visionarri magazine issue 14

VisionARRIThe Biannual International Magazine from the ARRI RENTAL & POSTPRODUCTION ENTERPRISES

Cloud AtlasInterview with filmmakers Lana andAndy Wachowski and Tom Tykwer

Les MisérablesDanny Cohen, BSC, on filming Tom Hooper’s big screen adaptationof the global stage sensation

Master Anamorphics New ARRI/ZEISS Master Anamorphiclenses: the future of widescreen

ARRI M90/60 Lensless MAX Technology in a wholenew 9K power class

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Roger Deakins, ASC, BSC, discusses shooting withALEXA Studio cameras on the new James Bond film

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ARRI SERVICES GROUP NETWORKARRI SUBSIDIARIES

AUSTRALIAARRI Australia, Sydney CamerasStefan SedlmeierT +61 2 9855 [email protected]

AUSTRIAARRI Rental ViennaCameras Andreas BuchschachnerT +43 189 201 07 [email protected]

CZECH REPUBLICARRI Rental PragueCameras, Lighting, GripMirek ObrmanT +420 234 707 [email protected]

GERMANYARRI Rental BerlinCameras, Lighting, GripUte BaronT +49 30 346 800 [email protected] Rental CologneCameras, Lighting, GripStefan MartiniT +49 221 170 [email protected] Rental HamburgCameras, Lighting, GripMartin FischerT +49 40 8080 486 [email protected] Rental LeipzigCameras, Lighting, GripAnnerose SchulzeT + 49 341 3500 [email protected] Rental MunichCameras, Lighting, GripThomas LoherT +49 89 3809 [email protected] Film&TV Services,MunichFilm Lab, DI, TV Postproduction,VFX, Sound, Studio, CinemaAngela ReedwischT +49 89 3809 [email protected] Film & TV Services,BerlinFilm Lab, DI, TV Postproduction,VFX, SoundMandy RahnT +49 30 408 17 [email protected]

ARRI Mitte, BerlinMotion Graphics, DI, 3DWolf BosseT +49 30 726 267 [email protected] Film & TV Services,CologneDI, TV Postproduction, SoundMarkus KlaffT +49 221 57165 [email protected] Film & TV Services,Halle (Saale)Digital Dailies, DI, TVPostproduction, VFX, SoundSteffen ScheidT +49 345 68 58 68 [email protected] Film, LudwigsburgFilm Lab, DI, TV PostproductionAlexander BarthelT +49 89 3809 [email protected]

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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.comARRI Media, London Cameras, GripRussell AllenT +44 1895 457 [email protected] Crew, London Diary ServiceKate CollierT +44 1895 457 [email protected]

USAARRI CSC, New JerseyCameras, Lighting, GripHardwrick Johnson,Lynn GustafsonT +1 212 757 [email protected]@arricsc.comARRI CSC, Florida Cameras, Lighting, GripEd StammT +1 954 322 [email protected] Dynamics, LALighting, GripCarly Barber, Maria CarpenterT +1 818 686 [email protected]@illuminationdynamics.comIllumination Dynamics, North Carolina, Cameras, Lighting, GripJeff PentekT +1 704 679 [email protected]

AUSTRALIACameraquip, Melbourne, BrisbaneCamerasMalcolm RichardsT +61 3 9699 3922T +61 7 3844 [email protected]

CYPRUSSeahorse Films, Nicosia, PaphosCameras, Lighting, Grip, StudioAndros AchilleosT +357 9967 [email protected]

GERMANYMaddel’s Cameras,HamburgCameras, GripMatthias NeumannT +49 40 66 86 [email protected]

HUNGARYVisionTeam L.O., BudapestCameras, Lighting, GripGabor RajnaT +36 1 433 [email protected]

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ARRI PARTNERS

INDIAAnand Cine Service,ChennaiCameras, Lighting, Grip,Film Lab, DITarun KumarT: +91 44 4598 [email protected]

JAPANNAC Image Technology,Tokyo CamerasTomofumi Masuda Hiromi Shindome T +81 3 5211 7960 [email protected]

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

Xytech Technologies,AucklandLightingStephen PryorT +64 9 377 99 [email protected]

ROMANIAPanalight Studio, BucharestCameras, Lighting, GripDiana ApostolT +40 727 358 [email protected]

SOUTH AFRICAMedia Film Service,Cape Town, Johannesburg,Durban, NamibiaCameras, Lighting, Grip, StudioJannie van WykT +27 21 511 [email protected]

UNITED ARAB EMIRATES Filmquip Media, DubaiCameras, Lighting, GripAnthony Smythe, AaronHughesT +971 4 439 0610 [email protected] [email protected]

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CONTENTS

14 DREAMING THE DREAMDanny Cohen, BSC, talks about filming thehighly-anticipated big screen adaptation of Les Misérables

18 A NEW ERA FOR ANAMORPHICNew ARRI/ZEISS Master Anamorphic lenses

20 RUBINOTARRI creates VFX for eagerly awaited screenadaptation of popular teen fantasy novel

23 ALEXA: LATEST NEWSSoftware Update Packet (SUP) 7.0

24 THE SMALLEST BIGGEST LIGHT ON SETARRI M90/60: a new fixture with MAX Technology

26 THE BLETCHLEY CIRCLE John Pardue sets the tone for a periodcrime drama with ALEXA

28 MOVING IMAGES IN THREE-DIMENSIONAL SPACEARRI Commercial and partner lucie_p on creating moving images for the world of brand communication

32 INNOCENCELow-budget vampire feature adopts on-set system to deliver same-day dailies

34 BRIGHTER COOLER SMALLERLatest additions to the LED-based L-Series

35GO WIRELESSNew Wireless Remote System components

36 ARRI MEDIA SERVICES: PROJECTS & PEOPLE

46 PRODUCTION UPDATE

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4 ALEXA MEETS BONDRoger Deakins, ASC, BSC, on shooting the latest Bond instalment with ALEXA Studio cameras

8 CLOUD ATLASThe Wachowskis and Tom Tykwer discuss their epic science fiction film

12 CLOUD ATLAS: A PRODUCERS PERSPECTIVEStefan Arndt discusses producing Cloud Atlasand working with ARRI

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VisionARRI would like to thank the following contributors:Susanne Bieger, Mark Hope-Jones, Ingo Klingspon, Wendy Mattock, Judith PettyAngela Reedwisch, Jürgen Schopper, Michelle Smith, Brigitte Wehner, Sabine Welte

Front Cover Photo: SKYFALL © 2012 Danjaq, United Artists, CPII. 007 and related James Bond Trademarks,TM Danjaq.

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ALEXAMEETSBONDSkyfall, the new James Bond film, is already settingbox office records after debuting in 25 markets; inthe UK it enjoyed the best ever opening weekend for a Bond movie, taking more than $32 million. The decision to make Skyfall the first in the franchiseto be released in IMAX theaters has already provedhugely successful – it took $3.5 million in 79locations over 15 territories, averaging $45,000 per screen. That represents the best internationalnon-summer/non-holiday opening in IMAX history.

Upping the ante in its strategy of recruiting top filmmaking talent for the latest James Bond films, EON Productions secured the services ofcelebrated director Sam Mendes and legendary cinematographerRoger Deakins, ASC, BSC, for its 23rd official 007 adventure, Skyfall.Not only is Skyfall the first movie in the franchise to be shot digitally, as well as Mendes’ first digital experience, it is the first productionanywhere to make use of ALEXA Studio cameras, which were supplied –alongside ALEXA Plus and M models – by ARRI Media in London.Deakins recently spoke with VisionARRI about his work on the film.

VisionARRI: How did you come to choose the ALEXA systemfor Skyfall?

Roger Deakins: I first used the ALEXA on In Time (2011) and on that film I had a huge amount of night exteriors, so I needed a camera withspeed and versatility. I did side-by-side testing and found that there wasso much more latitude in the file from the ALEXA than in a 4K scan of a film negative. I was also drawn to the subtle fall-off to highlights andthe enormous amount of detail in the shadows. It was the first digitalcamera I had seen where I thought the technology had crossed the knife edge and taken us into a new world.

I knew we would also have a lot of low-light scenes on Skyfall, so I said to Sam that he should look at what I did on In Time. I told him just to look at the actors’ eyes and I think the clarity of their eyes is probably what swayed him more than anything else. For me there’s just a snap to the eyes that you don’t get with film.

Roger Deakins, ASC, BSC, shoots withprototype ALEXA Studio cameras on thenew James Bond film

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VA: Once Sam had accepted the idea of shootingdigitally, were there other advantages?

RD: Being able to shoot more than one or two takes withouthaving to reload was quite an advantage. Not that Sam shootsa huge number of takes in one go, but sometimes he would roll the camera for two or three, which I quite liked doing,because once I’m into a shot I don’t like breaking theconcentration either.

Josh Gollish, our DIT, gave Sam a monitor that was as close tobeing color calibrated as possible, which I hope gave him asense of confidence because there were a lot of big sets andthe lighting was quite crucial in a lot of situations. It made mefeel more confident, that’s for sure!

VA: So you enjoy having such high quality monitorimages on set?

RD: To me the great plus is that it takes away all the uncertaintyin those conversations about how the director wants the imageto look. Even if someone says they want a silhouette, peoplehave different ideas about what a silhouette actually is; nowyou can look at a monitor and say, “That’s what we’reshooting.” It’s a great tool, and it means that – even more thanbefore – I want to do as much in-camera to make that monitorimage look as close to what we’ll end up with as I can.

VA: Did you spend much time looking at awaveform monitor?

RD: Now and again I looked at the waveform, but that wasmore useful on exteriors and places where I felt that thereweren’t the ideal conditions I wanted to shoot in. I would lookat the waveform and decide on a point where I would be ableto adjust the image later in the DI and get it closer to what I wanted it to be. It’s interesting that on these high budgetmovies you’ve got less flexibility, in a way, than you’d have

on a low budget movie, because everything is locked into aparticular day and moment to shoot.

VA: You had the first prototypes of the ALEXA Studiocamera. Why was it important for you to have anoptical viewfinder?

RD: I think part of it is your history and what you’ve beenbrought up with. I just like the clarity of the image in theoptical viewfinder and seeing exactly what’s in front of me,because that’s how I light. The most important thing to me iswatching an actor’s face and how the light falls on that face.You just can’t do that with an electronic viewfinder – yet. It’s truethat the Studio cameras we had were only prototypes but theywere flawless, we didn’t have any problems with them at all.

VA: You also had the ALEXA M and ALEXA Plusmodels. Were you often shooting with multiple cameras?

RD: There was a lot of variety; probably most of the film wasshot with only one camera, as though we were doing a regulardrama, but then there were other scenes with many more, forexample we had 11 cameras filming one big stunt of a traincrashing through a ceiling. On the whole, though, I think theSkyfall production people were surprised by how little equipmentwe needed on a day-to-day basis, because I like to work thatway – to downscale and simplify things as much as possible.

VA: You worked with Master Primes, as you oftenhave before. Did they perform the same for digitalas they do for film?

RD: The performance seems very much the same. I first tried theMaster Primes on No Country for Old Men (2007) and I’veused them ever since. I was thinking about why you wouldneed such fast lenses when the ALEXA itself is so fast, but a lotof the night scenes on In Time were shot virtually wide open

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ON SET: Sam Mendes and Roger Deakins, ASC, BSC, frame a shot with the ALEXA (left to right)

“I JUST LIKE THE CLARITY OF THE IMAGEIN THE OPTICALVIEWFINDERAND SEEINGEXACTLYWHAT’S INFRONT OF ME,BECAUSETHAT’S HOW I LIGHT.”with the Master Primes and we did the same thing on Skyfall. I use them because they’re the fastest, cleanest lenses that I’vecome across. I always shoot on prime lenses rather than a zoom;I dislike zooms unless they are actually being used as a zoom.

VA: Was ALEXA helpful for the visual effectselements in Skyfall?

RD: That was interesting because Steve, our visual effectssupervisor, had never shot digitally and wanted to shoot onfilm. He’d seen another digital camera on a previous job andhadn’t been impressed, but when I told him we were shootingwith the ALEXA he said he’d go and do some tests withlandscapes, explosions and everything else. When he cameback to me he said, “I’m going to shoot absolutely everything

on the ALEXA,” so he was really impressed. All the plates andVFX elements were done with the camera and it all looks great.

VA: How significant was the fact that Skyfall was tobe released in IMAX theaters?

RD: I didn’t know that we were going to release on IMAX untilafter we made the decision to shoot with the ALEXA. We hadalso made the decision to shoot spherical and take a 2.40:1extraction, so I was a little bit nervous when the IMAX issuecame up. We did some tests straight away and in the first setthe colors didn’t look great. We then found out that IMAX havetheir own system of conversion, which they call ‘enhancement’,so we tried another test without using that system and I thought the images looked spectacular on the big IMAX screen. ■

Mark Hope-Jones

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CloudAtlasThe Wachowskis and Tom Tykwer count on ARRI totell a visually stunning tale of epic proportions

Based on David Mitchell’s complex 2004 novel of the same name, Cloud Atlas has been adapted for the big screen by acclaimed filmmakers Andy and Lana Wachowski(Matrix Trilogy) and Tom Tykwer (Run Lola Run, Perfume: Story of a Murderer). Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving and Ben Whishaw, as well asSusan Sarandon and Hugh Grant play multiple character roles in a story that takes placeover the course of 500 years in different corners of the world. Shot by cinematographersFrank Griebe and John Toll, ASC, Cloud Atlas was filmed with a vast package of camera,lighting and grip equipment supplied by ARRI Rental Berlin. Postproduction was handledby ARRI Film & TV Services Berlin, with ARRI VFX Munich contributing VFX.

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VisionARRI spoke with the film’s three directors and producer Grant Hill (Matrix, Tree of Life, Titanic) about their ambitious undertaking.

Adapting David Mitchell’s award-winning novel was aformidable yet welcome challenge for the filmmakers. It waslong considered unsuitable for a screen adaptation due to itsepisodic structure, which consists of six separate stories thattake the reader on a journey from the remote South Pacific in the nineteenth century to a distant, post-apocalyptic future.Mitchell tells the loosely connected tales chronologically andinterrupts the first five, finishing them in the second half of thebook after the sixth concludes – albeit in reverse order so thereader ends where they started.

These six stories, the filmmakers agreed, had to be woven intoone coherent yet tightly knit tale. “We knew we couldn’t do aliteral adaptation of the novel, which is structured more like ananthology. And although the palindrome-like structure is quiteinteresting, we knew we couldn’t use it,” says Lana, who wrotethe first ten pages of the screenplay before the three filmmakersgot together in Costa Rica to adapt the novel. Hill was thrilledwith the result: “The directors came up with a wonderful scriptand gave us that unified narrative.”

