Issue 04/2005

ARRISCAN NEWS ARRISCAN

ARRILASER HD

ARRI X 250 CERAMIC ARRI MASTER PRIMES

ARRIFLEX D-20 Content

Camera Lighting

3 D-20 Field Trials 04 3 ARRI Ceramic Fixtures – Pure Light Engines! 54

3 Master Primes – Technical Background 10 3 ARRI Supports Showlight 2005 55

3 Ultra Prime T2.6 8R 14 3 ARRI Lighting Solutions Berlin Sets Up WDR Studio 56

3 KINGDOM OF HEAVEN 16 3 Buona Domenica 57

3 KING KONG Embraces the ARRICAM 20

3 EMPIRE 22 Worldwide

3 Camerimage 2004 24 3 Off-Road with ARRI 58

3 ARRICAM Lite Finder 2 25 3 Sweet (Super) 16 62 ARRICAM Lite Shoulder Pad 2 25 3 Wolfgang and Tristan Bayer Shoot EARTHLING 64 3 When Size Matters 26 3 Multiple ‘Tornados’ in Florida 66 ARRI MEDIA, London, Launches the ARRIFLEX 235 27 3 Portraying RAY 68 3 “4…3…235…Go!” 28 3 ARRI CSC Florida Has Got It Covered 69 th 3 ARRI Retro at the 35 International Film Festival of India 30 nd 3 ARRICAM BOOK 2 Edition and ARRICAM DVD 70 3 New 235 Accessories 31 3 New Head of Sales and Marketing 71 3 I, ROBOT 32 3 New Management Structure at ARRI Inc and CSC 71 3 ARRIFLEX 235 Xtreme Introduces New VW Polo 34 3 DoP Jake Polonsky Reflects On 3 Zoom Main Unit ZMU-3 36 Shooting Conman Drama HUSTLE 72 External Display EXD-1 37 Follow Focus FF-5HD 37 3 ARRI Lighting Rental Luncheon 73 Lightweight Follow Focus LFF-1 38 ARRI Offers Video/HD Accessories 38 3 ARRI at Berlinale 2005 74 Compact Matte Box MB-20 39 3 AEON FLUX 75

3 Image Studio 109, Japan 76

Digital Systems 3 Congratulations 77 3 ARRISCAN – ARRILASER 40

3 ARRISCAN – A Successful New Concept 41

3 ARRILASER – The Industry Standard 44

3 ARRILASER HD 45

LaserPacific‘s ARRILASER System – 3 Integral to Digital Intermediate Process 46 Services

3 The Making of KISNA 48 3 A Selection of Currently Serviced Productions 78 ARRI Rental Germany · ARRI Media · ARRI CSC 3 The Digital Intermediate Workflow 50 ARRI-Lighting Rental · ARRI Visual Effects · ARRI Commercials ARRI Sound · ARRI Lab – TV Drama 3 Digital Intermediate Panel at ARRI 53 Editorial 3

Klaus A. Feix Franz Kraus PHOTO: BERND SCHULLER Dear Friends of ARRI, In the early 1930s Erich Kästner, together with one of the company’s founders, August Arnold, developed the fi rst industrially manufactured fi lm cameras using the single lens refl ex principle instead of a separate viewfi nder. For the fi rst time the cameraman could see the exact image that would be exposed onto the fi lm while shooting. This was the birth of the ARRIFLEX 35 system, with its ground-breaking technology. Today it is impossible to imagine a modern camera without this principle.

Erich Kästner passed away on January 31, 2005 at the age of 93. Countless developments bear witness to Kästner‘s vast technical knowledge and competence. Without him, many inno- vations would have been unthinkable. Well into retirement, Erich Kästner remained infl uential Erich Kästner with the ARRIFLEX 35 BL due to his knowledge and his personality.

The ARRIFLEX 16, which in the 1950s already became the standard for TV news and docu- mentaries, was just one of the innovative developments under his direction. In 1960 he also developed the ARRI Electronic Cam, a multiple camera system for TV studios that could be remotely operated by the director.

For over 50 years Erich Kästner was ARRI’s chief engineer, and his list of developments and improvements is long. This was honoured in 1983 with an Oscar®-statuette from the Academy of Motion Picture Arts and Sciences, which he received together with August Arnold for the design and development of the fi rst professional motion picture camera with refl ex system, and again in 1993 with the Gordon E. Sawyer Award for his lifetime achievement. In 1995 he received the ‘Pierrot’ (Bavarian Film Prize), or, as it is also called, the ‘Bavarian Oscar’. To quote the presentation speech: “Erich Kästner, in his capacity as chief designer of the ARRIFLEX camera systems, was involved in the development of these world-famous cameras from the very beginning. With his work he played a decisive role in enabling great feature fi lms and documentaries to be produced all over the world. In so doing he wrote a part of the history of fi lm, and with this award we wish to honour that.” We couldn’t agree more.

Erich Kästner’s legacy to us is an invitation to think laterally. We are therefore especially pleased to have a young team that enthusiastically follows in his footsteps and has already developed a number of innovative and sometimes unconventional concepts.

The times are changing and so are the tools: What has been merely fi lm lab service in the past is DI today. A new concept “back then”, the ARRILASER became the worldwide standard of the industry. Up to its introduction, laser sources had been employed mostly in research laboratories due to their sensitivity. The ARRILASER brought together this extraordinary technology with traditional values such as durability, longevity and simplicity into a highly regarded workhorse of the Digital Intermediate process. Just as innovative – but also a bit against the grain of rapidly changing product ranges so common today – is the ARRISCAN: LED light source instead of hot light, sprockets and pin registration instead of capstan drive, CMOS area sensor instead of CCD line.

Additionally, there are strong traditional elements that have retained their importance. We understand that cinematographers don’t want to rely on a tiny black and white monitor the size of a stamp, that they demand a viewfi nder that operates without power and displays a clearly superior image. We also understand the desire to keep each and every element of the language of fi lm – and be it something as subtle as deliberately applied selective focus. The ARRIFLEX D-20 demonstrates how old and new values can come together in harmony. This, too, is Erich Kästner’s legacy.

Klaus A. Feix Franz Kraus 4Camera

In the fall of 2004 and through early 2005, the ARRIFLEX D-20 fi lm style digital camera was tested on a variety of trial productions as part of the continuing development effort.

Field Trials

During these productions the camera Aside from the fact that cinematographers the highlights than they would on a fi lm was subjected to mixed lighting and and ARRI personnel were very satisfi ed shoot. But the fact that regular 35 format extreme contrast plus varying environ- with the D-20 image quality, the crews cine lenses could be used and the D-20‘s mental conditions, exteriors as well as were impressed with the fact that they could compatibility with existing ARRI matte interiors. Footage was recorded on hard work very much like they would work with a boxes, follow focus systems and the disk recorders as well as on the Sony fi lm camera. Clearly the D-20 is a digital Wireless Remote System made the shoots HDCAM SR portable recorder, in 4:4:4 camera, and thus the cinematographers very fi lm like. RGB or 4:2:2 YCbCr. were using a slightly different approach to lighting, concerning themselves more with Marc Shipman-Mueller Camera 5

Comments from the Field

Since the THE PASSION OF FLAMENCO there have been several further test shoots and a series of workshops for Directors of Photography. In addition the camera has been shown at the IDIFF conference in Cannes, France in February, at Open House events held by NAC in Tokyo and at the AFC and BSC shows in Paris and London during March.

“It really is a tremendous improvement on any previous HD system I've seen, both in lens and ergonomics and image quality. Crucially, the D-20 records motion in an identical fashion to a film camera due to the mirror/shutter mechanism and it is this, as much as any increase in image resolution that is crucial to the formats' success.” DoP Oliver Curtis BSC

“It's like a normal film camera, only digital. The great thing about D-20 is that it takes any 35 mm lenses. Depth of field, or rather lack of it, is the nicest thing about it and the way it handles flares in the same way as film.” DoP Sue Gibson BSC

The D-20 was used on a tripod … on a dolly (here with DP Sue Gibson BSC, in the background and camera operator Peter Versey) … on a crane … and hand held.

Cinematographer Sue Gibson getting a low wide angle shot, … … which nicely shows off the D-20's ability to use any 35 format lens, including a large variety of wide-angle lenses. This is an actual frame from the D-20.

“D-20 is excellent in use, hardly any different from 35 mm film, and viewing a quality optical image on a ground glass look through at the point of capture will save many retakes and time.” Camera Operator, Peter Versey

This frame from the THE PASSION OF This image shows the ’natural’ motion FLAMENCO, directed by Tony Salmon, blur that the D-20 progressive image shows the cinematic depth of fi eld the capturing method creates. D-20 shares with other 35 format cameras. 6Camera

“The D-20 is what we DoPs have been asking for in a digital camera for years – film friendly, rugged construction, optical viewfinder, 35 mm depth of field and no back-focus issues. It beats other Hi Def cameras on every count.” DoP John Daly BSC

“First HD camera to feel like a film camera, Great to use 35mm lenses and to have mirror shutter based optical viewfinder.” Camera Operator, Nicholas Beeks-Sanders

Philip Ross DoP tries ARRIFLEX D-20 in hand held Robin Vidgeon BSC tries ARRIFLEX D-20 at the Jean Noël Ferragut AFC shoots MAGICIANS with mode at IDIFF (ARRI stand). BSC D-20 workshop at ARRI Media ARRIFLEX D-20 at IDIFF studio in Cannes

Jean-Marie Drogou AFC shoots scenes of Paris with ARRIFLEX D-20 Camera 7

D-20 Main Features

• Immediate availability of high definition & high quality image

• Film style handling, functionality & creative options, including: – 35 mm format lenses – 35 mm format depth of field – 35 mm format accessories – Optical viewfinder – Variable speeds (1– 30 fps in HD 4:4:4 RGB, 1– 60 fps in HD 4:2:2) – Simple operation

Excerpts from an interview with cinematographer Stefan von Borbély, who has al ready two D-20 shoots under his belt:

?: What was your fi rst impression of the before in any video camera, regarding D-20? color gamut and the richness of the colors. And even though it is ‘only’ HD, that is, it SvB: It is clear that a camera that is is not 35 mm fi lm, it shows lots of detail. equipped with a 35 mm-format chip, in contrast to a 2/3" chip, will provide ?: How did the camera handle during the many more creative opportunities to shoot? the cameraman or the fi lm production industry in general, especially in terms SvB: Concerning the handling, especially of the optics and lenses. concerning the lenses and the viewfi nder, I liked the fact that I was not forced to look ?: What did you think of the images you at a black and white electronic image could create? during shooting, but was able to use an analog viewfi nder, that allowed me to SvB: After seeing the results I was very properly judge focus, a viewfi nder that is Stefan von Borbély, clearly enjoying his fi rst exited by the depth of fi eld, by this extra bright and brilliant. I really enjoyed that. shoot with the D-20 dimension the camera gives us in con- junction with the 35 format prime lenses. ?: Did you have to change the way you I can use depth of fi eld shifts, I can create expose images? a fi lm look. The shots we got look spec- post was amazing, how much information tacular, you cannot compare this with SvB: The D-20 has very rich colors, but in there was in the dark parts of the image. Betacam or any other 2/3" camera. terms of contrast I have not seen any digi- But in the highlights digital cameras clip, tal camera that can reach fi lm. And I had you have to protect for the bright parts I think the big advantage of this camera to work differently. With this camera, you of the image. is the chip. And with that chip I can have to under expose somewhat, which is create images that I have never seen unusual for a cameraman. What I saw in ?: Thank you. 8Camera

The D-20 received a very warm welcome at Studio Hamburg

“An important factor in the success of our production company is the employment of superior technology which is state of the art. Therefore the D-20 is very high on our list, because it offers decisive advantages: Its modular concept based on a ‘real’ film camera opens the D-20 to a wide range of existing and proven accessories. In other words, the investment is much easier to handle since you can fall back on the extensive inventory already available in a rental, instead of newly investing in specific lenses and other accessories, like it is the case with many other HD systems. The D-20 is just a better deal. And thanks to the advanced technology and the large image sensor it offers a wide variety of professional creative options.“

Stephan Horst, vis.a.vis Filmproduktion, Berlin, Executive Producer on the project HOCHTECHNOLOGIESTANDORT DEUTSCHLAND NAC Open House 2005, Japan

Mid March 2005 was the perfect timing During the course of the seminars for the for this year’s open House at NAC head- D-20, the Master Primes and the ARRISCAN quarters. Many key professionals of the images, which had been shot or scanned industry joined in to get a fi rst hand glance were projected to get a better comparison. of the progress of the ARRIFLEX D-20 came- As a direct result of this ‘Tokyo Labs’ decided ra, the now completed chain of DI products to purchase the ARRISCAN right from the ranging from the ARRISCAN to the Color showfl oor (see also page 43) to enhance Management System and the ARRILASER. their DI chain. The Master Prime workshop Of course NAC’s own Digital High Speed offered the perfect opportunity to see a side- Cameras, such as the fx-Cam and the HD- by-side test with a lens projector between HS300P (a NHK project) were also in the other competitive products and the Master focus of interest, along with the more ‘classi- Prime lenses: an impressive proof of the cal’ but equally exciting products like the superior performance, high resolution, image brand new Master Prime lens series, the uniformity and the focusing without breathing. ARRIFLEX 235, 435 Xtreme, mounted on an ARRIMOTION system, as well as the “ARRI in the Digital Age of Film” – this was latest developments in lighting technolo- the motto for this year’s open house – was a gies – the ARRI Ceramic lamphead and huge success for NAC Image Technologies the ARRI Event lighting system. Inc., as well as for ARRI as their business partner. Very well attended seminars were held during the two days of the open house to provide a more in-depth introduction and To contact nac image technology Inc.: background information about all the latest technologies. It was a very well appreciated Phone: +81 3 5211 7960 occasion not only to obtain information and Email: [email protected] to discuss the new technology among pro- Contact: Tomofumi Masuda fessionals, but also to get new inspirations. Camera 9

ARRIFLEX D-20 with Master Prime lens at ARRIFLEX D-20 at the BSC New Equipment Show Out in the snow with the D-20 in Döbern, Germany, the BSC New Equipment Show at a glass factory

BSC members attending ARRIFLEX D-20 workshop at ARRI Media D-20 at the Royal Television Society workshop

ARRIFLEX D-20 at AFC Micro Salon, Paris

“The D-20 is a glimpse into the future of film. When we began our project HOCHTECHNOLOGIESTANDORT DEUTSCHLAND we shot on normal HD. Since then we continuously im- proved. The ARRIFLEX D-20 boosted the motivation of the whole team: selective focus as a creative element, the optical viewfinder and the familiar handling of a film camera, all this made it fast and easy to create better images.” DoP Frederic Doss, daylight

Federal Minister Edelgard Bulmahn and Prof. Dr. Hans-Jörg Bullinger

One of the highlights of this year‘s CEBIT – the ARRIFLEX D-20. Prof. Dr. Hans-Jörg Bullinger (President of the Fraunhofer Gesellschaft and Chairman of ARRI's advisory board) shows the new technology to German Federal Minister of Education and Research Edelgard Bulmahn. The D-20 was right across from a large screen, where the audience was able to experience fi rst-hand results in the form of a promotional fi lm that has been shot to promote the German industry and also the Football World Cup in 2006. Parts of this project for the German Ministry of Commerce had been shot on the ARRIFLEX D-20. 10 Camera

Master Primes Technical Background

As motion picture production methods advance, both creatively and technically, so must the tools of the trade. Lenses are, very much like fi lm, a decisive link in the movie creation and production chain. They greatly infl uence the look of the Recent technological progress in the fi elds of lens design, optical glass materials, anti- fi nal result, the working procedures, the post-production efforts refl ex coating, optical metrology, precision machining and surface hardening have and ultimately the cost. enabled ARRI and Carl Zeiss to offer to cine- matographers the Master Primes, a new range of high performance lenses with a unique combination of features. This article will look at some of those features in detail and explain the technical background.

Fast at T1.3 The extreme aperture of T1.3 holds two creative promises for the cinematographer: highly selective focus and shooting in low light. However, T1.3 is not a completely new feature in the market. There have been the Zeiss T1.3 Super Speeds since the late 1970s, which were awarded a technical Academy Award in 1987. Compared to

Lens Check (left)

UV Hardening (right) Camera 11

Rear Element

Floating Lens Group 2

Floating Lens Group 1

Front Element

those, the new Master Primes produce a substantially improved picture at T1.3 – with even illumination across the entire frame and no visible light fall-off towards the corners. Also, the Master Prime image at T1.3 is impressively crisp and sharp. This performance is achieved by an optical design which employs more lens elements than used in previous cine prime lens gene- rations from Zeiss, some of them aspherical. Additionally, a signifi cantly bigger lens barrel allows for larger lens elements, The Zeiss Dual Floating Elements principle which also greatly improves performance.

A World’s First: No Breathing at all For the fi rst time in the history of cine equip- movie watcher with unwanted effects. and contrast may be more objectionable ment lenses have been created that do not The Master Primes do not breathe, allowing with some subject matters than others. breathe at all. ‘Breathing’ here means a slight cinematographers to concentrate more on Conventional lens designs, where the change of a lens’ angle of view during a actual cinematography than on compen- entire optical system is moved for focusing, focus pull. A normal behavior with almost any sations and workarounds for equipment fl aws. all exhibit this drop in performance up lens, but an unwelcome one. Imagine a focus close. In a lens design with fl oating ele- pull where the angle of view slightly widens Critically Sharp – Even Up Close ments (FE), some optical groups or elements because of breathing – and a microphone The optical performance of cine lenses is vary their position relative to each other suddenly shows up at the edge of the frame. normally optimized for ‘infi nity’. As a rule in a precisely controlled fashion, thus com- of thumb, ‘infi nity’ is everything beyond pensating for the drop in sharpness which To avoid breathing, the lens designer needs 100 × the focal length of the lens. So, for would occur otherwise when pulling focus to compensate the variation in the angle of a 40 mm lens, ‘infi nity’ is the range of 4 well under one meter (3.3 feet) or under view through a lens group, which moves meters (13 feet) and beyond. 20x the focal length of that lens. during focus pulling in a precisely controlled manner. Although this adds to the optical Up close, the performance of a ‘normal’ Carl Zeiss has used fl oating elements suc- and mechanical complexity of the lens, it lens drops. This is most noticeable in the cessfully throughout the ARRI / Zeiss Ultra eliminates hassles during production and corners of the frame, especially at wider Prime range of lenses, enabling remarkably post-production, and avoids distracting the apertures. This reduction in sharpness high close-up sharpness and contrast, 12 Camera

something which the cinematographer can The Accurate Shape of Things to Come As a result, the Master Prime lenses project use to his/her advantage or modify to his/ As more and more visuals in modern images from the real world accurately onto her liking with the multitude of softening movies are created by combining real fi lm while delivering sharp, well defi ned techniques available. world picture elements with computer contours, both of which greatly ease generated imagery (CGI), special atten- combining real shots with CGI content. The same fl oating elements design principles tion is needed to enable the perfect fi t were used for the ARRI/ Zeiss Master Primes. of the two. Contrast Here the fl oating elements design is com- In a real world lens, which is well shaded bined with another moving optical group, the From the perspective of the lens maker, this with an accurately adjusted matte box, previously mentioned group that cancels fi t can be aided by two aspects: excellent light enters from the front and most of it out breathing. The movement of both these chromatic correction and high geometric travels towards the fi lm. However, some of fl o a t i n g elements is carefully choreographed precision. Excellent chromatic correction, this light is refl ected from internal optical to ensure optimum close focus performance as discussed in the previous paragraph, surfaces as well as from inner housing while completely eliminating breathing means minimized color fringes and a surfaces. Eventually it may reach the fi lm from the whole focus range. This new design cleaner image. Geometric precision means via unintended paths as veiling glare, fl are is called Zeiss Dual Floating Elements™ low geometric distortion, that is the ability or refl exes. And then there is another (patent pending). to accurately project the shape of things in unwanted effect the lens designer has to front of the lens onto fi lm. battle: light may be re-entering the lens Chromatic Precision from the rear as a refl ex from the bright fi lm As a glass prism splits a beam of white With a high quality lens, a window or a door surface. This light then may get refl ected light into a spectrum of colors, so do lens in a room will appear on fi lm with straight from one or some of the lens element elements. It is the very craft of the lens outlines, not those heavily bent lines surfaces and bounce back onto the fi lm. designer to combine various types of noticeable on TV news, where contours of The fi lm frame ‘looks at itself’, like the optical glass in well-calculated shapes so buildings, doors or hallways are distorted mythological Greek character of Narcissus, that their individual color spectra cancel by zoom lenses with poor geometric per- who gave this effect its name: ‘narcissism’. each other out as much as possible. The formance. Those distorted contours would level of perfection needed has gone up not match with computer generated objects All these refl ex variations, summarized signifi cantly in recent years, since imper- with their immaculate geometry. under the term ‘false light’, deteriorate the fection in this fi eld, called ‘chromatic contrast of the image, either locally or over aberrations’, produce visible color fringes Offering a wide angle of view in a lens the entire frame. Reducing the level of false around high contrast contours in the image. as well as undistorted geometry (so called light, thus increasing image brilliance and Color fringes make for poor chroma ‘correct rectilinear perspective’) is a very crispness, requires a multitude of well keys, complicated and expensive post- challenging task for a lens designer. It is orchestrated measures. production and hence low cinemato- all the more challenging if at the same time graphic quality. high speed is to be achieved, like the wide Optical anti-refl ex coating is an important open T1.3 aperture of the Master Primes. one of these. Here Carl Zeiss, the inventor For higher levels of chromatic correction, Here again, exotic glass types are indis- of anti-refl ex coating back in 1935, applies both elaborate optical design, as well as pensable. But even this is not suffi cient. the Carl Zeiss T*, the most advanced anti- exotic glass types with ‘anomalous partial Specially shaped lens surfaces had to be refl ex coating currently available in cine dispersion’, like fl uor crown and barium considered to enable the combination of lenses. It employs up to 9 ultra-thin layers dense fl int are required. Some of these exo- geometric accuracy and high speed. of optical materials, applied in a vacuum tic glass types are almost as heavy as steel, Consequently, Master Prime lenses utilize onto each lens surface. some as expensive as gold, but together they aspheric lens elements, which are produ- ensure the high accuracy with which chro- ced with an extremely elaborate polishing In addition to the T* coating, Carl Zeiss matic aberrations are corrected in the processes, and which must be tested with uses several types of black paints with Master Primes. a complex holographic technique. different refractive indices to blacken lens Camera 13

the Master Primes show deeper blacks than all other cine lenses we have examined to date. With Master Primes, the darkest part of the image is really black, not merely a very dark gray.

