SKYPANEL Creative On-Set Options Expand with New Skypanel Firmware 3.0

NEWS NAB ISSUE 2017

SKYPANEL Creative on-set options expand with new SkyPanel Firmware 3.0

ALEXA SXT W GHOST IN THE SHELL ARRI LOOK LIBRARY New upgrade sees ALEXA SXT become Jess Hall BSC captures with Pre-programmed looks for a fully wireless camera system ALEXA 65 on the anime remake AMIRA, ALEXA Mini and ALEXA SXT EDITORIAL

DEAR FRIENDS AND COLLEAGUES

This year we mark 100 years since ARRI’s of the new features being introduced with SUP 5.0 humble beginnings in a tiny shop here on for AMIRA and ALEXA Mini, including the ARRI Look Türkenstrasse, Munich. The birthday itself is in Library and improved multi-camera options. September, so our ARRI News at IBC will contain Meanwhile the Wireless Video System is opening more detailed historical coverage, but in this issue up new ways of working with ALEXA SXT. we share some thoughts on what the centenary As we went to press, we heard the sad news means to us. The spirit of innovation that motivated of the passing of our close friend Michael Ballhaus ARRI’s founders is alive and well today – the article ASC. Michael loyally used ARRI cameras throughout about our research into virtual reality is a perfect his career, from his early productions in Germany example. with Rainer Werner Fassbinder, to his later high- Our cover image is a behind-the-scenes photo profile movies in the US and his long collaboration from the recent SkyPanel showreel, which can be with Martin Scorsese. He always stayed in touch, viewed on our website. Part of the Pure Creativity providing valuable feedback, and many of the campaign, it highlights the continually expanding features he politely requested found their way creative options afforded by SkyPanel LED lights. At into our camera systems. To countless other NAB we are announcing SkyPanel Firmware 3.0, cinematographers Michael was an inspiration; to bringing new features such as lighting effects, us he was a member of the ARRI family, and will be source matching, and a high-speed mode. sorely missed. Software updates is a common theme. Flexible system architecture and refinements that respond to user feedback are cornerstones of our approach to delivering long product life cycles and dependable returns on investment. This issue presents some Dr. Jörg Pohlman Franz Kraus CONTENTS

CAMERA SYSTEMS 6 ARRI Wireless Video System for ALEXA SXT 12 87 new looks with the ARRI Look Library 14 Master Anamorphics on John Wick: Chapter 2 16 New AMIRA Multicam developments 20 DP Tim Orr chooses ALEXA for UHD/HDR 22 ALEXA Mini: new accessories and features 24 Virtual reality research at ARRI 32 25 EXT Sync for multi-camera ALEXA Mini 28 Ghost in the Shell captured with ALEXA 65 32 ARRI TRINITY camera stabilizer 38 New crew supplies from ARRI PCA 25

2 ARRINEWS 18 20

LIGHTING CORPORATE 8 SkyPanel Firmware 3.0 introduces 4 100 years of ARRI a host of new features 30 ARRI International Support Program 10 LED lighting case study: 36 Around the world with ARRI The Handmaid’s Tale

18 SkyPanel lights up the world of fashion 38 CONTACTS 26 Using the M-Series on slow-motion shoots 27 New High-Speed Ballast EB MAX 1.8 34 L-Series LED Fresnels re-equip RTS TV studio

ARRINEWS 3 Franz Kraus (left) and Dr. Jörg Pohlman Photo: Tom Fährmann

100 YEARS OF ARRI Executive Board members Franz Kraus and Dr. Jörg Pohlman discuss ARRI’s past, present, and future.

In September 2017 ARRI will celebrate its centenary. What started in a small former shoemaker’s store in Munich 100 years ago How will ARRI be celebrating this historic of many of our friends across the worldwide has become one of the world’s most anniversary? film industry. Even more exciting than our innovative leaders in the film industry, with Jörg Pohlman: We are marking our past is where we are as a company in 2017, close to 1,300 employees and various centenary with celebratory events and and the values and vision we carry into the subsidiaries worldwide. Reflecting on a rich projects focused primarily on September, future. ARRI was founded by two passionate, past and positive about a bright future, Franz the actual month of the birthday. We’re very film-obsessed teenagers; that same energy Kraus and Dr. Jörg Pohlman of the ARRI AG proud of our history and look forward to and exuberance still defines the company Executive Board share how ARRI views its sharing some wonderful stories and content today. We’re 100 years old, young at heart place in the world of cinematography today. later this year – put together with the help and looking ahead to even greater things.

4 ARRINEWS industry requires modular hardware and upgradeable software. These priorities “ARRI was founded by make our camera and lighting equipment more expensive to develop, but what other two passionate, digital system has remained as relevant, for as long, as ALEXA? film-obsessed teenagers; FK: ARRI prides itself on being a long- that same energy and term professional partner to the global film industry. We have never walked away, exuberance still defines instead facing difficult times by redoubling our efforts and increasing investment in the company today.” R&D. The fact that we offer such varied ARRI founders Arnold (left) and Richter products and services, covering all sides of the industry, gives us a unique perspective What did ARRI learn from shifting to become Does the large increase in TV drama and allows each division to benefit from the a digital camera manufacturer? production bode well for ARRI and for the expertise of all the others. For example, our Franz Kraus: The conversion from future of high-end production value in involvement in postproduction helps us to analog to digital taught us that the diversity general? develop efficient camera workflows and to of our product range and – more importantly FK: ARRI cameras have been used on provide end-to-end solutions for emerging – the engineering skills acquired during our television productions since the 1950s, so trends such as HDR. DI developments helped us adapt to a operating in both the TV and feature film shifting technology landscape, since it was markets is not new to us. However, television What is your central message to filmmakers our work with the ARRISCAN that paved the today is better and more cinematic than it in 2017? way for ALEXA. It also taught us that our ever has been, so we’re seeing ALEXA and JP: One of our biggest messages to the most valuable assets are the level of trust especially AMIRA – with its Multicam feature filmmaking community in our centenary year in our brand, the extraordinary talent of our for live broadcasting – used as much for TV is simply a request to keep talking with us. employees and our very close relationships as for feature films. The emergence of We greatly value having a dialogue with with filmmakers. streaming content services has not pushed filmmakers; we are anxious to find out what JP: Looking back over ARRI’s 100 years, image quality requirements down, as some they need and to discover ways to give it to of course 90 years or so were analog feared. On the contrary, content providers them; we appreciate hearing how our and only the last 10 years have really are looking for ways to set their programs products have helped to tell a story or been digital. I think it’s important to see apart, so we can be confident in the future overcome a challenge; we enjoy seeing that ARRI has already undergone many of high-end production. After extensive careers develop over time. This is an internal changes that were inherent with testing, Amazon Studios chose ALEXA and exciting period in cinematographic history digitalization. For example, we have tripled AMIRA as their cameras of choice for UHD and we’ve never been more enthusiastic the amount of people working in R&D and and HDR programming, which shows that about the possibilities of the future. in our Camera Systems business unit over they are serious about maximizing overall the last five years or so. We are in the midst image quality. As good as television is now, of this process, which is an exciting part of we also believe that seeing feature films on the ARRI history. Digitalization is a huge a big screen is still very special and the challenge but it’s also a huge opportunity ALEXA 65 system provided by ARRI Rental for ARRI. is a response to that, making sure that FK: Our founders were never afraid to going to a movie theater feels like a go into new applications; it was camera, it different, more immersive experience. was lighting, it was laboratory equipment, it was medical. Probably the reason why we How would you define the ARRI brand and are able to enjoy our 100th anniversary in its place in today’s market? good health is that we have managed to JP: The fact that there are more stay concentrated, we have always listened manufacturers out there now only makes to the industry and we have never been it more important that we stay true to afraid to do something new. the principles that have sustained and defined us for the last century. Quality and reliability – traits for which ARRI products are renowned – are more important than ever. The same goes for long-term return on investment, which in today’s fast-moving

ARRINEWS 5 GOES WIRELESS The new ALEXA SXT W model, with built-in video transmitter, forms part of a complete ARRI Wireless Video System.