Cloud Atlas was filmed from September through December2011 at Studio Babelsberg, as well as on location in Scotland,Spain and Germany. Two units shot simultaneously, with oneunder the helm of Tykwer and Griebe and the other under thedirection of the Wachowskis and Toll. Despite the enormousamount of VFX, the filmmakers decided after conductingextensive tests at ARRI Rental Berlin to shoot 35 mm withARRICAM Studio and Lite cameras. “We knew we were

going to use a lot of prosthetics and that the makeup wasgoing to be quite ambitious,” states Lana. “Film is just a bitkinder to human faces, whereas digital is more relentless andperfect, and we felt that it was the actors who were making themovie work more than anything else. So we were guided by adesire to make the actors look as good as we could. We likedigital but we also like film. There’s something beautiful aboutfilm grain that you can never quite fake in digital, somethingsurprising about the way it works on human faces. And weliked that the book itself has a love for older forms. So therewas something beautiful about using this older format to tellthis super modern story.” Tykwer points out that their decisionalso had something to do with the epic quality of the story,which film seems to reflect better. “Plus the nostalgia of filmalso played a part in it,” says Andy, adding with a laugh,“We’re not fundamentalist though.”

“THE MASTER PRIMESARE VERY PRECISE ANDDELIVER REALLY SHARPIMAGES WITHOUTSACRIFICING TEXTURE.THERE’S SOMETHINGBEAUTIFUL, A SOFTNESSTHAT DOESN’T FEELOUT OF FOCUS.”

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For these reasons the filmmakers also chose lenses from theARRI/ZEISS Master Prime series. “It had to do with the makeupdemands Lana mentioned,” explains Tykwer. “The MasterPrimes are very precise and deliver really sharp imageswithout sacrificing texture. There’s something beautiful, asoftness that doesn’t feel out of focus.” Lana adds: “Otherlenses are more rigid in terms of the way the light roundsobjects, and the Master Primes give images a more voluptuousfeel.” Tykwer also feels that the Master Primes seemed to bethe most flexible with different faces. “But, lenses are also aninstinctive and emotional choice,” he says. ”The Master Primeswere simply the better lenses for what we wanted to do.”

The 35 mm footage shot by both units was, for the most part,processed and RGB color graded at ARRI Film & TV Servicesin Berlin before being sent to the editing room. Later thenegative was scanned in 2K and 3K on the ARRISCAN andcolor graded on the Lustre (by DI Producer Kenneth Stiller).“Our footage came from two separate sources and at the endof the day it all had to fit together,” says Hill. “So we did pushfor a little more grading early on.” Dailies were madeavailable to both units on ARRI’s Webgate, a secure onlineviewing platform, as well as on backup DVDs. “You get usedto seeing your dailies on a computer screen and that’s allgreat,” Hill continues, “but the moment of truth always comeswhen you see the film on the big screen for the first time. Onlythen can you be sure that they were technically accurate.” Hill

was very pleased with the quality of the dailies, whichundergo rigid quality control at ARRI on every production.

During color correction, the challenges had to do with theproduction’s range, states Hill. “We had footage shot on thetop of a ship’s mast in the middle of the ocean, as well asfootage shot in deep dark forests. We had interiors andexteriors from several periods. We shot on the sound stageand in front of the greenscreen. We had a bit of everything.It’s a remarkable job to bring all that into balance.” ARRI’sLead Colorist Traudl Nicholson was present on set in order tofine-tune the initial parameters, working closely with the DPsand directors. Color grading entailed two shifts working overthe course of two months in the Lustre suite. “The transitionsfrom one period to another were the most challenging,” reflects Nicholson, “especially because of the quick cuts.”

The filmmakers decided against defining individual styles for each period. “In the beginning you’re tempted to createdifferent looks,” says Lana. “We thought about that for amoment but immediately discarded the idea because it would break the movie into six different parts. We wanted the audience to see one film; we wanted to dissolve barriers, not create them.” Her brother points out that the periods arealready defined by their individual genres, of which CloudAtlas contains many, including adventure, drama, thriller, sci-fi,and even farce. “It was hard to find the elements that keep thisconstruction together. That’s why we chose one format (35 mm),”

“WE WANTED THE AUDIENCE TO SEEONE FILM; WE WANTED TO DISSOLVEBARRIERS, NOT CREATE THEM.”

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Andy affirms. So, in addition to the actors playing multipleparts and content-related connections, the format becameanother element weaving the stories into a convincing whole.

Similar parameters were applied during the sound design andmix. “Sound, sound design and the score are important forevery film, but in the case of Cloud Atlas they have an evengreater significance than they normally would: they have toguide the audience through the film,” says Hill. “They providethe through-line, if you will.” Supervising Sound Editor FrankKruse, who was in charge of the film’s sound design, cameonboard early and was present on set. During postproduction,the sound studio was located next door to the editing room.The physical proximity facilitated the flow of information andencouraged an active creative exchange, allowing editing orVFX changes to be quickly passed on to colleagues in sound.

The challenges facing sound postproduction included not onlycomplex and highly sophisticated chase scenes, but also starkcontrasts and segues from one period to another; sequencesthat cut from the South Pacific in 1849 to San Francisco in1973 and then to the post-apocalyptic world of 2346 illustratethis problem. “The sound team was great,” notes Lana. “Whenyou’re creating these types of worlds, especially those set inthe distant future – and we have two of those in Cloud Atlas –

you have to create completely new acoustic worlds. Our soundteam created incredible ambient sound, countless details andelements that repeat throughout, running through the film like a motif, from scratch.” Matthias Lempert and Lars Ginzel(Harrison MPC with Pro Tools 10.2) were responsible for thesound mix.

In the beginning the filmmakers discussed dubbing the actors’voices. After all, shouldn’t all the characters played by thesame actor or actress sound different? The idea, however, wasquickly discarded. Instead, they decided to slightly alter thefrequencies of the actors’ voices, a more natural and lessjarring solution. Not just makeup and costumes, but also thesound of their voices were carefully designed for eachcharacter; they don’t just look different, they sound different.

The Wachowskis appreciated working with Tykwer’s score inpostproduction. The German director is known not only forcomposing the music for his films, together with Reinhold Heiland Johnny Klimek, but for doing so prior to shooting. Thiswas also the case on Cloud Atlas. “On each film there comesthe moment when you have to work with a temp score,” saysLana. “It’s a terrible moment, because the music is never whatyou had in mind. Tom’s approach was a revelation for us.”

Dominik Trimborn, Head of ARRI VFX, and his team in Munichhave collaborated with Tykwer on numerous occasions and thecollaboration continued on Cloud Atlas. The sheer amount ofVFX shots was enormous and the scope entailed everythingfrom retouching and compositing to complex 3D animations.ARRI VFX took on some of these tasks. “We are proud to playin the same league with Method, who were in charge of theVFX production of Cloud Atlas, and Industrial Light & Magic,”says Trimborn.

“It was an incredibly ambitious shoot, not only in terms of thescope, but also because we were shooting with two teams inthree different countries. That’s why it was especially importantto be able to rely on the equipment, technically as well asesthetically. We all felt very well taken care of at ARRI,”enthuses Hill, who has shot a number of films with equipmentfrom ARRI Rental. This time ARRI Film & TV Services Berlin andARRI VFX Munich were involved as well. “It was incrediblyuseful to have Chris Berg, our Postproduction Supervisor, joinus early on. He was the one who developed our integratedworkflow,” Hill says. Andy appreciated having everythinglocated under one roof: “At Warner Brothers you have to getinto the car to get from the mixing stage to the DI. Here youjust have to walk a few steps.” Lana adds, “ARRI was great to us.”

Cloud Atlas premiered on September 8, 2012, at the 37thToronto International Film Festival (TIFF), opening in the US and Canada on October 26. On November 15 the film was released in Germany and will open in the UK in February 2013. ■

Susanne Bieger

DIRECTORS Andy Wachowski, Lana Wachowski and Tom Tykwer (left to right)

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Arndt produced five films last year withhis production company X Filme, amongthem Little Thirteen (director: ChristianKlandt), with a budget of 500,000Euros, and Cloud Atlas (directors: Andyand Lana Wachowski, Tom Twyker), with a budget of 100 million US dollars.

By German standards that’s unheard of –not only because of the sheer number ofproductions but also, in the case ofCloud Atlas, because of the size of thefilm’s budget.

The experience of putting the financingtogether in Germany for Cloud Atlas asa positive one all round. “Everyone goton board, even though the project wasrather complicated,” Arndt recalls. “A lotof rules had to be observed but, at theend of the day, we financed the filmindependently with only a small co-production element, making

Cloud Atlas a 100% Germanproduction. Everyone from the driver tothe biggest financier of the projectdeserves an award. It was a matter ofpride to all those involved to put this filmtogether. Everyone wanted it to come outperfect. It was a risky undertaking buteveryone gave their absolute best, notonly the subsidies and Degeto Film, butalso the banks and the lawyers. Anincredible number of people worked onthis project – without whom we couldn’thave pulled it off.”

Due to both budget constraintsand.aesthetic reasons in regards toprosthetics and makeup, Cloud Atlaswas shot on film. “One hundred milliondollars sounds like a lot of money,” saysArndt. “But it’s only half of what you’dideally need to do what we wanted todo. So we had to carefully choose the

best possible format for the massivedigital postproduction effort we hadahead of us. We tested a lot. SometimesI felt we tested more than we shot onother projects. In the end we just didn’tfeel safe with the results we got shootingdigital. Sure, it would have beencheaper but it involved risks, having todo with the makeup demands that couldhave become costly in postproduction.”The decision turned out to be a goodone. Physical production andpostproduction went off without a hitch.“Luckily we didn’t have any problems onCloud Atlas. There were other projects in the past when we had to revisit thefinancing and the budgeting.” Not so in the case of Cloud Atlas.

In order to preserve Cloud Atlas forfuture generations, the film was archivedas a separation master. This was created

CloudAtlasA Producers Perspective

Stefan Arndt discusses producing Cloud Atlas and working with ARRIGerman producer Stefan Arndt and his production company, X Filme, were one of the driving forcesbehind the highly anticipated Cloud Atlas, not only when it came to the physical production, but also interms of getting the film financed. But their involvement doesn’t end there: his company’s distribution arm,X Verleih, is also releasing the film theatrically in Germany.

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with the ARRILASER by filming out thefinal data three times onto black-and-white film stock, using RGB colorseparation. The advantage of black-and-white material is that it is inert when itcomes to chemical reactions, unlike colorfilm. The separation master is consideredone of the safest archiving methodstoday. “At least I’m not aware of a better one,” states Arndt.

The future of filmmaking belongs to thedigital realm, Arndt believes, but thetransition, which we are still in the midst of, brings not only incredibletechnological innovations but also agreat deal of uncertainty. Sometimes, for example, a producer can’t help butwonder how much cheaper digitalproductions really are because, for allthe savings, there are also new costs.

While shooting on digital formatseliminates certain costs, such as for filmstock and lab work, it also creates newpositions, such as data wrangler andDIT. So how much is a producer reallysaving? “It wouldn’t hurt if the technicalworld made more of an effort to shedsome light on such issues,” Arndt says,“not just in terms of the financial, butalso the technological changes thistransition entails.”

“That’s why it was comforting to haveARRI on board. People such as ARRI’sSepp Reidinger are like a completionbond to us. At the end of the day youdon’t need money, but people who canmake things happen. People who haveideas and can communicate those in anintelligible way and can show youwhat’s feasible in a given situation.”

Especially on massive productions suchas Cloud Atlas, that sort of trust is worthits weight in gold. “It’s great that thereare companies like ARRI and I hope thatthe tradition, enthusiasm and standard of quality that has developed there in the analog world over the years willcontinue to exist in the digital world.”

With five films in German theaters,among them the Cannes winner andOscar hopeful Amour (director: MichaelHaneke) and one film in production, Hai-Alarm am Müggelsee (directors:Leander Haußmann and Sven Regener),2012 is, by all accounts, a good yearfor Arndt and his companies X Filme and X Verleih. ■

Susanne Bieger

“IT’S GREAT THAT THERE ARE COMPANIES LIKE ARRIAND I HOPE THAT THE TRADITION, ENTHUSIASM ANDSTANDARD OF QUALITY THAT HAS DEVELOPED THEREIN THE ANALOG WORLD OVER THE YEARS WILLCONTINUE TO EXIST IN THE DIGITAL WORLD.”

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Dreaming the DreamLes Misérables, the wildly popular musical adaptation of Victor Hugo’s epic examination of law andgrace set in 19th century France, has been staged in 43 countries; translated into 21 languages; andseen on stage by over 60 million people worldwide. There have been at least 14 film versions andnumerous television adaptations. So why did Tom Hooper, the Academy Award-winning director ofThe King’s Speech, decide to film it again, particularly under the strain of so much expectation?

“It could seem like the maddest choice ever,” says DannyCohen, BSC, cinematographer on Les Misérables, who also collaborated with Tom on The King’s Speech and twotelevision productions, Longford and the series John Adams.“Tom had never done a musical before – well, it’s not agenre that really gets produced at all these days – but thisopportunity came his way and he had some fantastic andgroundbreaking ideas for how to do it.”

An unusual element of Les Misérables as a musical is thatthe entire story is told in song – there is hardly any spokendialogue. The hugely significant choice Tom Hooper made

was to record all the songs live on set. The actors wouldeach have an earpiece to hear a pianist off-set playing themusic directly to them. The idea was to give them freedomand flexibility to act their parts in the moment, rather thanhaving to act according to a pre-recorded playback, whichis the usual way of doing musicals. As Cohen recalls, “Tomreally had to battle to convince people that this was worthdoing, and it did mean there would be massive technicalimplications in how to shoot and light it – but he felt itwould be worth it to bring the power and truth to the story.”

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DREAMING THE DREAM

To prepare for such an epic production,Cohen first went to the source and readHugo’s five volume novel. “It’s a reallygood read, a real page turner anddescribes just about everything abouthumanity,” he says. “I also saw the WestEnd show at the start of prep, which waseye-opening. It’s a big production andyou get the sense that half the audiencehas seen it more than once. It’s also verylong at around three hours, which is finein a theatre but unusual in the cinema –we knew from the start that we wouldhave to leave things out, and that’s hardwhen so many people know the story so well.”

