCarly Barber, Maria CarpenterT +1 818 686 [email protected]@illuminationdynamics.com

    Illumination Dynamics, North Carolina, LightingJeff PentekT +1 704 679 [email protected]

    BULGARIABoyana Film Studios, SofiaCameras, Lighting, GripLazar LazarovT +359 2958 [email protected]

    CYPRUSSeahorse Films, Nicosia, PaphosCameras, Digital, Lighting, Grip, StudioAndros AchilleosT +357 2691 [email protected]

    CZECH REPUBLICDEBRA, PragueCamerasIvan JiranekT+42 022 056 [email protected]

    FRANCEBogard, Paris Cameras, Digital, GripDidier Bogard, Alain GrellierT +33 153 681 [email protected]@bogardsa.com

    GERMANYMaddels Camera GmbH,HamburgCameras, GripMatthias NeumannT +49 4066 [email protected]

    ICELANDPegasus Pictures, ReykjavikCameras, Lighting, GripElli CassataT +354 414 [email protected]

    IRELANDThe Production Depot,Co Wicklow Cameras, Lighting, GripJohn Leahey, Dave LeaheyT +353 1276 [email protected]@production-depot.com

    NEW ZEALANDCamera Tech, WellingtonCamerasPeter FlemingT +64 4562 [email protected]

    RUSSIAACT Film Facilities Agency, St. Petersburg Cameras, Lighting, GripSergei AstakhovT +7 812 110 [email protected]

    SOUTH AFRICAMedia Film Service, Cape Town, Johannesburg,Durban, NamibiaCameras, Digital, Lighting, Grip, StudioJannie Van WykT +27 215 113 [email protected]

    ARRI PARTNERS & ASSOCIATES

    The ARRI Rental Group and ARRI Film & TV Services canprovide you with a complete service that can see yourproject through from start to finish. An extensive network ofARRI rental companies, as well as ARRI rental partners andassociates, ensures the latest high quality equipment isavailable throughout the world. ARRI Film & TV Services

    in Germany provides a studio, film processing lab, digital intermediate services, visual effects and soundpost-production facilities. In short, the ARRI Rental Groupand ARRI Film & TV Services provides everything youneed for your production - you can even watch the endresult in our state-of-the-art ARRI Cinema in Munich.

    THE WORLD JUST GOT SMALLER

    ARRI SUBSIDIARIES

  • 4 ITS MONSTER!Director of Photography Andrew Lesnie, ACStalks about his experiences shooting King Kong

    8ARRIFLEX D-20, THE WORD SPREADSCatch up on the latest worldwide activities of the D-20

    11 ITS AUTOMATIC!Introduction to Illumination Dynamics moving light department

    12DI FROM START TO FINISHDigital Intermediate and the new Lustre Grading Suite at ARRI Film & TV Services

    14PERFUME: THE STORY OF A MURDERER1st Camera Assistant, Christian Almesbergerdiscusses working with the Master Primes onthe feature Perfume: The Story of a Murderer

    16BLEAK HOUSEHear from three key people behind the BBCs new period drama, Bleak House

    18MOMENTS IN TIMERetrospective of how the ARRIFLEX 35BL was used on the 1972 police corruption thriller Across 110th Street

    21ROBBER HOTZENPLOTZThe creation of a German fairy tale

    24ARRIMAX HAS LANDEDThe most powerful HMI on the planet

    26TURKISH DELIGHT!Turkish film production company takes advantage of ARRIs one-stop-shop

    28TAKE 1028DID YOU KNOW?29ON SET WITH THE MASTER PRIMES

    Director of Photography August Jakobssoncomments on the Master Primes

    30NEWS FROM AROUND THE WORLD34PRODUCT UPDATES36PRODUCTION UPDATE39FESTIVALS CALENDAR

    VISIONARRI

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    8

    21

    VisionARRI would like to thank the following contributors;Didier Bogard, Simon Broad, Kate Collier, John Gresch, Jochen Hhnel, Mark Hope-Jones,Thomas Loher, Sandra Pirchmoser, Angela Reedwisch, Jeremy Sassen, Prof. Jrgen Schopper,DD. Michael, Marc Shipman-Mueller, Michelle Smith, Olly Tellet, An Tran, Kate Walton,Franz Wieser, American Cinematographer, The British Film Institute Reading Library.

    CONTENTS

    Front Cover

    Still from King Kong kindly supplied by Weta Digital LTD./Universal Studios

    Welcome to the first edition of VisionARRIThe ARRI Rental Group and ARRI Film & TV Services havedesigned this magazine to share news and views with you fromproductions around the world. Through our continuing growth,we are creating a wider reach for ARRI products and facilities.We would like you to hear from technicians and production staffworking with our latest technology.

    The features and stories you are about to read will hopefullyprovide you with a picture of how and why our products areused, and the expertise and professional attitude shown by all of our facilities.

    Our network of services endeavour to provide you with peace ofmind, knowing that you will receive the same quality of equipment,service and support you expect from ARRI, wherever you may bein the world.

    Find our worldwide contact details opposite.

  • 4ITSMONSTER

    Academy Award-winning Cinematographer Andrew Lesnie, ACS first set off on a filmmakingadventure with Peter Jackson on The Lord of the Rings(LOTR) trilogy. Lesnies latest offering, King Kongupdates the classic film from 1933 for modern times.From creating the streets of Depression-era Manhattanto bringing the tragic primate to life, the productionutilized computer-generated effects from Weta Digitalwhile also employing miniature effects -- more thantwice the amount shot for all three LOTR films.Like with LOTR Lesnie chose ARRI cameras to capturethe exciting story of man and beast, checking out theentire package from ARRI Rental Germany with localtechnical support provided by Peter Fleming inWellington, New Zealand. Two ARRIFLEX 435ADVANCED cameras were employed along with two ARRICAM Lites, one ARRICAM Studio and oneARRIFLEX 235. For the digital intermediate (DI) andvisual effects work, the film was brought into thedigital realm through the ARRISCANNER. After theeffects and DI work were completed, the project was then recorded out to film via an ARRILASER. In this interview, Lesnie discusses his experienceworking on King Kong. The dramatic adventure filmstars Naomi Watts, Jack Black and Adrien Brody. A very interesting behind-the-scenes video productiondiary featuring Lesnie, Jackson and the King Kongcast and crew may be found at www.kongisking.net.

    Q: What was it about this particular scriptthat made you want to be involved as anartist? Was there a certain challenge thatdrew you to it?AL: I enjoy working with Peter Jackson, and any of hisprojects are always a challenge.

    Q: Can you talk a bit about your earlydiscussions with Peter Jackson regardingthe films overall look and feel? What wereyou going for? AL: When the project was first mentioned I thought,Great! We get to go to New York, Rarotonga andhave an ocean voyage! So I was quite surprisedwhen PJ told me the whole film would be done in theWellington metropolitan area! We did go toAuckland to use the 2,000 seat Civic Theatre as theinterior of the Kong Theatre and second unit took the

    real SS Venture out for a run up the coast, with anaerial unit run by David Nowell.

    Q: With so many effects in this film, whatkind of tests did you do in prep? What wereyou trying to find out?AL: I spent lots of prep getting a feel for the film withProduction Designer Grant Major, who had set up aconcept room, with the entire story runningchronologically around the walls. There wasconceptual art, period clippings, and a huge collageof visual references pertinent to the film.I also spent time with the conceptual artists and thepre-viz department, since so much of these films isdecided at that stage.The concept art was being created in PhotoShop, sowe could manipulate the colour palette and run thesein front of PJ.

    Q: Knowing that this film would go to adigital intermediate later, did you exposethe film differently than you would havewithout a DI?AL: Knowing that the project will finish as a DI doesntchange the intention to create as much of the finishedlook on camera negative as possible. I do tend toopen up a touch to capture as much data as possible.On set Im always concerned about maintaining somekind of momentum as far as the cast goes, so onebenefit of a DI means I can determine whether somelighting issues can be dealt with in post.

    Q: You wanted the lighting for this movie tofeel more organic in terms of integratingsmoothly with CG environments. What doyou mean by this?AL: This project would involve complex VFXenvironments, night city scapes, jungles, and set attimes like dusk, dawn and everything in between. If you want the characters to be standing in theshadow of a ravine, with the sun glancing down thefar wall, the live action component is going to be litmore flatly than the final shot is going to look. Orstaging a lengthy scene during a sunrise, with all theresultant changes in colour temperature and densitiesthat come with it. The jungles were particularlyinteractive. We were very ambitious.

    Dir

    ecto

    r of

    Photo

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    And

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    n K

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    Kong

  • 5VISIONARRI

    Q: Since King Kong is so huge in size, whatdid you need to think about in terms offraming and composition, especially whenhe is in a shot with a human?AL: We set up a lighting stand with a ball at thecorrect height as an eye line for the cast. That wouldalso give the Operators a heads-up as tocomposition. Our secret weapon was Andy Serkis,who played Kong on set. Wed put Andy on towers,scissor lifts or condors (boom-arms) at the correctheight which would also give the cast someone toperform against. Andy wore a mike which wasplugged into a PA system, so when he growled, we all felt it.Q: Can you talk about the role of Ants Farrell and how his responsibility forlighting continuity came about? What dutiesdid he have and how did this help you?AL: Collecting lighting information on previous VFXfilms always ended up with box loads of paper or lots of notebooks. Since its essentially data collection, I figured there had to be an efficient method andtechnology that wouldnt hold us up. I spoke to GafferReg Garside about it, he did some research andeventually chose Ants Farrell to make it a reality. Ants was Best Boy on LOTR, has gafferd some smallerNew Zealand features, and coupled with his computerexpertise, made him ideally qualified to design andfinesse the system. The lighting data was downloadedto a secure website that could be accessed by secondunit, miniatures or Weta Digital. We found theinformation to be extremely valuable during pickups.