In a move that will increase efficiency transmitter. It also means fewer cables heart of the system is technology from on set, ARRI has integrated a high-quality around the camera and fewer associated market leader Amimon, with special hardware and low-latency HD video transmitter and a problems, since cable failure is by far the and software modifications to comply with WiFi radio into the new ALEXA SXT W model most common technical hitch on set. Camera ARRI's stringent performance and quality ("W" for Wireless). Based on the popular setup and power-up will be quicker, and requirements. ALEXA SXT Plus, the SXT W will replace the productions will be able to move faster. An extensive accessory range will ALEXA SXT Plus and ALEXA SXT Studio In addition, the integrated WiFi radio include various mounting brackets, antenna models. As always, there are attractive opens up a whole range of options, starting extensions and the handheld Director's upgrade options for existing owners of with wireless color management on set and Monitor Support (DMS-1), as well as a ALEXA SXT EV and ALEXA SXT Plus cameras. continuing with wireless camera remote specially adapted Transvideo monitor with a The new hardware will be accompanied control using the ALEXA Web Remote. Other built-in receiver for the ARRI transmitters. by software upgrade SXT SUP 2.0, which exciting WiFi options are currently under Whether using this monitor or others, the adds improved HDR monitoring, support for development. modular system allows for a compact and current SxS PRO+ and CFast 2.0 cards, The ALEXA SXT W forms part of a new efficient setup. An extra power-out on the quicker frame grabs, various WCU-4 and lens and complete ARRI Wireless Video System, video receiver, for example, permits a single motor features, and other refinements. along with a stand-alone video transmitter for onboard battery to power both the receiver Having a video transmitter built into the use with other ARRI or third-party cameras, and an attached handheld monitor. ALEXA SXT W makes the camera smaller and and a stand-alone video receiver that picks lighter than it would be with an external up signals from either transmitter. At the

6 ARRINEWS For the director, cinematographer, and has a wide operating temperature range. uncompressed, and encrypted for safety. assistant, or anyone else on set, a monitor Interference between different radio Audio, timecode, and REC flag are included feed from the ARRI Wireless Video System frequencies can be a time-consuming issue in the zero-delay signal, and up to four increases creative control and oversight for camera crews. The ARRI Wireless Video receivers can be used per transmitter. without adding clutter to the camera System eliminates this issue because it The introduction of a built-in wireless configuration or potential difficulties for the works harmoniously with ALEXA SXT W’s video transmitter is a significant upgrade crew. From the protective collars on the other radio-based offerings: the WiFi and the for the ALEXA SXT and reflects ARRI’s connectors to the versatile mounting options, ECS, ARRI’s proprietary camera and lens commitment to continually improve the SXT all of ARRI’s expertise has gone into the control system. Since ARRI now fulfills all platform with additional functionality. Further ergonomics and durability of the system. wireless requirements, crews can be sure hardware and software developments are in Designed for real-world usage on professional there won’t be any problems on set. The the works. sets, every component is spray and dust high-quality video feeds from the ALEXA SXT W proof, constructed from rugged materials, and stand-alone transmitters are long-range,

The Battery Adapter Cage (BAC) for Wireless Video Wireless Video Gold or V-Mount allows operation of Receiver (WVR-1) Transmitter (WVT-1) the WVT-1 with any other camera

Director's Monitor Support (DMS-1) in single monitor configuration

Get ready to unplug - an integrated video transmitter allows faster setup and more efficient operation

ARRINEWS 7 NEW SKYPANEL FEATURES

The latest SkyPanel firmware update introduces new features such as lighting effects and source matching.

The popular SkyPanel family of LED soft lights continues to improve with its third major firmware update. Bringing 10 amazing new features and numerous refinements, SkyPanel Firmware 3.0 is a free update that can be downloaded by users and installed in any SkyPanel fixture. It allows for more control and creativity than ever before.

LIGHTING EFFECTS

Changing the game for on-set lighting effect generation, this feature permits users to choose and manipulate 12 effects without the need for a lighting console or hours of programming. The lighting effects – candle, clouds passing, club lights, color chase, cop car, fire, fireworks, light strobe, lightning, paparazzi, pulsing, and television – have several adjustable parameters that can be customized according to individual requirements.

8 ARRINEWS SOURCE MATCHING

SkyPanel’s calibrated light engine makes it possible to reproduce virtually any color. SkyPanel Firmware 3.0 takes further advantage of this by including 46 pre- programmed color matches to commonly found light sources such as tungsten, high- pressure sodium vapor, cool white fluorescent, and candle. Now it is even easier and faster to match a location light source, by simply selecting it from a list.

HIGH SPEED MODE

The much-requested SkyPanel High Speed Mode allows users to shoot at virtually any frame rate and shutter angle. It has been tested up to 25,000 fps and down to a two- degree shutter angle with no adverse effects on image quality. Say goodbye to flicker and roll bars forever. sACN IMPLEMENTATION RGBW CALIBRATED COLOR SPACE SKYPANEL WEB SERVER

Streaming ACN (sACN) is fully RGBW mode is a great way to generate It is now possible to change all SkyPanel implemented in SkyPanel Firmware 3.0. This colors by adjusting the intensity values settings using any web browser. Simply communication standard allows for many of each of the four LED channels in the connect the SkyPanel to a network via the modern lighting consoles to communicate SkyPanel. There is now the option to select EtherCon connector and use any browser directly with the SkyPanel using Ethernet- a calibrated RGBW mode that will still to access the SkyPanel webpage generated based equipment. The SkyPanel is also allow for the adjustment of red, green, blue, by each fixture. Settings can now be smart enough to detect whether it is receiving and white levels, but in a calibrated color adjusted from devices such as a mobile an Art-Net or sACN signal and will adjust space that yields consistent results across phone or tablet, without having to touch the accordingly, with no setting changes. SkyPanels. SkyPanel itself.

MORE PRESETS AND PRESET FREQUENCY SELECTION ENABLED MENU DMX CHANNEL This feature allows fine-tuning of the With so many great features packed into SkyPanel Firmware 3.0 sees the addition frequency of the SkyPanel’s light output to the SkyPanel, it might seem difficult to know of eight factory presets and preset selection adjust for slight flicker or roll bars that which ones are active at any given time. The via a DMX channel. With a new total of 10 might occur when shooting at uncommon new enabled menu lists all features in the factory presets that include popular color frame rates or shutter angles. Pick from 10 SkyPanel and their current setting. With a temperatures, HSI values, and gel colors, it different frequencies that could reduce or quick glance you can review and change all is now faster and easier to select frequently eliminate small amounts of these image settings in one menu. used colors, even after a factory reset. anomalies, while maintaining full control over intensity and color tuneability.

ONBOARD RGBW MODE

SkyPanel users have always been able to control the RGBW LED channels via DMX, Download SkyPanel Firmware 3.0: but it is now possible to switch to RGBW www.arri.com/lightingsoftware mode and adjust the different LED color channels directly on the control panel. In addition, these values can be stored as a preset for easy access later.

ARRINEWS 9 Photo: Take Five/Hulu © Hulu 2016

LED LIGHTING CASE STUDY

Cinematographer Colin Watkinson reveals how he lit a key scene in the TV series The Handmaid’s Tale with ARRI SkyPanel and L-Series fixtures.

Working alongside director Reed Morano present. The scene is uncomfortable and ASC, a cinematographer in her own right, Colin unpleasant, so we had to convey that feeling. Watkinson developed the look for a new Being at night, the lighting was driven by 10-part adaptation of Margaret Atwood’s practicals; we also decided to keep the main classic dystopian story, The Handmaid’s Tale. curtains at the windows open, with just a Looking to make frequent, subtle changes little bit of light and color coming through to color and intensity, Watkinson turned to secondary net curtains to give a sense of the ARRI’s color-controllable SkyPanel and outside and of depth. L-Series LED lights; here he explains how he used them for one particular scene. What fixtures did you use for those window lights? Tell us about this scene and the general They were SkyPanels. Initially they were lighting requirements. directed into bounce so we could have It takes place in a bedroom, where the shadows from foliage outside, but later in the Cinematographer Colin Watkinson handmaid Offred is subjected to a conception season, as it got towards winter, we turned ritual called “the ceremony” by a character the SkyPanels straight onto the windows. known as the Commander, with his wife also They all went back to a deck, so we could