On fi lm, this quality of the new Master Primes shows up in deep shadows: Master Primes ‘peek’ deeper into shadows than other lenses. They make dark details visible inside shadows, which would be masked by false light in other lenses. The resulting images look more brilliant, more ‘true-to-life’.

The above is just a selection of benefi ts provided by the new ARRI / Zeiss Master element rims with maximum light absorbing Primes. First industry users were wildly effect. Additionally, Zeiss uses the Master enthusiastic about the new creative capa- Prime ‘wide body’ lens barrel to incorporate bilities offered, and the Master Primes are light traps for further reducing false light well on their way to becoming the new levels. benchmark of the industry and to foster further development of fi lm stocks and The combined effect of all these measures cameras. can be seen when test projecting the Master Primes: in a perfectly darkened test room, Kornelius J. Müller / Carl Zeiss

What is an Aspherical Lens?

The illustration shows the basic principle of how an aspherical lens works. Sphe- rical lenses are subject to ‘spherical ab- erration’, which means that they cannot focus all the light rays of a given color onto the same plane (Webster's Dictio- nary defines ‘Aberration’ as a departure from the expected or proper course). Therefore additional lens elements are needed to compensate, making the lens heavier and introducing other perfor- mance issues. The further away a light ray is from the optical center, the more pronounced this aberration becomes, making this a crucial issue for fast lenses with their larger diameter elements. Aspherical lenses, on the other hand, are lenses with complex curved surfaces, offering excellent aberration correction and thereby providing superior reso- lution performance. Aspherical lenses can be made smaller, lighter and, in general, better than similar lenses which employ only spherical elements.

Lens Coating 14 Camera

With the new ARRI/Zeiss Ultra Prime T2.8/8R, ARRI introduces a unique extreme wide-angle lens that further extends the focal range of the Ultra Primes to a total of 16 lenses from 8 mm to 180 mm. The Ultra Prime 8R is an unusual specialty lens of stunning optical quality with a revolutionarily small form factor. Ultra Prime T2.8 8R

The Ultra Prime 8R is perfect for commercials, materials and features and music videos because of its internal focus- rectilinear design (the ‘R’ in its name stands ing do their for ‘rectilinear’). In contrast to a fi sheye part to ensure lens, a rectilinear lens keeps straight lines that the Ultra straight and creates an image that covers Prime 8R shares the entire ANSI Super 35 aperture. Both the the family traits of Ultra Prime 10 mm and 12 mm are also its siblings. Like the rectilinear wide-angle lenses. The Ultra Prime other Ultra Primes, 8R is ideal for wide establishing shots the Ultra Prime 8R inside buildings or cities, sweeping vistas, • covers the whole the interior of cars, exhilarating high-speed ANSI Super 35 image POV shots, small rooms, unusual angles and area (24.9mm × 18.7mm / many, many more applications where a 0.980" × 0.7362"), new and fresh look is required. • is super color matched to guarantee seamless cuts between With the Ultra Prime 8R, Zeiss used the scenes and to avoid time consuming latest technological advances to keep the color matching in post, UP8R high optical and ergonomic standard of • has minimized chromatic aberration the Ultra Primes in an 8 mm design. This was and almost no geometric distortion, no easy feat since the wider a lens gets, • shows maximum contrast and resolution the more diffi cult it is to keep image quality consistently over the entire focus range at an optimum. This explains why many including unrivaled close focus perfor- lens manufacturers shy away from building mance, extreme wide-angle lenses. Building such • has an even illumination of the whole a lens in a rectilinear design is even more Super 35 fi eld, diffi cult. • shares special light absorption techniques and the Carl Zeiss T* multi-layer anti-refl ex The front element of the Ultra Prime 8R is coating for negligible veiling glare, a radically shaped aspherical lens element • provides smooth, round and organic out that is produced using semiconductor tech- of focus highlights at all T-stops through 9 nology, resulting in high optical quality while precision iris leafs, substantially reducing size and weight. In • has the focus and iris rings in the same fact, the Ultra Prime 8R is smaller than the 10 position as the other Ultra Primes for fast or 12 mm Ultra Primes – a revolutionary size and easy lens changes and for an 8 mm lens – and weighs only 2/3rds • shares the same robust and reliable UP10 of the 10 mm’s weight. A small extreme wide- construction that is appreciated by rental angle lens not only speeds up work on the set, houses since it minimizes downtime. it can also be employed in unusual places. It gives the cinematographer ample room to Because the Ultra Prime 8R has an extremely place lights when working close to the actors wide angle of view, it does not work with and allows the lens to skim past objects that most regular matte boxes, necessitating a are very close to the optical axis for shots new front shade for the ARRI Lightweight that were not possible before. As an extra Matte Box LMB-4. With this new shade, benefi t, the Ultra Prime 8R can be used on the LMB-4 becomes the LMB-4A. When the ARRIFFLEX 16 SR3 (when the viewfi nder mounted on the Ultra Prime 8R, the LMB-4A is rotated up for clearance, of course). can accept two 6.6 x 6.6 fi lters. A new set of masks allows the LMB-4A to still pro- Special optical glass with anomalous partial vide ample fl are protection for the longer dispersion, a fl oating element, exotic glass Ultra Primes. Camera 15

Ernst Abbe, Carl Zeiss and Otto What is ‘Rectilinear’, what is a ‘Fisheye’? Schott pose for this image taken with a When a lens projects a three dimensional scene onto a two dimensional fisheye lens. Note piece of fi lm, not all geometric properties of the original scene can be how the vertical maintained. This is essentially the same problem as mapping the shape of lines behind them are curved, but how the continents of our three dimensional globe onto a two dimensional the general shape map. The choices of lens design, focal length and distance to the subject of their distinguished determine the character of this mapping, which is commonly referred to heads is preserved. as perspective, one of the cinematographer's most important tools. For wide-angle lenses, the lens designer must make a choice between a rectilinear or a fi sheye lens design, with different consequences for per- spective. The most obvious differences can be seen by how straight lines and objects at the edge of the frame will appear. The same three Since the human eye judges distance by the way elements within a scene guys photographed diminish in size and the angle at which lines converge, most lenses are with a rectilinear designed to duplicate those ‘natural’ geometric relationships on fi lm. This lens. The vertical is called a rectilinear perspective, and to achieve it the lens will stretch lines behind them now look straight, the image so that vertical, horizontal and diagonal lines that we perceive but the shapes of as being straight are reproduced as straight lines on fi lm. Ernst and Otto's There is, however, a limit as to how wide a lens with a rectilinear perspec- heads are stretched. tive can be, based on the limited amount of space available in front of the camera, and on various optical problems that get increasingly unwieldy as the angle of view increases. The 122° diagonal angle of view of the Ultra Prime 8R is already at the limit, making it a unique and unusual lens for the cine as well as the still photography fi eld. For this reason many extreme wide-angle lenses are designed as fi sheye lenses. A fi sheye lens can have a wider angle of view than a rectilinear lens. But it maps the scene to fi lm differently than we perceive the world The Zeiss Optical Museum in Ober- around us, because the focal length is actually changing within the kochen, taken with image. The farther a straight line is from the center of the frame, the more a fi sheye lens. it will be rendered as curved, and objects at the edges of the frame Again we can see will be heavily distorted with the typical fi sheye look. how straight lines A rectilinear wide angle lens on the other hand renders all straight lines bend. Note espe- in the subject as straight lines in the image, though there is linear stretching cially the way the applied to the image that increases as an object gets closer to the frame center column looks. edge. This effect tends to exaggerate perspective, i.e. it will make rooms appear larger than they are, enhancing the illusion of depth. However, a circular object, like a ball or a person's head, located near the edge of the frame will appear to be somewhat enlarged and will have an oval shape. Neither fi sheye nor rectilinear extreme wide-angle lenses represent reality in quite the same way as we see it, but they provide two different ways to manipulate perspective, to change the illusion of space and The optical distance. museum photographed To the right are some sample images taken with a rectilinear and a with a rectilinear fi sheye still photography lens to illustrate the two different looks. lens, keeping straight lines straight.

The Ultra Prime T2.8/8R extends the range Specifications for ARRI/Zeiss Ultra Prime T2.8/8R of Ultra Prime lenses at the extreme wide ARRI/Zeiss Ultra Prime T2.8/8R end. Together with the 10, 12, 14 and 16 Lens type: Distagon T* with feet scale K2.47612.0 mm Ultra Primes, these lenses provide the Aperture: T2.8 to T22 ARRI/Zeiss Ultra Prime T2.8/8R most complete wide-angle selection in any Close focus: 0.35 m/1' with meter scale K2.47613.0 modern prime lens set. Thus the Ultra Primes Length (lens mount to front): 130 mm/5.1" Lightweight Matte Box LMB-4A K2.47633.0 now offer 16 different focal lengths for every Outside front diameter: 134 mm/5.3" Wide angle replacement shade cinematic need, from the only telephoto lens Weight: 2 kg/4.4 lbs for LMB-4 K5.65585.0 Horizontal angle of view: 114° for ANSI Super 35 Silent camera aperture designed specifi cally for motion pictures, LMB-4A step down ring (24.9mm x 18.7mm/0.980" x 0.7362") the Ultra Prime 180 mm, to the new Ultra to 134 mm for Ultra Prime 8R K2.47635.0 Prime 8R, giving you the fl exibility to get 112° for DIN Super 35 camera aperture Mask set for LMB-4A the coverage you want. (24mm x 18mm/0.944" x 0.7087") for 12 and 14 mm prime lenses K2.47634.0 107° for Normal 35 Academy camera aperture Marc Shipman-Mueller (22mm x 16mm/0.8661" x 0.6299") 16 Camera

Kingdom of HEAVEN Ridley Scott’s and Branko Lustig’s Film on ARRI Equipment

Director Ridley Scott

KINGDOM OF HEAVEN is set in the 12th century at the time of the crusades. Orlando Bloom (TROJA, THE LORD OF THE RINGS) stars as the young blacksmith Balian of Ibelin who sets out on a dangerous journey to the Holy Land. There he falls in love with the mysterious Princess of Jerusalem, and in the big battles of Jerusalem turns out to be a respectable and brave knight. Plenty of other stars can be seen in this feature as well: Liam Neeson (LOVE ACTUALLY) as Knight of the Cross Godfrey of Ibelin, Balian’s father. Jeremy Irons (THE MAN WITH THE IRON MASK, LOLITA) as Tiberias, Edward Norton (THE ITALIAN JOB, FIGHT CLUB) as King Baldwin IV and Eva Green (ARSENE LUPIN) as Sybilla. Camera 17

As with other previous projects, the entire day, we just called up and got it. They have from Spain to Morocco, where we kept the camera, lighting and grip equipment for been ready for us anytime. The cooperation same equipment package. When we arrived this new fi lm by producer Branko Lustig and with ARRI Rental was perfect, no problems in Morocco, our equipment was already director Ridley Scott came from ARRI Rental whatsoever in spite of our high demands.“ there, so we didn’t have to lose any valuable Germany. Men and equipment where put to time with waiting. Communication between a real test in the sands of the desert and Shooting started January 2004 for seven our team and the multiple ARRI Rental depart- the salty waters of the seaside. Cinemato- months in Spain and Morocco. A whole ments worked out very well, fi rst and foremost graphy was done by DoP John Mathieson ‘caravan’ of 17 trucks transported all the with Thomas Loher as directing manager, and (GLADIATOR, HANNIBAL), Oscar nominee for camera, lighting and grip equipment to the also with Manfred Jahn, Technical Director PHANTOM OF THE OPERA. different locations: across the Pyrenees to Camera Rental, Hubertus von Hohenzollern, Spain, three months later across the Atlas Head of Lighting Rental and Carl Christian Branko Lustig, the executive producer of a long Mountains to Quarzazate, an oasis in the von Hohenzollern, Head of Grip Rental. The line of Oscar nominated and Oscar winning Moroccan desert, and fi nally, for the last two technical support was perfect.“ fi lms like SCHINDLER’S LIST, GLADIATOR and weeks, to Essaouira on the coast of Morocco. BLACK HAWK DOWN, looks back on a relation- The project was additionally supported by ship with ARRI lasting for more than 30 years: Torture Test for the Crew and the Equipment Heinz Feldhaus, who has known Branko “I feel at home with ARRI. Whenever we Transportation was one of the major Lustig for almost 40 years and worked with needed something, no matter what time of the challenges. Branko Lustig says: “We moved him on more than 50 projects: “I have been 18 Camera

Branko Lustig and Heinz Feldhaus

system was employed in the desert. And also for the Angenieux Optimo 17– 80 Zoom this was a premier.

Another fi rst was the trailer, that for KINGDOM OF HEAVEN was specifi cally converted by ARRI Rental into a portable movie theatre which was on location the entire time. The trailer was equipped with the ARRI LOCPRO 35 location projector and original theatre seating for watching dailies in movie theatre atmosphere.

In conclusion Branko Lustig says: ”I’ll be working with ARRI Rental Germany again, if another project in Europe comes up. I almost feel like I wouldn’t want to work without ARRI ever again.“

The release is scheduled for May 5th 2005 in Germany and May 6th 2005 in the US.

Andrea Rosenwirth

to Morocco 13 times, on different locations ended up in all lamp heads and ballasts. This and different projects, but KINGDOM OF was manageable as long as shooting took HEAVEN has defi nitely been the best orga- place in the desert, since the sand was dry. nized production so far.“ Heinz Feldhaus The trouble really started on location on continues: “Unfortunately the equipment was the seaside. The sand clotted up due to the constantly exposed to the dust of the desert. humidity and caused the equipment to fail. But thanks to the service technicians it was There was no other solution for the lighting always in good shape.“ The ARRI service technicians than to clean all equipment on team, Stefan Baur and Felix Lindlbauer, were location to bring it back to work.“ on location the whole time and made sure that all camera and grip equipment remained Just the tracking vehicle, which was specifi - in perfect working order. The sand of the cally designed by a company called Movie- Moroccan desert found its way in every tiny Checker, unfortunately didn’t survive the crack which on some days caused 24 hour shoot and fell victim to a fi re. Just before that shifts for the service team. a Giraffe crane and a stabilized camera head was mounted on the vehicle. It was a Hubertus von Hohenzollern, Head of Lighting shoot in the toughest conditions for the ca- Rental, explains: “Naturally the desert sand meras as well: For the fi rst time the ARRICAM

A trailer was equipped with the ARRI LOCPRO 35 for watching dailies Camera 19

Equipment

Camera 1st Unit – 1 × ARRICAM ST – 2 × ARRICAM LT – 2 × ARRIFLEX 435 Xtreme – Cooke S4 Primes with Lens Data System and Cine Measure Tape System – Zeiss Variable Primes with Lens Data System – 2 × 24 – 290 Angenieux Optimo Zooms – 2 × 17 – 80 Angenieux Optimo Zooms

Camera 2nd Unit – 1 × ARRIFLEX 535 B – 2 × ARRIFLEX 435 Xtreme – 1 × ARRIFLEX 35-3C – Cooke S4 Primes – 24– 290 Angenieux Optimo Zoom

Grip – 1 × Giraffe Crane – 1 × GF 8 Crane – 3 × Dollies – 1 × Scorpio Head (3-axis) – Strada Crane – Flight Head – 1 × Tracking Vehicle, a mobile camera platform custom-made by Movie Checker

Lighting HMI: – 200 W – 18 K (at least 3 × each) Tungsten: – 150 W – 24 K (at least 3 × each) – 2 × Full-Wendylights

Trucks and Generators – 11 × 12 t Lighting and Grip Trucks – 2 × 7,49 t Camera Trucks – 1 × LOCPRO Trailer – 3 × Generators (2× 140 K, 1 × 216 K) – 10 × Portable Generators 20 Camera

KING KONG embraces the ARRICAM

Through its unique features, the ARRICAM system has established itself as the premiere camera for shooting features

and commercials, including such blockbusters as HARRY POTTER 3, TROY, KING ARTHUR and I ROBOT. When

considering what camera to use to shoot Peter Jackson's latest epic, a remake of KING KONG, cinematographer Andrew Lesnie chose the ARRICAM system, supplied by ARRI Rental Germany. This continues the very positive relation- ship ARRI Rental Germany had established with Andrew Lesnie while supplying all fi ve tons of camera gear for Peter

Jackson's Oscar winning LORD OF THE RINGS trilogy. The ARRICAM system is accompanied in New Zealand by ARRIFLEX 435 and 235 cameras.

?: After working on the LORD OF THE its own set of challenges. We have a main ?: Why did you chose the ARRICAM system? RINGS, which was an enormously large unit (running two or three cameras on a production in all aspects, do you enjoy regular basis) and a second unit, as well as AL: The crews are conversant with the working on a ‘normal’ sized production an aerial unit and an FX elements unit. The technology, and the gear is sturdy enough again? variety of looks we’re trying to achieve is for Peter Jackson, who really likes to keep considerable, and it involved much testing. the camera moving. Andrew Lesnie: Because so much of the fi lm is effects-driven, KING KONG is not as logistically vast as I’ve spent much more time designing the ?: I understand you also have the ARRIFLEX LOTR, but I would not classify it as a ‘normal’ lighting to be ‘organic’ in terms of integrat- 235, and you had a prototype even before sized production. It is a new project with ing smoothly with CG environments. it was commercially available. What do you use it for?

AL: It’s great to have a lightweight 35mm camera you can throw on your shoulder and have all the benefi ts of modern camera sys- tems onboard without a bunch of cables com- ing out the back. It’s very liberating, espe- cially coming from a background of current affairs and documentaries.