  • ITS MONSTER

    6

    Q: How involved are you with shootingminiatures or does the miniatures crewsimply go with it?AL: I had initial meetings with Alex Funke, ASC whoheads the miniatures department. Once Alex sawwhere I wanted to take the look of the project, wespoke no more. Alex is a genius and gifted artist in hisown right. I can depend on him to not only match whatIve shot, but frequently hell lift the imagery into awhole new stratosphere.

    Q: Similarly, with the effects work, howinvolved are you with this process inregards to keeping the lighting youvecreated during the shoot?AL: The nature of the way post-production grading hasbeen set up in Wellington, and the fact that the gradingdepartment falls under the auspices of Weta Digital,means Im around the evolution of the VFX a lot.Naturally, I find it difficult to avoid having an opinion!

    Q: Ive seen some footage of you operating.Do you always operate?AL: I love to operate. I think lighting and operatingare inseparable. Unfortunately, on big films a lot ofmanagement responsibilities come into the mix, whichmeans I cant devote as much time to operating as Idlike, because its a very time-consuming job and tendsto deny me the opportunity to step back and see thebigger picture. So on projects like King Kong I endup operating second or third camera.

    Q: For scenes of the SS Venture that wereactually shot on land, did you do anythingto move the camera to seem like the boatwas on water?AL: Most of the coverage onboard the land-locked SS Venture set was shot Steadicam, handheld orremote heads on cranes to ensure the camera stayedmoving. The fun stuff was simulating the ship inturbulent situations. The Operators would rehearsethrowing themselves around in sync. It was like adance class. We also communicated being at seawith a lot of lighting effects.

    Q: When shooting inside the ship, whatwere you going for with the lighting? How did you deal with working in thesetight, confined spaces?AL: We generally tried to keep the ship interiorsmoody. Its almost as difficult working a tiny space as a vast one. Reg and I got Production Designer Grant Major to create plenty of panels that could pop out for lighting or camera positions.

  • 7VISIONARRI

    DoP ANDREW LESNIE, ACS and Director Peter Jackson (left to right)

    THE FUN STUFF WASSIMULATING THE SHIP IN TURBULENTSITUATIONS. THEOPERATORS WOULDREHEARSE THROWINGTHEMSELVES AROUNDIN SYNC. IT WAS LIKEA DANCE CLASS.

    Q: The scenes of Ann Darrow in King Kongshand were shot completely green screen.How did you light that?AL: Ann is in Kongs hand a number of times duringthe film, in all sorts of environments and times of day.Since the filming of these shots happens in astationary position, I have to imagine what sort ofinteractive effects would be passing across her as shegets carried along (or up). We created jungle shadowpattern makers that were either spinning wheels ofdifferent textiles and fabrics with lights passingthrough. Sometimes we just swung branches throughlights. Sometimes we dimmed lights up and down.

    Q: Is there a specific scene that you areparticularly proud of how it came out (Im sure there are many)?AL: Because the A camera tended to be Steadicamand the B camera gunned for tighter coverage, I tended to work C camera, which frequently wasmounted on a Scorpio remote head on a Giraffecrane. Since PJ tends to concentrate on the first twocameras, this gave the grips and I regularopportunities to design and execute some verybeautiful shots.

    Q: Tell us about your crew. AL: Lots of Kiwis and Aussies. Second unit DP Richard Bluck, Gaffer Reg Garside (the Matrix trilogy), Key Grip Tony Keddy (LOTR), Camera Operators Cameron Maclean, Simon Harding, Rhys Duncan and John Cavill, Focus Pullers Colin Deane, Dean McCarroll, Andrew Stroud and Sean Kelly,Rigging Gaffer Dave Brown and Practicals GafferWarwick Peace. Aerials of the SS Venture at sea werephotographed by Cinematographer,DavidNowell, ASC.

    An Tran

    Picture Credits

    Stills from King Kong kindly supplied by Weta Digital LTD./Universal StudiosPhotograph of Andrew Lesnie byPierre Vinet/Universal Studios

  • 8The ASC TechnologyCommittee Examines ARRIsFilm-Style Digital Camera As part of a continuing developmentprogramme, pre-production units of theARRIFLEX D-20 have been showcased atevents, taken part in workshops andundergone extensive field trials around theworld. One of the latest of these activities wasa meeting in early October with members ofthe American Society of CinematographersTechnology Committee at Laser Pacifics theatrein Hollywood. Bill Lovell, ARRIs Digital CameraProduct Manager, showed D-20 test footageand gave a presentation that highlighted thecameras strengths.

    Several years ago ARRI realized the reality ofwhere technology was going and that the roleof digital capture needed to be considered.We not only wanted to provide the necessaryimage quality but also wanted to reflect theneeds of cinematographers. Lovell explained.

    The D-20 combines the handling andfunctionality of ARRI film cameras with theimmediacy of digital acquisition to provide amodern film-style digital camera. The single 6Megapixel CMOS sensor at the heart of thecamera is the same size as the Super 35mmfilm aperture, allowing the use and creativechoice of 35mm format lenses and resulting in images that have the same depth of field as 35mm.

    WHAT INITIALLYIMPRESSED ME ONFIRST LOOKS WASTHE ERGONOMICDESIGN OF THECAMERA, MUCH LIKEA FILM CAMERA. OF COURSE, HAVING A SENSOR THE SAMESIZE AS A SUPER35MM FILM APERTUREIS A BIG PLUS,OFFERING THE DEPTHOF FIELD THE SAME AS 35MM FILM

    DoP CURTIS CLARK, ASCshooting a commercial withthe D-20 in Hollywood

    ARRIFLEXTHE WORD SPREADS

    DoP Dejan Georgevich

  • VISIONARRI

    9

    Camera handling is enhanced with an optical viewfinder andcompatibility with existing ARRI accessories. Many considerthe optical viewfinder as an essential accessory and for theASC audience, like many others, this feature was considered adistinct advantage. A viewfinder you can actually seethrough, that's brilliant, noted Rodney Charters, ACS, ASC.

    As the shelf life of digital cameras is far shorter than filmcameras, the design of the D-20 is modular to allow foradvances in technology. The modularity isn't so you can takethe camera apart on set, noted Lovell. We don't want thecamera to be obsolete in a few years. We designed thecamera to be modular so we can upgrade it into the future.

    Also shown to the ASC was test footage shot on the D-20earlier in the year at the Cine Gear master class The High Endof Digital Image Capturing. The master class, moderated byBill Bennett, ASC, and lit by Russell Carpenter, ASC, looked athow the D-20 performed in a variety of lighting situations. This footage was closely followed by material shot that day, byDoP Dana Christiansaan in the desert of El Mirage, California. The D-20 was attached to a gyrostablized head on an UltimateArm, which was mounted to a car. The camera car trackedstunt vehicles as they carreened across a dry lakebed, puttingthe D-20 through rigorous speed, wind and dust conditions.The footage was projected without colour correction with manyof the audience commenting on the D-20s ability to holdhighlights, even under the intense desert sun. It was also notedhow the camera was ideal for this type of application asinterruptions caused by driving the camera back and forth toreload film magazines could be avoided.

    Lovell went on to explain that ARRI are also planning tointroduce an on-board recording solution for the D-20 afterentering into an agreement with Grass Valley to utilize theirSolid State Recorder as an on-board FlashMag. The FlashMagis a portable recording solution that can be mounted directlyon the camera, freeing the D-20 from cables. Its a 112GBrecorder which is the size of a 200 foot film magazine, buthas a capacity equivalent to a 1000 foot magazine.described Lovell. Data from the FlashMag can be downloadedto a storage system such as Sonys HDCAM SR VTR or theS.two Digital Field Recorder disk based system for longer-termstorage of images, or delivery to a post house.

    Members of the ASC were reassured that a digital revolutionwasnt looming simply for the sake of technology. Rather, that the D-20 represents an alternative creative choice forvisual storytelling.

    Even in the 1980s, people were saying that film would bedead in five years, yet film is still here, commented Lovell.There will still be advantages to shooting film five years fromnow. Film will continue to be the preferred acquisition formatwhen its benefits are paramount, but if digital is the tool forthe job, then we have a camera here for you to do it.

    ARRI CSC Showcases D-20 at New York Cine Equipment ShowThe inaugural New York Cine Equipment Show (NYCES),which took place in September at New Yorks Hilton Hotel,offered attendees informative seminars on filmmaking and anexhibition floor full of new and established technologies. It wasa fitting place for New York rental house ARRI CSC to havethe East Coast debut of the ARRIFLEX D-20.

    Andreas Weeber, who will supervise the Digital Imagingdepartment of ARRI CSC, was on hand to guide attendeesthrough the features of the camera. Visitors were able to tryout the camera and test focus and depth of field, while theimages were displayed on a large, high definition screen.Weeber will provide training to customers on the new D-20technology as well as the Tornado digital high-speed camera system.

    DoPs Dejan Georgevich and Tom Houghton, panel members at one of the Show and Tell seminars that took place duringthe event, both had the chance to check out the camera.

    What initially impressed me on first looks was theergonomic design of the camera, much like a film camera. Of course, having a sensor the same size as a Super 35mmfilm aperture is a big plus, offering the depth of field the sameas 35mm film noted Georgevich. As a result, the picturereproduction was quite impressive, especially with the D-20'sability to accommodate 35mm film lenses allowing for betterselective focus options.

    Houghton shoots the critically acclaimed FX-show Rescue Meon Sony HDW-F900s. The show stars Denis Leary and followsthe lives of a group of New York City fire fighters. Houghtonknows the rigors of using HD well, with Rescue Me shooting ona mix of sets and on location. Houghton commented, The newcamera looked great, I think it is a further advance, particularlybecause we can use our very familiar 35mm lenses on thecamera and the viewfinder is optical rather than electronic.