10 ARRINEWS Jonathan Gaudet to move them around the separation and adjusted the color to exactly night before we shot. You haven’t got skirts what I wanted on his face, which again would and other bits, so they are much quicker to have taken a lot longer with tungsten. Having work with than a space light. Once you’ve got the L-Series let me play with color and see the cabling in, you can just say where you the results immediately. want to point them because they are so directional and versatile. Then there is the Does LED lighting help when you’ve got power consideration, which I’m not too practical lights visible in the scene? easily adjust the colors and intensity levels. involved in but I know there’s a cost saving. Absolutely. It means you don’t need to This is what I love about them, because I It’s the same with the L-Series, because you worry about the practicals because you have don’t like the lighting to stay the same; I like can plug them directly into the wall on this really powerful tool up your sleeve to to tweak things a bit so that a room feels location. Jonathan had never worked with balance the rest of the scene. You can adapt slightly different every time you’re in it. That’s these ARRI LEDs before, but he took and experiment so quickly and so cheaply, closer to reality and it’s so much easier to everything on board and got his guys without wasting time cutting gels. With the achieve with LEDs. engaged with them. In the end he just loved ARRI LEDs I can go anywhere, I can change I also had four diffused SkyPanels above them and he’ll be using them as much as he from night to day in minutes and that’s a huge the room’s beautiful curved ceiling, which I can in the future. bonus. The speed is just phenomenal. got them to make in four sections so we could pull segments out. The SkyPanels let How did you use the L-Series lights in this me push light down and introduce the tiniest scene? hint of blue. It was almost imperceptible but The Commander was lit with two L10 it’s definitely there, giving a slight ambiance fixtures bounced through a 4x4 mid-gray over and above the practical lights. diffusion. We very rarely used anything white because it would ping the light around Did the SkyPanels bring other advantages? too much, so we’d use duller bounce They are very maneuverable, so it wasn’t and transmit through the mid-gray. Then I a problem if I needed to ask my gaffer balanced it to get the right background

BEDROOM SCENE A All exterior SkyPanels: 8,000 K ½ + green SCHEMATIC

B Skirted LitePad: 3,200 K

A A C Bedside practicals: 60 W at 30%

D C C Practical chandelier: 25 W bulbs at 20% A B E Outside SkyPanels: 7,000 K at 5% A

F E E Inside SkyPanels: 3,200 K at 5%

A D G L10s: 5,600 K at 25% RHS, 50% LHS F F H Mid-gray transmission A H

G I G I Bounce A

J L7s: 5,600 K at 60% bounced off ceiling

K 60 W practicals A

= 8x8 unbleached muslin J J

A K K

ARRINEWS 11 ARRI LOOK LIBRARY

An extensive collection of creative looks pre-programmed into ALEXA Mini, AMIRA, and ALEXA SXT cameras.

SUP 5.0 has been installed. ALEXA SXT cameras will also be able to utilize the Look Library with the release of SXT SUP 3.0. By establishing a standardized repertoire From Software Update Package (SUP) 5.0 application, black-and-white, contrast, of looks, the library makes it easier for for ALEXA Mini and AMIRA cameras, ARRI is environment, film, period, season, special, cinematographers to work with looks on introducing an exciting new way to implement and tinted. In a sense, the looks can be any production. Often there is no budget high-quality looks. The ARRI Look Library puts thought of as being similar to different for extensive look development during on-set look management within the reach of film stocks, each providing a unique but preproduction, or not enough time in the all productions, not just those with the time repeatable aesthetic when combined with the final grade to create and work with numerous and budget to develop bespoke looks prior to cinematographer’s choice of lenses. different looks. In situations like these, shooting. All ALEXA Mini and AMIRA Premium the ARRI Look Library will allow filmmakers Offering 87 looks in three intensities, cameras shipped from May 1, 2017, will be to make creative look choices on set, the ARRI Look Library caters to a huge variety priced to reflect the built-in Look Library, while giving all departments the opportunity to of different shooting scenarios. The looks cameras shipped before that date can become familiar with the final intended looks are numbered within nine themed groups: acquire the feature as an upgrade once and to work within them.

12 ARRINEWS A defined vocabulary of looks, consistent The 87 looks have been developed by ARRI Media for specific color spaces such as across all ARRI cameras equipped with the ARRI Media, ARRI’s postproduction and P3 or special requirements such as HDR. Look Library, will reduce complexity for creative services business, based in Germany. ARRI Media has also created an cinematographers while giving them a varied Additional looks inspired by customer accompanying free iPhone app that provides palette with which to experiment. Creative feedback are likely to be added to the library an overview of the library, giving users an collaborations will be made easier – whether in the future, and users have the option to easy way to explore possible looks whether over large distances or between different tweak looks using iPad-based tools such as they are on set, scouting locations, meeting units on the same production – and time Pomfort LiveGrade Air, thanks to the Camera with other heads of department, or sitting at savings facilitated in postproduction, since Access Protocol feature of ALEXA SXT and – home. scene-specific or even shot-specific looks can from SUP 5.0 – AMIRA and ALEXA Mini. be implemented long before the final grade. Individual looks can be commissioned from

1120 Black and White - Night Sky 2110 Commercial 3112 Film C

3114 Film E 3210 Vintage 3211 Vintage

3220 Analog 3231 Retro 3241 Faded

6420 Early Morning 5210 Vibrant 5110 Nature

5131 Suburban 6210 Spring 6240 Winter

ARRINEWS 13 MASTER ANAMORPHICS ON JOHN WICK II DP Dan Laustsen DFF combines ARRI/ZEISS Master Anamorphic lenses with ALEXA XT on the successful John Wick sequel. Photos: Niko Tavernise © Lionsgate

John Wick: Chapter 2 is that rare thing: a sequel to a hit movie that is even better received than the original. Re-teaming star Keanu Reeves and director Chad Stahelski, this second outing brings in cinematographer Dan Laustsen DFF, who spoke to ARRI about his lens choices on the film.

To what degree did you want a fresh look for this second film? On the first film they worked with different anamorphic lenses, but found it hard to control the flare, so they basically had to shoot the night exteriors with spherical lenses. I wanted to approach it another way and I talked to Chad about shooting everything anamorphic, rather than jumping back and forth between the two.

14 ARRINEWS Was the speed of the Master Anamorphics Were the lenses easy to work with on set? helpful on this shoot? I shot the movie exactly as if I were “We were able to move In general I’m not a wide-open DP, shooting with Master Primes, with no I prefer to shoot between T2.8 and T4. worries about limitations or needing more fast, shooting handheld Of course now and then you have to shoot light. We were able to move fast, shooting wide open and in those situations it is very handheld when it was required, or on a when it was required, or useful to have faster lenses. We shot wide Steadicam or crane. It helps that the lenses on a Steadicam or crane.” open with the Master Anamorphics for some are all the same size. Of course with high-speed stuff in Rome, where we had anamorphics and the high-quality ALEXA a lot of action, and their performance at sensor you have to get the focus right, T1.9 is amazing. but we had the best focus pullers in the Is that what led you to the Master world and everything came off very well – it Anamorphics? What was your overall impression of the was great. Well, all the films I’ve done for the last optical performance? few years have been with the Master Primes, One of the reasons I chose the Master which for my money are the best lenses Anamorphics was because they are so sharp on the planet. I like their very clean and from corner to corner, and from bottom to top Learn about the Master Anamorphic sharp look, so I wanted to try the Master as well. I’m not a big fan of anamorphic fall- Flare Sets, an alternative Anamorphics, although we tested a lot of off, especially not for this film. We wanted a approach to creative flare effects: other anamorphic lenses as well. I thought slick, high-contrast look for the movie, and www.arri.com/flaresets the Master Anamorphics were fantastic, but that old-style anamorphic softness would not Chad wanted to retain some flare, which of have worked. As I said, we shot a lot of tests course they don’t really do because the lens to find the right lenses, and I have no doubt quality is so high. Luckily ARRI Rental US that we made the right choice. worked out a great solution that gave us the flare we needed.

What was the solution? We were talking with them about the film days, when you would put nylon stockings behind lenses, and whether we could do something similar. They came up with the idea of specially adapted internal filters for the ALEXA XT, with varying numbers of horizontal lines, or baffles. These could be thin wires for night scenes or thicker nylon for day scenes, and they could be combined with NDs. I was very happy with the effect, and Chad loved it too, because you got nice flares off the highlights but the image was still extremely sharp. The whole movie was shot with these flare filters. For me they were preferable to using uncoated lenses because I had total control. Sometimes with flaring you get the blacks milking out, but we were able to keep them black and keep the incredible sharpness of the Master Anamorphics, while creating exactly the right amount of flare for Cinematographer Dan Laustsen DFF different situations.