Two of the ARRICAM cameras used on KING KONG

The custom build cable cam rig used on KING KONG Camera 21

Cinematographer Andrew Lesnie checking out the ARRICAM LT at the ARRI Rental

?: What lenses do you use? AL: We had the opportunity to shoot vaude- ville, chorus line and big musical numbers AL: I am using LDS Ultra Primes and Optimo as part of the story. zooms. The zooms are sharp and very fast, making them ideal for working with Peter. The ?: What was the most diffi cult shot? Ultra Primes’ sharpness helps offset the slight decay in resolution created by the D.I. pro- AL: We wanted to stage a tracking cess, and they’ve handled pointing straight shot directly in front of, and behind, running ARRICAM Main Features at hot practicals and fi lm lights very well. characters. Key grip Tony Keddy used typical New Zealand ingenuity to create a simple but ?: Are you using the Lens Data System? effective cable cam that worked superbly. • Size and weight The ARRICAMs are part of the smallest and lightest complete 35 mm sync sound camera AL: The Lens Data System has two functions ?: You rented again from ARRI Rental Ger- system available. on this fi lm. Firstly, it’s a lot easier to get many in Munich. Is New Zealand not very a heads-up on any potential system failures, far away from Munich? • Two camera concept because the information regarding each The Studio camera is extremely quiet and fully featured, and the Lite camera is better for hand camera is displayed (and recorded) on the AL: ARRI has been very supportive, and held and Steadicam shots than any all-in-one video assist image, as well as quickly letting local tech support is provided by Welling- camera can be. me know what focal lengths and/or aper- ton-based technician Peter Fleming. tures are on each camera. Secondly, the • ARRI quality viewfinders Arguably the brightest, highest quality view- system assists the data collection needed ?: Are you going again with the Digital finders in the film industry. to help digital post-production. Intermediate? • Ease of use Careful attention to ergonomic considerations ?: What are the specifi c cinematographic AL: As with LOTR, we are again shooting and special requirements in movie making, as challenges on KING KONG? Super 35 and going out as an anamorphic D.I. well as thoughtful user interface design make the ARRICAM easy and fast to work with, even AL: KING KONG encompasses a large ?: Thank you. at night in the rain after a long day on the set. range of scenarios, from jungles to city- • Modularity scapes. We have a vast New York back Some making of footage featuring the ARRI Viewfinders, magazines and accessories can lot, shooting day and night, and have had cameras on King Kong can be seen on the ARRI be used on both cameras, and the cameras the pleasure and pain of shooting in very web site at www.arri.com/entry/arri_big_ape. can be outfitted with accessories based on the claustrophobic ship cabins and corridors. htm or on the King Kong Production Diary at shooting needs. www.kongisking.net/kong2005/proddiary/ • And last but not least, the famous ARRI reliabi- ?: What was the most fun shot on KING lity that is an absolute necessity for such missi- KONG for you so far? Marc Shipman-Mueller on critical undertakings as movie making. 22 Camera

Filmed with ARRICAM LT and ST EMPIRE

Daniele Nannuzzi used the ARRICAM

on the historical epic EMPIRE, an

American TV series, six episodes of

which were shot in just 17 weeks at the

Manziana- and Fiumicino-Studios

in Rome. The $ 40 Million Walt Disney

production was directed by Kim Manners,

Greg Yatanes and John Grey. Shortly

before shooting was completed Mauro

Sembroni of ARRI Italia had the chance

to speak with Daniele Nannuzzi. Camera 23

?: From early on you were infl uenced by countless ways of image composition and the work of your father, the famous DoP is supplemented by plenty of accessories. Armando Nannuzzi. At the age of 17 you Besides that both cameras are perfectly were assistant cameraman on well-known quiet. I was particularly impressed by the fi lms like BALLANDO BALLANDO or IL brightness of the viewfi nder and the quality MONDO NUOVO by Ettore Scola. In recent of the video assist. After conducting a whole years you worked with a lot of great DoPs, series of lens tests before shooting started, among them Carlo Di Palma, Alex Tompson, I decided on the Ultra Primes and used the David Watkins, Leo Barboni, Pasqualino de complete range from 10mm to 180mm. Santis, Ennio Guarnieri, Tonino delli Colli Some scenes where planned as highspeed and Rivardo Aronovich. Considering your shots, that’s why the ARRIFLEX 435 was part extensive experience in feature fi lm, how of our camera package as well. was it for you to work on the TV project Steadicam-Operator: Alessandro Bolognesi EMPIRE? ?: An important topic in Italy right now: did you ever work with 3 perforation before? Second Unit DoP’s: Giuseppe Berardini Daniele Nannuzzi: The project con- Roberto Marsili sisted of six episodes by three different DN: No, this was the fi rst time. But I see directors. The diffi culty was not only to a future for 3 perforation, especially in TV Focuspuller: Andrea Doria match the ideas of these three directors production. Emiliano Leorini

DoP Daniele Nannuzzi (left)

to an uniform photographic concept, but ?: Did you also employ ARRI lighting on also to make the production company this project? happy at the same time. Here my experi- ence with major feature fi lm productions DN: Obviously ARRI lighting is nothing came in handy. We shot up to 15.000 new to me. However I was really impressed feet every day. And I don’t want to omit the by the new ARRILUX 400 and its accessory. opportunity to thank our magnifi cent team For some scenes the softtube and the shutter for all the work. We also got tremendous have been very useful and helped to speed support by Luciano Vinciguerra at Arco up work. I think this system is handy and Multimedia Group, Mauro and Fabrizio innovative. Bianchetti and Manuela Pasqualetti. ?: Thank you for this conversation. And ?: It was the fi rst time you worked with good luck with your future projects. the ARRICAM. How was the experience? Mauro Sembroni DN: LT and ST are excellent cameras – and very fl exible. The system allows for 24 Camera

Golden Frog for the ARRICAM Camerimage 2004

Franz Kraus (left) and Fritz Gabriel Bauer with the Golden Frog

Golden Frog A Golden Frog was presented to Mr. Gabriel Bauer for the ARRICAM System during the Camerimage 2004.

SOC Cammy Award for the ARRICAM Rodrigo Prieto Slawomir Idziak Oliver Stone and Rodrigo Prieto The ARRICAM System, designer Fritz Gabriel Bauer and Chief Engineer Walter Trauninger were honored on Saturday evening November 6th at the Hollywood Roosevelt Hotel by the Cameraimage 2004 took place from celebration concluding the festival – with Society of Operating Camera Men. The black November 27th to December 4th in Lodz, great success. tie affair, which honors technical achievements Poland. Among the guests have been in motion picture equipment, recognized the David Lynch, Oliver Stone, DoP Rodrigo Another event caused lots of interest: the signifi cant impact on fi lmmaking made by Prieto, who photographed the epic feature ARRI workshop with Rodrigo Prieto on the ARRICAM Studio and ARRICAM Lite ALEXANDER, David Watkin (OUT OF AFRICA), Thursday, December 2nd 2004. He not camera systems. Vilmos Zsigmond (THE WITCHES OF EAST- only spoke in detail about shooting his Due to a family tragedy, Mr. Bauer was unable WICK), Laszlo Kovacs (GHOST BUSTERS), Jost latest feature, ALEXANDER, directed by to attend and ARRI, Inc. Vice President Bill Vacano (DAS BOOT) and Michael Chapman Oliver Stone, but also demonstrated how Russell accepted the award on his behalf. (TAXI DRIVER). Those familiar with the festival to light a fi lm set. For this workshop Prieto Mr. Russell noted that Fritz Gabriel Bauer is noticed that the number of visitors increased used the ARRICAM Studio. And for lack “that rare combination of artist and engineer” year by year. A fact ARRI is particularly of a director’s fi nder the ARRIFLEX 235 and that Mr. Bauer, a cameraman in his own pleased about, since the Munich company was employed as well. Prieto’s commen- right, was pleased to be honored by his peers. has been there from the very beginning. tary: “The fi rst director’s fi nder you can Chief Engineer Walter Trauninger said: “The shoot with…“ recognition given to our ARRICAM System is A short fi lm was produced during the very gratifying and much appreciated.” festival. Sometimes up to four units were The interview with Oliver Stone and Rodrigo Mr. Trauninger also accepted the award on working simultaneously, with the support Prieto about ALEXANDER was especially well behalf of his colleagues who had contrib- of ARRI. The ARRICAM Lite and Studio, attended. It fi tted perfectly that this inter- uted so much to the ARRICAM project. the ARRIFLEX 435 Xtreme and 235, LDS view was held right in front of the ARRI lenses and a prototype of the 35mm Master booth, since they had up to 14 ARRICAM Primes were employed, among other equip- Studio and Lite cameras on this feature. ment. Shooting was supervised by well- known DoPs and executed with a lot of The program was completed by the ARRI/ effort. Some units pulled out all stops and Zeiss workshop, which was held six times employed speed ramps, shutter ramps, by Kornelius Müller (Zeiss). In his lecture time lapse, and they extensively worked Müller impressively demonstrated the fea- with the Lens Data System and the Wire- tures of the Master Primes in comparison less Remote Control. to the Ultra Primes and the Cooke S4 prime lenses. Rodrigo Prieto, who attended one

In charge of this Clap Project was Slawomir of the workshops, was excited about the Bill Russell, Vice President ARRI Inc, David Diano, Idziak, who was very pleased about ARRI’s Master Primes and would have liked to do President of the SOC and Walter Trauninger, support. The fi lm was then screened at the tests with them right away. Head of Business Unit camera for ARRI, with the SOC Cammy award Claus Richter Camera 25 ARRICAM Lite Finder 2

The ARRICAM Lite Finder 2 is a small and lightweight spherical viewfi nder based on the Universal Lite Finder design. It is brighter than the original the camera. This allows all operators to fi nd just the right eyepiece position for more Lite Finder which it replaces, and provides compatibility with the same comfortable viewing and is a welcome addi- extensions used by all other current ARRICAM viewfi nders. tion for left eyed camera operators. Both the Universal Lite Finder and the Lite Finder 2 share the same superior optical All standard ARRI viewfi nder features have quality of all other ARRI viewfi nders. Both been incorporated, including camera also use the Studio extensions. They also left or right viewing, automatic or both use the Lite video assist, Lite Mask manual image rotation adjust- Frameglow and Lite Universal Viewfi nder ment and a swing-in ND 6 con- Bracket. By exchanging their viewfi nder arms, trast fi lter. In response to custo- a Lite Universal Viewfi nder can be convert- mer requests, the viewfi nder ed to a Lite Finder 2 and vice versa, using arm now shares an important a system that is familiar from the ARRIFLEX feature with all modern ARRI 435/535B viewfi nders. viewfi nders: it telescopes to move the eyepiece farther from or closer to

ARRICAM Lite Finder 2 K2.54176.0

ARRICAM Lite Shoulder Pad 2

The Shoulder Pad 2 is a new refi nement to the ARRICAM system, ensuring that every operator can assemble just the right camera confi guration. The Shoulder Pad 2 is design- ed for use with the ARRICAM Lite and the Lite Steadicam magazines when shooting hand held. It makes the camera assembly a bit shorter and moves the balance slightly forward, which is great for shooting with prime lenses. The Shoulder Pad 2 provides a different camera balance from the Shoulder Pad 1, which can be used with the ARRICAM Lite Shoulder Magazines.

Shoulder Pad 2 K2.47529.0 26 Camera

“For this one,” said Thomas Stokowski, “we had what I would consider the perfect combination of equipment for a commercial without original sound, a ARRIFLEX 435 Xtreme and a 235.”

The ARRIFLEX 235 rented out from CSC in November 2004 to shoot a commercial for Home Depot

Around the World ® with the new ARRIFLEX 235 When Size Matters Small things are often the ones that make life easier. In a very short time the ARRIFLEX 235 turned out to be one of them: Introduced at Cine Gear 2004 in Los Angeles for the fi rst time, the concept of this new small companion camera to the ARRIFLEX 435 Xtreme was honoured by a jury of experts at cinec in September. The hard facts are impressive: the entire 2005 production of around 200 cameras is completely pre-ordered and sold out. ARRI’s Director for Sales and Marketing, S. Giordano, now has the pleasing task to plan an increase in production capacity. Accordingly there are enthusiastic comments by cinematographers who already had the chance to work with this camera in all parts of the world and in a variety of conditions. The concept hit a nerve – here are some fi rst hand experiences we would like to share. Cinec Award

On Sunday the 19th of September 2004 Walter Trauninger, Head of the Camera the cinec award was presented by the Business Unit, Klemens Kehrer, 235 Project The 235 development team proudly holds one of the Bavarian Society for Advancement of Film Manager, and Marc Shipman-Mueller, fi rst 235 production models and the cinec award Technology (FGF) for innovative and trend- Technical Marketing Camera, accepted the setting products and developments in the 235 award on behalf of the whole 235 motion picture technology industry. Aside development team. Speaking for everyone from other exiting products, the ARRIFLEX involved in the project, Marc Shipman- 235 camera and the ARRISCAN film Mueller thanked the jury and said that he scanner won the awards in the Camera hoped the customers will have as much fun Technology and Post Production categories shooting with the 235 as the developers respectively. had developing it. The proud recipients of the 2004 cinec award Camera 27

“I have never had a more flexible 35 mm “I was quite impressed working with the camera on my shoulder.“ Steve Windon A.C.S. ARRIFLEX 235 on a very tiny small set. It allowed me to really focus on the frame and relieved me from the usual bulk of a handheld 35 mm camera. I just fell in love with it.” “I have just completed a 10 day commercial But the post guys at Fin Design were really shoot for Toyota around Australia, doing happy to run with it. I have never had a Calum McFarlane A.C.S. a lot of handheld work with two ARRIFLEX more flexible 35 mm camera on my shoulder, – He already tested one of the prototypes when 235 cameras. The director was Lance Kelleher and the camera department just loved it.” filming CAVE in Bucharest. from Eight Films. Marc Spicer, A.C.S., operated the B-camera, while I took care Steve Windon A.C.S. of the first unit. Lance and I wanted a very (in 2004 Steve also shot ANACONDA for spontaneous shooting style. We even shoot Columbia pictures with some ARRICAMs some big action sequences unrehearsed. from ARRI Rental in Munich) Main Features of the ARRIFLEX 235

• Size: 415 mm (L) × 245 mm (H) × 268 mm (W) ARRI MEDIA, London, • Weight: 3.5 kg / 7.7 lbs • Compatible with 435 accessories launches the ARRIFLEX 235 • A perfect companion for the ARRIFLEX 435 Xtreme

Century, the private members club in London’s demonstrate the benefi ts and attributes the small Speed Range: 1 – 60 fps forward 20 – 30 fps reverse Soho district was the venue for camera rental camera has to offer. Mirror Shutter: 45° – 180° mechanically company, ARRI MEDIA’s launch party celebrat- adjustable ing the arrival of ARRI’s most recent fi lm camera First impressions of those in attendance were of Movement: 4 or 3 perforation available the ARRIFLEX 235. surprise at just how small the camera is and how Temperature Range: –20°C to +50°C well balanced it felt when sitting on the shoulder. (+4°F to +122°F) Industry press, along with Directors of Photo- Clarity and brightness of the viewfi nder was Viewfinder: Super bright and ergonomic graphy, Camera Operators, Focus Pullers, Clapper often mentioned with comments that it was like swingover viewfinder Loaders, and Producers were treated to a looking through a window. arm extends Champagne reception followed by an opportunity spherical and anamorphic to get up close and personal to the compact, Directors of Photography were keen to comment Video Assist: ARRI IVS quality and features minimum weight fully featured 35mm camera. Head of Technical on the newest edition to ARRI MEDIA’s camera optimally integrated Camera Operations, Andy Subratie and his inventory. no 100 % video top necessary team set up two cameras and were on hand to On Board Battery: pulls seven 60 m / 200 ft rolls

UMC-3 and Lens Data System functions possible

Extreme light setup – “The camera I’ve always wanted. To share the very low and slim modes possible same accessories as the 435 and the ARRI range Magazine compatibility with ARRIFLEX 435 is phenomenal.” DoP Oliver Curtis

DoPs enthusiastic about the 235:

“The first thing that comes to mind is “An extremely versatile camera! Great for that with such a low profile, this camera Steadicam, great for handheld.” will be fantastic for ‘in car’ shoots.” DoP Martin Kenzie, Associate BSC DoP Steve Blackman

“A lovely toy! I will expect to see it ARRI MEDIA’s Camera Controller Mike Rosario every working day as a standard piece with DoP Martin Kenzie and Camera Operator Ben Wilson (left to right) of equipment.” Camera Operator, Ben Wilson

“Designed to fulfill the expectations of the Cinematographers of the future by “A camera you can shoot in the same fluid freeing the Cinematographers of today.” and responsive style as 16 mm but with all the Camera Operator, Rodrigo Gutierrez, beauty of 35 mm – the must have camera!” Associate BSC DoP Nina Kellgren BSC

“A great act of faith by ARRI proving that DoP Nina Kellgren tries the camera for size, they still have faith in the future of film.“ assisted by ARRI MEDIA’s Head of Camera DoP Robin Vidgeon BSC Technical Operations, Andy Subratie 28 Camera “4…3…235…

The ARRIFLEX 235 and its unique features were used on a high budget, high tech commercial in Bahrain to fi lm footage of the latest BMW/ Williams Formula One race cars.

Each year in January the new Formula One cameras in the pit stop garage next to Emanuel Max. Schwermer, BVK, ads, cars are being fi lmed. This footage is used BMW/Williams. In order to get every “When you shoot Formula One, you are throughout the year for television shows angle and every sponsor's logo just trying to create shots that get the excite- and commercials, not only by the Formula right, the crew was divided into seven ment of the sport across. To do this, we One organization itself but also by the teams. After each round the cars went brought a nice little equipment park. We companies who sponsor this high speed, to the pit stop, and the camera teams had fi ve 435s, two 235s, a set of Ultra high octane sport. relocated to get another angle. Director Primes, four 150-600 zooms, all three Tobias Heppermann notes, “The availa- 1000 mm telephoto primes in existence After months of planning and testing, three bility of these cars is very limited, so you in Europe, two 24-290 zooms, a 6 mm tons of fi lm equipment from FGV Schmidle have to plan carefully to ensure that you fi sh-eye, various wireless remote systems, and ARRI Rental Germany arrived at the get sexy shots of the cars and of the a T-rex super scope system, a Century Bahrain International Circuit and the 30 sponsor's logos. From then on you have Mark II snorkel, a Steadicam and the new person fi lm crew went about to set up the to trust your crew.” Technical director SCORPIO stabilized head.”

Jürgen Weißenfels with a 1000 mm The 235 on a stabilized head Holger Fleig pulls focus with the telephoto lens on the track attached to a BMW M5 ARRI Wireless Remote System Camera 29 …Go!”