    D-20

    D-20 TEST SHOOT in the desert of El Mirage, California

  • ARRIFLEX D-20

    10

    D-20 Makes an Impression on UK Production Company

    Feel Films have become the first UK productioncompany to use the ARRIFLEX D-20 film-style digitalcamera for a commercial. Over two days in lateOctober, one of ARRI Medias D-20 cameras wentto work on a Nestl commercial produced forSaatchi and Saatchi. The decision to shoot on theD-20 rather than 35mm was made by ProducerNick Hirschkorn, who set up Feel Films in 2004having previously worked at Hungry Eye, Arden Sutherland & Dodd, and his own company Krygier Hirschkorn.

    Ive always shot on 35mm its just something Ivealways done, for the last ten or fifteen years, saysHirschkorn. But we are increasingly involved in alot of digital post-production here as well; wevebeen buying in a lot of gear. Obviously I can seethe advantages of shooting on a digital mediumthat gives the same quality as film, and being ableto bring footage straight back the same eveningand download it.

    Hirschkorn had shot with HD on a previous shoot inLA, using a Sony HDW-F900, and was impressedwith the results. It had taken some effort andadaptation, however, to gain the control over depthof field that he was looking for, in order to emulatethe look of film. He subsequently heard about the D-20, with its rotating shutter, optical viewfinder andfilm lenses, and spoke to ARRI Media straight away.

    I wanted to use it on anything I could get it for, asquickly as possible, just to test it out really. Thisparticular job came up and there were a number ofreasons why the D-20 would be advantageous.Firstly because there is quite a lot of digital post thatneeds to be done, which means that the steadinessof the digital image is very useful to us, in the sensethat there is no film weave. And secondly this was acommercial that involved children, and the fact isthat children can be very difficult. You can suddenlyget something quite unexpectedly, or get somethingwhen youre telling them youre not actually turningover. You have to use every trick in the book to get agood performance out of kids.

    Shooting on tape rather than film allowed the crewto continue rolling in the hope of catching anunpredictable but perfect moment. So that was adouble advantage it has natural technicaladvantages, and also creative advantages. It savedus time in the sense that youre not stopping toreload or check the gate, but also it allowed us tokeep running when normally you wouldnt roll.

    DoP David Johnson was very happy with thecamera, and quickly became a D-20 convert. Thebig issue, really, asserts Hirschkorn, is the waythe lenses work in association with the chip,because normally its getting control of the depth offield thats the difficult thing, yet with the D-20 itwas quite natural, because the camera acts like anARRI film camera. I think its important for people torealise that although its a new bit of kit, it doesnt

    take crew a couple of shoots to get used to thiscamera, it takes them an hour or so. While wewere setting it up and the camera crew weregetting their briefing on how things were going towork, it became obvious that its a naturalcrossover. Overall it was really seamless.

    Pleased with the results of his commercial,Hirschkorn is now intent on testing the D-20 for twoupcoming features. I would encourage people touse it if they asked me, he concludes. The savingsin many different areas are great not just financial.

    The D-20 is now exclusively available for hire from ARRI Media London, ARRI Rental Munich and ARRI CSC New York.

    An Tran/Mark Hope-Jones

    NESTL commercialproduced by Feel Filmsfor Saatchi & Saatchi

    For further details about the ARRIFLEX D-20 contact:ARRI Media London Bill LovellT: +44 1895 457 100E: [email protected]

    ARRI Rental Munich Andreas BerklT: +49 89 3809 1303E: [email protected]

    ARRI CSC New York Andreas Weeber T: +1 212 757 0906 E: [email protected]

  • 11

    VISIONARRI

    Earlier this year, Illumination Dynamics expandedtheir Californian facility with the creation of anAutomated & Theatrical Lighting Division. Thisexciting new development for the constantly evolvingsubsidiary of ARRI CSC was made possible by thearrival of industry veteran Mark Rudge, who heads thenew department. Mark brings with him an extensivebackground in all aspects of theatrical and music lightingalong with an outstanding reputation amongst industryprofessionals, having not only worked extensively inrental but also as a freelance lighting designer. Marksnew inventory includes a complete range of state-of-the-art luminaries, control consoles, specialized lighting (inc. LED technology), dimming and control systems, truss and rigging equipment.

    Its AutomaticIllumination Dynamics launch Moving Light Division

    I am very pleased to have joined Illumination Dynamics a company that has always impressed me with customer servicethat is second to none, says Mark. IDs Automated LightingDivision caters to the Television, Corporate, Special Event andMotion Picture industries by providing turnkey systems, includingprogrammers and technicians if required. We have started fromthe ground up with brand new gear. Customer service is the key.Both ARRI CSC and ID are very supportive of this new ventureand have committed to provide the best equipment and servicepossible. With many of IDs entertainment industry clientsrequiring automated lighting, this is the natural move forthe company.

    In addition to its new Automated & Theatrical Lighting Division,Illumination Dynamics offers a complete line of lighting, grip,generators, power distribution and HVAC, - as well as planning,engineering, permitting, installation and technical support.

    Carly Barber, President of Illumination Dynamics reflected:Illumination Dynamics has big show experience and resources,while retaining our dedication to all aspects of customer supportand quality. Moving into automated lighting was a natural step forus, because as part of the ARRI Group we strive to offer thenewest and most advanced products. We can now provide ourcore customers in the film, television, broadcast and special eventsindustries with all their lighting requirements both conventionaland automated along with the full-service support of generators,power distribution and grip equipment.

    Simon Broad

    MARK RUDGE, Head of the Automated and Theatrical Lighting Division

  • 12

    After completing one of Europe's most modern sound mixing studios in 2002, ARRI undertook the construction of a new project for the postproduction of features:a state-of-the-art colour-grading studio for the Digital Intermediate (DI) process wasrecently opened at the Munich facility, featuring cinema-quality projection andseating for twenty. Thus a strategic and service oriented postproduction conceptbecame reality: A large screen and a 2K Barco projector allows clients to optimallycolour-grade their films under film theatre conditions.

    ARRI began to move beyond the HD track for digital colour-grading with the releaseof the ARRISCAN in 2004. The workflow for high resolution post-production of thehighest creative and technical standards is now carried out entirely on a digital2K/4K platform.

    Digital Intermediate with Lustre TechnologyThe new colour-grading studio at ARRI Munich is equipped with the Lustre softwarefrom Autodesk. This colour-grading software is based on the printer lights of thetraditional lab and enables the seamless combination of various media andmaterials. The processing is done with the same red, green and blue lights as in thetraditional process explains Henning Rdlein, Head of ARRI Digital Film. However,the Lustre software also permits selective work on specific areas in the frame, or overtime, and thereby achieves a much higher level of precision. There is no need tocorrect the entire scene or frame one could easily correct the saturation or justindividual colours in a particular scene. Another great advantage of Lustre is thatyou can immediately see the results in a preview mode, and the result is reversible,i.e., you can correct, preview, undo, until the client is 100% satisfied. While cinematographers are certainly well versed in traditional colour grading, this digital variation of that process is more precise.

    So far the new system has been employed at ARRI on the post-production of thefollowing features, to name a few: Tristan & Isolde (Prod.: 20th Century Fox,Director: Kevin Reynolds, DoP: Artur Reinhart), Vom Suchen und Finden der Liebe (Prod.: Diana Film/Fanes Film; Director: Helmut Dietl, DoP: Jrgen Jrges), Siegfried (Prod.: Constantin; Director: Sven Unterwaldt, DoP: Peter von Haller), Der Fischer und Seine Frau (Prod.: Constantin; Director: Doris Drrie, DoP: Rainer Klausmann), NVA (Prod.: Boje Buck; Director: Leander Haussmann, DoP: Frank Griebe). Currently The RobberHotzenplotz (Prod.: collina Filmproduktion, Director and DoP: Gernot Roll) andOrganize Isler (Prod.: BKM Film; Director: Yilmaz Erdogan, DoP: Ugur Icbak) are in the Digital Intermediate processing at ARRI Munich.

    High End Colour Grading in the Lustre SuiteColour grading in the Lustre Suite is performed under real cinema conditions.The Lustre Suite is 80 square metres large and has seating for twenty. Clients viewthe results of the grading process on a 26 square metre screen served by a BarcoDP 100 projector.

    Henning Rdlein comments:We are often asked: why the large screen andprojector? Clearly, to approximate the films later projection size as closely aspossible. After all, we are making feature films intended for the big screen. Thereforewe want to screen the image as large as possible. The client should have the propersensation and experience, should be immediately taken in by a projection thatencompasses their entire field of view. The emphasis is now, not later like in thetraditional route, where you had to wait for a print to see the film in the correctgamma in the ARRI cinema.

    The projection screen is 5.6 metres wide and suitable for 1.85 and Cinemascope.The Barco DP 100 projector is used as a reference projector with settings specifically

    DI FROMSTART TO FINISH

    for film grading. It also can work with3D lookup tables in realtime. Thismeans that the colour rendering as it willbe later seen on film can be simulatedon the fly, in realtime. To phrase itdifferently, the client can see from thestart how the film recorder and rawstock will react in the final stage of thepost-production chain. Since digitalprojection and film projection areclosely matched, we can see exactlywhat the end result will look like,Henning Rdlein promises.

    Theatre Projection or Monitor?ARRI digital colourist Rainer Schmidtnotes that sometimes clients who workthis way the first time have problemswith the difference between a light-emitting source like a monitor, and theilluminated, reflective screen, because sofar they had to work on a monitor only.For years it wasnt even technicallypossible to render images on screen and on monitor identically. Only nowhas this become feasible with the ColourManagement System (CMS) that wasdeveloped by ARRI and is now in use at the new facility.