ARRINEWS 15 NEW MULTICAM LOOKS AND FEATURES

AMIRA SUP 5.0 software update further refines Multicam mode, a flexible, open interface for multi-camera broadcast applications.

Photo: Heimatsound © Daniel Delbeck / BR

SUP 5.0

First introduced with AMIRA Software Secret, TV talent shows, corporate events, Available for all AMIRA models, the Update Package (SUP) 3.0, Multicam was and concerts with artists such as Beyonce, Multicam mode makes the exceptional image refined in SUP 4.0 and will be further improved The Who, Pearl Jam, and many more. quality of ARRI’s ALEV III sensor – also used with some exciting new features coming in At its core, Multicam is a simple and by ALEXA – available to productions within the SUP 5.0. Uptake of the Multicam mode has flexible interface that can be used with virtually multi-camera broadcast sphere. Through a been enthusiastic, reflecting an increasing any transmission system required. It allows Multicam setup, the AMIRA’s shallow depth of demand for high-quality imagery in the wider the image parameters of multiple AMIRA field, unrivalled dynamic range, and natural broadcast market. AMIRA Multicam shoots to cameras to be remote controlled using a Sony colorimetry can lend a cinematic look to live date have included major US comedy shows, RCP (Remote Control Panel), including iris broadcasts, music concerts, TV soaps, and Broadway stage productions, fashion shoots setting. other fast-paced, multi-camera productions. for clients such as Balmain and Victoria’s

16 ARRINEWS ANY TRANSMISSION SYSTEM

In order to accommodate customers offers good value for money. However, it is Multicam is agnostic when it comes to a who want to source as many elements as not the only transmission system that can transmission pipeline, it will provide the possible from one vendor, DTS transmission be used. same production benefits no matter which system components that have been AMIRA Multicam was designed from the system is used to connect the cameras to optimized for AMIRA Multicam are available outset to be as open and flexible an interface the base station or CCU. directly from ARRI sales centers. The fiber as possible. While the DTS components will transmission system from DTS is an suit many users, others may prefer to go attractive solution because it is compact, with a different fiber solution, or a wireless has all the functionality required, and radio transmission system. Since AMIRA

AMIRA MULTICAM DTS HD SETUP

Onboard Camera DTS Monitor Tally box

Intercom System Intercom

Transmission Ethernet Serial / Ethernet

Fiber / SMPTE-311

DTS FCA DTS FBS DTS ERI Fiber Camera Adaptor Fiber Base Station Ethernet Remote Interface Power Supply

Video Out Sony RCP Switcher (Remote Control Panel) Video Return In

DTS PSU 400 Power Supply Tally

4K OUTPUT AT PRE-LOADED 60 FPS LOOKS

The big new Multicam feature being SUP 5.0 will allow creative looks based entire catalog of varied looks available to introduced with SUP 5.0 is dual 6G UHD-SDI on 3D LUTs to be loaded into AMIRA and AMIRA Multicam productions, allowing them support, which improves the cameras’ SDI used in Multicam mode. An individual look to adopt an even more cinematic visual output data rate sufficiently to allow external for a production can be created in advance approach. In addition, it will become easier 4K UHD recording at frame rates up to 60 fps. and loaded to the cameras, while the image and faster to match multiple cameras by Many multi-camera broadcast productions parameters can still be fine-tuned with the using equalized looks generated from color prefer to record at 4K, even if the content RCP, just as in a standard workflow. Footage chart frame grabs. will be down-converted for transmission. The shot on location or acquired elsewhere will increased spatial resolution is best shown off also become much easier to replicate in a by also increasing the temporal resolution – live environment. The ARRI Look Library upping the frame rate in order to reduce being launched with SUP 5.0 will make an motion blur.

ARRINEWS 17 SKYPANELS IN VOGUE FOR FASHION EVENTS British visual artist and lighting designer Tupac Martir talks about his work with ARRI SkyPanel LED soft lights at fashion events.

Photos: Indigital Images

ARRI’s SkyPanel family of LED soft lights Why are you fascinated by light? As a lighting designer, what are the priorities is not just being embraced by the film I love what light can do, how it enhances and challenges at fashion events like Emilio and television industry, it is becoming an an idea or creates a poignant moment – Pucci’s show? increasingly popular lighting range across every time the audience takes a picture they The first and most important thing is to other application areas, from still photography are capturing a moment that has been remember that the collection is king. We all to events. The well-known British visual artist carefully created with light. Most people are work to make the clothes look as good as and lighting designer Tupac Martir used 50 not aware of how much light brings to their possible. With that in mind, the photographers ARRI SkyPanel S60-C fixtures to illuminate life, how much it influences how they feel – at the venue need to communicate the the catwalk for Emilio Pucci’s show at the their mood and behavior. I love the idea that different looks and ideas that the designer 2016 Milan Fashion Week. He spoke with by creating the scene I become part of your has created. We live in the days of social ARRI about how well the SkyPanel fits in to life without you even knowing that I exist, or media and everyone has become a window the world of fashion. realizing that I thought about how you would feel in that moment.

18 ARRINEWS During this show you worked with 50 ARRI created for the last Hugo Boss women’s SkyPanel S60-C fixtures. Why did you choose show. I think the SkyPanel is great for eye them? candy. On the Hugo Boss shoot we used it to When I was looking at how to create an change the colors of the environment and it even-looking catwalk, it became evident that allowed us to rapidly alter the 360-degree it should be done with light. By having a light experience for viewers. I also believe that element, rather than a scenographic element, there is scope to explore using the SkyPanel we could enhance the space in a much as an effect light, because of its quick more modern way. So I started looking at dimming. Lighting designer Tupac Martir different lamps and then I remembered using SkyPanels on a previous TV shoot we had done. The SkyPanels gave me the color range that I needed, plus they looked very sexy on “The SkyPanels gave me camera. the color range that I Which features of the SkyPanel do you find most useful? needed, plus they looked The fact that they have a full range of colors, that they can be used with RDM and very sexy on camera.” how punchy they are, makes them a great tool for many different occasions. The RDM feature allows me to see each one of them into an event. It is important that those and change the settings, without having to pictures are also great to look at, as you send a technician to check if something is never know who is posting and who is failing, or to find out what is going on. watching. So the priority is to provide a clean view of the clothes, the way that the designer How else have you used SkyPanels, and intended. Everything else is just enhancement what other applications would you consider or decoration. them for? We had used them previously for a commercial shoot in the UK and also as the main light inside the 360-degree box we

Photos: Stephanie Kulbach ARRINEWS 19 Photos: Nicole Rivelli © Amazon Prime Video

ARRI CAMERAS FOR HDR ON AMAZON Cinematographer Tim Orr captures with ALEXA XT on an Amazon Studios TV pilot requiring UHD and HDR deliverables.

The Amazon series Z: The Beginning Were you and director Tim Blake Nelson after Why did you choose ALEXA, and was HDR a of Everything centers on the 1920s a particular look for this show? concern while you were shooting? American socialite Zelda Fitzgerald and her The inspiration mainly came from still I have used the ALEXA ever since it tempestuous marriage to novelist F. Scott photography of the period, particularly came out and I’m very comfortable with the Fitzgerald. As this was one of the first shows Autochromes, which have a soft, painterly camera, knowing what it can deliver. A lot of with UHD/HDR deliverables, the main grade feel. But we didn’t want the starkness and our interior scenes were definitely low light was in Rec 709 with a trim pass for HDR, desaturation of the Autochrome look to level and of course sensitivity and dynamic but Amazon’s commitment to High Dynamic overwhelm the characters and the story, so range are great strengths of the ALEXA. I Range content is increasing and it has we also played with Kodachrome. Working don’t tend to alter the EI from 800; I know selected ALEXA and AMIRA as its cameras of with colorist Sean Dunckley I tested LUTs how far I can push it and still have a very choice for the best overall UHD/HDR image based on both processes, and eventually safe digital negative. quality. DP Tim Orr spoke to ARRI about settled on two LUTs that we used for the I don’t think you could choose a better shooting the pilot with ALEXA XT cameras, show. camera than ALEXA for HDR and I didn’t find recording in ProRes 3.2K. that aspect to be troubling at all. One of the