In addition Cohen watched many of thedifferent film versions and was struck bythe variant takes on the story. He alsotook visual inspiration from Visconti’sclassic film, The Leopard, particularly forits street fighting scenes as the Italianrevolution unfolds.

However, before any on-set decisionswere required, they needed to decidewhat to shoot on.

“It’s interesting where we are now withfilming choices,” says Cohen. “When wedid The King’s Speech there was muchless of a discussion about digital, eventhough it was just a couple of years ago.For Les Misérables, we comparedpractically everything available – we didtests with 3D, 65 mm, 35 mm, ALEXA,anamorphic, spherical… Some provedtoo costly, some were impractical for thescale of the shoot, and while you needto make an artistic choice, you also haveto be pragmatic.”

Eventually it came down to a choice ofSuper 35 mm spherical or ALEXA. “Weshot tests side by side and comparedthem,” Cohen explains. “For a periodproduction, film has more of thosealmost imperceptible qualities liketexture, patina, grain… Of course youcan do all that in post with digitalimages, but if that’s what you’re lookingfor, why bother? Also with the 35 mm I knew what to expect, so once I haddiscussions with the rushes grader I knewhow the film would look.”

So the choice was made to shoot aclassic 35 mm spherical using ARRICAMLite and Studio cameras with MasterPrime lenses – in the end, the samechoice as The King’s Speech.

“There’s something very simple aboutshooting film that appeals to me – it’s thecamera body, it’s mechanical, a roll offilm gets loaded, you take it out, it’sprocessed, that’s it – it’s physical,” Cohensays, “It’s what ARRI has been makingfor nearly 100 years – straightforward,robust, well-built cameras. With the scaleof this project you would expect a fewissues – we put around a million feet offilm through the cameras – but largelythe ARRI cameras just got on with the job.”

Having the actors singing live meantshooting with multiple cameras to

facilitate uninterrupted takes. A main unitof an ‘A’, ‘B’ and ‘C’ camera filmedthroughout: ‘A’ camera was operated byZac Nicholson, who shot the actors asclose and wide as possible throughoutthe shoot, while the ‘B’ and ‘C’ cameras,operated respectively by Luke Redgraveand Vince McGahon, shot other parts ofthe action from further away on longerlenses. On heavier set-up days therecould be as many as 10 camerasworking simultaneously on various sets.

Cohen is a long-time fan of ARRI MasterPrime lenses, and the broad range offocal lengths proved invaluable, not just

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for optical quality but also to provideflexibility and additional storytellingoptions. “The lenses themselves aresuperb, that’s a given; but for me,particularly on this job, the choice offocal lengths was the biggest advantage.I had access to every conceivable lenssize I could possibly want, from 12 mmup to 150 mm, plus ultras at 8 mm, 10 mm and 180 mm,” he enthuses.“Tom likes to have wide lenses veryclose to the actors – but if you go on alonger lens, your field of view is narrowand the point of focus is solely on theface while the background falls away.We wanted to capture not just theperformance but also what was goingon behind the actor in the sets andscenery, so we shot wide with shorterlenses to keep more of the backgroundin focus and give us more opportunitiesto tell the story visually.”

ARRI Media supplied the cameras andlenses, while the lighting package camefrom ARRI Lighting Rental. “It was amassive logistical deal, but I’ve workedwith [ARRI Media’s] Russell Allen and[ARRI Lighting Rental’s] Sinead Moranfor a long time and they were great –the team really bent over backwards to make everything available as weneeded it and it was all easy – one lessthing to worry about,” Cohen states.

The core camera crew consisted ofaround 15 people: three operators, threefocus pullers, three 2nd ACs, a centralloader and four or five grips, and thisnumber increased exponentially onbigger days. Cohen pays tribute to them:“The whole crew really was phenomenalon this project, there was so much to doin a relatively short time and everyoneworked fantastically hard.”

Cohen himself only managed to shoot onoccasion – the scale of the project meantthat he spent most of his time movingbetween sets and ensuring everythingwas set up as it should be. “Thereweren’t many scenes where the maincast wasn’t singing so it wasn’t reallyfeasible to hive off work to a 2nd unitother than bits of stunt work and actiondetails, and anyway Tom prefers not todo that as he knows what he’s lookingfor,” he says.

Much of the action was shot atPinewood Studios, using the enormousnew T stage for three key sets as well asM stage for the ‘Lovely Ladies’ number.Lighting the sets was a major challengedue to the style and nature of the shoot.“Having wide lenses close to the actorsis all well and good but in some wayswe had shot ourselves in the foot –finding places to put lights that createdthe right mood but were not in shot, wascertainly a challenge!” says Cohen, withan air of understatement. “For instance,

T stage housed a café set that had solidceilings, and literally the only place toput lights was next to the beams, so wehung 15 tungsten light bulbs and playedwith that.”

These self-imposed lighting constraintsmeant that, on some sets, actors werenot always in the light, but Cohen choseto make a virtue of this necessity. “Youmake a judgment on how far you canjust let things happen and create anatmosphere in the room to tell the story.The actors were already under a lot ofpressure – they had the pianist playingin their ear, they had to deliver songstake after take, and I felt it wasn’t fair to make absolute demands on how andwhere they could move. Smart actorscan feel the light and know where to go.I wanted to give them the freedom tomake it work, and I think having themmoving in and out of light and shadowshas given it a more period look thatworks for this dark story.”

At the time of writing the four-weekgrade was about to start at Company 3.“Time in the grade is a must for me,”says Cohen. “We planned everythingreally well but on a shoot of this scalethere were inevitably things that wedidn’t have time to do on the day, so thisis my chance to finesse things.”

Judging by the trailer alone, the resultingfilm – which is set for a Christmas Dayrelease – will pack a powerful andemotional punch, and the risks takenwith shooting and lighting decisions toaccommodate the live recordingcertainly appear to have paid off. ■

Wendy Mattock

“FOR A PERIOD PRODUCTION, FILMHAS MORE OF THOSE ALMOSTIMPERCEPTIBLE QUALITIES LIKETEXTURE, PATINA, GRAIN…”

DANNY COHEN, BSC

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The magnificent seven

ARRI has announced an entirely new range of anamorphiclenses for 35 format digital and film cameras. Comprisingseven high performance primes, ranging in focal lengthbetween 35 mm and 135 mm, the ARRI/ZEISS MasterAnamorphic series represents a significant step forward in thetechnology and practicality of anamorphic cinematography.

Every one of the seven Master Anamorphic lenses has a T-stopof T1.9 and is super color matched to the other primes andzooms in ARRI’s current lens line-up. For the very first time, aperfect combination of compact form factor, minimal weight,exceptional optical performance and very high speed hasbeen achieved in a set of anamorphic lenses. The MasterAnamorphic range shares the same reliable mechanicalconstruction as the Master Prime and Ultra Prime lenses, andhas been tested for a temperature range of –40°C to +70°C.

Innovative optical design

Drawing on its unparalleled expertise in the field, ZEISS hasengineered a new and cutting-edge optical design for theMaster Anamorphic lenses, overcoming many of the commondistortion problems associated with other front or rearanamorphic systems. Virtually no image breathing is displayedby the lenses and the problem of anamorphic ‘mumps’(fattening the faces of performers) is automaticallycompensated for without any need for calibration on the set.The near telecentric optical design also reduces color fringingand shading at the image corners.

A sophisticated focusing mechanism keeps both the verticaland horizontal focal lengths of each anamorphic lens perfectlysharp, thereby eliminating astigmatism. It also obviates time-consuming mechanical readjustments on the set because lenselements will not become misaligned, even in situationsinvolving heavy vibration such as car mount shots. In essence,the Master Anamorphic lenses are less delicate and technicallychallenging than anamorphic lenses have been up until now;they can be used in much the same way as other modern cine lenses.

A new era forARRI and ZEISS team up to develop a revolutionary set of sevenMaster Anamorphic lenses

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The anamorphic look

While the Master Anamorphic lenses have consigned to history many of the problems associated with anamorphiccinematography, they have lost none of desirable visualelements that have made the anamorphic look so enchantingand popular for the last 60 years. Among these are the unique blue streak lines, reflections and flares produced by anamorphic lenses, which are highly valued bycinematographers for their artistic effect and have beenoptimized in the Master Anamorphic series.

Another important and distinguishing visual facet ofanamorphic images is the appearance of out-of-focusbackground elements, or bokeh. A newly developed iris with15 aperture blades has been incorporated into the MasterAnamorphic lenses, creating perfectly oval and evenlyilluminated out-of-focus highlights. This ensures a pleasingbokeh that filmmakers will enjoy manipulating creatively.

ALEXA’s new best friends

Though they are also compatible with film cameras, the MasterAnamorphic lenses are the first anamorphic primes to havebeen designed for modern digital cameras. More specifically,they are intended to perfectly complement the ALEXA Studio,M and Plus 4:3 models, all of which have a 4:3 sensor. Thesize and shape of this sensor is ideally suited to anamorphicimage capture, maximizing image quality and faithfullyrendering the optical characteristics of the lenses.

Weighing in at under 3 kg each and with a front diameter ofonly 95 mm for most focal lengths, the Master Anamorphiclenses are comparatively compact and lightweight, allowingthem to be used in combination with ALEXA cameras as freelyas any other prime lens.

Deliveries of the Master Anamorphic 35 mm (MA35), MA50and MA75 are planned for early 2013, with the MA100,MA40, MA60 and MA135 following later in the year.

r anamorphic

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RUBINROTARRI creates VFX for adaptation of popular teen fantasy novel

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“Fantasy films for children and teenagers are a rareopportunity for VFX artists to abandon reality and createunique visual worlds that can only be generated on thecomputer,” says ARRI Creative Director Jürgen Schopper. “You need the fantasy environment to justify such spectacularimages. The producers of Rubinrot offered us the amazingopportunity to create matching looks and effects, granting uspretty much free rein. It’s a sign of trust built over the course of a number of successful collaborations.”

In early 2009, without anyone anticipating the trilogy’sastounding success, the producers at the Lieblingsfilm GmbH in Munich had the prescience to option the film rights. “Wereceived the first draft of the screenplay in early March 2011,”recalls VFX Producers Markus Klaff and Katja Müller, “but ittook another year and many preliminary talks before the VFXteam in Cologne could get to work.”

But what’s it about? To fully comprehend the complexities,paradoxes and implications that move the plot of Rubinrotforward one has to be Albert Einstein or have a PhD inquantum physics, as well as a degree in history with a focuson genealogy. Or one has to be one of the die-hard teenagefans of Kerstin Gier’s novels, tens of thousands of whom arecurrently congregating on Facebook, eagerly awaiting therelease of the film. For mere mortals the book is aboutGwendolyn, who, like all heroines, is sixteen and beautiful,and comes from a family with a physiological anomaly: a mysterious time travel gene that’s been in the family for generations.

German productions based on popular fantasy novel series are the exception rather than the rule:Rubinrot is one of them. Based on the first book of the Liebe geht durch alle Zeiten trilogy from bestsellingauthor Kerstin Gier, it was published in February 2009 and marks the beginning of the franchise’smeteoric rise to success, staying on the Spiegel bestseller list for an impressive 54 weeks. The sequelsSaphirblau (December 2009) and Smaragdgrün (December 2010) followed suit, remaining there for a totalof 89 weeks. Rubinrot sold more than one million copies in Germany alone and was translated into 19languages. Due to the trilogy’s tremendous success it is often referred to as the German version of theTwilight saga. The expectations for the film are high, making the VFX artists of ARRI Film & TV Cologne allthe more proud of their contribution: the key special effects. Rubinrot was produced by LieblingsfilmGmbH (Robert Marciniak, Philipp Budweg and Thomas Blieninger) in collaboration with mem film GmbH(Felix Fuchssteiner and Katharina Schöde), Tele München/Concorde (Markus Zimmer) and the GeißendörferFilm- und Fernsehproduktion KG (Hans W. Geißendörfer).

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Con

cord

e Fi

lmve

rleih

TIME TRAVELING with the chronograph

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“FANTASY FILMS FOR CHILDREN AND TEENAGERS ARE A RAREOPPORTUNITY FOR VFX ARTISTSTO ABANDON REALITY ANDCREATE UNIQUE VISUAL WORLDSTHAT CAN ONLY BE GENERATEDON THE COMPUTER.”

ARRI’S 3D ARTISTS created the complex inner workings of themysterious chronograph machine

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One day, when Gwen suddenly finds herself in London inanother era, she realizes that she too has inherited theproblem and, wanting to get to the bottom of it, begins toresearch her family history. In her efforts to shed light on thesecrets surrounding her own existence and that of an ancientorder of time travelers, called ‘the sentries’, she encountersmurderous villains, unexpected allies and of course – as if things weren’t complicated enough – the love of her life.

Adapted for the screen by Katharina Schöde, who also co-produced the film, Rubinrot was shot in 42 days betweenFebruary 21 and April 27 in Mühlhausen, Thuringia. Other locations included Eisenach/Wartburg, Weimar,Cologne, Aachen, Jülich, Coburg, Bayreuth and London. Felix Fuchssteiner (Die Kurve, Draußen am See) directed thefilm, while the images were captured in the aspect ratio2.35:1 on the RED Epic by cinematographer Sonja Rom (Wild Soccer Bunch 1-3).

One of the key challenges for ARRI Film & TV ServicesCologne was the implementation of the numerous shifts fromone era to the next, while also distinguishing between twotypes of time leaps: the involuntary ones, which pose quite achallenge for the heroine in the beginning, and the voluntaryones, during which a mysterious blood-activated machinecalled a ‘chronograph’ plays a key role.

“We were able to finish the first layouts with the look in April,after the editing had made a great deal of progress,” saysMortimer Warlimont, Supervisor of Visual Effects, who wasinvolved in developing the time leap concept for the film. Adigital disappearing effect was created for that purpose: aflash of color that squeezes the person through a tiny dot in thebackground, more or less popping them out into another era.This time travel effect had to work in both wide shots andclose-ups. To create the required in-camera images, the actorswere suspended from a rope in front of a greenscreen andpulled all the way back so that they could later be erased onthe computer. Each time traveler was assigned a differentcolored flash, which matches the character’s representativegemstone, a concept that has to do with the inner workings of the chronograph. Gwen’s color is ruby red.

Another complex scene was set in the streets of London andwas shot from a crane while the camera was slowly lowered.The sequence, which was actually shot in Bayreuth, called forseveral digital set extensions to turn the quaint Bavarian towninto the London of today and of 1913, including all requiredhistorical details. “This was accomplished for the most partwith 3D models to balance out the lens distortions caused bythe camera movement on the crane,” explains SeniorCompositing Artist Min Tesch.