To ensure visually interesting material, various cameras with long lenses were stationed along the track. One 435 went in a helicopter and one was placed close Stefan Biebl on a close to the track, sometimes with the 6 mm fi sh- shot of Marc Webber eye and at other times with a Century getting in the car Mark II snorkel and an Ultra Prime for remotely operated drive-by shots. One 235 was used on the electronically stabi- lized remote head attached to the back of a BMW M5 that would drive on the track in front of the Formula One cars. how light it is, we knew this was it!” For around in the M5 quiet a bit, we got the “This head,” explains master rigger Robert that shot the engineers at BMW/ Williams shot. The only problem we have now is, James Bova, “is one of the fi rst of the new F1 created a camera mount that attaches to how do we top this next year?” That of electronically stabilized SCORPIO heads. the fragile front end of the car. First a light- course is a challenge to the engineers at It can take a lot of weight, but the lighter weight remote head was considered for the ARRI as well as to the crew of this shoot, the camera, the better the stabilization. pan, but that would have been too heavy. who are already thinking up new and So the 235 was ideal.” After two months of experimentation and exciting angles and strange and unusual design work, they decided to use a T-rex camera rigs for future shots. The 235 was also used on a Steadicam system that could pan and rotate the image. that was piloted by Stefan Biebl, who was The camera, various custom made brackets, More information and some of the results very pleased. “I would be happy if I could the T-rex system, four lens motors (iris, focus, of this shoot can be found at these two shoot only with the 235 from now on,” pan [swivel-axis], roll), two video transmit- websites: he said. His assistant, Holger Fleig, used ters (one primary and a backup) and an one of the various ARRI Wireless Remote on-board battery were assembled, and then http://www.arri.de/entry/235races.htm Systems that the production brought with everything was carefully tied down and http://bmw.williamsf1.com them to pull focus and to run the camera. secured. “At these speeds you do not want anything to come off,” added Emanuel “We are always thinking of how to get Schwermer. Marc Shipman-Mueller a camera on the Formula One car in an unusual angle,” said Tobias Heppermann, While Marc Webber piloted the Formula “but the race cars are so light that it is One car, a BMW M5 followed with Tobias diffi cult to put any weight on them. About Heppermann controlling pan (swivel-axis) two years ago we thought up this move: and roll, and Emanuel Schwermer pulling a pan with a camera mounted to the nose focus. “The whole thing was a little crazy,” of a race car. At the time it was not said producer Oliver Bauss, “but even possible, but when we saw the 235 and though Tobias and Emanuel got shaken

The 235 on the new BMW/Williams Emanuel Schwermer and Sebastian Grundt The 235 on the new BMW/Williams Formula One car check out the 235/T-rex assembly Formula One car 30 Camera

ARRI Retro at the 35th International Film

One of the venues of the festival was the freshly renovated Old Festival of India GMC building

In December of 2004 ARRI was invited by the 35th International Film with humor and some romance. We shot from October to November in 2003. Festival of India (IFFI) in Goa to present a so called ‘Retrospective’ of all our products and services. In four presentations on consecutive days, Marc ?: What camera did you use?

Shipman-Mueller gave an overview of ARRI‘s history, products, company Bala: We used a 535B with Cooke S4 structure, subsidiaries and future plans through a mixture of projected fi lm, lenses, plus an ARRIFLEX 35 III for a lot of the car rig sequences. Using the 535B is projected DVD material and PowerPoint presentations. somewhat unusual, as most Indian movies are shot without original sound, usually with an ARRIFLEX IIC, 35 III or 435. We deci- ded to use a sync sound camera to get a After the presentations there were many production reality in India. Production me- more authentic feel. Shooting sync sound is lively discussions regarding such wide ran- thods for many Indian projects, for instance, relatively new in India, it has only started ging topics as 3 perforation, Super 35, Digi- are very basic. The majority of the approxi- being adopted in the last three to four years. tal Intermediate, generational loss in analog mately 740 features each year is shot with- But the demand is increasing, and we now post versus digital post, advantages of fi lm out sound in Normal 35 with anamorphic have some 535B and ARRICAM cameras vs. video, etc. The Retrospective was follow- lenses and minimal post-production. Most available. I used Fuji fi lm stock for a more ed by two well attended hands-on work- release prints are made directly from the de-saturated look and shot in Super 35. shops on the ARRIFLEX 235, given with the cut camera negative. But a new guard of support of our India agent, Mr. R.K. Potdar fi lmmakers is starting to change that. They ?: Why did you choose to shoot in Super 35? of S.R. Electronics. are shooting Super 35 with spherical len- ses, recording sync sound and using the Digi- Bala: Most movies in India are being shot While the participants learned about ARRI tal Intermediate process. These fi lmmakers in Normal 35 with anamorphic lenses in and ARRI products, we learned a bit about differ from the traditional Indian fi lm-maker the 2.35 scope format. We decided on a in that they are also looking for internatio- 1.85 aspect ratio to ensure that HARI OM nal distribution, and so they concentrate on a is viable on the international market. We strong plot, tight narrative structure and have decided in pre-production on the Digital almost no large musical numbers in their fi lms. Intermediate process, which was done by Prasad Lab. At that point using Super 35 During the festival we were able to catch was a natural decision, as it gave me more up with two of those pioneers of Indian negative area and more freedom in post. fi lmmaking, Bobby Bedi and Bharat Bala, and asked them about their latest projects. ?: How was your experience with Super 35? Bobby Bedi is the producer of the highest budget Indian movie so far called RISING Bala: We had no problems at all, and the and of the internationally acclaimed BANDIT camera worked great, even under the harsh QUEEN. Bharat Bala is the director of the conditions in India. We did a little bit of Bharat Bala, Marc Shipman-Mueller and Bobby movie HARI OM, which was screened at pioneering work, since Super 35 is very new Bedi during the interview at the IFFI cafe. the festival. Also present at the interview to India. Neither the camera rental house, was Mr. R. K. Potdar. nor the lab had much experience with it, so it was a fi rst for all. ?: Mr. Bala, tell us about your latest movie. ?: If you were shooting an anamorphic Bala: HARI OM is a French/Indian copro- movie, would you also use Super 35? duction that tells the story of Hari Om, a rickshaw driver who gets into trouble with Bala: Most defi nitely yes. My background the rickshaw mafi a. While fl eeing, he meets is in advertisement and there I am used to up with a French woman who is running shooting with normal (spherical) lenses. They Marc Shipman-Mueller explains the 235 camera away from her boyfriend. It is a road movie are smaller, lighter and there is a larger Camera 31

variety available. Most importantly, they are faster than anamorphic lenses, so we can use a smaller lighting package and work New 235 Accessories faster, which saves money. From now on, I think I will shoot every movie in Super 35.

?: Mr. Potdar, how common is Super 35 in India?

Potdar: HARI OM is one of the fi rst Super

35 movies shot in India, together with 235 Shoulder Magazine SHM-2235 Steadicam Magazine STM-1235 Long Eyepiece Extension RISING. Another one is SHABD, an ana- K2.55016.0 K2.55008.0 K2.55012.0 morphic Super 35 short fi lm by Pritish Nandy Communications, Mumbai under 15 mm Rod Reducer Sleeve Set for SBR-1: K2.55020.0 19 mm Support Rods, 165 mm /6.5 inches long: K2.55023.0 19 mm Support Rods, 185 mm / 7.3 inches long: K2.55024.0 the Direction of Mrs. Leena Yadav and Director of Photography Mr. Aseem Bajaj. Since these fi lms were done successfully After the successful launch of the ARRIFLEX 235, the smallest and lightest last year, we now have fi ve other produc- tions shooting in Super 35 this year, and 35 mm camera yet, ARRI is introducing a variety of new accessories for the we are expecting more in the future. 235, including two new 235 magazines, a long eyepiece extension, a

?: So you see new, modern shooting method to mount 15 mm support rods to the 235 Side Bracket and special techniques being adopted more in India? lightweight 19 mm support rods for the 235 Side Bracket.

Potdar: Yes, on the camera side fi lmmakers are looking at Super 35 and shooting sync 235 Shoulder Magazine SHM-2 Long Eyepiece Extension LEE-1 sound, and on the post-production side they The new 235 Shoulder Magazine SHM-2 The Long Eyepiece Extension (LEE-1, 270 mm/ are looking at the Digital Intermediate process. is an ergonomic 120 m/400 foot magazine 10.6 inches) complements the already We now have four ARRILASERs in India. I with the same ‘dolphin’ shape as the popu- existing Medium Eyepiece Extension (MEE-1, am also happy to say that I think 16 mm will lar 60 m/200' Shoulder Magazine SHM-1, 125 mm /4.9 inches) for the 235. With the pick up in India. Some people are going to but with a longer running time. The SHM-2 LEE-1, the 235 can be used on a geared head Singapore to have Super 16 processed, and is ideal for hand held use or whenever a or when the operator prefers a longer the local labs are also interested. low profi le camera is needed. The 235 extension for special shots. Scene contrast Shoulder Magazine SHM-2 can also be can be judged through a fl ip-in ND.6 fi lter ?: Mr. Bedi, you also chose Super 35 for used on the ARRIFLEX 435. and a quick focus check can be done with RISING. Tell us a bit about that project. a 2 × magnifi er. 235 Steadicam Magazine 120/400 STM-1 Bedi: RISING is one of the highest budget The new 235 Steadicam Magazine 15 mm Rod Reducer Sleeve Set for 235 SBR-1 Indian movies done at 10 Million US 120/400 STM-1 is designed to keep feed A set of reduction sleeves allows the 235 Dollars. It was shot using 535B cameras, and take up spindles exactly above each Side Bracket to accept 15 mm support rods. plus some 435 cameras. We shot in the other when used on the 235, a crucial This allows all the legacy accessories made 2.35 scope format, and used the Digital requirement for Steadicam work. The 235 for 15 mm rods to be mounted on the 235. Intermediate process. The squeezing of Steadicam Magazine 120/400 STM-1 the image for anamorphic projection was can also be used on the ARRIFLEX 435, 235 SBR-1 Support Rods done during the Digital Intermediate even though the spindles will not be on Specifi cally for use with the 235 and the process. top of each other in that case. Side Bracket SBR-1, two new sets of support rods have been developed. Made out of ?: What were the advantages of shooting These two new magazines complete the list aluminum with a high strength, specially in Super 35? of magazines that can be used with the hardened surface coating, these rods have ARRIFLEX 235: less than half the weight of traditional Bedi: Using normal (spherical) lenses support rods. allowed us to get the most out of the light. • 235 60 m/200' Shoulder Magazine We saved lighting time since the lenses (SHM-1) The 165 mm /6.5 inches long rods can be are faster, and that saved us money. Also, • 235 120 m/400' Shoulder Magazine used with the MB-20 and shorter prime the lens quality is better and it makes (SHM-2) lenses like the old-style Standard or Super the camera lighter and easier to handle. • 235 120 m/400' Steadicam Magazine Speeds, while the 185 mm / 7.3 inches long And there is a greater variety of lenses (STM-1) rods work with the MB-20 and modern available. Ultimately, from a producer’s • 35-3/2C 60 m/200' Single compartment lenses like the Ultra Primes, Master Primes point of view, you can just use less light magazine or Cooke S4 lenses. and work faster, that is all I need to know. • 35-3/2C 120 m/400' Single compartment magazine ?: Thank you, gentlemen. • 435 120 m/400' Single compartment magazine Marc Shipman-Mueller • 435 120 m/400' Steadicam magazine 32 Camera

There’s always an interesting perspective when shooting 2nd Units, namely who’s going to shoot what.

Sometimes it’s plainly obvious and other times it’s surprising. The opening shot to I, ROBOT is just such an example. Simon Duggan ACS, the fi rst unit DOP and I joked about this shot months after I had shot it for the fi lm. When Simon read the script, he immediately relegated this “oner” shot to Second Unit. When I read the script, I thought to myself, “How are THEY” going to shoot that?”

I, Robot The shot, per the script, opens the fi lm as the girl trapped in her car that is still locked Will Smith’s POV. He is traveling down a to Will’s. Her father is in the drivers seat nighttime highway in the pouring rain. A with a broken neck. Will looks around car passes Will and he casually looks over frantically. Suddenly he hears a loud thump to see a 10-year-old girl in the front passen- on his trunk lid and looks around to the ger seat waving to him. Suddenly that car rear window. He sees a silhouette of two is struck by an out of control truck that has legs. The legs jump onto his roof. Will skidded across the median. It slams into the looks back to the girl as the water quickly girl’s car that slams into Will’s. Both cars, rises. Immediately, Will looks back to his now locked together, domino off a bridge passenger window and a robot pokes it’s and splash into a large body of water. The head down into view. Will yells, “Save the air bag explodes in Will’s face and we see girl.” And looks over to the girl. Water has his hands trying to frantically clear it. His completely submerged the cars. The girl is car is sinking fast. He looks left and sees trapped under water and beating on the window. Will whips his vision back to the robot looking in through the passenger win- dow and again yells in garbled underwater tones, “Save the girl.” The robot smashes the window, reaches in and grabs Will instead. The robot pulls Will out through the window and Will watches at the two cars, one with a 10-year-old girl still in it, descend into the depths and disappear.

Fortunately director Alex Proyas decided to begin using the shot at the moment the two cars hit the water. So we, on 2nd Unit, had the job of creating this POV “oner”.

Firstly Kimble Rendal, the 2nd Unit Director, and I did some dry land video tests to align the angle of the cars, the people, etc. We then had to fi gure out a safety escape hatch for our 10 year old star and how we would hide the safety diver who would also be in her car. Next task was, how to shoot Will’s hands clearing the airbag, yet give the camera operator room to facilitate the rest of the

Karl Herrmann Camera 33

shot? After several goes at this Alex signed and deemed it a usable site. The hydraulic the car and three takes later we had the off on the shot and we were on our way. car-sinking rig was spotted, placed and shot in the can! bolted to the fl oor. The entire facility, inclu- I immediately made a call to Denny ding the ceiling, was blacked out with a As things happen, the shot got chopped Clairmont with a series of “What if” and special lightweight, waterproof blacking up in editorial and never played in the What about” type of questions. We bounced cloth usually used by gardeners. Below fi nal fi lm as a “oner”, but it sure was mag- around a number of camera possibilities this was hung the rain making system, which nifi cent in dailies! Without the genius of but ultimately came to the ARRIFLEX 435 was also blacked out to avoid refl ections the ARRIFLEX 435, the superb, non-fl aring for a number of reasons. Because the camera in the car windows as they sank. A scaffold Ultra Prime lenses, a GREAT video viewing operator would have to do multiple 240 ramp system was built to allow access to system and Hydrofl ex this shot would have degree whip pans both above and below the cars once the tank was fi lled with never happened. water during the shot we needed a camera water. Due to the nature of the 240-degree with a superb video tap as operating off swings involved with the shot and the wide Karl Herrmann, DOP, 2nd Unit and VFX several small video screens inside the car angle Zeiss Ultra Prime, we had only one was our only hope of doing this shot. place to put the scaffold ramp system

without it being seen! ARRIFLEX 435 in critical mission under water My next call was to Pete Romano at Hydro- fl ex, who I’d known since our early days We mounted the cars on the rig and fi lled together at Industrial Light and Magic. The the tank with 95 degree water. A large new 435 housing had just been completed screen monitor was placed at the edge of and it allowed us to run our underwater video the tank to assist everyone during rehearsals. monitors for viewing. We ordered two com- plete plug and play ARRIFLEX 435/Hydrofl ex Timing during the shot was critical for all systems for switchover speed in consider- departments considering we had a 10- ation of our 10-year-old actress. year-old girl in an enclosed, submerged automobile. Add to that, the fi nal moments The camera had to be rigged onto a trolley of the shot required the grips to slip a system that was built and attached to the under water green screen in between the roof of the car, but stayed well out of the cars during the shot to facilitate the fi nal shot. The ARRIFLEX and housing also had to pull away with the girl disappearing into be counter weighted for shooting underwa- the depths. ter at the latter part of the shot, which made it very heavy and bulky during the opening We rehearsed the shot for several moments when the camera was out of the days to work out the timings: rain effects, water and the car was just beginning to sink. robot proxy action, cars sinking, air bag exploding, actions of hands on the We surveyed an oceanographic research tank air bag, camera pans, camera tracking, used by the University of British Columbia etc. etc. We then put our actress into 34 Camera

United Visions, a Berlin based production company, created a fi lm for the world premiere of the new VW Polo that

was introduced in early April 2005 at the AMI car show in Leipzig. The project was codenamed LOLA, since the spot

was loosely based on the successful German fi lm RUN LOLA RUN, except that in the VW spot the female protagonist

did not have to run throughout the whole fi lm, like poor Franka Potente did in RUN LOLA RUN, but was able to drive around in an attractive new VW Polo. United Visions hired director Daniel Steinmetz, cinematographer Thomas Stokowski and fi rst assistant Emanuel Schwermer, BVK, a seasoned car commercial team. “For this one,” said Thomas Stokowski, “we had what I would consider the perfect combination of equipment for a commercial without original sound, an ARRIFLEX 435 Xtreme and a 235.” ARRIFLEX 435 X treme Introduces new VW Polo

Steadicam operator Volker Kreinacke tracks the female protagonist as she hurries out of her apartment. Camera 35

Steadicam since the switch takes some time, but now with the 235 it is as if we have an additional camera that we can use for hand held and as a ‘B’ camera when we want, since we can pop it on and off the Steadicam in no time. Also the video assist is super bright, which makes our lives a lot easier.”

“I have been all over the globe with 435s,” says Thomas Stokowski, “and they are the most reliable cameras. I particularly like The 435 Xtreme in the background is equipped with the viewfi nder. That is what I have to look a T-Rex system, while the 235 in the foreground is through all day, so I appreciate the image just about to fl y in low mode on a Steadicam. quality and how bright it is.” The 435 Xtreme The shoot was located in Cape Town, South is the premiere camera for commercials Africa, a popular spot for car commercials and feature fi lms these days because of its in January because of its good weather and extensive range of features packed into a professional support. “We were able to shut small camera body, and Emanuel Schwermer down whole city blocks at a time,” explains notes that “the cool thing about the 435 Thomas Stokowski, “and often the police were Xtreme is that you can ramp faster than able to clear the streets for us so we had free with any previous model of 435. Having rein to get the shots we needed.” When the electronics and the radio integrated asked about the equipment used, he contin- into the camera body also helps, since ued “The ARRIFLEX 435 Xtreme, our ‘A’ it means less clutter and is very convenient. camera, was on a Gyro-stabilized head which When using the ARRI Wireless Remote was mounted on a Maxi Giraffe crane, which System, it is great not to need an extra itself was attached to a tracking vehicle. An box and extra cables. And in my experi- Optimo 24-290 zoom was used on the 435 ence the ARRI Wireless Remote System Xtreme, as well as a T-Rex system. The 235 has the most stable and robust transmis- Cinematographer Thomas Stokowski operates the was used on a Steadicam and hand held, sion of all wireless systems out there. 435 Xtreme 'A' camera, while Volker Kreinacke and I brought a complete set of Ultra Primes operates the 235 'B' camera. from 10 to 180mm. These two cameras are We did not use motion control on this spot, a brilliant combination for commercials, and but I love the fact that the 435 Xtreme can I would not want to be without either one.” easily connect to a motion control system. We can use the same camera for life action Volker Kreinacke, the Steadicam operator, and motion control, which simplifi es my adds: “The 235 beats any other camera on job as an assistant and saves production a Steadicam! The way the viewing system time and money.” is designed, it takes no time at all to switch from shoulder to Steadicam confi guration. Marc Shipman-Müller Usually a camera would be dedicated to

Main Features of the ARRIFLEX 435 Xtreme

• Super bright high quality viewfi nder, available for either spherical or • Tight integration with the ARRIMOTION system makes for a powerful set up anamorphic viewing. that includes frame accurate go motion, stop motion and ramping capabilities. • Extensive speed range from 0.1 to 150 fps. • From the ARRICAM the 435 Xtreme inherited the built in Lens Data System • The latest generation of the ARRI Integrated Video System, the IVS-2, (LDS Ultra), which saves time and allows the assistant to work more effi ciently. shows a brilliant, bright video image, and can superimpose camera status • The 435 Xtreme can be outfi tted with an extensive range of accessories information and frame lines, allows for automatic or manual color balancing for any shooting situation. These include a 120m/400’ magazine, a of the image and can preview motion blur effects. 300m/1000’ magazine, a Steadicam magazine, a 100% Video Top, • A new ramp generator improves ramping capabilities with faster and smoother the External Display EXD-1, Single Frame System, Motion Control Interface, ramps. An even wider ramping speed range from 0.1 to 150 fps is possible. Universal Radio Module, Lens Data Displays, and the ARRIMOTION system. • With the Single Frame System the 435 Xtreme transforms into a single • The 435 Xtreme is, of course, also tightly integrated into the other ARRI frame time lapse camera. The unique Integrated Capping Shutter (ICS, also accessories, of which it shares many with the ARRICAM, from the ARRI/Zeiss available in 4 or 3 perforation) allows viewing of the viewfi nder and video optics like Ultra Primes and Master Primes to the Wireless Remote System assist image even when the shutter is closed. and the full range of ARRI Studio, Compact and Lightweight follow focus • With the Motion Control Interface (MCI) the movement, mirror shutter and units and matte boxes. Internal Capping Shutter can be independently and frame accurately • The electronics for lens motors have been integrated, and the modular radio controlled by a motion control computer. (URM) for wireless lens and camera control has its own place reserved, giving the camera the smallest envelope possible when the radio is used. 36 Camera

Zoom Main Unit ZMU-3

A new member of the ARRI Wireless Remote System is the Zoom Main Unit ZMU-3. It is shaped like a classic handgrip zoom controller and has the classic zoom knob that assistants‘ thumbs all over the world are familiar with.