    LUSTRE SUITE in Munich

    DoP FRANK GRIEBE and Director Leander Haussmann

    Digital Intermediate and the new Lustre Grading Suite at ARRI

  • 13

    VISIONARRI

    Advantages in Workflow Precise and EffectiveApart from the digital primary correction, e.g. accurate colour shading, variablesaturation, adjustable gamma, black and white values, the secondary step allowsspecific areas in the frame to be easily and quickly modified with so-called shapes.

    You simply create the desired shape with a few mouse clicks, digital colourist Utsi Martin explains. This way oval, triangular or rectangular shapes, evencomplex hand drawn masks, can be crossfaded and animated during the shot. Think about the shape of a certain object or of a face.

    Henning Rdlein continues: To stick with this example: you can change a personsface, give it a different colour, even make it smaller; basically everything can beshaped dynamically. The advantage: you can see this mask right away, subtract itfrom the background, or combine several shapes. If you dont like it no problem,just undo it. It works in quite a similar fashion as in Photoshop on your computer. It isalso possible to perform a secondary colour-correction by modifying only a specificcolour or colour-range.

    ARRI Defines the Digital FutureAs far as marketing is concerned, Henning Rdlein points out that ARRI is making astatement with the digital grading suite and is sending a signal for in-house activitiesas well. We wont wait until nobody wants to go the traditional post-productionroute anymore, because we see where it is heading. In the future colour-grading formost features will be done in theatre-like digital grading suites. Today we arealready able to offer this setting to our clients with a projector and a big screen,says Josef Reidinger, Head of ARRI Lab.

    The Master-Station as a Colour-grading TheatreAll ARRI Lustre stations are networked together and have 26 Terrabyte total storagecapacity. Theoretically, we could work on five feature films of 100 minutes eachand with 2000 edits. We dont do that, but we do keep completed films on the drivefor some time, since subsequent short edits are often necessary for television orforeign distribution. And then there are the trailers and teasers, which the systemcreates more or less automatically once we enter the EDL, explains HenningRdlein. This also offers a decisive quality advantage: There is no need to duplicatethe final print to edit it into a trailer. Trailer, teaser and all versions of the film havethe same quality and appropriate colour timing as the release print. There are no

    second and third generation prints ofincreasingly diminished quality. This is avery important point, since the trailer isoften one of the films most importantadvertising tools, and it should not be ofless quality than the film itself.

    Considering the future, the collaborationwith ARRI and the digital post-productionat ARRI Digital Film, CinematographerFrank Griebe, who experienced digitalcolour-grading at ARRI on Boje Bucksfeature NVA, sums it up: I wasamazed, fascinated and impressed bythe inexhaustible creative opportunitiesthis system offers, opportunities thatsimply did not exist with traditionalcolour-grading in a film lab. Grading ona big screen with the 2K projector offersa completely new and amazing way of working.

    Frank Griebes first opportunity to workon a Digital Intermediate in the newgrading suite with the Lustre system and2K projection was the grading of Boje Bucks NVA with colourist TraudlNicholson. He was amazed and saidtells: Thats why Im looking forward tomy next project as DoP, the ConstantinFilm production Perfume: The Storyof a Murderer with Director TomTykwer, where digital colour-grading atARRI is already scheduled. Jochen Hhnel

    I WAS AMAZED,FASCINATED ANDIMPRESSED BY THEINEXHAUSTIBLECREATIVEOPPORTUNITIES THISSYSTEM OFFERS

  • 14

    From June till October 2005, a number of Master Prime prototypes were usedby Cinematographer Frank Griebe (Heaven, Run Lola Run) on the feature filmPerfume: The Story of a Murderer, which were provided by ARRI Rental Munichin addition to camera, lighting and grip. This film is an adaptation of the bookby Patrick Sskind that has sold over 15 million copies worldwide and hasbeen translated into 42 languages. Shot on location in Germany, France andSpain Perfume is directed by Tom Tykwer (Heaven, Run Lola Run) and producedby Bernd Eichinger (The Fantastic Four, Nowhere in Africa, The Name of TheRose). It is a Constantin Film production, starring Dustin Hoffman, CorinnaHarfouch, Alan Rickman and Ben Whishaw. It is the story of Jean-BaptisteGrenouille who develops a superior olfactory sense, which he uses to createthe worlds finest perfumes. His work, however, takes a dark turn as hecommits horrid crimes in search of the perfect scent.Cinematographer Frank Griebe started out with just a few of the first Master Prime prototypes, but likedthem so much that he requested to have the remaining focal lengths immediately sent to the set when theybecame available. He notes: I am very excited about the speed, resolution and brilliant image quality of the Master Primes! The large selection of focal lengths, the pleasant focus behaviour and the sharpnesscannot be beat by any other lens. I also appreciate the perfectly round iris, which provides an organic feel for this historical feature. In my opinion, these are the lenses of the future. Presently, Griebes first unitis shooting with an almost complete set of 11 Master Primes to complement the ARRICAMs, 435 and 235 cameras.

    THE STORY OF A MURDERER

  • VISIONARRI

    15

    We were lucky to reach Christian Almesberger, 1st Camera Assistant on Perfume: The Story of aMurderer, who was on his way to a location in Spainwhile talking to us on his cell phone.

    MARC SHIPMAN-MUELLER: Christian, what is yourimpression of the Master Primes?CHRISTIAN ALMESBERGER: The Master Primes arespectacular. We shoot most of the time with the 27,50, 75 and 100, but having all those different focallengths is fantastic. It was a good idea to develop all12. Having this huge spread of lenses, with all the in-between focal lengths, is a great advantage for us,and we have used and needed all of them. As youknow, Perfume: The Story of a Murderer is a historicalfilm, and that often limits where we can put thecamera. Sometimes we simply cannot move thecamera any more forward or backwards, and to beable to then put on the perfect lens is great. For thiskind of film all those different focal lengths make a lotof sense.

    MSM: How do they perform for you, as afocus puller?CA: I love the scales on the focus ring. They arereally good and the numbers are very easy to see. I think its great that all Master Primes have the samesize and front diameter and that the focus and irisrings are in the same place. I also like where thefocus and iris rings are positioned, it makes workingwith follow focus and lens motors very easy. The whole ergonomics are very well thought out.

    I also feel that the Master Primes have a very organicfocus fall off. It makes for a very pleasant image tolook at, this is something Ive always liked about theCookes. In that respect the Master Primes perform likethe Cookes, I very much appreciate this. I also think itmakes focus pulling easier, there is no sharp drop off,no point when all of a sudden the image is out offocus, but rather a gentle change from in focus to outof focus. This makes my job easier, even though theyare T1.3 lenses.

    MSM: Why were the Master Primes chosen?CA: Tom and Frank (Director and Cinematographer)chose these lenses for a variety of reasons, but twothings they really liked were the nice out of focushighlights and their resistance to flare. The out offocus highlights are important for a certain imagequality, a soft, natural looking image. And theresistance to flare is also very important for us. We have some complex CGI work that has to bedone with lights actually in the frame. Having lots offlares in the lens would affect the whole frame and bea big problem. But the Master Primes are amazing. We did a lot of tests with lights that are in the shot,pointing directly into the lens. It was surprising howwell the Master Primes were able to handle this. Youcan place soft or hard lights directly into the frame,and there are no flares. And resolution and contrastare outstanding. This will make post production much easier.

    MSM: At what stop do you work on this production? CA: We shoot usually at T2 or T2.5, those are ourstandard stops at night, and we get an outstandingimage quality from the Master Primes at those stops.When we shoot daylight we shoot at T5.6, and thatlooks equally good.

    MSM: Are you using any other primes inaddition to the Master Primes?CA: No. Both first and second unit use Master Primes.We have 11 Master Primes on the first unit, all focallengths except the 65 mm, which is not ready yet, wewere told, and the second unit also has some MasterPrimes. Why should we use other prime lenses whenwe can shoot everything with the Master Primes?

    MSM: What cameras are you using?CA: An ARRICAM Studio is our A camera, anARRICAM Lite is the B camera and our Steadicamcamera, we use a 235 for hand held and special rigsand an ARRI Wireless Remote System. All camerasare shooting 3 perforation. The 235 really is a handylittle camera. We have, for instance, something wecall the Nose cam. It is a 235 mounted to aparachute helmet, and the camera looks into a mirrorthat shows the actors nose. So we can shoot the nose as the actor is movingaround naturally.

    Marc Shipman-Mueller

    CHRISTIAN ALMESBERGER, 1st Camera Assistant on Perfume: The Story of a Murderer

    CINEMATOGRAPHER FRANK GRIEBE,Director Tom Tykwer, Steadicam OperatorJrg Widmer and Camera Assistant Leah Striker follow actor Ben Whishaw withan ARRICAM Lite and Master Prime through the fields of the Provence.

  • 16

    Anew audience, a fresh approach;these were the driving ambitionsbehind Bleak House, the latest periodadaptation from the BBC. Broadcast inhalf-hour, bi-weekly and pre-watershed

    sections slots more usually allocated to soaps the programme deliberately emulates CharlesDickens original method of serialised publicationand targets the same kind of mainstream popularaudience that bought each one-shilling monthlyissue on the streets between March 1852 andSeptember 1853. Key to the programme-makersdesire to escape the aesthetic and culturalpreconceptions surrounding period drama wastheir decision to shoot on HDCAM a significantdeparture for the BBC. VisionARRI talks to theProducer, Director, and DoP about the experience.