“Using Google Earth, we surveyed the location in Bayreuth inorder to adjust the angles. Even the landmarks of the Londonskyline, such as Big Ben and The Gherkin, were created on thecomputer in 3D.”

Gwen’s enemies had to look appropriately sinister. The evilcount, for example, has fog-like hands, and the smoke waftingout of his fingers can telekinetically strangle the heroine – aprime example of particle animation. “And there’s the wall thatturns into a face in order to frighten Gwen,” explains Müller.“The image used as a reference for this scene was a shot of anactor’s face pushed into gauze that was stretched into a frame.The actor spoke his lines with his face in the gauze. The scenewas then recreated from scratch in 3D and animated,including the lip movements and the wall texture.”

The highlight of the film, from a VFX perspective, was thechronograph. From the outside it looked like a box-like propthat was later cleaned up digitally. But what could the intricateand, for the plot, absolutely crucial insides possibly look like?“We put a lot of thought into that, until we got it rightesthetically, and we gave the director a wide range of choicesof layouts and designs,” recalls Schopper. The design wasbased on a pencil drawing from Katharina Schöde. In the endthe team agreed on an art nouveau look with a dash ofsteampunk esthetic. Led by ARRI’s Head of 3D, Michael Koch,the 3D artists in Cologne created the complex inner workingsand mechanics of the chronograph, including fog and particleclouds in full CG, over the course of several months.

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ARRI VFX entered new territory with the linear workflows forRubinrot, utilizing the ACES system, an innovative color spacestandard developed by the Science and Technology Council ofthe Academy of Motion Picture Arts & Sciences. “The fileformat was always viewed as an interim solution, created inorder to combine digital data (CGI/VFX) with scanned analogmaterial,” says Warlimont. “Now that almost everything is shotdigitally and linear, it makes sense to establish a new colorspace that makes merging the data streams more seamless.We really did pioneering work on Rubinrot.”

In addition, there were a great number of compositing choresto be completed, including day and night car and carriagerides that were shot in front of the greenscreen, wire removals,retouching of safety wires used by stuntmen, and muzzle fire,including a shot of a bullet firing and hitting a wall.

Also unique was the great number of back-to-back VFX shots.For virtual effects such as snow this entailed adjustments ofeach shot, including wide shots and close-ups, in terms of thevelocity, density, turbulence, coloring and camera tracking,sometimes for a total of 20. In some cases these effects had to be combined with others.

Many shots required numerous preliminary and alternateversions. “Just for the voluntary time leap sequence we had

74 versions before it all matched. Keeping track of all theseversions was a challenge that asset management at ARRI VFXgladly took on,” says Compositing Supervisor Stefan Tischner,praising the work of his Cologne colleagues.

The romantic highlight of the film is the Cherry Blossom Ball atSt. Lennox-College, featuring 3D-animated falling flower petals.We can’t, of course, reveal who’s dancing with whom.

All in all, a total of 165 VFX shots were created and realizedfor Rubinrot between April and early October of 2012, andincluded fine-tuning the rendering of the full CG sequence with particle effects inside the chronograph. About 10specialists worked on the project at that stage of the process,with a third handling 3D tasks (3ds Max from Autodesk withFumeFX Plugin) while the others handled compositing (Nuke)and supervision.

Rubinrot was made possible with the support of the DeutschenFilmförderfonds, the FilmFernsehFonds Bayern, the Film- undMedienstiftung NRW, the Mitteldeutschen Medienförderung, the Filmförderungsanstalt and the Bayerischen Bankenfonds.

All non-time travelers will have to wait until March 14, whenConcorde Verleih releases Rubinrot in German theaters. ■

Ingo Klingspon

RUBINROT

DIGITAL SET EXTENSIONS turned the Bavarian town of Bayreuth into London (above) and virtual snow was added to numerous shots (below)

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ALEXA: LATEST NEWSSOFTWARE UPDATE PACKET (SUP) 7.0

SUP 7.0 brings some significant imagequality improvements as well as excitingnew recording options for feature filmproductions using ALEXA’s in-camera SxS PRO cards.

The Regular Speed Debayer algorithminside ALEXA has been replaced with anew algorithm that provides even cleaner,sharper-looking images, especially onhigh contrast edges and in areas withfine detail. The new Regular SpeedDebayer algorithm applies to all HD-SDIoutputs, as well as ProRes and DNxHDimages in Regular Speed mode (0.75 to60 fps). At the same time the High SpeedDebayer algorithm (for 60 to 120 fps) wasalso replaced with an improved version.

Of the two new recording optionsenabled by SUP 7.0, the first is ProRes

2K 4:3, which facilitates the shooting ofanamorphic feature films onto in-cameraSxS PRO cards. It works with all ALEXAcameras that are 4:3 capable (ALEXAStudio, ALEXA M and ALEXA Plus 4:3).On spherical lens shoots, ProRes 2K 4:3gives extra room for vertical repositioningin post, while on ARRIRAW shoots itprovides the option for an extra in-camerabackup. ProRes 2K 4:3 records 2048 x1536 pixels into a QuickTime/ProRes file,supports all ProRes codecs, and worksfrom 0.75 to 48 fps.

The second new recording option,ProRes 2K 16:9, is great for shootingfeature films onto in-camera SxS PROcards without rescaling, as would beneeded with ProRes HD. ProRes 2K 16:9 works from 0.75 – 60 fps with

all ALEXA models and provides a highquality 2048 x 1152 ProRes file that isideal for feature film productions.

Due to these new recording options, thechoices of what to see in the viewfinderand MON OUT image have been re-worked. Users can decide betweenseeing just the image being recorded,the image with the surround view, or the image with surround view and alsocamera status. Other benefits of SUP 7.0include the LCC (Low Contrast Curve) in every ALEXA by default; 3D sync forthe ALEXA M; the addition of a sixthuser button, achieved by moving thefunction of the edit button to the jogwheel; and many other user interfaceimprovements. ■

With the release of the latest model in the ALEXA range – the Plus 4:3 – earlier in 2012, ARRI hasconsolidated the ALEXA system to such a degree that it now offers an unparalleled variety of options tofilm and program makers. Work continues to go on, however, to refine existing features and develop newhardware and software tools. To this end, the latest ALEXA software update has enhanced image qualityand made in-camera SxS PRO card recording an even more attractive option for feature films.

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The Smallest BiggestLight On SetThe new M90/60 joins the award-winning M-Series

M90/60

M40/25 ARRIMAX 18/12

M18

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VISIONARRI

• Same size as EB 6000 Baby ballast

• CCL (Compensation for Cable Loss)

• ALF (Active Line Filter)

• Dual voltage (120/230V)

• DMX compatible

• Available in a 1,000 Hz version

EB 6000/9000 BALLAST

The M90/60 packs a lot of punch into a small package. Lightoutput is close to that of a 12K, while size and weight arenearer to a 6K, making it easier to transport. This is a crucialconsideration for productions travelling to distant locations, as weight and space on trucks can be extremely limited.

The advent of high sensitivity digital cameras such as the ARRIALEXA, which has a base sensitivity of EI 800, has meant thatlight levels on many film and television sets have fallen. Insome cases, an 18K is an unnecessarily large and unwieldyfixture, and could be replaced as the biggest light on set bythe M90/60. On digital productions the M90/60 could easilyfunction as a huge keylight in many setups, for example whenlighting large areas at night. Up until now the next step downfrom a 12K or 18K has been a 6K, but the M90/60’s new9,000-watt power class bridges the gap and offers a perfectsolution for situations where an ARRIMAX would be a bit toobig or bulky.

A completely new 9,000-watt bulb has been developed byOsram, one of ARRI’s key technology partners, specifically forthe M90/60. Alternatively a 6,000-watt bulb can be used,making this a highly versatile lamphead. Osram has achieveda technical breakthrough by designing the new 9,000-wattbulb to be stable at 1,000 Hz, which is a remarkable feat forsuch a powerful lamp. It means that the M90/60 will be anextremely useful fixture for high speed cinematography,allowing frame rates of up to 1,000 fps while delivering the large amounts of light required.

Since its introduction in 2005, the ARRIMAX 18/12fixture has become a ubiquitous presence on filmsets all over the world, providing massive lightoutput for the biggest scenes. At the heart of thisOscar-winning fixture is an innovative, patentedreflector that eliminates the need for spreaderlenses and combines the advantages of a PAR withthose of a Fresnel. The same MAX Technology hasgone on to be used in a range of other ARRIfixtures, including two further lampheads in the M-Series, the M18 and M40/25. Now the M-Seriesis being extended with a fixture that ushers in anentirely new 9,000-watt power class – the M90/60.

• New 9,000-watt power class

• Superior light quality via MAX Technology

• As small and lightweight as a 6K PAR

• Light output close to a 12K PAR

• Focusable from 17-55°

• Can be operated with 9K bulb at 1,000 Hz

M90/60 FEATURES

Accompanying the M90/60 is a new high speed ballast, the EB 6000/9000.Like other recent ballasts from ARRI, it features CCL (Compensation for Cable Loss)technology and the power-saving ALF (Active Line Filter). The EB 6000/9000 isDMX compatible, dual voltage (120/230 V) and is no bigger than ARRI’s existingEB 6000 Baby ballast.

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TheBletchleyCircleJohn Pardue on using ALEXA to create the mood for a crime drama set in 1950s LondonProduced by World Productions for ITV in the UK, The Bletchley Circle is a three-part television series shot bycinematographer John Pardue using ARRI ALEXA cameras supplied by ARRI Media and a lighting packagesupplied by ARRI Lighting Rental.

When the team behind The Bletchley Circle met to discuss the look of a crime drama set in the early 1950s, theyeschewed a bright, post-war, optimistic look for a moreaustere, repressed England.

“Andy De Emmony [director], Mike Gunn [productiondesigner], Anna Robbins [costume designer] and I discussed at length how to make this period look work – the pre-1960smodernity was creeping into England, but our story wasanchored in Bletchley and the war, and there was stillrationing and a ‘make do and mend’ feel to everyday life,”says Pardue. “The three elements of set design, costume designand lighting worked very well together – Mike and Anna usedmuted colors, which I complemented with a mix of practicallights and a very soft daylight through windows for interiors. I created a low-key mood with the lighting, an almostpermanent ‘end of day’ feel. The mix of tungsten and daylightin the interiors also gave the film a distinctive style.”

Despite the period setting, Pardue chose to shoot the drama onALEXA. “Clearly we didn’t want it to feel digital but the ALEXAhas quite a filmic look for a digital camera,” he says. “I’veshot on film for many years and I still love that medium, but theALEXA gives good latitude and handles mixed color very well,and it’s simple to use. It’s definitely my favorite digital camera,and it was really the obvious choice for this project.”

Pardue also chose to use Cooke S4s, selecting them for theirslightly lower contrast feel and ability to bring a cinematicquality to digital material. Pardue used nearly the full range ofCooke S4s, particularly favoring the 21 mm and 40 mm focallengths, and used a black frost diffusion filter to add moresoftness to the image. He also used an Angenieux Optimozoom lens.

Pardue’s lighting choices were not dictated by the medium. “I lit the drama as I would have for 35 mm, I didn’t need tomake any concessions for shooting digitally,” he says.

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“The ALEXA beautifully reproduced themuted colors used in the design of thedrama. I find that it responds like film tocolor temperatures; it looks very beautifulwith a cold light on faces, but can alsoretain the detail of a darker night interior.”

The Bletchley Circle is a crime drama,which sees ex-wartime code-breakersutilizing their skills to solve a murder.Several scenes take place at night or in dark houses, with a shadowy andchilling feel – in particular in the lastepisode as the main character, Susan[played by Anna Maxwell Martin],encounters the ‘Anderson sheltermurderer’. The director, Andy DeEmmony, and Pardue felt it wasimportant to visually switch from Susan’s suburban domestic life to thedark world of a deranged serial killer.

“You have to be careful with darknessfor TV as it can be ‘mushy’ – you needto have contrast within the darkness, andof course be able to show the audienceenough of what is happening – it’s oftenmore ‘the idea’ of darkness,” Pardueobserves. “There was a sequence whereSusan followed a trail of oil lamps; theALEXA handled it very well, creatingenough contrast in the shadows whilethe darker side of her face was definedand didn’t fall off. In another scenewhere Susan enters a very dark flat witha tiny amount of light coming in throughthe windows, we could still see the glintin her eye. The ALEXA allowed us tocapture Anna’s nuanced performanceand create the required tension – plus ofcourse, shooting digitally meant therewas no problem with graininess in the blacks.”

Pardue chose to shoot to a LUT of Rec709 throughout, which worked to retainthe required look and meant minimalchanges in the grade. Pardue explainshis choice: “Very early on, we committedto doing as much on set as we could.We knew the kind of look we wantedand the Rec 709 LUT gave us a prettygood basic set up. It kept everythingvery simple, and by playing to the LUTset up for the ALEXA you play to thestrength of the camera.

“We did alter the color temperaturesquite a lot, for example if we weredoing a night scene and wanted amoonlit feel, we found it in the color

temperature rather than doing it in thegrade later. We knew from the rushesthat we had achieved the look wewanted in camera so, when we got tothe grade, colorist Sonny Sheridan atThe Farm did a fine job to build on whatwe had achieved by using Rec 709 as abasis for his grade.”

The two TV Logic reference monitors onset were also set to the LUT, as were themonitors being used in the Avid editsuite in Dublin where assembly editswere created. Pardue used the monitorswith the LUT applied as a reference forthe lighting, and sometimes had DVDrushes for particular scenes, but moreoften De Emmony and Pardue reviewedthe rough cuts on De Emmony’s iPad onthe morning car journey to the set. “Ihaven’t had many opportunities in thepast to have those discussions beforeyou get to work, but it was a great wayto get into that mindset, discuss what wehad, make decisions and get on with theday,” Pardue recalls.

Pardue did most of the operating himself,with an occasional 2nd unit for certainscenes covered by cameraman MikeParker. “Andy is a very experienceddirector, he knew how he wanted tobuild the shot and shoot it, and he’sgenerally a one-camera director,” saysPardue. “In The Bletchley Circle there’s

a lot of information to gather andpuzzles to solve, which visually couldhave been rather boring, but we kept thecamera moving with quick cuts to retainthe tension and urgency. Then we wouldslow down for more emotional scenes.”