20 ARRINEWS Going forward, ARRI recommends on-set HDR only time I can remember being a little more monitoring – what are your thoughts on that? keenly aware of what the extended dynamic With digital we’re used to seeing the range might do. image on set and there shouldn’t be any surprises, but HDR isn’t as easy to monitor You weren’t at the HDR grade, is that right? as Log C or a LUT. It certainly could be No, but then the HDR grade was a helpful, but I also think that people might get secondary pass on this show. I was in overly caught up in it. If it’s the type of thing communication with the colorist to make him you can turn on and off, so you could check aware of what the intent of the photography the HDR for a specific issue or a specific was, and to address any issues that shot, then I could see that being very useful, might arise. The thing to look out for is but it’s probably not something I would want situations where there might be unintended Cinematographer Tim Orr to spend too much of my time with. consequences of the HDR, where it starts to change the visual storytelling. That’s where only things you have to be a little more aware Did you find yourself checking the histogram it could become problematic, but it was very of – that you don’t necessarily see on the more often? smooth on this pilot and there were no set – is what will be visible out of windows. Our DIT was looking things over very issues. Because with HDR you might end up with carefully in the truck, so I didn’t really have to more highlight detail than you thought, which worry about it. There was one scene, a long could be an issue, especially on a period dinner scene that was supposed to take place show when you’re sometimes relying on at dusk; it was more than four pages long and windows being blown out. We didn’t have a took at least six hours to shoot, so trying to situation like that on this pilot, but it’s maintain the windows at the correct level of something to be aware of. brightness was a bit difficult. That was the

ARRINEWS 21 ALEXA MINI ENHANCEMENTS

New studio accessories and improved interaction with the wireless WCU-4 hand unit make the ALEXA Mini even more versatile on set.

The ALEXA Mini has been wholeheartedly embraced by the worldwide industry and is NEW STUDIO ACCESSORY SET used in many different configurations on all types of production. In response to user The compact and lightweight ALEXA Mini allows rapid, tool-less transitions between feedback, new hardware accessories now is a highly versatile tool on set. Some configurations, for example from TRINITY, improve on-set efficiency, while software productions use it as a second or third MAXIMA or Steadicam stabilizers to a tripod developments further refine the camera’s camera, while others use it as the main or head or an operator’s shoulder. functionality. Some key features of only camera throughout a shoot. As a result, The Rear Accessory Bracket RAB-1 ALEXA Mini Software Update Package (SUP) it is frequently moved from one configuration offers flexible attachment options for the 5.0 are highlighted in this article and others to another, and any time savings that can be Power Splitting Box Mk II, a power distribution in this issue, but there are more besides, from made during these transitions will have a big unit available in Gold Mount and V-Mount increased support for EF lenses, ARRI Master impact on the daily shooting schedule. versions, while the Side Accessory Bracket Grips and 1.3x anamorphic lenses, to easier For this reason, ARRI has developed a SAB-1 provides a simple interface for timecode synchronization and multiple new studio set for the ALEXA Mini, comprising mounting accessories towards the rear of monitoring and display improvements. four accessories. At the core of the the camera. Many previously released ARRI new system is the ARRI Compact Bridge camera accessories for the ALEXA Mini are Plate CBP-1, a base plate with integrated fully compatible with the new studio set. sliding bridge plate and shoulder pad. This

22 ARRINEWS WCU-4 INTEGRATION WIRELESS WIRELESS USER In addition to the ARRI Look Library and PLAYBACK CONTROL SETUPS EXT Sync functionality (see pages 12 and 25), as well as numerous other refinements, Full remote playback SUP 5.0 extends the one of the key advances coming with ALEXA control is now possible user setup feature of the Mini SUP 5.0 is enhanced integration with from the WCU-4. This allows users to ALEXA Mini, which allows all user-defined the ARRI WCU-4, a comfortable and ruggedly wirelessly select, play back, and shuttle settings to be stored in a single file. Partial built 3-axis wireless control unit. Already through any clip from the CFast 2.0 card in settings are now possible using five widely used on ALEXA Mini sets, the WCU-4 the ALEXA Mini without needing direct access parameter groups, enabling more flexible will become an even more ideal companion to the camera, which again is useful when it and more specific control, and the camera with the new camera control features being is rigged in a hard-to-reach location. Both this can now store multiple different setups. introduced as part of SUP 5.0. feature and the wireless transfer of lens files Most importantly, these user setups can will be made available to other ARRI cameras be wirelessly accessed and activated from with future software upgrades. the WCU-4, permitting ACs and drone WIRELESS TRANSFER operators to rapidly switch camera settings OF LENS FILES remotely, for example shifting from ProRes to ARRIRAW recording or activating various Previously, lens files of lenses mapped looks from ALEXA Mini’s internal ARRI for use with the ARRI Lens Data System had Look Library. to be manually transferred to the ALEXA Mini via a USB stick. Now, users can select a lens file stored on the SD card in their WCU-4 and – using just the hand unit – wirelessly transmit the file to the ALEXA Mini, saving time and effort. Wireless lens file transfer is also useful in situations when setup times are short and the camera becomes inaccessible straight after a lens change, for example when rigged on a crane or car mount. The AC can mount the lens and then do the rest of the setup, from lens calibration to lens files transfer, remotely.

1ST AC JAKE MARCUSON ON THE WCU-4

“I’ve had a WCU-4 for a few years now integration with the ALEXA Mini is an and essentially I think it’s a brilliant system. example of how the system is evolving, and I like the way you can suggest improvements can only help us on set.” to ARRI and they make an effort to incorporate that feedback into software Credits include Rogue One: A Star Wars Story updates. Most of the time we’re on ARRI and Suffragette cameras and it really works well as a system, letting you switch between cameras by changing the channel. Improving the 1st AC Jake Marcuson Photo: Jonathan Olley

ARRINEWS 23 VIRTUAL REALITY At the Berlinale, a 360-degree virtual reality rig using multiple ALEXA Mini cameras highlighted ARRI’s research into VR applications.

24 ARRINEWS EXT SYNC FOR MULTI-CAMERA ALEXA MINI SHOOTS

One of the new features of ALEXA Mini “We’ve been working with our new SUP 5.0 is an EXT Sync function that allows ‘Typhon’ multi-camera array with ALEXA Minis the sensors and operational parameters of installed in the SHOTOVER K1 stabilized up to 15 ALEXA Mini cameras to be system for aerial photography action and VFX synchronized to a master ALEXA Mini. Slaves plate shots on major motion pictures. We can assume parameters like the frame rate, have been testing the EDB-2 box, which shutter angle, or ND setup of the master along with the new EXT Sync feature is going camera, which also provides a status to make it much quicker and simpler to summary of all cameras. Facilitated by new synchronize and operate multiple cameras in Jeremy Braben (right) with ALEXA Mini cables and EDB-2 distribution boxes, EXT future.” "Typhon" rig and Chief Technical Officer Sync simplifies the configuration and control Oliver Ward of multi-camera 3D, VR, and VFX applications Jeremy Braben in a way that permits the entire multi-camera Aerial DP and CEO of setup to be operated as if it was one single Helicopter Film Services camera.

For the Audi Lounge at the 67th Berlin intended visual experience. They are being International Film Festival, ARRI joined observed as new business opportunities for forces with the Fraunhofer Heinrich-Hertz- various branches within ARRI, ranging from Institut (HHI) to create a unique 360-degree camera products to production services.” experience. Visitors had the chance to feel Multi-camera ARRI rigs developed like a star at their own film premiere by collaboratively with Fraunhofer HHI have driving an Audi Q7 past crowds of fans on the been tested on various pilot productions in red carpet – all in virtual reality, of course. order to mature the system for professional ARRI's Media division produced a environments and demonstrate its superior 360-degree film for this extraordinary project, quality. This process will continue further and then integrated it into a virtual reality imaging, and full synchronicity of all the until solutions for VR and AR applications application. The limited time available was a cameras. provide the same image quality, robustness, special challenge, with only 18 hours for the Over recent years ARRI has been and ease of operation for which ARRI entire process, from the red-carpet shoot to continuously involved in cooperative research products are known in existing markets. the finished product. into future technology trends relating to “ARRI Media has already started The film was shot with an OmniCam-360, advanced and immersive imaging. Projects commercial business for VR production and which was developed by Fraunhofer HHI have encompassed omnidirectional cameras, postproduction services, currently focusing and then optimized for the Berlinale together foundations of light field imaging, and on automotive and other customers seeking with ARRI's R&D department. The system capturing additional information beyond the novel user experiences for the innovative comprises six ALEXA Mini cameras arranged RGB picture, especially depth information. In presentation of their products,” continues in a mirror rig to provide a 360-degree each case ARRI has built camera prototypes Steurer. “We are learning fast what panorama in never-before-seen quality. Other to test the state of the technology with technological requirements are related to system components include a workstation respect to production readiness. computational imaging and how to gear up that generates a live stream of the panorama “All of these activities have in common for application benefits.” in HD and UHD, and software plugins for After the massive use of signal processing Effects®, with the aid of which the panorama and image manipulation, culminating in is subsequently rendered in movie quality. computational imaging,” says ARRI Principal Based on the proven ARRIRAW recording Engineer Dr. Johannes Steurer. “The fast- format, this high-quality panorama is growing hot topics of virtual reality and characterized by a native resolution up to augmented reality also require huge 14K x 3K, High Dynamic Range (HDR) computational efforts for producing the

ARRINEWS 25 HIGH-SPEED LIGHTING Gaffer Andy Stein works with M-Series daylight lampheads and ARRI high-speed ballasts on a slow-motion ice hockey shoot.