Contrary to its classic exterior, under the attach es to the Wireless Main Unit WMU-3. hood it is equipped with the latest techno- The special shape of this bracket allows logy. Zoom speed can be precisely adjusted the assistant to position the ZMU-3 in rela- and zoom limits can be set. A large bar tion to the WMU-3 to suit his/her personal graph shows the zoom ring position, the preference. zoom speed and various status messages, and a ZAP button allows for a quick focus The ZMU-3 fi nally allows an ARRI LCS and check. A switch changes the running direc- WRS compatible zoom controller to be tion of the attached lens motor. Of course attached to the tripod handle. This can be the RUN switch can start fi lm cameras, but done with the rosette on the right side of the ZMU-3 can also start/stop some high the ZMU-3 (M6 thread). end video camcorders and control the zoom motor on various video lenses. With its classic shape and modern electron- ics, the ZMU-3 is a welcome addition to the The ZMU-3 in a basic wireless confi guration If only zoom is required, the ZMU-3 can be ARRI Wireless Remote System. connected with a cable directly to an ARRI CLM-1 or CLM-2 lens motor and to the camera. If focus and/or iris are also to be used, the ZMU-3 can become part of the cabled ARRI Lens Control System (LCS) or of the ARRI Wireless Remote System (WRS) Ident Numbers: by being connected to a Universal Motor Zoom Main Unit ZMU-3 K2.65003.0 Controller UMC-1, Universal Motor Con- Wireless Zoom Bracket (WZB-3) K2.65017.0 troller UMC-3, Lens Data Box or FEM-2. Cable ZMU-3 to CLM-2 (1.3m/4.3feet) KC 91-S K2.65008.0 Cable ZMU-3 to LCS short (0.8mm/2.6feet) KC 92-S K2.65009.0 For wireless use, the ZMU-3 becomes Cable ZMU-3 to LCS long (10m/33feet) KC 93-S K2.65010.0 part of the ARRI Wireless Remote System. Cable ZMU-3 to WRS (0.3m/1foot) KC 105-S K2.65036.0 A wireless confi guration with the Lens Data Via the Wireless Zoom Bracket WZB-3 it Display for Focus Puller is also possible Camera 37

External Display EXD-1 K2.55013.0 NEW Universal Mounting Arm 120 External Display EXD-1 K2.65020.0

The EXD-1 provides a left side display for the ARRIFLEX 235 or a right side display for the ARRIFLEX 435 Xtreme

The EXD-1 is a small, universally usable Wireless Remote Control WRC-1 is needed. The EXD-1 cable (0.5 m /1.6 feet) KC 100-S, re mote control for all models of 16SR3, 435, Since the EXD-1 is small and lightweight, it K4.65207.0 plugs directly into the CCU 535 and 235 ARRIFLEX cameras. It can be mounted anywhere on the camera. plug of most cameras, as well as into the duplicates most of the functions of the It is particularly useful for cameras that have REMOTE plug of the 235. The EXD-1 cable built-in camera display, including a display on only one side, like the 235, can be extended with the existing RCU-1 changing of camera speed and shutter 435 or 535B. With the 120 mm/4.7 inches Extension Cable (20m/60 feet) KC-41, angle and various other parameters. long Universal Mounting Arm it can also K2.47350.0. In that case the EXD-1 acts as Additionally, camera speed, shutter angle, be quickly and easily repositioned. The arm a remote control that allows the assistant to a footage counter and a take counter can mounts on any camera or handle that has control the camera and monitor the be displayed. In order to run ramps, a 3/8-16 threaded hole. camera‘s functions. though, the Remote Control Unit RCU-1 or

Overview New Camera Accessories ZMU-3 MB-20 LFF-1 WRS EXD-1 FF-5HD 35 mm • • • • • • 16 mm • • • • • • Video / HD • • • • •

The FF-5HD has a longer swing arm for better gear positioning with HD lenses. A NEW Follow Focus FF-5HD lower gear ratio is also better suited for the smaller lens diameter of HD lenses and/or for cine lenses with a compressed focus scale. The FF-5HD can be mounted directly The FF-5HD is a new follow focus that has been designed specifi cally onto lightweight rods through a snap-on for video lenses or cine lenses with a small diameter barrel. mechanism, ensuring simple and fast setup on the set. With an adapter it can also be snapped onto 15 or 19 mm support rods. The FF-5HD can be equipped with driver gears for all popular types of HD and cine lenses. The drive gears can be attached on both sides of the swing arm.

Since the FF-5HD shares the accessories of the ARRI follow focus FF-4, it can easily be equipped with a right and left focus knob, short and long focus whips and a focus crank. The follow focus body has been designed long enough so the same focus knob can be used camera left and right.

With the FF-5HD, the typical quality of ARRI camera accessories is now also available Follow Focus FF-5HD with left hand knob K2.4762XX for video cameras. 38 Camera

NEW Lightweight Follow Focus LFF-1

The Lightweight Follow Focus LFF-1 is a compact and lightweight modular follow focus for hand held use. It has been designed for small and lightweight cameras like the 235 or ARRICAM Lite, but can be used on any camera when weight and size are an issue. The LFF-1 can be purchased either as a basic set or piece by piece.

The LFF-1 shines through its simple yet Compatibility with the focus knobs from the fl exible design. Its swing arm can be rotated Lightweight Focus Drive (LFD) system opens a full 360 °, and the drive direction can be up all the existing follow focus accessories quickly reversed by fl ipping the unit over. to the LFF-1, like a left and right focus knob, That way, the LFF-1 can be used above or fl at and beveled marking disks, the ‘L’ below the lens, on camera right or left, with shaped focus crank, short or long focus the drive direction preferred by the assistant. whips, etc. A large selection of precision Through the use of high precision parts, gear focus gears for many cine and video lenses play has been minimized for a secure feel is also available, including a special gear for when pulling focus. lenses with axial movement of the focus ring.

The LFF-1 can be mounted on many cameras in many positions. It attaches to a single Ident Numbers: 19 mm support rod via the Rod Mounting Lightweight Follow Focus Set for 19 mm (LFF-1/19) Bracket (RMB-1) or to a 15 mm support rod K0.60021.0 15 mm Rod Reducer Sleeve Set for SBR-1 via the RMB-1 and the 15 mm Rod Reducer K2.55020.0 Sleeve set.

NEW ARRI Offers Video/HD Accessories

At the 2005 NAB trade show, ARRI is launching a line of accessories that brings the legendary ARRI robustness, quality and support to high end video cameras. Since professional video cameras made their way into rental departments, professional accessories had been requested and adapted to the respective needs.

Filling the need for a robust and modular The ARRI Wireless Remote System compact matte box that can accept wide can now be used on a variety of high angle lenses like the Fujinon 4,5 × 13, the end video cameras ARRI MB-20 can be attached to the camera in multiple ways, including a swing-away bracket and a clip on adapter, and provides two rotating fi lter stages for 5.65 × 5.65 fi lters. Complementing the MB-20, the new follow focus FF-5HD makes working with video lenses easier through a longer swing arm, a lower gear ratio and a selection of video gears. Both units can be used for video and for cine work.

In addition the software of the ARRI Wire less Remote System (WRS) has been updated to also support video camcorder start/stop and control of video lenses via the Universal Motor Controller UMC-3 or the Zoom Main Unit ZMU-3. Camera 39

NEW Compact Matte Box MB-20

With the MB-20, ARRI is introducing the In addition, the MB-20 has the legendary expensive than comparable round fi lters. most fl exible compact matte box available reliability, robustness, quality and support • All fi lters can be individually rotated to the fi lm and video production industry of all other ARRI products. • Rotation can be locked off today. The MB-20 is an all-new fl exible • Combo fi lter trays accept different fi lter compact wide angle matte box that accepts Mounting Options sizes vertically or horizontally all HD zooms like the Canon 4.7 × 11 or The MB-20 can be attached using 15 mm • New lenses and special features can be the Fujinon 4,5 × 13, HD primes, small cine lightweight rods or 15 mm or 19 mm studio easily accommodated with new stages for zooms and most cine prime lenses, includ- rods. In addition, it can be clipped directly the MB-20 ing wide angle primes up to 14 mm. onto the lens or attached to the ARRIFLEX • A large selection of step down rings is 235 Side Bracket. Switching between these available for different lens front diameters The MB-20 mounting options is quick and easy. • has been designed for fi lm and video Other Options: cameras, Modular Filter Stages A selection of new fi lter trays allows the • allows more mounting options, Its modular construction allows the MB-20 MB-20 Compact stage to accommodate • accommodates a wider range of fi lters to accept different fi lter stages, so it can be smaller fi lters, including sizes, quickly confi gured for different applications. • 4 × 5.65 fi lters mounted horizontally or • offers a minimum of two rotating fi lter vertically stages, • The basic compact stage holds two • 5 × 5 fi lters • works with more lenses than other compact fi lters up to 5.65 × 5.65 or 5 × 6 and one • smaller round fi lters and various others matte boxes, 138mm round. 5.6 × 5.6 fi lters have • has the fl exibility to accommodate a wide gained popularity recently because they The MB-20 can be equipped with a top, range of lens options, can be rotated even with wide angle bottom and two side fl ags. • and provides an upgrade path as wider lenses, are smaller and easier to handle HD lenses come to market. than 6.6 × 6.6 fi lters and are less

Ident Numbers: MB-20 set for lightweight support rods K0.60022.0 MB-20 set for 235 Side Bracket SBR-1 K0.60023.0 MB-20 set for 19 mm support rods K0.60024.0 MB-20 set for 15 mm support rods K0.60025.0

MB-20 at a glance

• One matte box for fi lm and video applications

• ARRI reliability, robustness, quality and support

• Multiple purpose use: attaches to standard rods, lightweight rods or clips directly to lens

• All fi lter stages rotate

• Offers the use of top, side and bottom fl ags simultaneously 40 Digital Rubrikenthema_ Intermediate_CountryWorldwide on the Move > >>>

ARRISCAN – ARRILASER The Circle is closed

Two Products – One Solution

Commercials, feature films and even elaborate-

ly produced TV shows are discovering relatively

new terms in the ever changing language of

cinematography – creative color timing and a

digitally perfected picture. More down to earth,

this process is simply called DI – Digital Inter-

mediate, meaning that creation and finish are

still on film, but everything in between is perfec-

ted electronically. ARRISCAN and ARRILASER are

the cornerstones of this process, together with the

ARRI Color Management System. Digital Intermediate_Worldwide on the Move 41

The CMOS sensor in the ARRISCAN is ARRISCAN – a successful new concept optimized for speed and quality, and is free of artifacts (like blooming or fading, With the ARRISCAN, a completely new well known from other devices). Since this scanner technology was introduced into the CMOS is an area sensor this also guaran- market in July 2004. Its new approach was tees perfect geometry – there is no need soon verifi ed out in the fi eld with real world to cope with distortions. demands. Over the last 6 months a lot of valuable feedback and suggestions from the fi rst customers was collected. All together GLOSSARY they have scanned literally millions of frames for several prestigious productions including Microscanning | The CMOS sensor is shifted in sub pixel units by means of piezo actuators, KING KONG at Weta Digital FX in New and additional sub-images are grabbed at Zealand. intermediate positions.

The reproducibility of the ARRISCAN’s results CMOS vs. CCD | The light sensitive devices in for the digital domain is highly appreciated, other commercially availbale film scanners are either CCD line sensors or Avalanche diodes as are the superior characteristics in terms of (for flying-spot-systems). CMOS sensors offer a image quality and color rendition. Among different kind of signal processing: The photo- others, these features prove the advantages induced charge is not transferred as in a charge- of the new concept over competitive products. coupled devices (CCD), but transformed to a voltage and amplified right in the respective Revolutionary Light Source pixel (‘active pixel’). As a consequence, the • First of all, there is the revolutionary light sensor element can be read out multiple times source: By using LEDs instead of traditional without clearing the already captured photo information – this feature is also utilized for the ‘hot’ white light sources the ARRISCAN is double exposure mode. clearly superior. LEDs offer a narrow spec- tral emission of light. Every wavelength in Double Exposure | Each frame of the film is ex- COMPARISON red, green and blue is targeted to a corre- posed twice with different exposure levels. Both of these images are digitized and composed to sponding spectral sensitivity of fi lm dyes. one output image. This method is used to cap- LED White Light Source Additionally the LEDs are used in a so- ture the full dynamic range of a film frame and called pulsed mode. This means the LED is long lifetime need to be exchanged also ensures excellent signal quality (signal to just briefl y fl ashed as often and intense as noise ratio). The output of this method is a true after a certain time appropriate or needed. The intensity of the 16 bit image file that can be stored as TIFF or spectral consistency change of spectral LED is permanently controlled by a closed converted to 10 bit log file formats like Cineon. characteristic over time loop regulation and an eventual aging of cold light heat dissipation the light source (which occurs over a time Rock Solid Precision precise closed limited control span of several of years) can be compen- loop control sated automatically. • Instead of a capstan drive, the ARRISCAN offers a rock solid fi lm transport and This allows not only the adaptation to sen- mechanical pin registration (similar to ARRI sitive archive materials, but also makes it fi lm cameras) based on ARRI’s long expe- possible to capture the full dynamic range rience in handling fi lm. The 35 mm gate is of fi lm – all densities, no compromises, no optimized to tolerate fi lm shrinkage and pre-selections, no trouble in post production. the demands of non-standard fi lm dimen- sions and splices. A new 16 mm gate is ARRI designed CMOS Other sensors • Consistency over time is crucial to get the ready and beta-tested. like CCD same output whenever rescans are done and also during the course of a project. parallel signal read-out partial read-out Even though intensity control, long lifetime flexible output modes through less flexible out- and cold light emission are already great ARRISCAN fi lm transport active-pixel-technology put mode advantages, the biggest advantage for non-destructive read-out mode only single read- LEDs is their spectral stability over time. • 2-, 3- and 4 perforation positioning out possible This is a real time and money saver. • mechanical pin registration with digital allows for ‘double exposure’ motor control for constant fi lm safety CMOS – the Eyes of the ARRISCAN and high speed rates • super fast change from 35 mm to 16 mm at minimum power dissipation • The second highlight of course is the new (and vice versa) CMOS sensor, specifi cally designed by ARRI. It is not a stand-alone unit that ‘just’ • ARRI’s fi lm transport know-how captures light – it offers advanced techno- logies for resolutions up to 6k and is the key to pristine image quality. Microscanning and multiple exposures capture the full resolution and dynamic range of fi lm. 42 Digital Intermediate_Worldwide on the Move > >>>

• An in-house programmed Linux software with an SQL database rounds up a con- First Users on the sistent workflow and takes care of saving and restoring jobs. Version 1 already answered the needs of the industry in an unparalleled way. Since January 2003, Mikros Image / France: intensive research with our clients clearly showed the path for today’s needs in the DI workflow. The new software for the “The ARRISCAN offers an outstanding image quality that has not been available with ARRISCAN is a very comprehensive pack- older technologies before. Mainly there are two good reasons for this – a very high age to truly fulfill all needs like job-list resolution of up to 6k perfectly matched by the capability of adapting the scanning handling, IP calibration, EDL importer, method to get really all the information that a film can hold. This is clearly the result of keycode functionality, auto-calibration of the long-term collaboration between leading European institutes active in the archiving magnification, etc. and restoring field and ARRI. And on the other side there is this ‘calibrating’ approach that guarantees for the first time a constant colorimetrical and geometrical Elfi Bernt, Product Manager ARRISCAN quality and stability for film scanners.

Almost needless to say that the ARRILASER had changed the way we treat film today. Being a long-time user of this machine, we were able to see the great competence of the ARRI staff in this field. To offer a complete chain for input and output now means a great comfort for us and also the security for our customers to bring forth the best Customers already using both workhorses – in their images.” the ARRISCAN and the ARRILASER – are: Gilles Gaillard, DryLab / Oslo Head of Digital Cinema, Mikros Image Weta / New Zealand Mikros Image / France Vision Globale / Canada HIT / Korea Tokyo Labs / Tokyo ARRI Digital Film / Germany The ARRISCAN and ARRILASER Crew at Mikros Image

Weta Digital FX / New Zealand:

“After months of evaluation tests, we decided on the ARRISCAN as our next generation film scanner. The scanning speed was an exiting feature but not if it compromised the image quality. Our tests showed there was zero compromise.“ Pete Williams adds: „Working alongside our existing ARRILASERs the ARRISCAN now gives us a fully integrated scanning and recording pipeline.”

Pete Williams, Head of Weta Digital FX, Scanning and Recording

The ARRILASER Team at Weta who worked on THE LORD OF THE RINGS trilogy from left: Roman Gadner, Mohan Ramachandran, Pete Williams, Nick Booth Digital Intermediate_Worldwide on the Move 43

ARRISCAN

HIT / Korea:

President Kim of HIT says, “I am happy that my decision was proven right and I believe that we will get and stay in a predominant position in the market over the Imagica, which has been dominating the market so far and also the Filmlight which was introduced just before ARRISCAN.“

Vince Kim, one of the ARRISCAN operators, says, “Before installation, we were question- ed with anxiety from many people in the industry and there were a lot of critical rumors. However, today I am very happy with ARRISCAN because of the quality of the scanned images, and the reliability and ease of operation. The ARRISCAN has user friendly inter- Vince Kim, Senior Operator, Song Min, Operator faces and seems to be a maintenance-free machine!” and Roman Gadner, ARRI Application Support (f.l.t.r.)

Tokyo Labs / Tokyo

Tokyo Labs has purchased the ARRISCAN in March 2005, right after an Open House Show initiated by ARRI's local dealer NAC.

“Tokyo Labs is more than happy with the speed of the ARRISCAN and it's image quality especially considering sharpness. They were able to introduce major improvements in scan job turnaround time and clients have already indicated that the scan quality that is provided now by Tokyo Labs has greatly improved.“

K. Endoh, nac Image Technology incorporated on behalf of Tokyo Labs The first day photo of AS10 at Tokyo Labs with Mr. Kinoshita (center) and his digital team.

Cinec Award for the ARRISCAN

ARRISCAN Unique Features

• LED illumination for color consistency over time – no spectral aging • fast scanning speed: 1 fps in 3K –> 2K and 4 s/frame in 6K –> 4K

The concept of the ARRISCAN already con- • Multi-Unit Consistency: vinced the jury of the Bavarian Society for Scan to Scan & Unit to Unit Advancement of Film Technology (FGF) for innovative and trendsetting products. Coming • mechanical pin registration for image from all parts of our industry, the highly pro- steadiness fessional jury honored the ARRISCAN with a Cinec Award. Dr. Johannes Steurer, Head of • 35 mm & 16 mm (optional) the business unit DI Systems and Dr. Hans Kiening (ARRISCAN project manager) – • Workflow with EDL support, Keycode who appeared appropriately attired for the reader Oktoberfest season in the traditional Bavarian Lederhosen – accepted the award. 44 Digital Intermediate_Worldwide on the Move > >>>

ARRILASER – The industry standard

With the full dynamic range transferred Utilizing the powerful light sources of the Film recording is always the last link in the into the digital realm the colorist in the post ARRILASER, the full contrast coming out of chain, and time schedules usually get tighter production has a maximum of flexibility in the grading session can be transferred to and tighter towards the end. Therefore it is the creative field, as well as in technical the intermediate film. To make sure that all extremely important that once the recording aspects, but needs to be sure to get all this the colors of the grading session will show has started, it just runs through – reliably work and information through to the final up identically in the film projection, ARRI and with a proven quality. This is only one result. The ARRILASER is able to output digi- offers the Color Management System (CMS) of the ground-breaking concepts that has tal images even in 4K quality at an unsur- in the form of preview LUTs for most of the made the ARRILASER an industry standard passed speed of 2.9 s/frame – no compro- available digital grading systems – a com- worldwide over the last 5 years. mises in resolution need to be made. prehensive system that covers the needs of input and output of film for today’s Digital Sibylle Maier Intermediate workflow.