Schedules were tight throughout theshoot, with limited time to captureseveral scenes on the Bluebell Railwayand at St Pancras station. As Pardueexplains, “We shot most of the drama inthe train carriages handheld over twodays – the ALEXA is well-balanced whichmade it easy to move around. We alsohad half a day to shoot a complicatedscene at St Pancras avoiding theEurostar and other modern furnishings to create a 1950s station full of steamtrains and busy station life, seamlesslycutting back to cheated cutaways thatwe had shot at the Bluebell Railway.”

The Bletchley Circle was a tough shootwith a tight schedule, and shooting‘period’ in London comes with its ownset of problems. However, the team werevery pleased with what they achieved.“The ALEXA was a good choice for thisproject and we were all really pleasedwith the way it looked in the finishedgrade. It was an easy camera tomanage digitally and comfortable tomove around and operate.” ■

Wendy Mattock

“…ALEXA GIVES GOOD LATITUDE ANDHANDLES MIXED COLOR VERY WELL,AND IT’S SIMPLE TO USE. IT’SDEFINITELY MY FAVORITE DIGITALCAMERA, AND IT WAS REALLY THEOBVIOUS CHOICE FOR THIS PROJECT.”

VISIONARRI

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Maximum emotional energy for BMWPixels of light flood a three-dimensional space, then gather and form a shape: an athlete, a computer-generated image ofthe highest quality. This CGI athlete was part of the chosencreative concept developed by lucie_p and ARRI Commercialfor its client, BMW, to create content for the movie theatre thatwas part of BMW’s London Showcase 2012.

The film used the pavilion’s theme ‘Driving the Future’ andpresented BMW as the world-leading car manufacturer when itcomes to sustainability. “We associated each of BMW’s threebrands – BMW, BMWi and MINI – with Olympic sports,”explains Rico Reitz, Creative Director, ARRI Commercial. “Thekey visuals were a 400 m track star representing BMW, a polevaulter as BMWi and a beach volleyball player as the Mini.”The visual through-line connecting the worlds of these differentbrands was light, a visual design element that also reflects theOlympian spirit. The athletes were created with light particles,and three multi-colored light beams merged the differentbrands at the end of the film under the umbrella brand. “503D shots, each with 40 layers, really paid off,” adds Reitz.“We created a highly realistic 3D model of a universal athleteusing never-before-seen light worlds, and showed him fromunusual and seemingly impossible camera angles.”

A key part of the success of the presentation was the team’sspecially designed in-house cinema, according to Tina MariaWerner, General Manager of lucie_p: “In our cinema we were able to watch the film as it would later be projected toevaluate its impact prior to the event and to optimize theresults.” The finished film brought to life the brand equitystandards of the cars, and fired up the pavilion visitors whowere captivated by the unique images and the cinematic score composed specifically for the film.

Science FairThe cinema was also used to design the stage show Night ofInnovations. The show was the centrepiece of a star-studdedgala that took place on 10th August in Essen, Germany, withactor Orlando Bloom, Wikipedia founder Jimmy Wales andGerman TV personality Anker Engelke among the 2000 invitedguests. The event kicked off the 13-day Science Fair 2012, atechnology fair hosted by ThyssenKrupp and 200 partners tointroduce young people to scientific fields such as mathematics,computer science and the natural sciences.

The key atmospheric element of the two-and-a-half hour stageshow was a 250-square-meter LED screen. Angenehme

ARRI COMMERCIAL AND LUCIE_P JOINED FORCES ABOUT A YEAR AGO ANDHAVE SINCE BECOME A GROUNDBREAKING MOTION DESIGN TEAM CAPABLE OFTAKING ON OLYMPIC-SIZE CHALLENGES. THEIR MOST RECENT COLLABORATIONSREFLECT THE PARTNERS’ EQUALLY HIGH STANDARDS, AS WELL AS THE GROWINGSIGNIFICANCE OF MOVING IMAGE DESIGNS FOR CLIENTS.

The motion design team of ARRICommercial and its partner lucie_p

Moving Images in Three-dimensional Space

BMW SHOWCASE 2012

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Unterhaltungs GmbH and Brandsome hired lucie_p and ARRICommercial to create the animated logo for the Science Fairas well as to design the show’s multimedia wall. The latterbecame an integral part of the program, used for the show’slead-in and introductions to the various segments throughout, to provide cues for the hosts, and for the outro.

The centrepiece of the program was a 19-minute trip throughthe history of technology, from its very beginnings to thepresent, in the form of a stage show involving the German TVBallet Ensemble. “In shows and during large public events,large-scale motion designs are becoming more popular –partly because LED screens are becoming more affordable,”explains Philipp Bartel, Head of Commercial at ARRI. “The onstage presentation blends with the atmospheric qualityof the light and the vibrant images of the moving imagepresentation, creating interactive possibilities and revealingunique perspectives. We are particularly proud of Nights ofInnovation, which allows audiences to experience thefascinating world of science, technology and innovation.”

Bosch goes digital: first-rate infotainment at the IFA boothIn the case of the Science Fair, the idea was to create a visualspectacle. For the IFA booth of Bosch, the household appliancemanufacturer, the intention was to highlight the philosophybehind the newest product lines, while emphasizing theimportance the brand places on its designs. 127 monitorswere placed next to each other, wrapping around a 3000-square-meter booth like a ribbon made of moving images.

The monitors displayed generic worlds that represented themessuch as ‘freshness’ and ‘water’, but also included product-related themes such as ‘100% efficiency’.

As with all of their collaborations the lucie_p and ARRICommercial design teams split the tasks to play to theirindividual strengths. While lucie_p developed the creativeconcept and took care of consulting and client support matters,ARRI Commercial was in charge of the actual production andensured that the highest technological standards were beingmet. After the client, Wenger & Wittmann, had articulated their goals, the motion design team translated these into visualsand sound. First, a mood board was created with visualapproximations for each topic. Once they were approved,storyboards were drawn. Then the content was animated andedited into finished films. To test the effectiveness of theanimation within the moving image installation, a model of theeventual installation was set up to provide a visual reference.The agency and the client were able to track the progress oftheir project throughout the process.

During the production phase, six 50” monitors identical to theones later used at the booth were set up in lucie_p and ARRICommercial’s design studio to preview all the moving imagesand to optimize the results during final approval. “Oneparticular challenge was that all the individual elements of theprogram had to be used interchangeably and out of orderduring the trade show,” recalls Werner. “We created abuilding block concept that allowed the client to play all theimages and sounds out of sequence.” The ‘moving imageribbon’ was a highlight of the Bosch booth and a key elementin creating the desired atmosphere.

VISIONARRI

“WE CREATED A HIGHLY REALISTIC 3DMODEL OF A UNIVERSAL ATHLETE USINGNEVER-BEFORE-SEEN LIGHT WORLDS, AND SHOWED HIM FROM UNUSUAL ANDSEEMINGLY IMPOSSIBLE CAMERA ANGLES.”

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1+1=3The concept of collaboration that Philipp Bartel and Tina MariaWerner had prior to joining forces in the fall of 2011 is paying off. Clients are getting more for their money thanksto the companies’ permanent affiliation, which allows thepartners to bring their individual strengths to the table, therebyimproving the cost-benefit ratio for their customers. “Ourmotion design team is a one-stop shop. We offer everything,including creative ideas and concepts, technical expertise,production and postproduction services for moving imagedesigns, even music,” says Werner. And brands appreciatethis approach more than ever, according to Bartel:

“Our current projects show that clients from every sector,regardless of size, are coming to us. We offer moving imageinstallations for conventions and exhibits, 3D visualizations, 3Dvideo mapping, outdoor building projections and much more. We have the resources to meet any challenge. We can addpersonnel during key phases, while still being able to moveincoming projects along and offer the best quality possible.”And their success speaks for itself: audiovisual presentationsare part of any brand marketing strategy that takes theexperiences and expectations of clients and consumersseriously – and the lucie_p and ARRI Commercial team is the perfect partner for these types of projects.

“OUR MOTION DESIGNTEAM IS A ONE-STOPSHOP. WE OFFEREVERYTHING,INCLUDING CREATIVEIDEAS AND CONCEPTS,TECHNICAL EXPERTISE,PRODUCTION ANDPOSTPRODUCTIONSERVICES FOR MOVINGIMAGE DESIGNS, EVEN MUSIC.”

© BMW AG

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VisionARRI: Innovative communication through movingimages is more sought after than ever. Why is that?

Philipp Bartel: Ever since commercials started to play anincreasingly important role online, consumers and customersalike express a preference for this emotionally powerful format– and not just on the computer screen. Whether it’s in thesubway or on a smart phone or digital billboard, we all expectaudiovisual presentations of the highest quality. And good justisn’t good enough. We expect more than old-fashioned TVcommercials, more than pre-rolls that delay the beginning ofonline videos. Innovative motion designs, therefore, are theway to go.

VA: But why is the moving image such an importantcommunication tool?Tina Maria Werner: Moving images have the potential to infusebrands with positive emotions and to make them memorable:we remember what we’ve seen more easily than what we’vesmelled. The human brain recalls messages that appeal toseveral senses at once more easily. That’s why image andsound are a particularly successful symbiosis. It’s what makesthe moving image a highly effective tool.

VA: Some of the brand representatives are reluctant because of the costs involved – what’syour response?PB: The costs aren’t as high as one would expect. Whether it’s HD cameras, visual effects software or LED screens, thetechnical resources used during the production and projectionof moving image designs have improved significantly in thepast few years in terms of quality, while becoming much moreaffordable at the same time. Whether we are talking aboutcinematic company profiles for homepages or small or largeconvention presentations, computer-generated productpresentations or outdoor building projections – there’s anaffordable solution for every brand.

VA: How should moving images be used?TMW: That depends on the brand and the challenges it faces. If you have a product that’s very complex, then a video is theperfect tool to illustrate the complexities in an engaging way.Designers who want to highlight the esthetic value andcreativity behind their products can do so using moving imagepresentations at conventions. Clients who want to create afeeling of familiarity and a sense of passion can accomplishthis by making their customers become part of an installationthrough the use of moving images. There are numerous otherexamples because moving images are as unique as a brand –and a convincing presentation communicates that best. ■

Philipp Bartel and Tina Maria Wernerdiscuss the role of moving images in the worldof brand communication today.

A POWERFUL TEAM: Philipp Bartel, Head of Commercial at ARRIand Tina Maria Werner, General Manager of lucie_p

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As more productions move to digital acquisition, agrowing number are employing dailies processingsolutions on- or near-set. Innocence, a teenvampire tale directed by Hilary Brougher and shotby cinematographer David Rush Morrison, madethe decision to adopt such a route, choosing anARRI ALEXA and mobile digital dailies package thatutilized Colorfront’s On-Set Dailies system. Camera,lighting and grip equipment was supplied by ARRICSC, based out of Secaucus.

Line producer Gary Guidice discusses why the low-budget, independent film used an on-setsystem to deliver same-day dailies.

VisionARRI: Why did you decide to shoot Innocence digitally?

Gary Guidice: Certainly budget played a large part but, inparticular, the ARRI ALEXA has really revolutionized filmicimagery in a way that no other camera system is doing rightnow. If it was strictly a cost issue I don’t know that the decisionwould have been as straightforward. But the fact that you cancreate beautiful and cinematic imagery combined with the costand convenience of digital made it an easy decision for us.

VA: You chose to shoot ProRes onto the on-boardSxS PRO cards over recording ARRIRAW, why was that?

GG: Again, cost was a factor. Convenience was a factor. Butalso David Morrison the DP knew that he wanted to do a lot of handheld on the movie - and we did do a lot of handheld.Our operator Alan Pierce [Winter’s Bone] is probably one ofthe finest handheld operators in the business. I think we feltthat the added weight of the ARRIRAW recording systemsmight limit the cameras agility in a way. This also had a lot to do with why we went away from a traditional tethered DITscenario. ARRIRAW verses SxS was not a simple decision forus though. We have a lot of VFX in the movie and there was athought that we needed to shoot ARRIRAW in order to give ourVFX supervisor the room he needed to do his work. WithARRIRAW, reframing, blowing up, depth of image is practicallylimitless. With ProRes there are definite limitations but, with ourresearch and some testing, we concluded that ProRes would besufficient for us.

VA: Why did you decide to use an on-set solution foryour dailies as opposed to a lab?

GG: We weren’t at first until Gus [Rental Manager, ARRI CSC],

Chris MacKarell [Digital Workflow Supervisor, ARRI CSC] andRyan Dwork [Rental Agent, ARRI CSC] brought it up. I think wewere back and forth about a traditional DIT or a loader/labwhen they brought the idea to us. With some exploration and research – time was of the essence because it was verylate in our prep period at the time these conversations started – we concluded that the on-set solution that ARRI CSC wasproposing offered us the same reliability, service, quality, and,affordability as traditional lab dailies. And this seems to be thedirection that production workflows are going, so I’m keen tobe ahead of the curve or at least current. And the producerswere very supportive of the idea so that made it easy.

VA: Could you talk more about the ‘immediate’effect that having this solution provided?

GG: When dailies are created by a facility, the process neverreally allows for any shooting crew to be involved in the timingof the dailies – perhaps the DP can send some stills of whathe’s expecting or there can be some conversation via email,maybe by phone at lunch. In any case, it’s very minimal.

Innocence

“…THE ARRI ALEXA HASREALLY REVOLUTIONIZEDFILMIC IMAGERY IN AWAY THAT NO OTHERCAMERA SYSTEM ISDOING RIGHT NOW.”

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Vampire thriller sinks its teeth into on-set dailies

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VISIONARRI

With a DIT you get that immediacy but you are tethered andthe DIT’s focus is usually on that, so they usually won’t go sofar as creating editorial files too. With us having the cart onset it was kind of the best of both worlds. Ben Schwartz [DIT]was creating our editorial and dailies files and we wereliterally coloring footage within minutes of shooting it. The DPcould walk over to Ben and grade with him, which isimpossible with a conventional lab workflow. They could walkover and solicit Ben’s advice and have all of the tools of thecart at their disposal to verify what had been shot – is thelighting too low, will we be able to time this out in the DI theway we want to at this exposure, etc. This can all happenwithin a few minutes while they are setting up the next shot orwhile the actors are getting changed. And our project hasn’tseen the full spectrum of this benefit yet as we are still editing. I suspect when we get into the DI later this year, there will besome scenes where our DI colorist can just plug in the look thatthey created on set and work from that instead of starting fromscratch or from the very generic Rec 709.

VA: Were editorial happy with the files generated bythe cart?