    A period piece is essentially about creating anillusion, says Producer Nigel Stafford-Clark.People had warned me that Hi-Def is so sharp itsees everything, which may not be what you wantwhen creating an illusion. I mean, if youre amagician on stage, do you really want a spotlighton you and everything youre doing? Though anexperienced Producer of TV period dramas shot onfilm he has two major Trollope adaptationsbehind him, both scripted by the peerless Andrew

    Davies, making Bleak House their thirdcollaboration Stafford-Clarks exposure to the HD format was limited to such warnings when hecame to the project. The industry has taught him,however, not to believe everything he hears:Anecdotal information, as often as not, proves to be wrong. Youve got to check things out foryourself. He knew he would need a DoPunperturbed by the prospect of shooting a periodpiece on HD, and this he found in KieranMcGuigan: Kieran, from the moment he came in through the door of my office, had exactly theright attitude - he was just completely enthusiasticabout it.

    Justin Chadwick, the Director of episodes 1-9(Susanna White directed 10-15), saw things thesame way. He was excited to embrace the newmedium, but needed to know that the cameraswould effectively capture performances from his 40 principal cast members, as well as deal withthe demands of a hectic 21-week shoot at variouslocations across southern England. Of the three,only McGuigan had experience of HD beforetesting commenced on Bleak House; he had lit amulti-camera commercial in Barcelona and wasthoroughly impressed by the format: All therumours and misgivings were blown away by thisexperience I had with HD in Spain.

    Bleak House

  • VISIONARRI

    17

    the past he has tended to operate one of them himself McGuigan enjoyed the new dynamic this brought to hisrelationship with the Director: It was a wonderful experiencefor me the creative process between Justin and myself therewere times when I could say look, on that line, if the actorturns his head a little into that backlight, it becomes a strongermoment. Having the monitor and grading tools enabled himto demonstrate to Chadwick how the light could affectperformance in extremely subtle ways, and this awarenessfiltered through to the set. Some of the more experiencedactors, such as Gillian Anderson and Charles Dance, whoknew what light does, were really playing with the chiaroscurolight we were creating. And it became a really passionate on-set vibe, which for me was the overriding benefit of the HD.

    During the early stages of filming, the crew pushed theequipment hard and did have to overcome some problemswhile learning where the strengths and weaknesses of HD lay.It was therefore vital, especially given the unrelentingschedule, to maintain a good relationship with their camerarental company. ARRI Media were listening to what we weresaying, recalls McGuigan; and adapted a few things on thecamera, like making the cabling stronger, so it was a learningprocess. He is also unstinting in his praise of the crew,mentioning especially his main camera operator Ian Adrian:

    Ive got to take my hat off to them all for being so patientwith the technology and gaining that confidence.The problems were overcome quickly as the crew becameexpert in how best to use the medium and the camerascontinued to shoot in conditions including snow and heavyrain without further difficulty.

    Our HD experience was a very good one, I have to say,asserts Stafford-Clark: We were very happy with the resultswe got, and also very happy with the service we got fromARRI Media. The finished product is exactly the show he setout to make, only better, he says. I believe that if Dickens wasaround today, hed look at this and say; thats the way mystory should be told, I really do.

    Mark Hope-Jones

    Testing was undertaken to determine how HD would work withall the accouterments of a period drama make-up, costumes,sets, wigs, and the rest. Though the importance of payingattention to detail was obviously heightened by the sheerclarity of the format, word back from all of these departmentswas that HD presented nothing they could not handle. Thespotlight would not ruin Stafford-Clarks illusion after all. Infact, the testing got a lot of the team really excited about thepossibilities before them: The results were just stunning,recalls Chadwick:

    It was like going back to art schoolfor all of us the Designer, CostumeDesigner, Kieran and me we werelooking at these images, and thedetail and richness in the frame itwas about controlling the light really,more than anything else.The decision was made to shoot not on one Sony HDW-750,but two, and often hand-held. This was partly down to thesheer amount of footage required from a very tight schedule,partly the freedom from budget-related stock-ratio concernsassociated with film, and partly Dickens himself. You couldntreally shoot a Jane Austen or a Trollope with two cameras,hand-held it wouldnt suit the material, observes Stafford-Clark. But Dickens is ideally suited to that. It brings a sense of tension and pace, which is exactly what Dickensnovels have. Shooting with two cameras also meant beingable to go for some slightly unusual shots, from angles nottypically utilized on period dramas. I didnt want to do it in a traditional style, says Chadwick; the close-up, mediumshot, lots of slow tracking shots I wanted to get in thereamongst it.

    McGuigan assigned the two cameras quite different roles inorder to bring variety and edginess to the footage: It becamea situation where Justin and I would be working hard to makesure B camera was getting material more poetic than the Acamera footage. A camera was capturing the moment while Bcamera was trying to express the moment in a more visceralway. One set-up he used on a number of occasions involvedA camera shooting a well illuminated subject from front-on, inthe conventional way, while B camera shot at 90 degrees tothis and into the shadowed area, so B camera could get avery lovely profile that had a hard rim light on it and not muchdetail in the shadows. McGuigan considers fill lightunnecessary as a rule, and did not include any at all in hispackage from ARRI Lighting Rental, allowing him wonderfulareas of shadow to work with. I was never going too highwith the lights because I was crunching the blacks so muchand peoples eyes were in shadow I wanted to keep thatlittle light hitting the pupils. So that was my strategy keepingthe lights quite low.

    Shooting on HD rather than film meant being able to seefootage in all its glory while it was being shot. McGuiganwanted to do as much grading as possible on set, so spent agreat deal of his time in a specially constructed black tent,watching images in a controlled environment and on a veryhigh quality HD monitor. Although sometimes frustrated by hisdistance from the action when shooting with two cameras in

  • 18

    Bobby Womacks classic funk title-track for the gritty 1972blaxploitation movie, Across 110th Street reverberates withthe same squalid social realism that defines the film. DirectorBarry Shear was adamant during pre-production that only byfilming in real locations could he bring a suitably raw andgenuine edge to this tale of gang warfare and bloody streetviolence. Hollywood colleagues warned him that New Yorkwas the worst city in which to film, due to labour costs andpermit nightmares - and Harlem the worst part of New York,due to its status at that time as the most lawless ghetto in the US.

    Undeterred, Shear took on Fouad Said, an unrivalled expert inlocation shooting, as a Co-Producer. Said had cut his teeth asa cameraman on the pioneering NBC TV series, I Spy, whichbroke new ground for American television by mixing studiowork with footage shot on locations all over the world; a featmade possible by abandoning the ubiquitous but unwieldyMitchell cameras of the day in favour of the lightweightARRIFLEX IIC.

    While on I Spy, Said developed his Cinemobile, a FordEconoline panel truck modified for the specific needs oflocation shooting that contained two generators, six ARRIFLEXcameras, wireless mikes, quartz and xenon lamps, dolly andtrack, and boasted a top deck that lifted 23 above the roof in18 seconds to function as a camera platform. Said, atenacious 55 Egyptian on a union-enraging one-man missionto shatter the inefficiencies of Hollywood filming practice,quickly turned Cinemobile into a successful multi-vehicleenterprise, and by the early seventies was gaining producingcredits on movies by supplying his location equipment andexpertise in return for a cut of the profits.

    MOMENTS IN TIMEAcross 110th StreetThe ARRIFLEX 35BL feature debut.

    IN EVERY CITY YOU FIND THESAME THING GOING DOWN,HARLEM IS THE CAPITAL OFEVERY GHETTO TOWN

    A retrospective of ARRIFLEX cameras at work on milestone productions

  • 19

    VISIONARRI

    Said found out during principal photography that the first production model of the much anticipatedARRIFLEX 35BL had just arrived in New York. Having established a long and successful relationshipwith ARRIFLEX over the I Spy years, Said persuadedVolker Bahnemann, Vice President of ARRI inAmerica, to let his Across110th Street crew be the first to try out the 35BL, for a week.

    The camera immediately revolutionised what theywere able to achieve on the streets of Harlem. It was self-blimped, weighed only15kg (compared to 35-50kg for a blimped camera) and held its dual-compartment coaxial magazine on the rear of the camera body for perfectly shoulder-balancedhand-held shooting.

    Its a real winner, affirmed DoP Jack Priestly at thetime. Its as quiet as a church mouse and has greatflexibility, especially as it weighs only 15kg. I dontknow what I would have done in a lot of spotswithout it especially in those small rooms where we

    often had to shoot. You put it on your shoulder andwalk around, bend down, sit down, hold it in yourlap everything. I think its going to help the filmindustry tremendously.

    Shooting in Harlem proved less intimidating thanexpected the only trouble came when tough localshired as extras to protect the production foughtamongst themselves. In general the local populationwere fascinated by the presence of the crew andturned out in large numbers, often applauding theexplosive action.

    One week with the 35BL proved it to be such avaluable tool that Said negotiated keeping thecamera for the last four weeks of filming. It allowedthe crew to shoot sync-sound in the most crampedand inaccessible of locations, as Priestly commented:We shot in police stations and tenement houses andbars and apartments and what I guess youd callhouses of ill-repute. The areas were small, dingyand dirty, with rats running around and junkiessleeping in the hallways.

  • MOMENTS IN TIME

    20

    Utilising the 35BL in conjunction with one or two other IICcameras in these small locations often meant having to uselonger lenses, in order to keep the Operators out of eachothers viewfinders. This, coupled with the low light levels and fog/diffusion filtration combo, meant focus headaches inscenes depicting fast-moving action such as fist fights and gunbattles. Fortunately, mentions Priestly; we had a First Assistantnamed Fred Schuler who is really excellent at following focusand he kept it all pretty sharp. The film proved to be a fertilebreeding ground for talent - Schuler would go on to DoP forDirectors including Martin Scorsese and Brian De Palma, whileSecond Assistant Jim Contner had a prolific career as a DoPand Director in front of him.