Martin Parsons, Moving Picture Company, UK As one of the early ARRILASER customers, he can confirm: “Once again the ARRILASER recorders have provided top quality, reliable outputs for high-end creative work at The Moving Picture Company (MPC). We have now shot out literally millions of frames from MPC‘s film visual effects department, digital intermediate ARRILASER Workflow Advantages: lab and commercials. The ARRILASER recorders have always been extremely stable with next to no downtime and importantly always provide the highest quality images that MPC demand.“ • Best image quality to preserve the complete dynamic range of film throughout the complete input- and output-line.

• Job and Queue Management: Easy operation for job setup and film handling

• Highly efficient integrated image processing

• 2000 ft magazines

• High throughput with maximum image quality

• Reliable quality

Martin Parsons (second from left) and the ARRILASER team at MPC Digital Intermediate_Worldwide on the Move 45

New Member of the Family ARRILASER HD Features: • Records only on camera negative film + sufficient dynamic range for HD acquisition and /or HD ARRILASER HD post production + moderate film grain structure generates a film look Laser Recording at a CRT Price – The Perfect • Same image quality as the other Solution to Shoot out HD-Material on Film ARRILASERs on camera negative

• Same recording speed as the fastest ARRILASER + 1.9 s/frame for HD recording The new version of the ARRILASER relies on the proven quality of the • HD resolution fully supported ARRILASER family, but provides a novel solution not only for video + HD images of 1920 pixels can post production houses that are looking to enhance their product be recorded without rescaling range, but also for recording operations that need a separate machine • ARRILASER Interactive Configuration Editor (Alice) included to film out video, animation work, or to give HD-productions this + With image viewer for easiest special film-look – all of this at a very reasonable price. operation

• ARRI Color Management System (CMS) for camera negative included + perfect color reproduction for HD + easy operation with included The new ARRILASER HD uses camera perfect product, even for newcomers in the densitometer and color control tools negative fi lm stock to record on. This fi lm recording business. material adds grain to the output in a very • Quickstart function natural way. Images coming from digital However, the ARRILASER HD still delivers + standardized jobs can be started acquisition will automatically get the desired the well known quality, records at the same with just one button and precious fi lm look. As a part of this speed as the other ARRILASER models and comprehensive bundle, the ARRI Color most importantly, it uses the same techno- • 1 week application guidance Management System with its special profi les logy. The only difference is that lasers with for camera negative ensures that the video- reduced power can be used, since camera included tape will be adequately reproduced on negative fi lm has a higher sensitivity com- fi lm. A very easy job setup, all necessary pared to intermediate fi lm stock – this is the • Easy operation and reliable output equipment for the recorder calibration (i.e. reason why the ARRILASER HD can be quality by standardized workflow a densitometer), exact description as well offered at a price comparable to CRT guidelines as workfl ow and application guidance recorders. offered by ARRI make the ARRILASER HD a • Upgrade or exchange paths to Sibylle Maier other ARRILASERS models 46 Digital Intermediate_Worldwide on the Move

INTO THE BLUE, an exciting thriller set on Executive Vice President of Feature Post the contrast issues inherent in underwater the ocean and underwater at exotic locals Production. “Doing a digital intermediate photography. We wanted to make a film including the Bahamas and the Cayman gave us the opportunity to enhance the that was consistently beautiful. It was a Islands, was directed by John Stockwell images, smooth out areas of concern and very critical thing for us to be assured that (BLUE CRUSH) and stars Paul Walker (THE balance the picture to a much higher degree the sky and the water and the actors‘ skin FAST AND THE FURIOUS) and Jessica Alba than would have been possible using tradi- tones would all look consistently beautiful.” (HONEY). Cinematographer Shane Hurlbut tional timing.” (CRAZY BEAUTIFUL) shot the film with an LaserPacific scanned the original Super 35 eye toward capturing every detail of the “Water can photograph differently depend- format negative and then colorist Frank lush environments. The film also offers ing on reflections and angles,” Markoe says. Roman handled all the elaborate work in- extensive underwater cinematography by “It can look blue one minute and gray or volved in color correcting the film. During Peter Zuccarini. brown the next.” And the underwater shots, the process, the film was also blown up he adds, weren‘t done in a tank where digitally from the Super 35 size it originated From the outset of production it was clear the filmmakers could maintain total control. into the anamorphic wide screen format that this film was a perfect candidate for One of the keys to creating the excitement for theatrical presentation. A digital blow-up digital intermediate color correction rather in the film came from the realism that only saves the generation loss inherent in per- than traditional film timing. The vast amount true underwater photography can offer. forming this step the more traditional way of location shooting presented the produc- “They shot in the ocean and again it was using an optical printer. tion with “some very difficult lighting and extremely important to be able to balance color issues,” says Bruce Markoe, MGM‘s out the lights and reflections and deal with When this work was completed the results were then filmed out using one of LaserPacific‘s three ARRILASER recorders. “As with all of our digital intermediate When the makers of MGM‘s sumptuous summer flick, INTO THE BLUE, work,” notes Doug Jaqua, Vice President wanted a facility to do their digital intermediate work they chose LaserPacific, of Engineering, “the efforts and talents of the filmmakers and colorist in the suite can Hollywood. LaserPacific has been a technology trailblazer in the television world since the early 1980s, and has, in the past four years, grown into a major player in the realm of feature film finishing. LaserPacific became a wholly owned subsidiary of Eastman Kodak in 2003. LaserPacific uses ARRILASER

LaserPacific's ARRILASER System Integral to Digital Digital Intermediate_Worldwide on the Move 47

only be truly realized with the finest film mediate services, carefully analyzing film The actual amount of resolution they’re recording.” recorders knowing that they must be able really getting in the picture area is more to offer clients top-notch film recording to like 1828. The ARRILASER lets you leverage Fortunately, Jaqua says, the company‘s become a serious player in the future of DI. 2K into the active image area, and that ARRILASER film recorders were up to the also means better resolution.” task. “In terms of all the things involved in “ARRI,” says Jaqua, “was really the first com- a DI workflow,” he says, “the ARRILASER is pany to introduce a film recorder that made More and more clients today want to be really a workhorse. It does exactly what sense for us.” In addition, LaserPacific able to work in 4K for all or part of their you think it‘s going to do. All three of our decided to utilize ARRI’s color management shows, and LaserPacific has been ready to ARRILASER systems function beautifully and systems and it’s graphical user interface, service that request since its first ARRILASER run in lockstep with one another. They are known as ALICE. “ALICE,” says Jaqua, “is was up and running. “We expect to end up reliable and they provide repeatable results, a wonderful thing because it lets you pre- in the 4K world because we can,” Jaqua which is absolutely necessary. If the focus visualize what’s going to happen on film. says, “so it will become the de facto stand- changes one day or the geometry changes, It helps reduce the questions before you ard and ARRI positioned itself early to allow then the filmmakers couldn‘t have the confi- actually go through the process of record- for that option. Because we can output at dence they‘d need.” ing, processing and printing your film.” different resolutions, including true 4K, we can give clients the ability to experiment “The ARRILASER outputs frames lickity split,” Jaqua notes that the ARRILASER system’s and see for themselves exactly what works he adds. “We can record at 2 - 4 seconds ability to alter the dot pitch of its output best for their needs.” per frame with confidence that we would makes it the only laser recorder capable of always be able to deliver film to the clients shooting at a resolution of 2048 across the Jaqua admits that “film recording isn’t one that meet their stringent requirements.” Academy frame. of the sexier aspects of movie making; it’s very scientific and extremely exacting, but LaserPacfic’s history with the ARRILASER “Other systems,” he elaborates, “give you it’s also a very important part of filmmaking goes back five years to when the company 2048, but that is across full aperture. That’s today. It’s actually a fairly gutsy business was first planning to offer digital inter- something that many people don’t know. to be in,” he adds. “In some ways we have to be the gatekeeper of the image. We are translating digital information into densities on the negative and you’ve got to be 100% sure that the machine’s going to do what for all Film Recording on MGM Feature INTO THE BLUE you think it’s going to do. Repeatable results are super important, day to day, job to job. But if you are lucky enough to get to sit in the screening room and hear the ‘oohs’ and ‘aahs’ when the image is projected, that’s when you know that it’s all worked.”

ARRI CSC Florida supplied the complete camera package for INTO THE BLUE com- prising 3 perforation ARRIFLEX 535B and 435 cameras.

Jon Silberg

Intermediate Process

Doug Jaqua, Vice President of Engineering 48 Digital Intermediate_Worldwide on the Move

The Making of KISNA Digital Intermediate in India

KISNA, THE WARRIOR POET is a technically interesting story that I heard from a young highly acclaimed film in India. One of the British boy – these were the inspirations for reasons for this is the stunning images and KISNA. The boy’s grandfather had been a the overall technical excellence. This is attri- deputy collector during British Raj and had buted to the great cinematography by Ashok fond memories of his Indian Staff and col- Mehta and the careful Digital Intermediate leagues. That let me think that even though Process handled by Prasad EFX, Mumbai. we have grown up disliking the British, there still was a time when they mingled with our KISNA is the story of a young Indian, played people. That is how KISNA was born.” by Vivek Oberoi, who defies his family and shields a British girl – his childhood friend The film was shot mostly outdoors in historic, DoP Ashok Mehta Catherine (portrayed by Antonia Bernath) – picturesque and stunning locations that only from an enraged mob of nationalists. India could offer, including Deoprayag, Catherine happens to be the young daugh- Rishikesh, Haridwar, Ranikhet, Mukteshwar ter of a ruthless British Deputy Commissioner and New Delhi. The indoor shots were done (Michael Maloney). The Indians attack the in studios in Mumbai. DoP Ashok Mehta used commissioner‘s house and KISNA takes it the ARRICAM system with Hawk Lenses, a upon himself to save Catherine from their Phoenix Crane, flicker free ARRI Lights and clutches. shot the project on Kodak 50, 200, 500 ASA Vision raw stock. Regarding KISNA he Subash Ghai, the director of KISNA, is one remembers: “I thoroughly enjoyed working of India’s leading filmmakers and has al- in this project. When we did the color ready been responsible for many box office timing at Prasad EFX I was really amazed hits. About KISNA he explains “The driving at the vast potential and creative freedom DoP Ashok Mehta, Director Subash Ghai with element was to do something totally differ- the DI route offered. I got whatever I had members of the production team ent from what I have made before and this in my mind.” Digital Intermediate_Worldwide on the Move 49

Ken Metzker Colorist for KISNA at Prasad “I enjoyed working on the ‘Lustre’ very consistency and low maintenance. We are EFX adds: “KISNA was an excellent project much. It is not only a new tool for color cor- really impressed how it maintains the in- to work on because of three factors: Ashok recting, but it is also designed specifically creased contrast ratio of the film. For most Mehta, is one of India‘s finest cinemato- for DI process and enables me to keep the of the DI projects we definitely do want to grapher; the very stylized color timing was ‘data’ looking like film – something both of keep the film look. In fact many DoPs and very interesting, and above all I was able us, Mehta and myself, were keenly interest- directors have told us that they do not want to utilize the DI process to color time the ed in. It also gave me the tools to fix any anyone to know that it is a DI project. All film to bring forth its best qualities.” consistency problems and to maintain the they want is the consistency and control viewers attention to the story. DI allowed of DI.” “Ashok Mehta was a great DP to work with. me to take the image to the next level. For With his years of experience he was able instance, I was able to do a much better KISNA has been highly acclaimed for its to communicate where he wanted to go. work on the composites of our fire shots, technical superiority by the media in India. With this I was able to spend more time where I could treat the background sepa- Film industry professionals including techni- perfecting the matching and working on rately. When we put the shots together, cians and leading stars have already been shots that needed more effort – such as everything matched seamlessly. This has calling up Ashok Mehta and Ken Metzker some river shots, which definitely needed been a big problem for composite shots to congratulate them on the excellent work a conversion for the muddy water to a in the past. Overall it was a very good pro- that has gone into this project. green/blue tone, depending on the time: ject to be involved with and I really enjoyed Neutral we used for the present, sepia for working on KISNA.” Mohan Krishnan/Sibylle Maier the past, and blue for the last part of the film, as the story becomes more tense. Ken Metzker also adds: “I have a special This stylized color timing greatly aided in praise for the ARRILASER film recorder that emphasizing the emotions and to move the we used on this project. At Prasad we have story forward. I am very happy with it.” come to appreciate the ARRILASER’s

DoP Ashok Mehta Ashok Mehta shooting in New Delhi Director Subash Ghai (left) and DoP Ashok Mehta 50 Digital Intermediate_Worldwide on the Move

The complete chain of high definition post production takes place nowa- days in the digital realm, from editing The Digital Intermediate and color timing to the creation and integration of visual effects and titles. The key to accessing this potential The circle is now complete is the Digital Intermediate, a superb process in terms of both quality and Images turn digital: ARRISCAN to delivery of the final negative. This creative possibilities. “Shooting on The level of quality is primarily increased includes the creating of a ‘Color Guide’, by an improved film scanner. The loga- which is done once the scanning has been film“ as the classic way of capturing rithmic 10 bit scans correspond with the completed. The ‘Color Guide’ represents a images is the last area where analog actual density of the film stock and cover visual guideline for the color scheme and the complete dynamic range of the film look of the film, not unlike a moodboard. technology is superior to digital – as negative. These high-quality images are It contains every scene of the film, each has been repeatedly proven in tests not converted: they remain without any scene as master and 2 to 3 close ups from compression throughout the whole process. different angles. This is approximately shots and image analyses. For this The high quality is based on images scann- 15 minutes of film total. The ‘Color Guide’ ed at 3 K or 6 K. As a clear advantage is assembled in about 2 weeks with the reason the first digital ARRI film-style this results in better image sharpness. The creative input of DoP and director. Aside camera, the ARRIFLEX D20, is target- image data is then stored and archived on from time considerations the advantage hard drives and backup copies. is clear: the Color Guide helps to tell the ed towards high-end TV productions film’s story. rather than feature films for theatrical New Colors: Digital Color Timing The digital platform “Lustre“ by Discreet The color impression between the scenes release. Logic is an open, resolution independent can be controlled in great detail, and thus system, which allows mixing and matching the color scheme can be prepared and of different formats and materials. In addi- implemented very accurately. From this 15 tion to all the possibilities of a modern minute long Color Guide a recording on color timing it offers new features like film is made for theatrical screening. That “Power Mattes“, animated masks, which way a ‘release print’ with the essential can be created quickly and so far have scenes is available, long before the final been only available in digital compositing. release.

Useful Preparation: the ‘Color Guide’ Precise control even before the work begins For a typical 90 minute feature film project Retouching the images is can be done by it takes about 8 to 9 weeks from scanning several operators on multiple systems, using Digital Intermediate_Worldwide on the Move 51

DoP Jürgen Jürges

Workflow

so-called ‘proxies’. These are images in the addition, the contrast of the individual shots Working Efficiently size of about 1K, allowing for fast process- is matched at this step already. In addition to the grading tools described ing. Thanks to the optimized retouching above, the system offers the possibility to tools all the steps done on the low-res Step 2 brings in the Color Guide, meaning scan and pan, which even works in real images are available as metadata, which the established look is applied to the pri- time when in 2K mode. Features for fast is then applied to the high-res images up mary grading and possible mismatches are zooming, rotating and transforming are to 4K. At ARRI Digital Film, proprietary corrected right away. provided for easy repositioning of each software is used to create a ‘cut file’ from scene. The fast and reliable tracking func- the AVID EDL (Editing Decision List). The Step 3 is the fine tuning: image areas are tion is essential for stabilizing the frame cut file is a EDL specifically configured to defined with the help of keying and so- and for working with travelling mattes. map the scanned images to the ‘Lustre’. called ‘shapes’, a tool for masking which is The AVID take-names remain unchanged. common in digital compositing. It is also Switching from 1K to 2K is possible at any For double-checking, the AVID playout is possible to import digital mattes created time, as is replacing the EDL quickly and imported into the Lustre, where in split externally. Specific effect filters can be efficiently. The final color timing is done screen mode it can be compared with the applied to the whole image or to defined literally while the final edit is still being cut file. parts of it, depending on the customer’s worked on. requests. Sharpening or softening can be Color timing and color scheme added, and it is even possible to create a Another feature of the ‘Lustre’ system allows In digital grading it makes sense to distin- virtual focus pull. working based on scenes, which means guish between the following three steps: that scenes of the same color scheme can In step 1, the primary grading, RGB color Once the grading is completed and the be directly modified and compared to values, so-called printer lights, are deter- result is as desired, a 10 bit log master is each other, independent of their position mined. This is a process similar to the clas- rendered (presently at 2K) and subsequent- in the timeline of the program. This is very sic film lab color timing. Thus there is no ly archived. As the end result the complete helpful e.g. in scenes with several charac- need for the DoP to learn a new terminolo- feature film is now available in best possi- ters in dialogue where continuity needs to gy. The only difference to the film lab: the ble quality for film recording. The linear be maintained between these characters’ process is faster. The DoP asks for some- HD master can be derived from it as well, different color schemes. thing like “add half a point blue“, and right if necessary at a later point. away the result can be seen on monitor. In 52 Digital Intermediate_Worldwide on the Move

What you see is what you get Use and Utilization DoP Jürgen Jürges For a long time it was impossible to match From the digital master several multiple the image on a monitor to the image on negatives are recorded. Now the final screen. Thanks to the proprietory ARRI program is on film again and on one uncut CMS 3D LUT (look up table) it is now pos- negative, since all editing was already done sible for the first time to exactly render the in the digital realm. This negative can be look of a release print on a monitor or a used to strike 800 to 900 release prints – 2K digital projector. an increase in image quality for the audi- ence, thanks to the ARRILASER. A DI Locpro film projector with brightness and color temperature according to the To create the HD master used for all TV SMPTE norm is available in the same and DVD releases, an additional scene-by- screening room for double checking with scene grading is done. This grading con- the digital dailies. siders the fact that at a home screening there is more ambient light, and compen- sates accordingly to maintain the look of the theatrical release print. Finally, the TV release tape is created from the HD master in a tape-to-tape transfer on telecine. This way all market segments gain from the increased image quality of a post produc- tion done in the digital realm.

Prof. Jürgen Schopper/ Florian “Utsi“ Martin Digital Intermediate_Worldwide on the Move 53

Henning Rädlein, Helmut Dietl, Josef Reidinger, Prof. Slansky, Franz Kraus Florian “ Utsi“ Martin Prof. Jürgen Schopper, Klaus A. Feix Digital Intermediate Josef Reidinger, Henning Rädlein, Helmut Dietl, Norbert Preuss, Martin Langer, Tom Fährmann, Elfie Bernt Panel at ARRI

As the leading facility in technology and The ARRI Cinema on Munich’s Türkenstrasse was filled to the last seat post production, ARRI presented not only the “hottest topic“ in the post production of when the ‘Digital Intermediate’ panel took place on February, 7th 2005. theatrical productions to the audience of film The future of color grading for theatrical releases – this was the central topic makers, but also showed the newest techno- logy, in parts live from an editing suite, and of this event. The evening was hosted in cooperation with ARRI by the staged an open panel discussion with pro- German associations of cinematographers (bvk), directors (BVP) and fessionals talking about their experiences. The event was presented by Elfi Bernt, producers (BVP), whose areas the new technology mainly affects. Product Manager Digital Systems at ARRI.