GG: Yes. When exploring all of the different options aroundproduction workflow, inevitably one of the questions was: isthe assistant editor going to do the transcoding for editorial?That would occupy a significant amount of an assistant editor’sday and also delay the editor being able to work with thefootage. Relieving our editorial team [Peter Frelik, assistanteditor and Keith Reamer, editor] of that duty was huge forthem. We had happy editors and the footage always arrived

in great shape. We had thorough technical conversations inpreproduction about how they wanted to receive their dailies.There are a lot of details to decide on, and having that tightcommunication with everyone during prep really set the stagefor a smooth workflow once we started shooting. Keith andPeter are old pros and they would have been vocal if anythingwere amiss.

VA: Did the images and metadata meet production’s expectations?

GG: Absolutely. First and foremost David was capturingbeautiful images on set, which is something no technicaladvancement should ever try to circumvent. Ben was able todial in David’s desired look the rest of the way. Everyone was happy with the footage. In fact, we just screened theassemblage for the producers and the director with theeditorial footage and everyone is over the moon. As far as themetadata, again I heard no issues or complaints from editorial.We did a test conform of a two-minute sequence when wewrapped principal photography and that went smoothly, so all of the master footage and the editorial footage is matchingup nicely.

VA: Would you recommend other productions lookat this approach to dailies?

GG: Yes, I think it makes a lot of sense for a production to lookat it. There is a lot of versatility in how you can apply thissystem and I suspect you can come up with one that makessense for your production and budget, etc. ■

Brigitte Wehner

SETTING UP A SHOT David Rush Morrison, DP; EthanBorsuk, 1st AC; Al Pierce, operator; Hilary Brougher,director (left to right)

AT THE VIEWFINDER of the ALEXA: David Rush Morrison

ON LOCATION shooting in Riverside Park, Manhattan

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ARRI’s L-Series of LED lights, which launched withthe color-controllable L7-C model, has quickly beenaccepted by the industry as an efficient, eco-friendly and cost-saving alternative to traditionaltungsten Fresnels. Now a dedicated tungstenmodel, the 30% brighter L7-T, has been released,alongside an option for active cooling that reducesboth the weight and the size of L7 units, makingthem perfect for location shoots.

L-Series fixtures reduce electricity usage by 75%, permittinghuge savings to be made in studio environments and greatlydiminished power needs on location. Further savings arebrought about by the exceptional life span of the LED light engine, which lasts around 200 times longer than aconventional tungsten bulb.

The L7-T is a single-color, 3200 K tungsten version of thepopular L7-C, providing in excess of 30% more light whilemaintaining the same size and weight, and offering the samecalibrated color quality. It is particularly suited to applicationsrequiring maximum intensity for a given fixture size. L7lampheads also provide the same light quality and simplicityof use as conventional tungsten Fresnels, and can easily beused alongside them.

The ARRI L-Series of LED Fresnelsnow offers a tungsten model andoptional active cooling

Brighter Cooler Smaller

A new active cooling option for both the L7-C and theL7-T premiered at IBC, while still providing energysavings and impressive light output, it is now in a smallerand lighter package. Featuring a super quiet fan, L7lampheads equipped with active cooling are ideal forlow-ceilinged studios, portable lighting kits and locationuse, as their reduced size and weight make them easierto transport and allow them to be used in space-constrained environments.

ACTIVE COOLING

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The WCU-4 is an all-inclusive hand unitoffering up to 3-axis of lens control. Itincludes a newly designed, super-smoothfocus knob with adjustable friction andbacklit, pre-marked focus rings that arereadable in the dark. The whole unit iscompletely splash proof, furtherenhancing its typical ARRI reliability. An advanced built-in iris slider has itsscale on the 3” display, providing clearlyreadable T-stop numbers.

Included on the left side handle is anergonomically designed, pressure-sensitivezoom knob. A user-programmable buttonunderneath the handle permits rapidaccess to functions such as quick zoom(zap) or setting marks. An optional handstrap provides extra stability and leavesthe thumb of the holding hand free, thusallowing even the most challengingsimultaneous shifts of iris and focus.

The large 3” transflective display reflectsambient light and remains clearly visibleeven in direct sunlight, while also savingbattery power. It provides enough roomfor status information of camera andhand unit, measured distances fromultrasonic devices or lens data in agraphical form. Focus, iris and zoommarks or limits can easily be set bypressing one of the sealed, backlitbuttons next to the display. ARRI Lens

Data Display is integrated and whenused with the ALEXA camera, the unitdisplays camera settings and status; itwill even be possible to control ALEXAwith the WCU-4 following a futuresoftware update.

One of the most groundbreaking newfeatures of the WCU-4 is the option touse tactile feedback for electronicmarkers, limits or warnings. Essentially,focus pullers can set soft rather than hardstops, and the unit will vibrate to warnthem when they are at their pre-setmarkers or limits, or if a camera warningoccurs. This allows them to keep their

eyes on the performers at all times,leading to greater accuracy of focus.

Users can save their preferred settingson an SD card, enabling them toimmediately personalize any WCU-4,anywhere in the world. The WCU-4 isdesigned to be expandable; newfirmware versions can swiftly be installedto the unit via SD card. Various mountingpoints allow future accessories to bemounted, including brackets for minimonitors or iPod Touch. The unit ispowered by an affordable camcorderbattery and is compatible with existingARRI motor controllers equipped with the white coded radio modem.

ARRI’s Wireless Remote System is a sophisticated toolset for wirelesslycontrolling lens and camera functions on set. At IBC 2012 ARRIannounced the new Wireless Compact Unit WCU-4, which will be the most sophisticated and user-friendly remote control on themarket, succeeding the WCU-3.

GO WIRELESS

Also unveiled at IBC, was a new Controlled Lens Motor CLM-4, available with various differentgear modules. Flexible and highly affordable, the CLM-4 is a compact and lightweight lensmotor which is faster and quieter than the CLM-2. The CLM-4 will prove especially useful in tightsituations with limited space, since the gear modules can be mounted either side of the motor.The motor offers rod-to-rod mounting options, as well as the standard rod bracket. The clampconsole is adjustable and, crucially, the motor cable is detachable, allowing quick and easy on-set maintenance and trouble-shooting.

New wireless control options with the WCU-4 and CLM-4

CONTROLLED LENS MOTOR CLM-4

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VISIONARRI

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By inputting the relevant format into the data calculator(which might be ARRIRAW, uncompressed HD, ProResor DNxHD), as well as the frame rate, users canimmediately see how much time, or data capacity, isrequired. Simple controls and a single-screen interfaceallow a quick decision to be made about how manySxS cards, data packs and/or external hard drives aproduction will need.

The ALEXA Data home page also offers quick links tothe ALEXA User Manual and Pocket Guide WebApp.

To download the ALEXA Data app, search ‘ALEXAData’ in the iTunes App Store.

ARRI Media has released ALEXA Data, a free iPhone application that enables users todetermine storage requirements when planning a shoot with any camera from theALEXA family.

ARRI Media introduces ALEXA Data app

ARRI has appointed Martin Cayzer as Chief Executive of its global network of camera andlighting rental operations. In this new role, Cayzer will have global responsibility for ARRI’sdiverse rental businesses and service capabilities, with plans to extend global reach, growthe customer base and enhance market leadership.

New Chief Executive for the ARRI Rental Group

Prior to joining the ARRI Rental Group, Cayzer servedas Managing Director of Panavision Asia Pacific for13 years, responsible for its own operations and thirdparty distributors throughout the region. He has 30years experience through roles in a number of industryorganizations in the UK, New Zealand and Australia,serving on the Board and as Chair of the Australianorganization Ausfilm; a partnership organizationbetween private industry and government responsiblefor connecting the international film community withAustralia’s screen incentives, talent and facilities.

Cayzer says, “ARRI has a long history at the forefrontof camera, digital intermediate and lighting technologyand with the successful introduction of the ALEXAcamera range and LED lighting systems, continues tobe a leader in an industry in transition. It’s exciting tojoin ARRI at this particular time as it firmly stakes a keyrole in the future of our industry.

The ARRI Rental Group is a large and diverse group of companies. My role is to grow and link thesebusinesses to create a truly global rental network thatwill support our increasingly mobile customers with thebest technical solutions.”

MARTINCAYZER

ARRI Media Services: Projects & People

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VISIONARRIVISIONARRI

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ARRI Lighting Rental in London now has significant stock levels of the ARRI L7-C LED-basedFresnel lamp. The versatility, efficiency and performance of the L7-C will appeal to lightingdirectors working on a diverse range of production types, allowing ARRI Lighting Rental toexpand into the broadcast market and build on its core business of supplying lightingpackages to major feature film and TV drama productions.

ARRI Lighting Rental ready to equip lightingdirectors with ARRI L-Series LED fixtures

The L7-C is the top-of-the-range lamphead from ARRI’sL-Series, first launched in 2011 and now recognisedas a breakthrough in the integration of LED technologyinto the film and broadcast industries. L-Series fixturesreduce electricity usage by 75%, permitting hugesavings to be made in studio environments and greatlydiminished power needs on location. Further savingsare brought about by the exceptional life span of theLED light engine, which lasts around 200 times longerthan a conventional tungsten bulb.

This extreme efficiency, coupled with the high qualityof light output for which ARRI is world-renowned,makes L7-C lamps uniquely interesting to lightingdirectors for outside broadcasts or events, as well asthe traditional situations in which a Fresnel might beused. The fixture’s precise control of color temperatureand plus/minus green provides further creative optionsto lighting professionals.

“The L7-C is a fascinating and versatile lamp,” saysTommy Moran, Managing Director of ARRI LightingRental. “LED is here to stay and the L7-C bringsquantifiable benefits in terms of being eco-friendly and drawing very little current. Of course, that’s doingmyself out of revenue from generators, and the totalcolor control of the L7-C also does away with the needfor gels, but I have no doubt that these lights representa big part of the future.”

Also reflecting ARRI Lighting Rental’s dedication toproviding customers with a wide range of the most up-to-date fixtures from ARRI is the company’s inventoryof M-Series lights. The ARRIMAX, M18 and M40/25lampheads all feature ARRI’s groundbreaking MAXTechnology reflector design, which eliminates the needfor spreader lenses and combines the advantages of aPAR with those of a Fresnel. The M-Series fixturesalready on the shelf at ARRI Lighting Rental will soonbe joined by the latest member of the family – theM90/60 – an affordable 9K HMI with light outputclose to that of a 12K, but similar in size and weightto a 6K, so easier to transport.

The ARRI Rental Group’s commitment to stocking thelatest and most advanced fixtures across the groupmeans that L7-C fixtures will also be available fromARRI Rental Germany as of January 2013.

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ARRI Mitte’s core business is postproduction for featurefilms and commercials. The new ARRI flagship facility is spearheaded by Frieda Oberlin, Head ofProduction – Feature Films, and Wolf Bosse, Head of New Business Development.

Bosse studied graphic design in Braunschweig andBerlin. During the nineties he freelanced as a creativedirector, working for various productions in theGerman-speaking world and in New York. Between1998 and 2000 he worked for ARRI Munich as aSenior Digital Artist and then went on to join themanagement team of Pictorion das Werk in Berlin. In February 2012 he returned to ARRI, bringing hisextensive experience and insider knowledge –particularly in the realm of motion graphic design andon-set supervising – to the newest ARRI facility in BerlinMitte. VisionARRI asked Bosse about the conceptbehind ARRI’s latest Berlin venture.

VisionARRI: What was the reason for opening a second ARRI location in Berlin?

Wolf Bosse: Clearly the proximity to our customers.Many directors, DPs, production companies andadvertising agencies are working in the vicinity. It’s theperfect location for another full-service postproductionfacility. We are located in our own town house, acharming location, with a close-knit team of 14 people.And we offer parking, a major plus in this part of town,although most clients walk or ride their bikes. Our bikerack is always crowded.

VA: What will ARRI Mitte be focusing on?

WB: We see ourselves as a creative addition to theARRI locations at Hohenzollerndamm in Berlin andTürkenstraße in Munich. This allows us to provide thefull range of services to our clients. We provideeverything digital postproduction has to offer: digitalgrading, visual effects, compositing and editing, as wellas developing motion graphic concepts. We also haveour own grading cinema with 2K projection right herein the center of town.

VA: What projects are you currently workingon and who are your clients?

WB: Frieda Oberlin and I were able to bring TilSchweiger’s company, Barefoot Films, to ARRI Mitte andso far we have worked on three of their feature films:Guardian Angel, Kokowääh 2 and Grossstadtklein –the directing debut of Tobias Wiemann, which TilSchweiger and Tom Zickler produced. These were thefirst digital productions for Barefoot Films, shot on theALEXA provided by ARRI Rental Berlin. Most recently,we have finished color grading Matthias Schweighöfer’snew movie Schlussmacher, also shot on ALEXA.

We are also very well connected in Berlin’s advertising world and are working on campaigns forNikon, Hornbach, BMW and Audi. In other words, all the major advertising agencies interested in moving images.

Other projects include director Pepe Danquart’s Run, Boy, Run!, which we color graded, as well as a project for Wim Wender’s company, Neue RoadMovies, called Kathedralen der Kultur – a 10-part TV documentary in 3D and 2D about the ‘souls’ ofbuildings such as the Berliner Philharmonie. We arealso in talks to work on Wender’s next feature film,Everything Will Be Fine.

We should also mention the music video for the popularGerman band Tote Hosen and the new Berlinale trailer.We are purposely mixing things up a bit.

In October ARRI Film & TV opened a second location in Berlin. Now, in addition toHohenzollerndamm, there is also a facility in Auguststraße 48, right in the creativeheart of the capital.

ARRI Film & TV opens in the heart of Berlin


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ARRI Sound acquires Jörn Poetzl’s legendary foley studio

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VA: You mentioned commercials. What’s ARRI Mitte’s USP when dealing with thatgroup of customers?

WB: We are not only attracting clients working nearby,but also have access to a large pool of digital artists.Animation directors, art directors and designers, bothlocal and international, find our new setup veryappealing. In other words, ARRI Mitte doesn’t just offerour clients all the technological novelties, but also acomplex and multifaceted creative service right on theirdoorstep, which makes us an active player in the field.

Technology-wise, ARRI Webgate is another USP: afantastic tool, currently used primarily in the feature filmworld for rushes, that I would like to introduce to the

advertising world. I’m convinced that Webgate is atool that will take commercial production to a wholenew level, for example, when viewing various editsand to compare deliveries. This will facilitate thedecision-making process on international productions,especially for agencies with offices on differentcontinents. Even though the advertising and feature filmworlds will use Webgate quite differently, the tool assuch will prove incredibly useful for both, thanks to itsclear logistics, easy log-in process, quick datatransmission and, last but not least, its elegant appeal.