    A combination of Fouad Saids radical location skills andARRIFLEXs ground-breaking technology allowed Shears dream of a realistic backdrop for his story to beaccomplished. A staggering 95% of the movie was shot on atotal of 60 different interior and exterior locations in Harlem.Said eventually sold Cinemobile to invest in the oil industryand became a multi-millionaire venture capitalist. JoachimGerb and Erich Kaestner of the Arnold and Richter Companywere awarded a Scientific and Engineering Award at the1974 Academy Awards for the development and engineeringof the 35BL. Volker Bahnemann still represents the company in America as President of ARRI Inc. while rental division ARRI CSC New York continues the fifty year tradition ofsupplying cutting edge cameras ARRICAMS, 435s and235s - to imaginative filmmakers.

    Mark Hope-Jones

    THE LOW NOISELEVEL OF THE ARRI35BL PERMITSSHOOTING SOUNDSEQUENCES INCONFINEDQUARTERS, THUSELIMINATING THEPOST-DUBBING OFDIALOGUE THAT ISUSUALLY NECESSARYUNDER SUCHCONDITIONS.

    Camera Operator Sol Negrin, later tobecome a highly respected DoP,reported of the 35BL: It was used inmajor sound sequences shot in confinedquarters where it was impossible to usea large camera, but where we neededportability and quietness. We also usedit on the rooftops of buildings in LittleItaly buildings that had no elevators.The low noise level of the ARRI 35BLpermits shooting sound sequences inconfined quarters, thus eliminating thepost-dubbing of dialogue that is usuallynecessary under such conditions.

    FAST ACTION sequence filmed with ARRIFLEX 35BL

    DoP JACK PRIESTLY on the rooftops of New Yorkwith camera

  • VISIONARRI

    21

    Robber HotzenplotzThe Creation of a German fairy tale

    The devoted and carefully realised filmversion of the legendary classic by authorOtfried Preuler starring Armin Rohde,Christiane Hrbiger, Martin Sthrk andManuel Seitz arises from the quirky natureof the storys characters: A thief that beginshis thievery punctually each morning andwith equal punctuality takes his mid-daybreak, a wizard who flies on a magic capebut, despite all of his powers, cannot peelpotatoes, a fairy who worries that herbeauty will fade, and a country sheriff who solves his cases with the help of aclairvoyant who herself has transformedher dog into a crocodile.

    On Set with The Robber HotzenplotzWe wanted this story to be told with a big cast,unusual scenery, spectacular costumes and manyspecial effects, and that is exactly what we did,beams Ulrich Limmer, Producer and Co-scriptwriter,whose successful family entertainment films includeThe Sams and The Sams in Danger. I am especiallyhappy about the way everyone on this team, from our outstanding actors to our technical crew,got personally engaged and had their hearts in their work.

  • ROBBER HOTZENPLOTZ

    22

    The film is a co-production of UlrichLimmers Collina Filmproduktion GmbHand the films distributor, ConstantinFilm. Funding was also provided by theFFF (FilmFernsehFonds Bavaria), the FFA(German Federal Film Board), the BBF(Bayerischer Banken Fond) and the BKM(Federal Government Commissioner forCultural and Media Affairs).

    Limmer was able to win over theexperienced and successful Gernot Rollto be the projects Director and DoP.Together with his crew, Roll approachedthe project with great enthusiasm: Forme, filmmaking is an eternal childhood.

    Filmed over 42 days in the Franconiancities of Selach and Burgpreppach andPrague, the production used 35mm filmin the 3-perforation process.

    Manfred Brey was entrusted with theweighty responsibility of ProductionManager and he and Limmer turned toAngela Reedwisch and Walter Brus ofARRI Film & TV to support them in the

    making. All the services ARRI offerswere used on this production. Three35mm 3-perforation-cameras a 535B,ARRICAM Studio and ARRIFLEX 435with LDS Ultra Primes and a 24290Angenieux Optimo Zoom as well as theARRIMOTION system were supplied byARRI Rental in Munich. Lighting, film labservices, scanning, mixing, an AVID-Adrenalin Suite, and of course thecomplete Digital Intermediate also camefrom ARRI. The film was colour gradedentirely in 2K resolution in theLustre/Barco suite.

    Gernot Roll consciously employedsimple, longstanding special effectstechniques to create the films naive,fairy tale look: stop trick, 3M reflectivegels for the fairy herbs, real steam andsmoke, mini explosions, double-exposures, and numerous day-for-nightshots, many of which were inspired bythe long tradition of Russian and Czechfairy tale films.

    The Robber Hotzenplotz opens in German theatres on March 30th, 2006.

    Credits:Producer: Ulrich LimmerDirector and DoP: Gernot RollCamera Operator: Michael PraunGaffer: Harald HauschildtSound Mixer: Tschangis Charokh-ZadehEditing: Horst ReiterVFX Supervisor / Creative Director: Jrgen SchopperDigital Colour Grading: Traudl Nicholson

    IM KNOWNFAR AND WIDEFOR STEALINGWHAT CATCHESMY EYE brags the great Robber Hotzenplotz.

    JRGEN SCHOPPER, DigitalVisual Effects Creative Director

    DIRECTOR & DoP GERNOT ROLLwith the Robber Hotzenplotz andProducer Ulrich Limmer (left to right)

    THE ROBBER HOTZENPLOTZ,with DoP Gernot Roll and CameraOperator Michael Praun (left to right)

    DIRECTOR & DoP GERNOT ROLL and ARRIs Managing Director Franz Kraus, on location

  • 23

    Nonetheless more than 100 computereffects were also added to the film atARRI Digital Film in Munich (Post-Production Producer: Philip Hahn), such as title and credits, blue and greenscreen composites, wire removals,digital matte paintings, as well ascomplex computer animation. However,all these digital processes were neveremployed just to create a special effectsfilm but to tell a magical story theKasperl Theatre story.

    The sub-title of Otfried Preulers The Robber Hotzenplotz is a Kasperlstory, underscoring the tales roots inthe Kasperl Theatre, a classic Germanform of childrens puppet theatre. Indeed all characters of the typicalPunch and Judy story are there: the

    thief, Kasperl and Seppl, theGrandmother, the Watchman, the EvilWizard, the Fairy, the Clairvoyant, andeven the Crocodile. But as Gernot Rollexplains: The Hotzenplotz stories havea child like naivety enabling children to explore their own imaginations. Wetried to bring that naivet to the film.

    The script generally remains true to the original books but combines them to one cohesive story with all the books characters.

    While the film takes some small artisticlicense with the original story, authorOtfried Preuler enjoyed and gaveapproval to the films script. It was ourgoal to retain the original storys fairytale quality, its playfulness, and itsnaivety. Ulrich Limmer concluded

    The Robber Hotzenplotz is set in a timewhen thieves still existed who weresatisfied with stealing coffee grinders.Modernizing the story would have been the death of this film and a goodfairy tale should always remain timeless.

    The Hotzenplotz stories have beentranslated into more than 34 languagesand have sold more than 4 millioncopies worldwide.

    Professor Jrgen Schopper

    VISIONARRI

  • 24

    The ARRIMAX

    Munich is based on the true story of the 1972 Olympicmassacre of several Israeli athletes by Palestinianextremists. The film follows the secret mission thatfollowed in which Mossad agents were sent out toexact revenge on the men responsible for the killings.Munich was shot by cinematographer JanuszKaminski, ASC (War of the Worlds, Catch Me If YouCan). Starring Eric Bana, Geoffrey Rush and MathieuKassovitz, the production shot in Malta and Hungary.

    Combining the variable beam spread of a Fresneland the light output of a PAR, the ARRIMAX uses aunique reflector concept for beam control thateliminates the need for spread lenses. The opticalsystem with its 580mm (22,8) diameter specular,flatted reflector is adjustable and provides continuousfocus from 15 50. Because the ARRIMAX does notrequire a set of spread lenses, the shadow quality issharper and easily cut. The fixture utilizes a lenslessdesign and is 50% brighter than a 12K PAR.

    ARRIMAX Debuts on the Feature Film Munich and Hits the Jackpot on Smokin Aces

    ARRIs newest lighting fixture, the ARRIMAX 18/12, recently made a big impact on two high profile films for Gaffer Michael Bauman. Considered an optimum choice for productions requiring maximum light output, the ARRIMAX made its debut on Steven Spielbergs latest production Munich, and then went on to illuminate the high-stakes comedy caper, Smokin Aces.

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    VISIONARRI

    For an intense scene on a boat, the filmmakersdesired a dramatic look. Describes Bauman, We had a great quality happening with the suncoming through the blinds and smoke, but when the sun went away the ARRIMAX really saved us.We placed the light at full spot on another boat 70 feet back.

    There were Venetian blinds on the boat and wefocused the light in there from the outside. Thesource was so far away, there was no way I couldhave gotten that out of an 18K Fresnel. There werenice sharp shadows, yet the source was so small.

    The ARRIMAX also got a chance to shine on the setof Smokin Aces, an ensemble action comedy shotby Mauro Fiore, ASC (The Island, Tears of the Sun).The film stars Ben Affleck, Alicia Keys, Ryan Reynolds and Andy Garcia.

    Notes Bauman, The sun went behind one of thecasinos, so we brought the ARRIMAX in andparked a car in front to hide it. We blasted it inand it worked great. Even at full spot you aregetting a lot more spread than a standard 18KFresnel at full spot.

    Says Fiore, I was impressed by the flexibility,output and convenience of the ARRIMAX. I reallylook forward to using it again soon.

    For Smokin Aces, the production travelled to LakeTahoe, California where the Gaffer investigatedother uses for the new light. Having the ARRIMAXin Tahoe really gave me a chance to work with it inseveral different lighting environments that wedidn't have time to explore in Europe, saysBauman, whose credits include Good Night andGood Luck, Ray and The Island. We used it inconjunction with an 18K Fresnel for a low suneffect. Because of the large volume of light fromThe ARRIMAX, the lamp can be much father awaywhich creates more realistic shadow detail.