Based out of Cologne, Andy Stein is a highly experienced commercials gaffer whose rental company, Amp-light Film & TV Service, boasts an inventory that includes ARRI SkyPanel, L-Series, tungsten, and M-Series fixtures. For a recent corporate promo film that involved shooting at frame rates up to 1,500 fps, Stein selected M18, M40, and M90 M-Series lampheads, combining them with ARRI ballasts. What lighting challenges did you face? Which fixtures did you choose and why were We were shooting in a real ice rink so they the right solution? Can you describe the concept for this shoot? we needed a lot of lighting power, because I used one M90 for a backlight and It was a short movie for a company that you can see so much when you’re in there. another to light from the front. Then I used makes ice hockey pucks and the plastic Our main considerations were power and an M40 as a hard kicker from the side and body protection worn by players. The output, but we also had to find a lighting an M18 for details with the goalkeeper concept was to use high-speed filming to solution that would work with the hockey and the puck. These M-Series lampheads show in slow motion the sheer power and players in the rink, as they needed space to allowed me to react quickly if we needed physicality of the impacts in this sport – a skate around. The other factor was time: we more or less light, but also if we needed it puck crashing into the transparent wall were on a tight schedule so we only wanted to be harder or softer. The output range is that protects spectators, or two players a few fixtures on the ice, with as much extremely wide, so I was always able to smashing into each other, or a player flexibility as possible. striking the puck.

26 ARRINEWS Gaffer Andy Stein

give the director more when he wanted What are your general thoughts on the ARRI instead of a generator, but it has enough to increase the frame rate. Also we could M-Series? output for a Chimera. The M40 can be used change the bulbs to vary the output, for At my rental house we have the M8, with a 2.5 kW bulb if you have limited power example the M90 can be 6 kW or 9 kW. M18, M40, M90, and ARRIMAX, and we use on set, while the M90 is great when all of them. The M-Series is the best choice you’re outside, fighting with the sun, or Did the ARRI ballasts work well for you? for high-speed shoots, but the flexibility of when you need to punch daylight into an Yes, they did. We were using the older these lamps allows me to use them for all interior. On this shoot the M-Series gave high-speed series, but also the new ARRI kinds of different situations on different sets. us exactly what we needed, with great AutoScan ballasts. The great advantage is You can use them close or far away, hard or pictures, no flicker problems, and really that you can really focus on getting the soft, and the light quality is always great. versatile light output. lighting right, and let the ballasts determine The M18 is a real all-purpose weapon the correct frequency for you. and I have it on every shoot; it’s compact and you can use it with domestic power

NEW ARRI HIGH-SPEED BALLAST EB MAX 1.8

Continuing its line of high-speed offers extended DMX remote control of ballasts equipped with an AutoScan feature operation mode and frequency, as well as that ensures optimum light quality with on/off and dimming. When combined with minimal effort, ARRI announces the new ARRI daylight lampheads, the EB MAX 1.8 EB MAX 1.8. Despite its compact housing, enables optimal performance and advanced the EB MAX 1.8 covers four different controls for high image quality – at any power classes: 575 W, 800 W, 1,200 W, and frame rate. 1,800 W. In addition to established features such as Active Line Filter (ALF) and Compensation for Cable Losses (CCL), it

ARRINEWS 27

GHOST IN THE SHELL Jess Hall BSC turns to the ALEXA 65 system from ARRI Rental for director Rupert Sanders’ take on the classic Japanese manga and anime series.

What drew you to the ALEXA 65? larger format, one of which is that it flattens I think the ALEXA 65 interested me for perspective. For Ghost in the Shell this was several reasons. Firstly, I wanted to do interesting because I was thinking about how something that had a different kind of visual to translate anime and manga into live quality to it, and didn’t resemble everything action, and a lot of the original artwork from else I was looking at. I was also very aware the anime uses wide-angle frames, but drawn of all the different release platforms we without much distortion, which suited the would be working with: IMAX, HDR, and large image area and flattened perspective Ghost in the Shell stars Scarlett standard projection. It was really about of the ALEXA 65. Johansson as Major, a cyber-enhanced capturing in a future-proof way because I counter-terrorism soldier who comes to want this film to remain relevant and not look How does cinematic depth of field and question her identity and background. dated in a few years’ time, so I needed to shallow focus translate to the world of Seeking to develop a timeless, high-quality start with the most advanced technology anime? aesthetic for the film, cinematographer Jess available. The anime film ofGhost in the Shell is a Hall BSC chose the ALEXA 65 large format Before this film I had used the ALEXA 65 combination of traditional cell animation and camera system, which is available exclusively for a Halo commercial, although it was very CGI, but to me every frame was like a from ARRI Rental. He speaks here about his early days for the camera so we shot side-by- watercolor. The softness of it was very work on the movie. side with a 35-format ALEXA. That process beautiful to look at, so I wanted to see if I really highlighted the inherent qualities of the could get that kind of soft, painterly

28 ARRINEWS Cinematographer Jess Hall BSC at the ALEXA 65 Photo: Jasin Boland

quality. Certainly the idea of shooting a motion picture LED lighting veered too much and blacks. The sophistication with which it straightforward digital image was not towards the primary spectrum, lacking the was able to register things in that kind of particularly interesting to me, and definitely subtlety I was looking for. I studied the anime borderland of the spectrum, the bottom of not the aesthetic I was searching for. Having and made extensive photographic studies of the curve, was really important. I did design shallow focus to play with was an asset in Hong Kong at night. Then I refined and a custom LUT, because with all the complex this case; the custom lenses that Panavision analyzed the color palette, incorporating LED colors I needed something consistent put together for us were another important some practices that inform traditional and refined – it was almost like working with element to capturing that unique quality. Japanese art. Finally I distilled this into 28 one film stock. All the colors I used in the colors that I wanted to see in the film and we film were designed specifically to be captured What was your approach to color on the film? set about programming them into a wide by this camera. That was part of the testing Color was very important and I worked platform of LED lights, which was an and design process. The other thing I did was on it in quite a detailed way, looking at interesting and extensive process. work entirely in P3 color space; I didn’t use the genre of anime in general and also Rec 709 at all. Even the monitoring on set specifically at Ghost in the Shell. The color Is it vital to know that your camera will was done in P3 for the extended color gamut, palette is unique and complex, featuring capture these very precise colors in a natural because some of the colors just wouldn’t many secondary colors with extremely subtle and pleasing way? read that well on Rec 709. hues. It’s not really something I’ve seen Yes it is. I’ve always really liked the color before in motion pictures. I thought it would space of the ALEXA; it’s very appealing to me be interesting to somehow capture those and it seemed like the right kind of color qualities – things like the subtle tones of gray space for this film. However, I found that the that infuse the skin tones. In testing I found ALEXA 65 has developed a stage further, that many of the colors easily generated by especially in terms of how it renders low light

ARRINEWS 29 Berlinale Talents: ARRI’s Mandy Rahn at Talents Circles, introducing the International Support Program

ARRI’S INTERNATIONAL SUPPORT PROGRAM FOSTERS TALENT With the International Support Program, ARRI helps emerging filmmakers from all over the world to realize their unique projects.