Following an introduction by ARRI’s Man- advantages of analog versus digital post for many films to employ digital color grad- aging Director Franz Kraus there was a production. Because digital technology will ing. The analog route is still an excellent presentation of “Lustre“, Discreet’s new color also become increasingly influential in the technique, which has proved itself over grading system, which was used for the laboratory, Josef Reidinger, head of the ARRI decades. color grading of LORD OF THE RINGS, and film lab, was on stage as well. In combina- which now was employed at ARRI for the tion with a primary color grading version of In a direct line from the Lustre suite straight first time on Helmut Dietl’s new feature the Discreet Lustre and the ARRISCAN it to the ARRI cinema’s screen, color grader VOM SUCHEN UND FINDEN DER LIEBE (ABOUT will be possible in the future to offer digital Florian “Utsi” Martin demonstrated the daily THE LOOKING FOR AND FINDING OF LOVE). opticals like fades, motion events, frame working routine with the new digital tech- duplication etc. digitally. nology. He used samples from the short LA First of all Henning Rädlein, Head of ARRI MER by Frank Griebe and Nadja Brunck- Digital Film, introduced the post production In one point all experts agreed: in spite of horst to show impressively how fast and easy team working on this film and then gave a the tremendous potential of DI the DoP still it is to modify parts of the image and to brief introduction to workflow and the applied needs to deliver good work, because digital create a completely new look. Florian Martin technologies, starting with the ARRISCAN, post production mustn’t become just a tool is one of the profound experts on the Lustre to “Lustre“ and the ARRILASER. The tremen- for fixing negligence in shooting. “Don’t be system. He worked with it on all three LORD dous variety of creative options in digital sloppy on set. Remember: whatever is not OF THE RINGS episodes in New Zealand. color grading was demonstrated on work on the negative can’t be conjured afterwards,“ After completion of VOM SUCHEN UND samples and clips from the film. said Helmut Dietl. “DI is not for trouble FINDEN DER LIEBE (ABOUT THE LOOKING FOR shooting, it is for giving each film the perfect AND FINDING OF LOVE) he currently works After that, a panel of industry professionals finish – a bath in milk and honey, if you like. at ARRI on TRISTAN UND ISOLDE, an inter- shared first hand experience and advice: That’s the way these new tools should be national feature film project with 20th director Helmut Dietl, producer Norbert used.“ And the director admits that “once you Century Fox as executive producer. His Preuss and the cinematographers Martin work with Digital Intermediate, you will come know-how also put him in charge of training Langer and Tom Fährmann talked about their back again and again – you’ll get addicted.“ the ARRI color graders on the Lustre. experience with Digital Intermediate and Like producer Norbert Preuss and the two about what they expect from this system. cinematographers on stage Dietl clearly The event was concluded by a well attended These talks, together with the following lively warned that one can easily be misled to get-together in ARRI’s Studio 2. Q & A, gave a thorough idea of the crea- “play around“ by the endless possibilities tive options and the advantages and dis- of DI. Apart from that it isn’t even necessary Jochen Hähnel 54 Lighting

ARRI Ceramic fixtures –

Ceramic technology provides an interesting solution for professional lighting designers. Specifi cally, ARRI fi xture designs using this tech- nology, dramatically reduce trans- mitted heat; provide 3200K light, offer long lamp life and draw minimum power. The popular ARRI X-Light fi xture, with its unique refl ector confi guration resulting in a 130 degree hori- zontal beam spread, optimizes Ceramic lamp technology. Add the option of a new ARRI acces- sory and design applications are further increased. Lighting 55 pure light engines!

Intensifi er for ARRI X Ceramic 250 ARRI supports Showlight 2005

‘Showlight 2005’, the renowned trade-

Intensifi er with fabric grid show for theatre and event lighting pro- fessionals, will be held from May 22nd to 24th at the Prinzregententheater in Munich. Parts of this event, namely the areas AV-Media and exhibition lighting, are sponsored by ARRI, among others. The Ceramic Intensifi er is constructed as chosen on behalf of its long lamp life a fl ared mirrored box. This pattern creates of 4000 hours resulting in a savings additional light output as a result of multi- of relamping labor by a factor of 10! Apart from product presentations held by ple refl ections. Utilizing special computer close to 40 companies and manufacturers, simulation tools, ARRI found just the right Additionally, ARRI Lighting has devel- ARRI introduces its range of theatre lighting scheme to achieve maximum light gain. oped a Fresnel style Ceramic fi xture, and shows new technologies like the ARRI Now, a fi xture using a 250W Ceramic which has been used as a test fi xture X Ceramic 250. Experts from all over the lamp is comparable to a fi xture using a in recent projects. Modeled after the world will hold lectures on lighting topics. 2000W halogen lamp. An 87.5% power ARRI 2000 tungsten Fresnel design, Scheduled are lectures by Rick Fisher, savings! Remarkably, this design matches the Studio Ceramic 250 evolved into Richard Pilbrow, Durham Marenghi, Ken the light output and light fi eld characteris- an optimized and balanced lamphead. Billington, Per Sundin, Nick Schlieper and tics of an ARRISOFT 2000. User benefi ts are similar to the ARRI X Roger Simonsz, to name just a few. Ceramic 250 design: lamp performance The Intensifi er is attached to the fi xture by equal to a 1kw halogen lamp, cooler simply sliding it in the accessory slot of the housing temperatures, lower power con- HD projections, which are also supported ARRI X Ceramic 250. Additionally, popular sumption, higher lamp life, ‘hot’ restrike, by ARRI, will be complemented by a live front diffusion cloth and fabric grids are integrated ballast, 3200K color tempe- demonstration of the newest technology, the attached to the Intensifi er’s front lip by rature, and a Color Rendering Index ARRIFLEX D-20. Further informations about Velcro for further light control. >90. the trade show and other related event can be obtained at www.showlight.org. The ARRI X Ceramic 250 with the Intensifi er ARRI Ceramic Technology – a new choice! was recently chosen for a newly built news studio in New York City. This fi xture was Timo Müller/John Gresch Sven Beyer 56 Lighting

ARRI Lighting Solutions, Berlin, Sets Up WDR Studio

ARRI Lighting Solutions (ALS) develops perfect solutions for fi lm and TV studios in close cooperation

with the customer. The ALS team A recent project was commissioned by dynamic, topographic representation of WDR, one of the most important public the studio on the control board. Up to 200 provides individual consultations, broadcasting stations in Germany. The pro- lighting settings can be stored for later use. both national and worldwide, and ject team in Berlin was asked to replace the complete lighting and studio equipment in The even light distribution of ARRI Lighting, supplies complete packages. WDR’s Studio C with new state-of-the-art which is confi rmed in tests, was the deci- Obviously the spectrum of ALS goes systems. Re-lighting of the new studio has to sive factor for WDR to select it for the new be easy and fl exible, with as little staff as studio. Studio C is now equipped with 50 far beyond sole lighting solutions. As possible – that was one of the broadcasting ARRI Studio 1000, 40 ARRI Studio 2000 station’s main requisitions for this project. and fi ve ARRI Junior 650. An additional 20 part of the ARRI Group of Companies Among others, the MORGENMAGAZIN ARRI CYC Doubles are provided for back- ALS is backed up by ARRI’s extensive (Morning Show) live broadcast is produced ground lighting and the lighting of curtains. in this studio in a two week turnaround, know-how in all areas. from Monday to Friday. Therefore the Not just the lighting equipment was re- Berlin team had to set up a semi-automatic placed, but new studio gear was set up as lighting ceiling, which will be extended to well. It consists of telescopes, a rigging full-automatic in a second step. system with movable hangers and a system of horizontal trails. For this studio ALS planned and supplied not only ARRI Studio lampheads with all Once again this commission by a major cables and boxes, but also took care of public broadcasting station was evidence distribution, lighting control and dimmer to the know-how of the latest ARRI Group boards for 144 circuits, telescope arms member. And projects in the Middle East and controller for the hangers. The equip- and Eastern Europe are prove to the inter- ment further includes a power trail system national experience of the ALS team, for 90 movable hangers and their control- realizing studio projects around the world lers. In short: planning, set up, project for ARRI. management – the whole package came Contact: from one supplier. Phone + 49 (0) 30 678-233-0 Fax + 49 (0) 30 678-233-99 Now the telescopic hangers can be controlled very comfortably thanks to a Norbert Wunderlich Lighting 57

BUONA DOMENICA is one of Italy’s TV productions with the highest share over the last years. The new editions of this sunday afternoon Canale 5 entertainment program are very successfully staged in the Mediaset Elios studios of Rome by DoP Massimo Pascucci, the well-known lighting designer Gianni Mastropietro and scenographer Mario Catalano.

BUONA DOMENICA

Famous Italian Sunday afternoon show equipped with ARRI light and ARRI X Ceramic

“The lighting project has started several musicals, stand-up comedies and theatrical X 250 Ceramic. Massimo Pascucci had an months before the actual beginning of the performances – everything should be possible. easy game to convince the host Maurizio production, with an in-depth study of To create a charming and diffused light on Costanzo to use them to light the area different types of lighting systems, in order stage, ARRI STUDIO 1000 W Fresnels are where he interviews a lot of the celebrities to reach a new and unique atmosphere,” used. For special lighting effects and to from cinema, TV and politics: Costanzo was explains Massimo Pascucci. However, his create an optical center, a circular truss with mainly impressed not by the performance collaboration with Gianni Mastropietro ARRI JUNIOR 300 W Fresnels was placed of ARRI X 250, not by the light output, but already began over 15 years ago, when over the middle of the main aluminium very clearly by the low heat emitted from he still was one of the students of this structure. the luminaries – truly no sweat in front of Italian master of lighting, who was also the cameras. responsible for many famous TV programs. One of the requests of Maurizio Costanzo, the host of the show, was to create an Stefano Di Martino / Chiara Riboldazzi For BUONA DOMENICA the decision was atmosphere like the one for a live talk show. made to integrate the lighting system as Consequently scenographer Mario Catalano visibly as possible into the scene. ARRI lumi- created the stage like an arena where the naries were not only considered the ‘best speaker is in the centre of the studio and looking models’ for this purpose, but also the audience all around. For Pascucci this offered some important technical features for is one of the keys to success for this produc- this show: They proofed to be very fl exible tion: “A sunday show has to catch the whole with the power distribution, are very effi cient family. And the idea to recreate an arena in respect of their dimensions and are good keeps the speaker and all the persons on looking and sturdy at the same time. stage surrounded by the audience – just like members of the family.” The studio has also been designed for maximum fl exibility and fast changes of the However, one of the really new highlights – scene: from talk shows to dance shows, in the truest sense of the word – is the ARRI 58 Worldwide_USA

DUST TO GLORY Filmmakers Document Infamous Baja Desert Race on 16mm Off-Road with ARRI

Braving dirt, sand, rocks and just under 800 miles of rugged off-road action, Director of Photography Kevin Ward and his

crew literally bagged their cameras – as well as 250 hours of awe-inspiring footage – for DUST TO GLORY, a full-length feature documenting the Tecate SCORE Baja 1000. A motorsports tradition for nearly four decades, the single-loop desert race, which began and ended in Ensenada, Mexico the year they tackled it, is notoriously difficult to finish – and to film.

DoP Kevin Ward Dana Brown stepped up to the task of cre- With first-hand familiarity of the race envi- ating a movie around the race after direct- ronment, Ward knew he would need multi- ing the surfing documentary STEP INTO ple production units, both on the ground LIQUID. To oversee the cinematography for and in the air. The difficult terrain meant the shoot, which was to take place live dur- support vehicles could not be taken all the ing the 36th-Annual race, Brown enlisted way to each shooting site; the different Ward, a seasoned DoP and race enthusiast teams would have to hike across desert who himself won the hotly contested contest and mountains with their gear – and be on a motorcycle in 2002. able to operate the equipment self suffi- ciently, without any failures or glitches, in the remotest of areas. These requirements quickly led to the decision to shoot the 32-hour race on 16mm with ARRIFLEX cameras.

“We specifically chose the ARRIFLEX 16 format for several reasons, the first of which was weight,” Ward says. “I can‘t think of any other camera system that will give you a long zoom lens, 400' mag, 150 fps capability, on-board battery and time-code for right at 20 lbs.! When you are hiking across a field of cactus and vol- canic rock, or sprinting across the race- course between 700 horsepower Trophy Worldwide_USA 59

motorbikes going in excess of 100 miles Tapping into Ward’s knowledge of the ebb per hour – lent itself to overcranking. So and flow of the race – and into what direc- between film and digital, the obvious tor Dana Brown was looking for visually choice was my preferred choice – film.” and dramatically – assignments were given to each team. Because the filmmakers not Working with Otto Nemenz L.A., Ward put only wanted to capture the race, the peo- together several packages – upwards of ple and the places involved, crews focused 50 cameras all told – to match the needs on everything from race action and sweep- of the different crews. 13 teams positioned ing scenery to timelapse footage. along different points of the racecourse were equipped with ARRIFLEX 16 SR3s. “Having competed in the event, Kevin knew Three aerial teams, shooting with the huge where to place the teams and where the production value of a helicopter, were pro- action would be happening,” says Ground vided ARRICAM 35s. Ward even entered a Unit Operator Kerry Shaw Brown. “We were motorcycle equipped with helmet cam into given specific background cues and did the race to get the unique POV from a walkthroughs, but more than anything, it was bike, and also utilized a purpose-built four- the course and the environment that drove seater “race type” buggy with a 16 mm the photography. Kevin challenged us to camera on a remote head on a suspension get as much great 16 mm footage as possi- arm. Some race action, such as footage ble while also bringing in a unique vibe filmed with on-board roll cage-mounted and some unconventional story pieces. We cameras, was shot on DV. Other non-race had a main location along the race course action, including interviews and talking and then moved on to a secondary locale, heads segments, was shot in 24P HD. a popular bar called Mike’s Sky Ranch.” To accommodate everything from long vis- Trucks, lightweight is key. My crews had to tas to close action, the ground units were Numerous weeks were spent in preproduc- put in a ridiculously long day with no sup- given a wide zoom and a longer zoom, tion, calculating the logistics and taking port but their own, and the less equipment along with basic filters, color correction into consideration certain fixed parameters, I bogged them down with the better. 16 mm capabilities and clear glass covers – to such as vehicle start and estimated comple- is easy to work with, quick to reload and protect the lenses from flying rocks. Three tion times. The filmmakers even pre-ran pretty much foolproof. We additionally converted Century Canon lenses were used the course for five days. But even with the knew that the material we were going to with the ARRIFLEX cameras, enabling a advanced planning, all of the teams just be shooting – an off-road race with quads, zoom range from 300 mm to 1200 mm, or, pretty much needed to roll with the punches light trucks, Hummers, dune buggies and with extenders, as long as 2400 mm! once the green flag dropped. 60 Worldwide_USA

dependable. When, while taking cover The swingover viewfinder and roll switches from the flying rocks and dust after having are where they are supposed to be. There’s had your lead bike just go by full throttle proper balance and an eyepiece location (about 115 miles an hour), you hear the for handheld, as well as lock switches mag roll out and a communiqué across the on the electronics – all features made for radio that the next bike is only 20 seconds people who actually make films.” back, there is no other camera in the world I would rather have than the ARRI 16.” Another capability that worked out well on the project with the ARRIs was timecode Ward says all of the ARRI gear provided by sync. Rather than adding a soundman to Otto Nemenz performed even in a pinch each guerilla unit, Ward simply placed a with zero problems. The equipment also high-quality digital camera into each for had much to offer in terms of ergonomics audio capture. The digital camera and the and mapping to the features a filmmaker film camera were timecode synced, and “We were right in the thick of things,” needs most. the digital camera would end up either roll- Shaw-Brown remembers. “Just in terms of ing unattended on a tripod if the AC had the landscape, we had to function success- “With today‘s environment of constantly to pull focus, or operated if the film camera fully on a flat, wide open desert road, changing formats and new digital camera operator could handle focus. In some cases, putting bags around our gear to keep out systems, it seems some manufacturers for- such as during a tire change or a refueling, the dust. We had to deal with pine forest get about consulting the people who will both cameras would be handheld, with the and gullies five-feet deep with silt. We even actually be using the camera,” he says. digital camera capturing sound and addi- got a call to move six hours back up the “That’s not the case with the ARRIFLEX 16. tional cutaway type angles. racecourse – with the race still in progress! Under those kinds of conditions, ARRI cam- eras are like high-precision tanks: they take a beating and still outperform. At one point I was going handheld with the ARRI while straddling a mud embankment. A monster Hummer H2 came tearing through the river crossing so close that it grazed my pant leg and proceeded to completely obliterate the ARRI and me with mud and water. But the shot looked great, and the camera came out of it better than I did!”

Adds Ward: “ARRI cameras are always my choice. The ARRIFLEX is so well suited for action-type photography, handheld, for mounting, for rigs. It’s both durable and Worldwide_USA 61

The material Ward lensed himself on the Also by scanning 16 mm and re-exposing project – self-admittedly all of the “most it with the ARRILASER HD recorder system, Director picturesque” assignments – was done using the quality can be brought up still another Dana Brown one of his own two personal ARRIFLEX level. A cost-conscious commercial, televi- 35-IIIs. (He also owns a highly modified sion or feature production these days might ARRIFLEX 35-IIC, which has been lightened assume going digital is the only option Kevin Ward substantially by utilizing carbon fiber wher- when shooting 16 mm is actually just as ever possible.) affordable.”

“My next camera will definitely be the DUST TO GLORY takes audiences race side ARRIFLEX 435 Xtreme. It’s an amazing step and behind the scenes at the Tecate SCORE forward,” he proclaims. Baja 1000. The film follows the motivations and personal triumphs of some of the Something else Ward says he’s particularly world’s most intrepid drivers and riders, excited about is just how far 16 mm film many of whom share their passions brother stocks have come. “We used a lot of high- to brother or father to son over multiple speed 5218 on this project and even generations. Further information about the Kevin Ward and Mike pushed it two stops in some very low-light 90-minute documentary, distributed by IFC "Mouse" McCoy situations. 16 mm film stocks have continu- and due in theaters this April, can be found ally improved. I think this will lead to a at www.d2gfilm.com. renewed interest in 16 mm, especially on projects where shooting 35 is out of budget. Kara Misenheimer

Producer/racer Mike "Mouse" McCoy (left) ARRIFLEX 35III mounted on a car rig for mobile action and racer Lou Franco (right) 62 Worldwide_USA SWEET (SUPER)

With the onward march of digital shooting options today, including 24P, many cinematographers are electing to expand their horizons – with cellu- loid. Super 16 mm in particular has become a favorite for DPs in television who want to realize creative and cost-saving benefits while delivering shows to specs such as HD.