    Taking into consideration the power and quality of the ARRIMAX, the Gaffer recommends, A greatapplication for the ARRIMAX is using it to emulatethe sun. To get the same amount of light as anARRIMAX, we would have had to use a coupleof18K Fresnels, which would create multipleshadows. Basically you are getting more bang for the buck with the ARRIMAX.

    The new lights power also gave somecrewmembers a shock when they realized wherethe brightness was radiating from. It has a qualitythat will be able to sell as the sun. There was apoint where I had the light on full spot and Dave Emmerichs, the Camera Operator, thought the sun was hitting us, laughs Bauman.

    An Tran

    Has Landed!HAVING THEARRIMAX IN TAHOEREALLY GAVE ME ACHANCE TO WORKWITH IT IN SEVERALDIFFERENT LIGHTINGENVIRONMENTS

    ON LOCATION in Tahoe

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    TurkishDELIGHT!Turkish Production Posts in MunichAmongst numerous other international projects, theTurkish comedy Organize Isler is currently in postproduction at ARRI Film & TV in Munich. Turkishproduction company BKM has produced many charttopping feature films for the Turkish market andother countries around the world. ARRI was theirfirst choice for the complete post production serviceof their new project, including Digital Intermediate(DI) colour grading in the new Lustre grading suite.This is the second time BKM has worked with ARRIon post production for a feature film.

    Yilmaz Erdogan is Producer, Director,and protagonist in all BKM films. He isas well known in Turkey as Bully Herbigin Germany, for example, or Will Smithin the US. His Cinematographer UgurIcbak is, in his own words a devotedARRI fan since earliest childhood, andhe shoots exclusively with ARRI cameras.Line Producer Birol Akbaba, who livedin Berlin before joining BKM, led thenegotiations with ARRI Film & TV andworked as the liaison betweenproduction and post production. PostProduction Supervisor Taner Baltaci alsodirects commercials in Turkey, all haveworked with ARRI Film & TV on the firstBKM production, which was done inconventional analog post.

    Organize Isler was shot in Turkey, inand around Istanbul, in the summer of2005 and was shot with a MOVIECAM3 perforation camera.

    THE DI PROCESS OPENSUP UNLIMITED CREATIVEPOTENTIAL FORCINEMATOGRAPHERS, IN OTHER WORDS: I AMNOW ABLE TO CREATEIMAGES AND EFFECTSTHAT I COULD NOT HAVEDONE WITH THE OLD,ANALOG POST CHAIN.DoP Ugur Icbak

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    VISIONARRI

    Even before the start of production, BKM haddecided to post in 2K because of the great creativepotential of the Digital Intermediate. The decision tochoose ARRI Film & TV for the Digital Intermediatework, according to Birol Akbaba, was made basedon their very positive previous experience, and onthe option to perform the colour grading underauthentic viewing conditions in the new Lustre colourgrading suite at ARRI in Munich.

    Cinematographer Ugur Icbak explains the advantagesof the Digital Intermediate (DI) process: I simplyhave many more creative options, for instance, I canwork on individual frames or on complete sequenceswhen I choose, and apply colour and light changesvery selectively. Already while shooting I knew what I was going to do in DI, and I have tuned my lightingso I could further optimize the images in the process.

    He continues: The DI process opens up unlimitedcreative potential for Cinematographers, in otherwords: I am now able to create images and effectsthat I could not have done with the old, analog postchain. And the ARRI Lustre suite with its 2K projectorcan show the material in the same way it will appearon movie screens all over the world. That meanshuge savings in time and effort - and thereforefinancially. Ugur Icbak, experienced in digital colourgrading from his work on commercials, also addsthat the team at ARRI supported us wonderfully,Colourist Rainer Schmidt was a pleasure to work with.

    BKM used the complete range of services offered byARRI Film & TV, starting with negative developmentand video dailies, all the way through to 2Kscanning with an ARRISCAN, colour grading in the Lustre suite by colourist Rainer Schmidt and filmrecording on an ARRILASER. In addition, ARRI Film & TV provided a complex title sequence by Graphic Artist Lutz Lemke and various visual effectshots. Sound mixing was expertly supervised by Re-recording Mixer Max Rammler in the brand new,

    cutting edge sound mixing studio Stage One. ARRI is creating a version in Turkish, one in Germanand a Turkish version with German subtitles.

    When asked how they found out about ARRI Film & TV, Birol Akbaba said: Manyproduction professionals in Turkey do not know thatARRI also offer post production services. ARRI is awell known manufacturer of cameras and scanners,but we found their services three years ago byaccident on the ARRI website. This is how we firstmade contact with Angela Reedwisch, Key AccountManager at ARRI Film & TV, who then showed us allthe different post services they offer for domestic andinternational productions in Munich.

    The first contact led to the successful collaboration onthe feature Vizontele Tuuba, which was shot in Turkeyand posted in Munich. Angela Reedwisch, adds:Our post production facilities in Munich are worldclass, and we are offering them to internationalproductions beyond the German domestic market.Our unique ability to offer all services from script toscreen under one roof, including equipment rentaland complete image and audio post, is useful formany international productions. And concerning theDigital Intermediate process, we are one of thepioneers. Post Production Supervisor, Taner Baltacifurther explains why BKM found it worthwhile tomake their way to Munich for posting their feature:Even though the post production services in Turkeyhave developed rapidly in the last years, they canstill only work in PAL or HD resolution. When higherresolutions on a film finish are called for, the localTechnicians are not as versed and experienced as thespecialists at ARRI. The experience, vast knowledgeand competent creative input of the ARRI team wasthe decisive factor for us.

    Having looked at other post production companies inEurope, Taner Baltaci notes: We have worked withmany European post houses. Concerningcommercials or digital post, London also has somecompetent offerings. However, ARRI is a leader inEurope, having a first class lab and all postproduction services in one facility.

    The comedy Organize Isler will premiere in Turkey,Germany, United Kingdom, the Netherlands, Austriaand France on December 22, 2005.

    ON LOCATION in Turkey, (left to right) Angela Reedwisch, Ugur Icbak, Yilmaz Erdogan & Josef Reidinger (ARRI LAB) on set

    LUSTRE SUITEColourist Rainer Schmidtwith DoP Ugur Icbak

    HELICOPTERprepares for breathtaking shootover Istanbul

    DoP UGUR ICBAK on set

    Jochen Hhnel

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    King Kong 1933King Kongs roar was created by running the combined roar of a lion and tiger backwards.

    It was decided that the best way to sell the idea for King Kong to RKO was to shoot a stop motion sequence, so the battle between Kong and the T-Rex was created with models 18 inches high. The executives of RKO were stunned at the results, having never seen anything like it before.

    King Kong 2005Before her death it was rumoured that Fay Wray was innegotiations to appear in the film. Peter Jackson wanted her todeliver the famous final line: Oh no, it wasnt the airplanes. It was beauty killed the beast.

    The T-Rex has hands with three fingers (instead of thescientifically correct two) as homage to the original King Kongof 1933, in which the T-Rex also had an extra digit. This wasexplained by the idea that the dinosaurs on Skull Island haveevolved in the 65 million years since the two-fingered T-Rexbecame extinct.

    Troy 2004 During production Brad Pitt, who plays Achilles, had a mishapand tore his left Achilles tendon.

    The Shining 1980As Danny Lloyd, who plays Danny Torrance,was so young and since it was his first actingjob Stanley Kubrick was very protective of the

    child. Through clever directing it was not until after thefilms release that Danny knew he was in a horror movie.

    All of the interior rooms of The Overlook Hotel were filmed atElstree Studios in London, including The Colorado Lounge whereJack does his typing. Due to the intense heat generated by thelighting used to recreate window sunlight, the lounge set caughtfire. Luckily all of the scenes on this set had been completed.

    Kingdom of Heaven 2005King Mohammed VI of Morocco gave approval for 1500 Moroccan soldiers to be hired as extras.

    Metropolis 1927Metropolis was one of the most expensive movies of its time.At around 5,000,000 marks, it nearly sent the productioncompany UFA (Universum Film) into bankruptcy.

    There was no optical printing system in existence at the time,so in order to create a matte effect a large mirror was placedat an angle to reflect a piece of artwork while live footagewas projected onto the reverse. To expose the projectedfootage, the silvering on the back of the mirror had to bescraped off in strategically appropriate places. One mistakewould ruin the whole mirror. This was done for each separateshot that had to be composited in this manner. The procedurewas developed by Eugen Schufftan and is known as theSchufftan Process.

    The Interpreter 2005The Interpreter was the first film ever to be shot inside theUnited Nations Headquarters, with scenes in the GeneralAssembly, the Security Council, as well as regular corridorsand hallways of the complex. The cast and crew filmed duringweekends in order not to disrupt the regular working week.

    Olly TellettFirst Assistant Camera

    1 What film first inspired you to work in this industry?Apocalypse Now. Its still easily in the top two of Telletts all time flicks.

    2 Whats your cure for the morning after the wrap party feeling?Two large grappas and a bacon sandwich.

    3 Name three things that make you smile?My son Rafferty scoring a goal for the Winchester Juniors, under8s football team. The answer to question 9 with the addition ofStinky Pete for pure entertainment value. Liverpool FC beatingManchester United guaranteed joy!

    4 First car you ever owned?Best 800 I ever spent a champagne Volkswagen Sirocco.

    5 Whats the one thing you cant live without?Can I split this? On the one hand, my Le Monde bicycle. The pleasure gained from it is irreplaceable. On the other, the gentle alarm call of my son jumping on me every morning.

    6 If your life was a film, what film would it be and why?I think O Brother, Where Art Thou? I seem to be perpetuallyon the move and forever searching for bathing beauties in the watermeadows.