ARRI has a long tradition of promoting the Southern Wild and Fruitvale Station, while young talent, underscoring the company’s the ARRI Film Independent Feature Film ongoing commitment to the motion picture Grant, ARRI AMIRA Filmmaker Grant, and and media industry. In recent years, several similar initiatives have provided many other training centers and film schools, as well young filmmakers with direct backing for as film festivals and awards worldwide, their projects, often giving their careers a have received financial support. The ARRI significant boost. Fritz Böhm's filmWildling is the first project to benefit from ARRI’s ISP Sundance Feature Film Program has been Last year ARRI started a new behind notable successes such as Beasts of promotion platform for talents worldwide: the

30 ARRINEWS International Support Program. “It is aimed welcomed around 250 up-and-comers from form of a co-production and postproduction at emerging filmmakers who are working on the film and TV industries of 71 different services package – is the coming-of-age/ unique projects with an international edge,” countries. horror feature Wildling. Fritz Böhm’s directorial explains Mandy Rahn, Senior Manager of During the festival ARRI experts debut was shot in New York last year by International Programs at ARRI. Through attended various events, including the cinematographer Toby Oliver ACS on two ARRI this program ARRI offers multifaceted Dine & Shine networking dinner, the cameras: ALEXA Mini and AMIRA. Wildling support, ranging from development and Talents Circles – where the International stars Bel Powley and Liv Tyler, and is being access to state-of-the-art ARRI equipment, Support Program and ARRI Academy were produced by Maven Pictures, Celine Rattray, to postproduction, co-production, and world introduced – and the Camera Studio Trudie Styler, and Charlotte Ubben. The film is sales. workshop. Furthermore, ARRI co-hosted a currently in postproduction. ARRI’s International Support Program high-profile panel discussion titled “On was unveiled to the public at the recent Location: Berlin Station” – a multidisciplinary Toronto and Sundance film festivals, and in tour through the production process and February 2017 it was presented at the Berlin digital workflow of this TV crime series, International Film Festival, also known as the attended by numerous industry talents. Learn more about the ISP and how to apply: Berlinale. As a co-partner ARRI also helped The first project to benefit from the www.arri.com/isp shape the Berlinale Talents initiative, which International Support Program – in the

PROFESSIONAL TRAINING WITH ARRI ACADEMY

Other options for budding talent can be experience with ARRI’s diverse range of their knowledge and experience, focusing on explored through ARRI Academy, which offers cameras, lenses, lights, and accessories. real-world skills. Often the presenter a 50% discount to students. In various ARRI Academy also holds regular service demonstrates his or her approach through countries and languages worldwide, ARRI training courses, imparting detailed well-known scenes from their own work. Academy runs training courses led by knowledge about the maintenance of ARRI industry professionals who cover everything equipment. On occasion, ARRI Academy from on-set techniques to postproduction Master Classes are hosted; at these very Check the schedule for upcoming courses: workflows. In these certified sessions special workshops the motion picture www.arri.com/academy attendees gain practical, hands-on industry’s top creative professionals share

ARRINEWS 31 TRINITY: FEEDBACK FROM THE FIELD Camera operator Daniel Schade shares his thoughts on working with the ARRI TRINITY camera stabilizer.

32 ARRINEWS Camera operator Daniel Schade with TRINITY

Options for the ARRI Camera Stabilizer time as moving to a traditional Steadicam System are expanding with new accessories setup, but offers greater creativity and such as ALEXA, AMIRA, and ALEXA Mini “TRINITY feels like a control. Lens and filter changes can also be adapter mounts for the TRINITY and MAXIMA done more quickly compared to other gimbals, stabilizers. With the SAM-2 plate, ALEXA Mini familiar piece of because of the TRINITY's powerful motors can now move quickly between its new studio and software. Calibration only takes a second, accessory set and TRINITY. Los Angeles-based gear from the first time you can easily switch between five user- camera operator Daniel Schade, who has a you use it.” customizable presets, cabling is reduced, and background of working with camera stabilizers it consumes only 14 watts of power. on features, short films, broadcast productions, Basically the TRINITY feels like a familiar commercials, and music videos, spoke to piece of gear from the first time you use it and ARRI about his experience with TRINITY. in one continuous move, while maintaining I can't believe this ingenious design hasn't 360-degree freedom of movement and only existed until now. It's like your iPhone – it just What are your thoughts on TRINITY, having taking up as much real estate as a regular works. At last we can use true production worked with it? Steadicam. This is due to the unique 2-axis cameras on a stabilized rig and work at the TRINITY is the next evolution in camera design of the TRINITY. Adjusting the height by speeds that assistant directors and producers movement. Imagine combining the unique rotating the camera forward rather than to the expect. angles of a jib with the freedom of a side allows the operator to be agile and Steadicam – the creative possibilities become compact in tight shooting locations – for Will you use TRINITY again? endless. Whether the DP wants to keep it example when following an actor up a set of I was impressed enough to order a simple for an easy walk-and-talk or asks for a stairs in low mode. TRINITY and am excited to explore all of the more complicated running shot, I can trust In addition, being able to adjust the tilt as-yet unimagined possibilities a director the TRINITY to maintain a rock-solid and independently via the joystick on the handle might pursue to fulfill their creative vision. stable frame. permits the operator to easily achieve hard- The TRINITY is a product with untapped I think that TRINITY is a perfect puzzle to-reach high angles, like over the shoulder, potential and I am sure that ARRI will make it piece that fits neatly into current production or extremely low angles, looking up. future-proof by improving the system from workflows. It not only opens up new creative year to year. One day, I can see TRINITY being horizons, but also might actually save a Why would you use TRINITY over other the ultimate production tool, whereby the production time and money. stabilization systems? camera and the TRINITY head advance as The unique functionality of TRINITY one unit from dolly, to stabilizer, to jib, to What new possibilities does TRINITY open up? makes it an asset to any set, and since the CableCam, covering all production needs. For the first time on set, TRINITY offers system is marketed by ARRI, I have total trust the ability to move a fully stabilized camera in its reliability. Being able to quickly mount system (carrying a 50 lbs. camera setup) pretty much any camera from a tripod to the from a person’s feet up to above head height stabilized head takes the same amount of

ARRINEWS 33 ARRI LED LIGHTS: LONG-TERM BENEFITS Swiss public broadcaster RTS looks back on the successful installation of ARRI L-Series LED Fresnels in its multi-purpose, fully automated TV studio.

34 ARRINEWS “There are no more gels to cut, no more adjustment of each and every lamphead, “All the colors of the skin and no more ladders. The workflow is simpler, which allows more time for tones, backgrounds, and creativity. Additionally, the heat output has reduced dramatically with the LED set decorations looked lampheads, so our air-conditioning absolutely natural.” equipment is much smaller than it was before, leading to space and electricity cost savings.” In terms of the quality of the light and meet the schedule, so the final order was of the lampheads themselves, Derval has for eight L10-Cs to replace the 5 kW been pleasantly surprised. “The light output tungstens and 62 L7-Cs to replace the 2 kW is extremely stable and the fixtures are very Photo: Anne Kearney tungstens. 50 of the L7-Cs and all of the robust,” he says. “At the beginning, as LED L10-Cs were delivered with motorized yokes was a very new technology, we were RTS (Radio Télévision Suisse), part of and barndoors from Licht-Technik, and supposing that the fixtures would not fully the SRG SSR Group, is responsible for the telescopes from MTS. satisfy our requirements, but after using production and broadcasting of radio and After more than a year of working in the them for well over a year we haven’t had any television programming in French-speaking re-equipped studio, Derval is full of praise problems at all.” Switzerland. On June 30, 2015, RTS opened for the efficiency of the ARRI LEDs: “This Following this trend-setting installation, its first fully automated studio, equipped studio is used for several shows, so after two other RTS studios have been refurbished with state-of-the-art ARRI LED lighting one finishes, our crew has to set up the next with ARRI LED lampheads, and the sports fixtures. one. In the past, with the old equipment, the studio is now also equipped with ARRI Planning for the modernization of the staff needed four to six hours to set up a LEDs. 340 sqm RTS studio began approximately show. Now they need one hour at most to three years ago. The intention was to use set up a new show or a magazine. It means the studio for magazine and entertainment that we are able to produce, in one day, up productions in the future. A project team to three or four shows, instead of one show from Despar Systeme AG was given the brief in two days.” to take advantage of the latest technologies Time and cost savings are at the heart in order to allow the space to be shared of this success story: “Thanks to our control by several different productions, while system, it is possible to store, recall, or minimizing setup times. duplicate the lighting setups,” says Derval. All 1,984 of the studio’s 2 kW and 5 kW tungsten lampheads would be replaced – ideally with LED fixtures, although the same light output had to be maintained. Products from several lighting manufacturers were tested, with the ARRI demo equipment supplied by Swiss dealer ECM. Emmanuel Derval, Head of the Studios & OB Vans Production Unit at RTS, comments: “A lot of different fixtures were tested, but because of the very high color index and light output of ARRI LEDs, the decision to go with ARRI was made very quickly. All the colors of the skin tones, backgrounds, and set decorations looked absolutely natural.” Initially it appeared as though ARRI L7 LED Fresnels would have to be combined with 2 kW ARRI tungsten fixtures, because at that time the ARRI L10 was not yet ready for shipping. Fortunately, however, ARRI was able to deliver L10 lampheads in time to