ARRI has just begun to make the results of its extensiveresearch and development efforts in the realm offeature film production available to the advertisingworld. So there’s a great deal of opportunity here.

When Poetzl, one of the most renowned foley artists inGermany, decided to retire he surprised everyone atARRI Sound with an offer to sell his studio in MunichGiesing, including the entire prop collection he hadaccumulated over the years. Over the course of hislong career Poetzl had created sounds for hundreds ofproductions, including popular films such as Run LolaRun, Resident Evil, The Miracle of Bern, Good Bye,Lenin! and The Baader Meinhof Complex. “We werepresented with an amazing opportunity to acquire theentire inventory that this master of his trade hadamassed over his career,” says Sound DivisionManager Daniel Vogl. “For us, it also meant we couldhit the ground running, working with the best catalogueof foley props out there. ARRI Foley Artist MichaelStancyk will now call the foley studio his home.”

Bringing Poetzl’s studio into the ARRI family helpedease some logistical problems at ARRI Sound. “Up until now, we used one studio for both voice andfoley recording,” notes Vogl. “This required frequentset up changes, costing valuable time. Now the studiothat was previously shared is exclusively used as anADR recording studio for feature films.”

ARRI MITTE: Philipp Orgassa, Matthias Schweighöfer, Bernhard Jasper, Hannah Lea Maag, Dan Maag (left to right)

FOLEY ARTIST Michael Stancyk

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MORTIMERWARLIMONT

VisionARRI: Which areas at ARRI VFX will bestrengthened by the incoming supervisor?

Dominik Trimborn: The rapid growth of the ARRI VFXdivision has to be handled properly. The number ofprojects has doubled in the last two years, while thesize of our team has remained the same. At the sametime, prices in the VFX sector have dropped drastically.We can only compensate for that by continuing toimprove communication and adopting a seamlessoperating pipeline for current projects. David Laubschand Stefan Tischner are two excellent supervisors incharge of operations, but we needed someone whocould take over the task of assisting the customers,creatively and technically. Also, as head of ARRI VFX,I’m responsible not only for the Munich offices, but alsofor Berlin and Cologne. That, sadly, leaves me less andless time to work directly with our customers. Mortimerwill also lend a hand to Abraham Schneider, who’staken on the role of Technical Director and, as such, is in charge of optimizing, overseeing and technicallystandardizing the organization and infrastructure of the ARRI pipeline that connects Munich, Berlin andCologne, which is used for asset managementpurposes. The main goal for 2013 is to continue to streamline the structure and logistics of these ARRI VFX locations.

VA: A question for the new VFX Supervisor:What are your strengths?

Mortimer Warlimont: I’m very result-oriented. The mainquestions for me are: what’s the goal and what’s thequickest way to accomplish the task at hand? Even if

there is a standardized procedure in place already, it’s always exciting to find an even simpler and moreefficient solution. That might be a trait of people, likemyself, who are self-taught because most of what I knowI taught myself early on and have since perfected.

VA: What are your expectations related toyour new position at ARRI?

MW: Most of all, to be in direct contact with customersand to help shape the overall projects they are workingon. To not just complete a few shots on the computer,but to work on the concept, to create designs and toensure that it all makes sense – that the artwork and thelook really work for the story the client is trying to tell.

VA: What can customers expect from you?

MW: Because of my background I bring extensive on-setexperience to the table. I really like being on the setand think you only understand DPs and directors whenyou work side by side. Plus, I know VFX and SFX verywell. It allows me to help clients find the best possiblesolutions, whether VFX solutions or in-camera shots,early on in the planning stages of a project.

VA: Do you see yourself more as a creativeperson or a technical guy?

MW: I try to combine the creative with the technical, to be creative in a way that is technically andeconomically feasible. It is also my job to ensure that aproject is completed in the time allotted and meets thehighest quality standards, thereby ensuring the bestpossible results for the customer.

Mortimer Warlimont joined the ARRI VFX team in April to provide customers with creative, conceptual andtechnical support. Warlimont gained his extensive experience working in special effects for film, TV andcommercials. After graduating from high school he studied analog SFX and model making. In 1996 he joinedMagicon GmbH as a senior model maker and was responsible for commercials for McDonalds, Burger King,BMW, MediaMarkt, Toyota, Ferrero, VOX and Pro7, to name but a few, as well as feature films such as The Thirteenth Floor, Anatomy 1 & 2, Arac Attack and the Emmerich films The Patriot and 10,000 B.C. He thenmade the transition from SFX into VFX due to an ever growing demand for VFX from film as well as TV productioncompanies. After freelancing for more than three years as a compositing artist, Warlimont joined Scanline VFX as a Senior Compositing Artist in 2007 and worked as lead compositor on international projects such as The Chronicles of Narnia: Prince Caspian, 2012, The Ghostwriter, Immortals, Looper and, last but not least, Marvel’s The Avengers, as well as on local fare, including Lissi and the Wild Emperor, Wickie the Viking andDesert Flower. VisionARRI spoke to the new VFX Supervisor and to ARRI Head of VFX Dominik Trimborn aboutthe organizational changes resulting from the expansion of the VFX team.

Mortimer Warlimont joins ARRI Media Services asVisual Effects Supervisor


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VISIONARRI

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“Family entertainment made in Germany is enjoying enormous popularity worldwideand is quite successful at the international box office,” says ARRI Acquisitions & SalesDirector Moritz Hemminger. “That’s why ARRI Worldsales has added three more titlesto our growing catalog.”

ARRI Worldsales grows its portfolio

The first of the three is Die Vampirschwestern(Claussen+Wöbke+Putz Filmproduktion; director:Wolfgang Groos) based on Franziska Gehm’seponymous and successful children’s book series. Afterscreening the trailer, presales were completed for theBenelux countries and also Estonia. “The response atthe American Film Market (AFM) showed that teenvampires, thanks to Twilight, are still popular,” saysHemminger. “We are currently in final negotiationswith several other international distributors.” DieVampirschwestern screened in the highly regardedEnfant Terribles section at the renowned FICXInternational Film Festival in Gijón.

Another family entertainment highlight is V8 – Du willst der Beste sein (Rat Pack Filmproduktion, B.A. Filmproduktion/ARRI), the latest franchise fromWild Soccer Bunch creator, writer and directorJoachim Masannek. This time the story is set in theworld of go-cart racing, with characters that not only race, but also build their own carts.

The third title, an absolute classic, promises to garner a great deal of attention in 2013 due to its impressive visual effects: Das Kleine Gespenst(Claussen+Wöbke+Putz Filmproduktion, B.A.Filmproduktion/ARRI; director: Alain Gsponer), based on Otfried Preußler’s wildy popular children’sbook that has been translated into 30 languages.

ARRI Worldsales is also offering some notable dramassuch as Exit Marrakech (Desert Flower Filmproduktion,B.A. Filmproduktion/ARRI), the latest film from Oscar-winning director Caroline Link, which was introduced

to potential buyers at the Toronto Film Festival in theform of a special promo. Another title is Die andereHeimat (ERF Filmproduktion München), from therenowned director of the Heimat family saga, EdgarReitz. A teaser of the film was presented in Venice.“It’s a tradition because all the films in the Heimatseries have had their world premier in Venice,”explains Antonio Exacoustos, Head of ARRIWorldsales. “Reitz is held in high esteem in Italy.”Both titles were also presented at AFM. “We areaiming to premiere both of these films at A-list festivalsnext year, some of whom have already expressedinterest,” adds Exacoustos.

The current hot-button issue, the banking crises and itseffects on people’s lives all over the world, is the topicof another film in ARRI Worldsales’ portfolio: TheDomino Effect (The Domino Effect B.V.), from Dutchdirector Paula van der Oest, whose film Zus & Zo wasnominated for an Oscar in the category Best ForeignLanguage film. The Domino Effect was presentedrecently at the Warsaw and Busan Film Festivals andat AFM.

In Ourense, Sao Paulo and at AFM, ARRI Worldsalespresented Little Thirteen (X Filme Creative Pool) topotential buyers. The student film and graduationproject of director Christian Klandt (HFF Potsdam)takes a look at the shocking life of the ‘porngeneration’, adolescents in Berlin incapable offorming emotional connections who resort to sex in order to experience closeness.

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“Things around here didn’t slow down over thesummer,” ARRI Head of VFX Dominik Trimborn isproud to report, looking back on a number ofcompleted projects. “And there won’t be anydowntime between now and the end of the year.”Among the recent projects: the Wachowski/Tykwerepic Cloud Atlas (X-Filme Creative Pool), a film basedon children’s book series Die Vampirschwestern(Claussen+Wöbke+Putz Filmproduktion) and Rubinrot,the first film from the teen romance and time traveltrilogy Liebe geht durch alle Zeiten (Lieblingsfilm, mem Film, Concorde, Geißendörfer).

But ARRI VFX also tackled some interesting challengeson Ludwig II (Bavaria Pictures, Warner Bros.). Thebiopic about the Bavarian fairy tale prince Ludwig IIincluded a number of dream sequences, one of whichshows him riding across Lake Starnberg on horseback.“That was a rather complex shot. The horse had to be

filmed in front of a greenscreen, while the water andthe mountains for the background had to be generatedon the computer,” explains ARRI VFX SupervisorAbraham Schneider. “Water simulations are one of the most demanding tasks of VFX work because it’sincredibly hard to make it look realistic.” Otherhighlights include scenes showing NeuschwansteinCastle under original construction, for which in-camerashots had to be combined with 3D set extensions, anda scene where Munich’s Odeonsplatz had to be filledwith 3,000 people for a wide shot. “In order to keepthe lighting consistent,” recalls Schneider, “we had toshoot extras one at a time in front of the greenscreenand later create a crowd, adding them to the final shoton the computer.“

The rest of year belongs to V8 – Du willst der Beste sein(Ratpack Filmproduktion, Universal), a family movie forrace cart fans from director Joachim Masannek.

It’s been an eventful second half of 2012 for ARRI Film & TV’s VFX department and therewon’t be much downtime in 2013.

A full schedule for ARRI Film & TV’s VFX department


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VISIONARRI

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ARRI Sound has acquired a new backend (HarrisonXRange) for its largest sound studio, Stage 1 (room-inside-a-room construction, 220-square-meter roomwith 42-square-meter screen). The new mixing consoleof Stage 1 now has 336 channels, instead of 160,offering more than twice the capacity. Studio A (80-square-meter room with 20-square-meter screen)has had a major upgrade as well. The backend hasbeen exchanged and now offers 160 input channels,therefore doubling the studio’s performance. Alsoupgraded was the Avid Pro Tools hardware, therebybringing all ARRI sound departments, including Berlinand Cologne, technically up to date. Consolidatingthe technology and the fact that both studios, Munichand Berlin, are now acoustically at the same standardmakes data swaps more or less seamless. “Plus, themembers of ARRI’s sound team are extremely flexibleand don’t mind spending a few weeks in Berlininstead of Munich,” says ARRI Creative Sound DivisionManager Tschangis Chahrok-Zadeh.

“We wanted to make Studio A more interesting forfeature films with a mid-range budget – films that can’tafford a sound mix on Stage 1 but need more technicalcapabilities than Studio A previously offered,” saysARRI Sound Division Manager Daniel Vogl, explainingthe recently implemented changes. “We believe we’veclosed a crucial gap for our customers. Stage 1 is nowavailable for premium, high-end productions, whileStudio A offers the perfect solution for feature filmswith a medium-size budget.”

Chahrok-Zadeh adds: “Until now we couldn’t properlyservice those films because we had to switch studiosduring the workflow. This meant we did an initial mixin Studio A and then, towards the end, moved toStage 1. Now we are able to complete smallerprojects, from start to finish, in Studio A. This alsomeans our customers save money because they getmore for the same price.”

Upcoming projects include: Leander Haußmann’sHai-Alarm am Müggelsee, the kidnapping drama3096 Natascha Kampusch (Constantin), directed bySherry Hormann; the high-profile TV movie Der FallHagedorn (ARD-WDR, Westside Filmproduktion), about a dramatic child kidnapping case in former East Germany; and the Norwegian project Pioneer, for which ARRI VFX Cologne will create numerous 3D underwater sequences, including a researchsubmarine. “The previz for the shots in question arealready completed and 3D modeling is underway,”says Trimborn. Meanwhile, the VFX team in Munich islooking forward to compositing the 3D elements for theadaptation of the classic children’s book Das kleineGespenst (Claussen+ Wöbke+Putz Filmproduktion). It’s one of the most VFX-heavy projects ever to becompleted in Germany and will be releasedtheatrically in 2013.

ARRI Sound Munich invests in studio technologyand infrastructure

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In the fall of 1992 several arson attacks on shelters for asylum seekers were carried out in Germany. To condemn these crimes four private citizens fromMunich organized a candlelight vigil on December 6,1992, where more than 400,000 people gathered to make a stand against xenophobia and right-wing extremism.

Twenty years later the charity Lichterkette e.V. iscommemorating these events with a public serviceannouncement called München schaut hin! (Munichdoesn’t turn a blind eye), which will premiere duringan event at Munich’s Literaturhaus. It is also an appealto continue to oppose any and all forms of xenophobiaand discrimination, and a reminder that the issues arestill as relevant as ever.

Lichterkette e.V. was able solicit the help of numerousfamous supporters to create this PSA, among them

director Marcus H. Rosenmüller, producer Robert Marciniak and their production companyLieblingsfilme. Other renowned supporters were Iris Berben, Doris Dörrie, Amelie Fried, Billie Zöckler,and the Sportfreunde Stiller, as well as Munich’smayor, Christian Ude. ARRI provided all the equipment(an ALEXA camera, lenses, grip and lighting), as well as an AVID edit suite and postproduction services free of charge.

“Lichterkette e.V. is a charity that ARRI Media Servicessupports wholeheartedly,” says ARRI Creative DirectorJürgen Schopper, who was on hand on set as VFXsupervisor during the shoot (DP: Stefan Biebl). “As aMunich-based company of world renown, ARRI wantsto join this plea for tolerance and mutual respect.”

In München schaut hin! a local resident of a foreignnationality is brutally attacked in a Biergarten, atraditional Bavarian outdoor pub. Several onlookerscome to his aide, taking a stand against violence andhatred. Eventually even the statue Bavaria, a colossal18-meter monument in Munich’s Theresienwiese, joinsin by reaching down, grabbing the perpetrator andgiving him a piece of her mind. For this highlight ofthe PSA, ARRI Film & TV’s VFX department created acomputer generated 3D model of the statue, appliedthe necessary texture and animated it.