    7 Most embarrassing moment?At work setting a fire extinguisher off in the back of a cameracar when filming The Tenant of Wildfell Hall. As the rest of thecrew fell about laughing, I received my first impromptu and veryinformative Welsh lesson in swearing from the DoP Daf HobsonBSC. I still maintain it was an accident! In private too many tomention and most unprintable.

    8 Who inspires you?Gruff Rhys the lead singer from Super Furry Animals for beingthere. Josef Koudelka for always capturing the moment and thegreat footballer Kenny Dalglish for just being Kenny Dalglish.

    9 Three people (living or dead) youd most like to dine with?Ian McCullagh from Echo and the Bunnymen, Steve Marriot fromSmall Faces, Marilyn Monroe you all know where shes fromand me all around one table genius.

    10What was the last film you saw?Wallace and Gromit in The Curse of the Were-Rabbitat The Screen, Winchester.

    Olly is currently working on Danny Boyles latest featureSunshine with DoP Alwin Kchler, BSC. His other mostrecent credits include The Constant Gardener with the DoPCsar Chalone, ABC, Kinky Boots as the Second UnitOperator, Proof and The Mother both with Alwin Kchler BSC.

    Olly is a life long Liverpool FC supporter and lives inWinchester with his 7 year old son Rafferty.

    Did youknow?Take10

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    VISIONARRI

    ON SET

    VA: August you first used prototypes of theMaster Primes on a commercial back inMarch of this year. I understand that youwere shooting with Zeiss Ultras on anARRICAM Studio and Jeremy Sassen, yourClient Contact at ARRI Media, asked if he couldsend down the lenses for you to try out?AJ: Actually I think I called him, begging for them! I knew they were coming some time in 2005, but I wasnt sure when, so I kept calling and asking when they would arrive.

    VA: Jeremy recalls that you tried them a littleon the first day, saw the results the nextday and used them a bit more, saw thatfootage and then used nothing but theMaster Primes on the third and final day of the shoot.AJ: Yes. Thats true I did.

    VA: What was it you liked about the new lenses?AJ: Well, first of all the speed, T1.3. Shootinginteriors in a studio with low stocks, like 100ASA, for commercials, at T1.3 they look beautiful, reallyeasy to work with. They just gave me the opportunityto use low stocks as well as the kind of lighting I wanted. I also noticed how the focus falls off defocusing the background was just really beautiful different from the Ultras. I thought it started at a pointand sort of kept going it was really nice how theydefocused in the background.

    VA: And youve requested them on subsequent shoots?AJ: I think Ive done four commercials so far. This isthe fifth one, but its the first time Ive tried the lenseson Super-16.

    VA: So have you had the opportunity to use the Master Primes in fairly differentlighting conditions?AJ: Yes the first job I did was exterior and interior,day and night, and they were beautiful. And Ivetried Classic Soft FX filters shooting both with and without them and it was really nice.

    VA: Youve got the Master Zoom up on thecamera at the moment. I think this is thefirst time youve tried it?AJ: Yes the first time. I saw it at the BSC NewEquipment Show though.

    VA: What are your first impressions?

    AJ: I like it. Its really crisp really sharp on the longend. Were on 16mm today, so were not seeing it ascrisp as it could be. Shooting with the Master Primeson an ARRICAM Studio is so easy its so easy forthe Focus Puller to find the focus and me to help himif Im on a long lens and its a tough shot.

    VA: So do you think youll try the Master Zoom on 35mm when you can?AJ: Oh yes definitely.

    VA: Have you had a chance to try the full range of Master Primes?AJ: After that first time I tested them, we did anotherjob and I used all the prototype lenses available atthe time. I had a 12mm Ultra Prime because I wantedsomething to cover for wider, but I never used it. I juststayed on an 18mm Master because I wanted toshoot the whole thing on the Master Primes.

    VA: Do you see lenses as different tools then,the Ultras suitable for certain jobs and theMasters for others?AJ: Yes you pick the lenses that are right for the job.If you want stuff to have more flare, or to look cooler,youd pick the Ultras.

    VA: So have you had a chance to experimentwith how the Master Primes perform with flare?AJ: Well Im looking forward to seeing how this stufftoday looks, because Im pointing a lot of lights intothe camera and I want to see how that works. Lookingthrough the viewfinder, it looks really good; Im notgetting anything over-flarey. I know Ive got thesemassive spotlights coming down the lenses, but I likehow they handle it. The other thing is that Im used toworking with filters, but Im keeping it quite cleannow, because I just want to see how the lenses work.

    Mark Hope-Jones

    WITH THEMASTER PRIMES

    VisionARRI chats with August Jakobsson, the first DoP to shoot with ARRI Medias Master Primes, on the set of his latest commercial.

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    ARRI Australia

    Rentals Manager Bill Ross has more than 30 yearsexperience and is well known in the UK andAustralian film industries. Bill started his career atSamuelsons in London, and was later NationalMarketing Manager for Panavision Australia.

    Kate Walton joins ARRI Australia as Senior ClientContact. Kate has previously worked withSamuelsons, Panavision Australia, and spent twoyears as Features Client Contact at ARRI Media in London.

    The service team will be lead by Head ServiceTechnician, Clive Teare, a highly trained equipmentmaintenance technician, familiar to manyAntipodean crews. Clives expertise encompassesall camera and lens systems. His experience as on-set camera technician on such productions asVertical Limit and This Side of Heaven, has earnedhim an outstanding reputation in the industry. Clive will be supported Rey Adia, an experiencedService Technician and Trainee Service TechnicianAaron George.

    With new federal tax incentives and various stateincentives Australia is increasingly a destination ofchoice, offering experienced crews, anaccomplished post-production sector and diverselocations. The introduction of ARRI Australia willprovide Australian and New Zealand film-makerswith the latest ARRI technology, service and support.

    LEFT TO RIGHT, Heinz Feldhaus, Aaron George, Kate Walton, Clive Teare, Bill Ross, Rey Adia, Clemens Danzer

    ARRI Rental Group Extends to the Southern HemisphereThe continued growth of the ARRI Rental Group has seen a new branch established in Australia.

    ARRI Australia is based in custom-designed facilities inNorth Ryde, Sydney, and will provide a fully equippedcamera rental facility that includes three test bays, adarkroom and a comprehensive selection of on-setconsumables.

    ARRI Australia will also provide a full sales and servicefacility throughout Australia and New Zealand for cameraand lighting equipment, as well as the ARRILASER and ARRISCAN.

    A small team of highly skilled Technicians and ClientContacts will ensure the standards of ARRI are reflected inanother part of the world.

    News from around the world

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    VISIONARRI

    New French Rental Associate

    French camera rental facility Bogard has recently become an Associate member of the ARRI Rental Groupafter entering into an agreement with ARRI Media London.

    Already an established camera rental facility with a strong reputation, Bogard was created in 1960 by Cameraman and Director of Photography Franois Bogard and started out supplying 16mm cameras.Now, headed by Didier Bogard, the company has become a market leader in France, offering anextensive range of film and digital cameras across a diverse range of applications.

    The collaboration between ARRI Media and Bogard will further extend Bogards inventory of 35mmcameras, allowing the company to further develop their presence in the features market, while increasingmarket representation of ARRI products in France. Bogard will also be the official representative in Francefor the ARRIFLEX D-20.

    BOGARD, PARIS,Renos Louka, ARRIs Head of Rentaland Didier Bogard

    BOGARDS service department

    ON LOCATION in Paris with feature film Michou Dauber

    Bogard France

    To facilitate the agreement Bogard has opened a newbranch comprising of 1,500 square metres in the northof Paris, close to the Luc Besson City of Cinema. The new facility will focus on film and HD while Bogardsoriginal branch, in the 15th district of Paris, willconcentrate on renting cameras to the television marketand continue to be the base for Bogards accessoriesstore and production department.

  • NEWS FROM AROUND THE WORLD

    32

    News from around the world

    Tornado Wins Award in MonacoExecutives from every sector of the international sports media industrydescended on Monte Carlo between the 24th and 27th of October this yearfor the 16th annual Sportel Monaco Market. Visitors flocked to the ARRI Media stand, where practical demonstrations and a show-reeldisplayed the extraordinary capabilities of the companys Tornado system the digital high-speed camera for extreme slow motion.

    Having already proved its usefulness fornarrative and promotional filmmaking atprevious exhibitions, the Tornado had anopportunity at Sportel to showcase itspotential as a tool for the world of televisedsports. Capable of recording images at upto 1000fps, the camera transforms fast-paced action into stunningly smooth slow-motion and has already revolutionisedtelevision coverage of major sporting eventsincluding Wimbledon 2004 and the 2005Ashes Series.

    ARRI representatives were delighted whenUK production company Sunset and Vinewere awarded the Best Slow Motion Isolated Camera Shot prize by Sportel, for asuper slow-mo shot filmed with ARRI MediasTornado at The Ashes. The winning shot,

    directed by Rob Sheerlock and entitledImpact, captures a cricket ball barrellinginto the handle of a bat, which shudders and flexes with the force of the blow. It is an image that demonstrates perfectly theTornados ability to reveal grace andfascinating detail even in moments thatappear inelegant and uninteresting to thenaked eye. ARRI Media congratulates Sunset and Vine for the award, and for thesuperb overall quality of their Ashes coverage.

    The Tornado digital high-speed camerasystem is exclusively available from ARRI Media London and ARRI CSC New York. A Tornado show-reel is available on DVD, to request a copy email:[email protected]

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    VISIONARRI

    ARRI Rental CompaniesReady to SupportARRIFLEX D-20The much anticipated arrival of theARRIFLEX D-20 film-style digital camerahas seen both ARRI CSC New York andARRI Rental Munich establish a DigitalImaging department.

    ARRI CSC in New York has welcomedback someone well known to many inthe film