ARRINEWS 35 AWARDS, MASTER CLASSES AND DISCUSSIONS Over the last few months ARRI has hosted and attended numerous events worldwide with leading industry creatives. Here are just a few impressions. THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES (AMPAS) honored ARRI with a Scientific and Engineering Award for its Super 35 format ALEXA digital camera system. Members of the project team traveled to Los Angeles to collect ARRI’s 19th Scientific and Technical Award, including (from left) Marc Shipman-Mueller, Stephan Schenk, Franz Kraus, Walter Trauninger, and Achim Oehler.

AT THE BERLIN INTERNATIONAL FILM FESTIVAL Dr. Jörg Pohlman of ARRI (left) welcomed cinematographers Winnie van CINEMATOGRAPHER ANTHONY DOD den Heun (center) and Kees Van Oostrum MANTLE ASC, BSC, DFF (right) spoke ASC to the ARRI Opening Night event. with Henning Rädlein at ARRI’s New Year Symposium in Munich about his experiences with ARRI equipment on Snowden and T2 Trainspotting.

36 ARRINEWS OSCAR-WINNING DIRECTOR ANG LEE (2nd from left) was at the IBC show in Amsterdam and stopped by the ARRI booth. Franz Kraus (left), Dr. Jörg Pohlman (3rd from right) and Curt O. Schaller presented the company’s latest offerings to him, including the ARRI TRINITY camera stabilizer.

A WELCOME CEREMONY FOR THE FIRST ALEXA SXT CAMERA delivered to Sri Lanka was attended by motion picture industry professionals, as well as members of parliament and the ministers of finance, tourism, and health. CINEMATOGRAPHER FLORIAN BALLHAUS ASC also visited the ARRI booth at IBC and tried out the new Master Grips.

DURING ARRI’S LIVE PANEL DISCUSSION AT THE BERLINALE, cinematographer Hagen Bogdanski talked with Elfi Kerscher about his work on the TV crime drama series Berlin Station.

ARRINEWS 37

KEY CONTACTS

Europe, Middle East, Americas Africa, India DIOPTER ARRI Inc. East Coast Arnold & Richter Cine Technik New York, NY USA ACCESSORIES GmbH & Co. Betriebs KG +1 845 353 1400 Headquarters Munich, Germany ARRI Inc. West Coast ARRI is introducing a new frame and a +49 89 3809 0 Burbank, CA USA +1 818 841 7070 new stage for mounting 138 mm close-up Arnold & Richter Cine Technik diopters, as well as an adapter that also GmbH & Co. Betriebs KG ARRI Inc. Central & Southern America Business Unit Fort Lauderdale, FL USA permits 4.5” diopters to be used with Lighting & System Group +1 954 322 4545 either. Berlin, Germany +49 30 678 233 0 ARRI Canada Limited Toronto, Canada ARRI Italia S.r.l. +1 416 255 3335 Milan, Italy +39 02 2622 7175 ARRI Brasil São Paulo, Brasil ARRI CT Limited +11 5017 1071 London, Great Britain +44 1895 457 000

Asia Pacific DIOPTER FRAME 138 MM ARRI Asia Limited Hong Kong +852 2571 6288 The diopter frame allows 138 mm

ARRI China Co. Limited diopters of up to +2 to be used in a Beijing, China lightweight matte box such as the ARRI +86 10 5900 9680 LMB-25. The frame has the width of two ARRI Australia Pty Limited 4” x 5.65” filter frames and fits into a 2- or Sydney, Australia +61 2 9855 4300 3-filter stage. A safety mechanism prevents the diopter from falling out of the frame www.arri.com during exchange, while two ¼” threads ARNOLD & RICHTER CINE TECHNIK GmbH & Co. Betriebs KG permit the frame to be attached to an Türkenstr. 89 · 80799 Munich articulating arm. Telefon +49 89 3809 0 Fax +49 89 3809 1244

IMPRINT Publisher: ARRI AG, Türkenstrasse 89, 80799 Munich Responsible for the Publication: Ute Böhringer-Mai DIOPTER STAGE Editor-in-Chief: Mark Hope-Jones 138 MM Editorial Team: Reegan Köster, Heiko Meyer Further Contributors: Ute Böhringer-Mai, Florian Bloch, Millicent Dargusch, The diopter stage can be used at the Celia Donnoli, Markus Dürr, Jeanfre Fachon, Thomas Feuchtmann, Syna Greiser, Michael Jonas, Glenn Kennel, Franz Kraus, Florian Martin, Susanne Mayer, back of a 4” x 5.65” clip-on matte box, or Frederic Merten, Thorsten Meywald, Jörg Pohlman, Mandy Rahn, Karolin Sallge, independently with a rear-mounted clamp Curt Schaller, Stephan Schenk, Harald Schernthaner, Marc Shipman-Müller, adapter. Diopters up to +3 can be fitted, Michelle Smith, Johannes Steurer, An Tran, Stephan Ukas-Bradley, Philip Vischer, Hendrik Voss, Mike Wagner, Brigitte Wehner, Franz Wieser, Markus Zeiler and the position of split diopters can be Copyright: No part of this publication may be copied, reproduced or otherwise adjusted with an integrated friction wheel. disseminated, nor may any of the content in it be used in part or in whole in As with the diopter frame, a safety device other works in any form whatsoever, without express written permission from the publisher and ¼” mounting threads are included. Your Feedback: If you have any comments or questions on this issue of ARRI News, please contact [email protected] Photos: All photos are from ARRI, unless otherwise credited Cover Image: Behind the scenes on the SkyPanel showreel shoot Editorial Design & Art Direction: polta.co

The opinions expressed by individuals quoted in articles in ARRI NEWS do not necessarily represent those of ARRI or the editors of ARRI NEWS. Because of our constant endeavour to improve quality and design, modifications may be made to products from time to time. Details of availability and specifications given in this publication are subject to change without notice.

Ident Nr.: 80.0014992

38 ARRINEWS PRO CAMERA ACCESSORIES New diopter options and versatile on-set crew supplies added to ARRI’s PCA range.

CREW SUPPLIES POUCHES BELTS

This special collection of ARRI-branded Available in various sizes and types, Specially designed ARRI belts provide unit bags, pouches, belts and gloves is the ARRI pouches feature multiple pockets and comfortable, sturdy support for any of the best way to look after yourself and your slots for organizing filters, mini monitors, ARRI range of pouches fitted with a belt loop. equipment during a shoot. Order lists can tape measures, Sharpies, and other everyday Available in three sizes, the fully padded be compiled on the ARRI website, allowing basics. Constructed from water-resistant belt has a heavy-duty quick release and you to configure the supplies that will meet nylon fabric, they offer hardy protection and provides fabric snaps and D-rings for your specific on-set storage and protection easy access to on-set tools and accessories. attaching additional accessories. needs.

BAGS

(See main picture) ARRI unit bags offer GLOVES a rugged solution for organizing and transporting camera gear and accessories. Rugged but agile, ARRI gloves feature The exterior is constructed from a highly dual-layered goat leather in high-wear areas, durable, waterproof material, while the a padded palm for extra comfort, and interior is fully padded to provide ample neoprene panels on the knuckles for protection from the rigors of life on set. maximum dexterity. The adjustable wrist closure ensures a snug fit, while touchscreen tips on the thumb and finger allow the use of mobile devices.

ARRINEWS 39 GET READY TO UNPLUG

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