Two versions of the München schaut hin! PSA werecreated: a longer version for use in movie theaters and a shorter one for broadcast purposes and fordisplay on digital screens in subway stations and other public places.

ARRI Rental and ARRI Film & TV recently sponsored a public service announcement (PSA) by Munich’s Lichterkette e.V., supplying camera equipment and handling postproduction.

ARRI Media Services supports the fight against xenophobia


“ARRI WENT ABOVE AND BEYOND IN SUPPORTINGUS AS WE WERE MAKING THIS PSA. NOT JUSTWITH TECHNICAL SUPPORT, BUT WITH IDEAS ANDSUGGESTIONS ON HOW WE COULD REALIZE OURVISION, WHICH MADE IT ALL THE MORE FUN FORUS TO WORK ON THIS PROJECT!”

Director Markus H. Rosenmüller

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VISIONARRI

ARRI identifies projects to co-produce

“Exit Marrakech from Oscar-winner Caroline Link(Desert Flower Filmproduktion), V8 – Du willst derBeste sein from Wild Soccer Bunch author JoachimMasannek (Rat Pack Filmproduktion), the war dramaRun, Boy, Run! (director: Pepe Danquart; ARD-BR) andthe tragicomedy Sein letztes Rennen (director: KilianRiedhof; Neue Schönhauser Filmproduktion) are projects we have recently decided to co-producebecause we see their potential, not just for the Germanbut also the international market,” says AntonioExacoustos, ARRI Head of Worldsales and Production.

Locally, the search for interesting co-productions willmost likely focus on Berlin and possibly the state ofNorth Rhein-Westphalia, suggests Exacoustos.

Internationally, the emphasis will be on large, English-language co-productions with family-orientedcontent. “Prestigious art house projects from renowneddirectors,” explains Acquisitions & Sales DirectorMoritz Hemminger, “are also an exciting option and definitely fit the producing strategy that ARRI is pursuing.”

Becoming a member of the European Producers Club(EPC) was, according to ARRI Worldsales ConsultantWolfram Skowronnek-Schaer, another step in the rightdirection. It allows ARRI to take an early look atprojects, often still in the writing stage, to evaluatepossible participation options and the projects worldsales potential.

Cherry-picking from among a large selection of possible candidates, those in charge at B.A. Filmproduktion/ARRI are confident they have chosen the most promising productionsto co-produce.

Head of VFX: Dominik TrimbornVFX Producer: Nina KnottVFX Creative Director: Jürgen SchopperSenior Compositing Artist: Stefan Tischner, Mortimer WarlimontCompositing Artist: Thomas Hansen

Compositing Trainee: Christina GreinerHead of 3D: Michael Koch3D Artist: Markus Hund3D Trainee: Kim Karic

ARRI VFX Team

ON LOCATION: DP Stefan Biebl, director Marcus H. Rosenmüller and ARRI’s Creative Director Jürgen Schopper (left to right)

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PRODUCTION UPDATE

ARRI CSC Title Production Company DoP/Lighting Director Gaffer Equipment Serviced by

Noah Paramount Matthew Libatique ASC John Velez ARRICAM, HD-IVS ARRI CSC NJThe Wolf Paramount Rodrigo Prieto ASC, AMC Bill O’Leary ARRICAM, HD-IVS, ARRI CSC NJof Wallstreet ARRI ALEXA Studio, Codex

Recorders, Lighting & GripThe Americans FX Networks/USA Richard Rutkowski Jimmy Dolan ARRI ALEXA, Lighting & Grip ARRI CSC NJElementary CBS Ron Fortunato ASC Kevin Janicelli ARRI ALEXA, Lighting & Grip ARRI CSC NJDelivery Man Dreamworks Eric Edwards Ken Shibatta ARRICAM, HD-IVS, ARRI CSC NJ

Lighting & GripGraceland Fox Television Edward Pei ASC Fred Valentine ARRI ALEXA ARRI CSC FLWish You Well Wish You Well, LLC Frank Prinzi ASC Doug Shannon ARRI ALEXA, Lighting & Grip Illumination Dynamics NCThe Voice Finnmax Alex Van Wagner Oscar Dominguez Automated Lighting Illumination Dynamics LAHomeland Pacific 2.1 Nelson Cragg Tommy Sullivan ARRI ALEXA Illumination Dynamics NC

ARRI RENTALTitle Production Company Director DoP Equipment

Das kleine Gespenst Claussen+Wöbke+Putz Alain Gsponer Matthias Fleischer ARRI ALEXAFilmproduktion

Da geht noch was! Olga Film Holger Haase Gerhard Schirlo ARRI ALEXAHai-Alarm am Müggelsee X Film Creative Pool Leander Haußmann, Jana Marsik ARRI ALEXA, Lighting, Grip

Sven RegenerKokowääh 2 Barefoot Productions Til Schweiger Adrian Cranage ARRI ALEXAA Most Wanted Man A Most Wanted Man Anton Corbijn Benoit Delhomme AFC ARRI ALEXA, Lighting, Grip

ProductionOnly Lovers Left Alive Pandora Film Jim Jarmusch Yorick le Saux ARRI ALEXAPioneer Pandora Film Erik Skjoldbjærg Jallo Faber ARRI ALEXA, Lighting, GripRun, Boy, Run! bittersuess pictures Pepe Danquart Daniel Gottschalk ARRICAM Studio & Lite 2-perforation,

ARRI ALEXA, LightingThe Borgias (Season 3) Mid Atlantic Film Neil Jordan, Paul Sarossy BSC, CSC, ARRI ALEXA, Lighting, Grip

John Maybury Pierre GillCrossing Lines Stillking Films, Tandem Daniel Percival Laurent Barès ARRI ALEXA, Lighting, Grip

Communications Andy Wilson, Eric ValetteHettie MacDonaldHannu Salonen

Zappelphilipp Neue Schönhauser Connie Walther Birgit Gudjonsdotztir ARRI ALEXA, Lighting, GripFilmproduktion

Lena Fauch und die Hager Moss Film Johannes Fabrick Helmut Pirnat ARRI ALEXA, Lighting, GripPflicht zu schweigenTatort – Macht und X Film Creative Pool Thomas Stiller Phillip Sichler ARRIFLEX 416, Lighting, GripOhnmacht

ARRI LIGHTING RENTALTitle Production Company Director DoP Gaffer Best Boy

The World's End Blank Pictures Edgar Wright Bill Pope ASC John Colley Darren HarveyRed 2 R2 Productions Dean Parisot Enrique Chediak Andy Long Mark Hanlon

2nd Unit: 2nd Unit: 2nd Unit: Harvey Harrison BSC Steve Foster Anthony Goulding

Philomena Philomena Lost Child Stephen Frears Robbie Ryan BSC Andy Cole Paul CroninBelle Pinewood Films No.3 Amma Asante Ben Smithard BSC Mike Chambers Steve O’donaghueOne Chance One Chance Films David Frankel Florian Ballhaus Paul McGeaghan Will KendalThe Two Faces Zelus Pictures Hossein Amini Marcel Zyskind Mark Clayton Benny Harperof JanuaryGame of Thrones Fire & Blood Productions Alik Sakharov David Katznelson BSC Dragon Unit: Dragon Unit: (Season 3) Chris Seager BSC Tom Gates George White

Wolf Unit: Rocky Evans Wolf Unit: Mark GayVikings World 2000, Ciaran Donnelly John S. Bartley Terry Mulligan Kevin Scott

Take 5 Productions Johan RenckHow I Live Now Cowboy Films Kevin Macdonald Franz Lustig Mark Clayton Benny HarperFamily Tree Universal Media Christopher Guest Roberto Schaefer ASC, AIC Larry Prinz Richard Potter

Studios InternationalMurder on the Carnival Film & Television Geoff Sax David Higgs BSC Dan Fontaine Terry MontagueHomefrontThe Poison Tree STV Marek Losey Balazs Bolygo HSC Warren Ewen Anthony Goulding Restless Romer Films Edward Hall David Higgs BSC Dan Fontaine John Walker/

Chris MortleyLaw & Order: UK Kudos (L&O) Matt King Simon Archer BSC Chris Bird Toby Flesher(Series 4)Selfish Giant Selfish Giant Film Clio Barnard Mike Eley BSC Paul MurphyHim & Her Big Talk Productions Richard Laxton Tim Palmer Colin Thwaites Peter GilmourThe Politicians Daybreak Pictures Simon Cellan Jones Tony Slater-Ling Paul Murphy David OwenHusband

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VISIONARRI

ARRI FILM & TV - POST PRODUCTION SERVICES - COMMERCIALSClient Title Agency Production Director DoP

Redcoon So viel Billig gab’s noch nie Neverest Mr. Bob Film Sven Bollinger Thomas KürzlMcDonald’s Independent und Kids Heye & Partner Tony Petersen Film Rey Carlson Peter MayerCarrera Go und RC e+p commercial Reiner Holzemer Peter AichholzerMcDonald’s Junge Liebe und Heye & Partner Markenfilm Crossing Gregor Schnitzler Andi Berger

SchlafliedMVG Medien Shape 12/2012 welovefilmVerlagsgesellschaft mbH & CoMcDonald’s Food Hüttengaudi Heye & Partner Rapid Eye Movement Ernst Kalff Sebastian CramerEOFT EOFT 2012 HelliVentures Diverse DiverseSkoda Messebespielung Paris BECC lucie_pBMW Olympia London 2012 lucie_p lucie_p Rico Reitz Murnauer Markenvertrieb GmbH Perlweiss Schönheitszahnweiss Bloom Project Lüthje Schneider Hörl Film Jan Voss Nik Summerer

ARRI MEDIATitle Production Company Director DoP Equipment

Molly Moon: Amber Entertainment Christopher Remi Adefarasin BSC ARRI ALEXA Studio & Plus 4:3, The Incredible Hypnotist N. Rowley Codex Recorders, GripRed 2 R2 Productions Dean Parisot Enrique Chediak ARRICAM Lite, HD-IVS, ARRIFLEX 435 & 235, GripSunshine on Leith DNA Films, Dexter Fletcher George Richmond ARRI ALEXA Studio, Master Primes

Black Camel PicturesKick-Ass 2 Marv Films Jeff Wadlow Tim Maurice-Jones ARRI ALEXA Studio, Codex Recorders, GripSouthcliffe Warp Films Sean Durkin Matyas Erdely ARRI ALEXA, Master Primes, GripThe Two Faces Zelus Pictures Hossein Amini Marcel Zyskind ARRI ALEXA Plus 4:3, Gripof JanuaryGame of Thrones Fire & Blood Productions Alik Sakharov David Katznelson BSC ARRI ALEXA, Codex Recorders, Grip(Season 3) Chris Seager BSC

The Royle Family Jellylegs Productions Caroline Aherne Jeremy Hiles ARRI ALEXAChristmas SpecialThe Café (Season 2) Jellylegs Productions Robin Sheppard David Marsh ARRICAM Studio & Lite 3-perforationCalvary Octagon Films John Michael Larry Smith BSC ARRI ALEXA

McDonaghCall the Midwife CTM Productions Minkie Spiro Simon Archer BSC ARRIFLEX D-21, Grip(Season 2)Mr Selfridge ITV Studios Michael Keillor Owen McPolin ARRI ALEXA, Alura Zooms, Grip

ARRI FILM & TV - POST PRODUCTION SERVICES - FEATURESTitle Production Company Director DoP Services

Fünf Freunde 2 Sam Film Mike Marzuk Bernhard Jasper Digital Dailies, DI, HD-Mastering, Sound, LabDa geht noch was! Olga Film Holger Haase Gerhard Schirlo Digital Dailies, DI, HD-Mastering, LabDer Kanal Zum Goldenen Marc Rensing Tom Fährmann Digital Dailies, DI, HD-Mastering, Sound, Lab

Lamm FilmproduktionGroßstadtklein Barefoot Film Tobias Wiemann Martin Schlecht Digital Dailies, DI, HD-Mastering, Sound, LabHai-Alarm am X Filme Creative Pool Leander Haußmann, Jana Marsik Digital Dailies, DI, HD-Mastering, Sound, VFX, Lab Müggelsee Sven RegenerLagerfeuer zero one film Christian Schwochow Frank Lamm Lab, Rushes, DI, HD-MasteringOstwind Sam Film Katja von Garnier Torsten Breuer DI, HD-Mastering, Sound, LabPioneer Pandora Film Erik Skjoldbjærg Jallo Faber VFX, DI, LabRubinrot Lieblingsfilm Felix Fuchssteiner Sonja Rom VFXRun, Boy, Run! bittersuess pictures Pepe Danquart Daniel Gottschalk Lab, Rushes, DI, HD-MasteringSchlussmacher Pantaleon Film Mathias Schweighöfer Bernhard Jasper DI, LabSein letztes Rennen Neue Schönhauser Kilian Riedhof Judith Kaufmann Digital Dailies, DI, HD-Mastering, Lab

FilmproduktionV8 – Du willst der Rat Pack Filmproduktion Joachim Masannek Benjamin Dernbacher Digital Dailies, DI, HD-Mastering,Beste sein Sound, VFX, Lab

In the last edition of VisionARRI, the surname of Martin Schlecht was spelled incorrectly within the production update list of ARRI Film & TV - Features. We would like to apologise for the mistake.

Published by the ARRI Rental Group Marketing Department. 3 Highbridge, Oxford Road, Uxbridge, Middlesex, UB8 1LX United KingdomThe opinions expressed by individuals quoted in articles in VisionARRI do not necessarily represent those of the ARRI Rental Group or the editors. Due to our constant endeavour to improve qualityand 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.

10729 Vision ARRI 14 AW5_A4 15/11/2012 12:24

Combine ALEXA with the ARRI Rental Group’s unrivalled knowledge and experience

in supplying high-end cameras and you’ve got the perfect partnership.

With the addition of the ALEXA Studio, ALEXA M and ALEXA Plus 4:3, the ARRI Rental Group’s family of ALEXA cameras has grown into a versatile production

system that can accommodate all styles of filmmaking, including anamorphic.

Whichever of the ALEXA cameras or many ALEXA output options best suits

THE MOST COMPLETE DIGITAL CAMERA SYSTEM EVER BUILT

THE PERFECT PARTNERSHIP: ALEXA & THE ARRI RENTAL GROUP

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10729 Vision ARRI 14 AW5_A4 15/11/2012 11:40

visionarri magazine issue 14

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