Jamie Barber and Mark Doering-Powell are versatile camera package and being able among those to have embraced Super 16 16to embrace, say, bold lighting, or shoot as a shooting medium for current television day/exteriors with high contrast.” projects. Each has filmed multiple episodic programs using this format, and each cur- Especially when attention is given to the rently relies on an ARRIFLEX 16 SR3 camera right camera setup, lighting configuration package provided by Keslow Camera in and post-production transfer, Super 16 Los Angeles, California. Barber’s work offers significant advantages, not the least includes lensing the Southern California-set of which is the smaller size and lighter hit THE OC for FOX, while Doering-Powell weight of 16 mm camera packages – and has been busy shooting HEAD TO TOE, a their versatility and cost efficiency. 16 mm Mark Doering-Powell children’s program for Nickelodeon. cameras are great for hand-held operation and for using Steadicam with zooms – and “I can let things overexpose with Super 16 the cameras are power-efficient as well. and then bring them back down again in post, which I could never do digitally,” “We ran all day on just a couple of bat- Barber says. “Using power windows in teries, whereas on some 24P series, we’ve post, I can bring in additional detail very required 30 on-board batteries for two easily that simply would not be captured in cameras,” Doering-Powell remarks. “The a digital frame. On THE OC we spend a dimensions of the 24P cameras were such lot of time shooting outdoors, on the beach that it was difficult to Steadicam through overexposing. A digital format might work doorways, and with a 21 × zoom, HD-SDI well on a project that’s shot at night or on back and on-board battery, the digital cam- a stage, but the flexibility of Super 16 is eras were heavy rigs as well. An ARRIFLEX much better for this show.” 16 SR3 is a little over half as long and lighter, too.” “I’ve done several 24P projects, both TV & features, but on my recent shows we’ve Barber also waxes nostalgic for the agility of gone with Super 16,” comments Doering- the ARRIFLEX 16 SR: “As a camera operator Powell. “Film has always created possibili- on ROBBERY HOMICIDE for CBS, I remember ties, more possibilities with range and accu- shooting on the subway where the digital racy of color, more possibilities for getting camera with battery pack and the control coverage, more possibilities with a more unit was so huge it could barely fit in the Worldwide_USA 63

train and stuck out in the aisle. A 16mm stock. On HEAD TO TOE he is using 7245 thing has remained the same: I’ve been camera like the ARRIFLEX 16 SR3 let’s you and 7218. lucky to have the support of Keslow Camera. go into smaller spaces. And it’s rugged – it I consider them integral to my work. Not can take both extreme heat and cold.” “This stock was a major factor in achieving unlike the dailies and final colorists, they the look we wanted on the first season of are unsung heroes to the look of a show Efficiency and lower film and camera costs the show,” he says. ”We had many sets to and to providing the DP and director with are other 16mm draws. Doering-Powell, light – far more than the pilot that had pro- what they need.” who generally goes out with two ARRIFLEX vided the budget template for the series and 16 SR3s, Canon 8-64s, an 11-138mm, a our post facility was not set up to provide Barber, Doering-Powell and many other DPs set of T1.3 superspeeds, and sometimes a noise reduction in the final tape-to-tape working in television, have discovered that longer zoom such as an Optimo or a T3.5 color-correction. I was concerned with how Super 16 fits their needs like a glove. The Angenieux 25-250mm, depending on the this might add noise to the image had I digital-trained generation, who has never director, notes that a great Super 16 pack- used a 500 ISO stock, but when we tested used this format, may need some convinc- age can be had for almost half the cost the 7218, the results looked great.” ing.: “Young filmmakers or students some- of a thorough 24P package. It also allows times ask why we’re on Super 16, if it’s not him to work more quickly on a show like Both shows place heavy emphasis on the grainy and difficult to shoot and light,” says HEAD TO TOE where time is of the essence telecine process. Barber’s material is trans- Doering-Powell. “I tell them it is beautiful,

Camera Crew Jamie Barber On the set of PHIL OF THE FUTURE

with kids on set. A half-hour episode is shot ferred on a Spirit Datacine and he receives mesmerizing, and I light it by eye. Yes, you in four 10-hours days. a DVD of the edited HD master before pro- must light and expose it well. Yes, you need viding notes on final color. decent glass on the camera. And yes, you Barber typically takes out two ARRIFLEX 16 should treat it in post with a decent telecine. SR3s, a set of Zeiss Prime lenses, Canon “The one thing I always come back to as Further, if you can record at a sampling zooms and the occasional Steadicam. a major benefit of shooting on film is that rate of 4:4:4, the new gold standard, it Again, he says the robustness of ARRI there’s so much you can do in post, espe- opens up even more range and possibili- cameras have never let him down: “Believe cially transferring the negative to tape,” ties. Super 16 really shines when it’s not me, when I was an assistant I put cameras Barber explains. “Even if the assistant hits squeezed into an undersampled/over-com- through things that cameras definitely the stopbox, my meter is broken, something pressed tape format.” shouldn’t go through,” says Barber, whose gets knocked and it’s not exactly the way career harks back to being first assistant to I wanted, with film, I know it can be ma- Jamie Barber is currently lensing THE OC Caleb Deshanel. “I’ve done handheld work nipulated.” on Fox. His credits also include the television out in the water; on a CRAFTSMAN TOOL show ROSWELL as well as numerous films, commercial, we took an ARRIFLEX 35 III out A final supporting factor in successfully ranging from MASTER & COMMANDER to into the Arctic in minus 80 degrees. For shooting Super 16 Barber and Doering- TITANIC. Mark Doering-Powell shot three , I put an ARRIFLEX 35 IIC on the front of a Powell both swear by service from their seasons of the Disney show EVEN STEVENS ship that was crashing into another ship and rental company, Keslow Camera, which and the first season of PHIL OF THE FUTURE the camera kept on shooting. You get an under the helm of Robert Keslow has focused prior to his most recent project, Nickelodeon’s ARRIFLEX because you just know that it’s on 16 mm and other camera rental services HEAD TO TOE. Keslow Camera rents 35mm, going to make it through.” for more than 15 years. 16 mm, digital cameras and related equip- ment from its location in Culver City, Calif. For film stock, Barber uses 74, which gives “Keslow Camera has equipped us for our In addition to THE OC and HEAD TO TOE, him the least amount of grain and grit for past two seasons,” Barber states. “I know Keslow Camera is currently providing Super capturing gorgeous Southern California I can call Robert anytime, and get what I 16 mm camera rental packages to Universal places and people for THE OC. Doering- need – whether we’re having the zooms Studios’ hit series MONK. Powell frequently shoots 7245 for day/exte- renumbered or require some other assis- riors, but has also tested Kodak’s 7212 and tance.” Kara Misenheimer and Karen Raz 7217 as well. When he shot the first season of the Disney show PHIL OF THE FUTURE he Adds Doering-Powell, “My Super 16 pack- used Kodak’s Vision 2 7218 as his interior ages have varied for each project, but one 64 Worldwide_USA

All in the Family:

Wolfgang and Tristan Bayer ShootEARTHLING When renowned nature cinematographer Wolfgang Bayer suffered cardiac arrest, it didn’t keep him

from getting back behind the camera. In fact, the near-death experience inspired Bayer to make EARTHLING, a feature-length wildlife adventure film shot on 35 mm anamorphic. Bayer sold his home in Jackson Hole, Wyoming and embarked on a worldwide journey of filming over two years with his family. Bayer’s wife Candy served as sound recordist, daughter Malaika worked as camera assistant and still photo-

grapher, while son Tristan shot additional footage. Told mainly through the eyes of Tristan, EARTHLING mixes non-fiction with narrative as we follow the Bayer family making a feature length (104 minutes) docu-drama.

With over two decades of shooting, pro- In terms of a shooting style for EARTHLING, an Angenieux HR 25 – 250 mm zoom as a ducing and directing wildlife films, Wolf- the Bayers kept it minimal. “We had to main lens, along with 600 mm and 400 mm gang has a list of credits that include pro- be efficient and we had to be light, so we lenses to capture the uncontrollable actions grams for NATURE, NOVA, an Emmy didn’t have too many dollies, tracks, etc. of wildlife and other natural events. “We nomination for the National Geographic We wanted simple storytelling and to let needed to be able to see for a mile and to special, LAST STAND IN EDEN and an nature fill the shot,” notes Tristan. be able to crank off shots as fast as possible,” Emmy Award for the Turner Broadcasting he notes. ALASKA. From deep inside Central American jungles, to the frozen waters of the Arctic, the Bayers In Alaska, the crew found themselves wait- His choices for cameras included an ARRI- found their subjects with great patience ing for weeks to capture a fleeting moment FLEX 35 III, two ARRIFLEX 35-IICs, an and tenacity. “We shot some ants close-up on film. “We took the boat out and shot ARRIFLEX 435ES and an ARRIFLEX 35-BL4. in Panama,” Tristan recounts. “We had to whales in Alaska over a summer, along trek around the Panamanian jungles, way with the glaciers caving in. We sat there Says Tristan, “My dad’s dream was to take back into the forest, shooting at 3 a.m. We with our eyes to the 435 camera for like a nature and put it onto the big screen. He also had to carry our generators and lights week straight, waiting for these huge chunks never felt that nature should be something back there.” of ice to fall off the caving glaciers,” he for a little television set or a ‘piece of furni- explains. “We had to be ready. We shot ture’ as he likes to call it. Buying that first The production shot mainly on Kodak 5245 at 150 frames per second and we actually 35 mm camera, for him, was the beginning and for lower light situations, utilized have three shots from that. It took us basi- of his dream.” Kodak 5246. For lenses, the crew relied on cally a month to get it.” Worldwide_USA 65

Wolfgang Bayer films glacier

With so much equipment to carry to remote flood inside its underwater housing. “He locations, the Bayers found the versatility just kept rolling,” says Tristan. “He was of the 435 an advantage and used ARRI’s facing right down the whale’s face – which Integrated Capping Shutter system to render is an amazing shot – but there’s this puddle special sequences. The capping shutter is of water sloshing around in the bottom of placed in the film gate area preventing the lens. It just kept getting bigger and big- light from falling on the film and making it ger, yet he couldn’t shy away from getting possible to look through the viewfinder. that shot.” “The cool thing about the ES was that we could do time lapse, high speed shots with The shot made it into the final cut of the the glaciers at 150 frames, and then literally film with the water creating what Tristan look in ways they often were unable to that night you can go out and do time lapse describes as ‘an eerie, dreamlike, surreal during the extreme conditions of the shoot. of the auroras with the Capping Shutter puddle that looks like a CG effect.‘ As for “Once we started color correcting, I realized system. Basically it’s two cameras in one. the camera, no damage was done. “We how much you can pull out of a 35mm When you’re out in the field and you can stormed out of the water,” he says. “He image,” Tristan notes. “If you look at the cut down on gear, it becomes worth its literally dumped out the camera and a original scans, there are some things that weight in gold,” he points out. splash of water came out. He resealed it I shot as a budding filmmaker out in the and we just kept on shooting.” field that maybe were a little underexposed. Since the crew was often shooting in isolat- I don‘t think it would have been useable if ed places under a variety of severe weather For Tristan, who continuously shot during we didn‘t have that color control, but we conditions, the cameras needed to be the production on his video camera, the were able to salvage everything and make reliable and durable. While shooting under- digital video technology often posed prob- it so amazing.” water to capture sperm whales, the elder lems compared to the traditional film cam- Bayer found his 35 III camera starting to eras used shoots. “On one hand, I was After six years in production, EARTHLING is able to keep rolling but on the other hand, Wolfgang’s lifelong dream come true. “From I had a lot of electronic problems which post-production, production, the writing – always shut my camera down. My dad’s it’s all finally coming together,” explains camera was solid. If there was a nail stick- Tristan. “That’s not even starting to get into ing out of something, he’d always joke that the power of the story, and the power of he’d just take the camera and use it as a those images, of those creatures. It’s been hammer,” Tristan laughs. a magical journey.”

Once in post-production, the filmmakers EARTHLING has been awarded the 2005 made the decision to keep the film negative Earthwatch Institute Film Award and pre- as pristine as possible by putting it through miered at the 2005 Environmental Film the digital intermediate process offered by Festival on March 16 in Washington D.C. Laser Pacific. “We knew the footage would be valuable in the future for posterity – for For more information, go to the sake of the actual creatures that we’d www.earthlingmovie.com. captured, most of which are endangered or threatened in some way. We wanted to do An Tran as little to the negative as possible so we went to a digital intermediate,” he says.

Working with colorist Doug Delaney, the filmmakers were able to control the project’s Tristan Bayer

Wolfgang and Tristan Bayer with crew and in action 66 Worldwide_USA Multiple ‘Tornados’ in Florida ‘Tornado’ cameras covering Atlas V rocket launch

At 07.07 on Friday morning, December 17th 2004 a Lockheed Martin Atlas V 552 rocket launched a Direct Broadcast telecommunications satellite into geosynchronous orbit from Cape Canaveral, Florida. The event, one of a series of commercial launches now undertaken each year by both Lockheed Martin and Boeing was recorded by multiple film, HD and stills cameras. Uniquely, this launch was also covered by three ‘Tornado’ High Speed digital cameras supplied by the ARRI Group. As such it represented the first use of the new ‘Tornado’ system in the United States. Worldwide_USA 67

NASA Jet Propulsion Laboratory. The entire competitor at the Wimbledon Tennis Tour- Sadly the persistent low cloud restricted project was coordinated by Lockheed nament. However use of the ‘Tornado’ is the amount of coverage possible, but all Martin Producer/Director John Baker, not restricted to sport. Since the camera is the cameras involved operated without Senior Software Engineer Michael Simon capable of recording up to 14,000 frames fault. and their production team. John had seen of material in its own RAM drive for subse- a demonstration of the Tornado camera’s quent downloading it is being used for The footage was then taken back to the potential when he was shown a showreel television commercials, natural history doc- waiting eQ and the editing crew located in by Quantel at a demonstration in Denver umentaries and industrial analysis ... and Lockheed Martin’s production trailer and and realized how the unit’s capability of rocket launches. within 4 hours a rough assembly from 8 speeds of up to 1000fps, combined with cameras utilizing many different formats the swift turnaround offered by the eQ sys- John Baker and his creative team of Leif was available for John Baker, Michael tem could contribute to the launch coverage. Heimbold and Will Blakely decided that, Simon and their team to view. As well as thanks to the Tornado camera’s PL lens material from the ‘Tornado’ cameras, other “My colleagues and I saw the benefits of mount allowing the use of the cream of cin- footage at different resolutions and frame the ‘Tornado’ system during a screening ematography long zoom lenses they would rates from Woods Hole’s proprietary HD of a horses hoof clipping the top of the position the ‘Tornado’ cameras in two key cameras and Panasonic Varicams was steeplechase jump at 1000fps.” said Mr. locations. One, fitted with an Angenieux ingested and edited using eQ’s unique Baker. “It’s critical for Lockheed engineers Optimo 24-290mm zoom was mounted Resolution Coexistence TM technology. to get immediate visual results after a rock- high up on the top of the multi storey hang- et launch for technical and performance er (the V.I.F.) that houses the rocket in the The Atlas V launch coverage demonstrated reasons. Until now we have had to rely on final stages before it is launched. It is from the unique potential of the ARRI Group, low-resolution 30fps Standard Definition this hanger that the mobile launching base providing equipment, service and support video or slow turnaround high-speed film transports the rocket to the launch pad half from across the world. It would not have footage. a mile away. The camera was therefore been possible without our ongoing relation- operated by remote control via an Ethernet ship with Quantel, nor the energetic com- The ‘Tornado’ system gives our engineers connection, for safety purposes. mitment of John Baker, his production team a near real time opportunity to critically of Leif Heimbold, Will Blakely, Michael review footage. Additionally we have the The second, and subsequently third Simon and Kristin Zick and the Lockheed ability to supply pristine high speed video ‘Tornado’ camera was mounted on a Martin Space Systems Company. to both our public relations and news unique optical tracking platform provided media clients immediately.” by the contractor Indyne and operated by Simon Broad Rick Wetherington, a veteran of over 24 The ‘Tornado’ camera delivers digital imag- years of launches at Cape Canaveral. The es in a high quality format that, when com- ‘Tornados’ joined three other cameras posi- bined with the eQ editing system can allow tioned on the tracker, which resembled a broadcasters to replay televised action in swiveling gun turret and was positioned at slow motion within minutes of the event a sufficient distance to allow the rocket’s occurring. This has lead to British sports launch to be tracked accurately. The enthusiasts being treated to a unique ‘Tornado’ cameras were fitted with, respec- insight into the swing of a golfer, the stride tively a Hawk 150-450mm zoom (and Stanley Fernandez of a race-horse, the accuracy of a David using a X2 range extender) and a Canon Beckham goal in soccer or, in one case, 400mm. Both cameras were operated on the flawed technique of a world-class site by Bill Lovell, who not only monitored the units from a laptop but altered the lens iris’ during take off via ARRI LCS systems.

After interminable delays due to unseasonably bad weath- er and various technical issues the count down commenced and the rock- et launched successfully.

Bill Lovell 68 Worldwide_USA

Multiple Academy Award-Winning Film Shot Using ARRICAMS

Portraying

One of 2004’s most talked about films, Taylor Hackford’s labor of love

RAY, boasts a stellar ensemble cast, memorable music performances, and gorgeous costumes and settings – all captured on ARRICAMS by RAY DoP Pawel Edelman, PSC. The Polish-born Edelman, who was nomi- The movie’s budget and short production nated in 2005 for an American Society of schedule of only 65 to 70 shooting days Cinematographer’s (ASC) Award for Best also required that multiple (two or three) Cinematography for his work on RAY and ARRICAMs be operated simultaneously on a BAFTA Award, Academy Award and the same axis and at different focal lengths ASC Award in 2002 for THE PIANIST, was (which varied between 18 mm and 20 mm always Hackford’s first pick for lensing on wide shots and 150 mm to 180 mm RAY. The pair shares the same passion for on close-ups). The ARRICAM Lite, which Ray Charles’ music, and had been in talks DoP Pawel Edelman is both quiet and compact in size, was for almost a year before the project was essential in capturing the film’s numerous finally greenlit. Shooting began in and concert sequences, which included a lot around New Orleans, LA, in Spring 2003. of Steadicam work. The film opened in theaters October 2004 budget (Hackford spent 15 years trying to and went on to win two Academy Awards secure financing for the film, which was Edelman just wrapped shooting OLIVER this year – Best Actor (Jamie Foxx) and Best ultimately granted a $40 million budget), TWIST, directed by Roman Polanski, and Sound – and was nominated in four other Hackford focused on two shooting locales – is currently lensing ALL THE KING’S MEN categories, including Best Picture. Los Angeles and New Orleans. To bring in for Steven Zaillian. For both productions other moments in the artist’s wide-reaching Edelman decided again to shoot with the RAY spans over thirty years in the tumultu- career, where he circled the globe playing ARRICAM System. ous life of legendary blind singer and pian- sold-out shows across the United States, ist Ray Charles. Charles’ music – a then- Europe and Asia, Hackford incorporated Natasha Wang unheard-of combination of jazz, rhythm stock footage of a variety of cities, includ- & blues, gospel, rock & roll and country – ing Chicago, New York, Seattle, Atlanta, made him an icon. However, with fame Paris, London and Madrid. came the inevitable downfall, as Charles DoP Pawel Edelman and Director Taylor Hackford battled years of failed relationships, drug With stock clips coming in on 8 mm, 16 mm addiction and depression. reversal stock and 35, Edelman settled on a standard 1.85:1 aspect ratio, and a Using an ARRI camera package from Digital Intermediate (DI) finish at Cinesite to Clairmont Camera, Hollywood, consisting match the older footage with the new mate- of two ARRICAM Studios, one ARRICAM rial being lensed. Hackford and Edelman Lite and an ARRIFLEX 35 II-C, all outfitted processed the film – Kodak Vision2 500T with Cooke S4 prime lenses, Edelman 5218 – conventionally, while using the DI chronicled Charles’ life from the 1930s to to achieve the different color schemes of the 1960s. Because of the film’s modest each scene. Worldwide_USA 69

Ready to serve you ARRI CSC Florida has got it covered

ARRI CSC Florida opens lighting & grip department

In October 2002 ARRI CSC opened their camera rental facility in Florida. Following the success of the initial business the Fort Lauderdale location has expanded and launched a full lighting & grip department earlier this year.

base has grown drama tically and we can now support their needs with full packaging of camera, lighting and grip. When you rent from ARRI CSC you’re getting full service and support for your production.”

Ed is supported by Supervisor Bill Hennessy, for many years a well-known freelance gaffer/ electrician working in the Florida area, and a team of fully trained staff many of whom have had previous experience at ARRI CSC in New York.

In addition to a camera inventory that include all the items needed to support includes ARRICAM’s, ARRIFLEX 435 Ad- Lighting customers. vanced, the newly released ARRIFLEX 235’s and a wide range of lenses and accesso- A new fleet of trucks and generators has ries, the enlarged business now offers a been commissioned allowing ARRI CSC full complement of ARRI HMI and Tungsten Florida to offer comprehensive packages, fixtures and a full line of Kino Flo, Mole tailored to the markets requirements. In Ed Stamm and Bill Hennessy and Dedo specialty lights. The supporting addition there is ongoing support from the can be contacted at ARRI CSC Florida grip equipment includes Matthews and rental departments of ARRI CSC New York @ (954) 322-4545 or via email: Fisher equipment, Backstage carts and the and sister company Illumination Dynamics [email protected] necessary rigging accessories. The Expen- in Charlotte and Los Angeles. General [email protected] dables store has increased its inventory to Manager Ed Stamm says: “Our customer 70 Worldwide_USA

ARRICAM BOOK 2nd Edition

Completely Revised and Updated Book. and ARRICAM DVD 60 Minutes of Hands-on, Step-by-Step Instruction “It’s a must-have for anyone interested in the ARRICAM System, and required reading for everyone in our company.“ Otto Nemenz, Pres. Otto Nemenz International “This is the best camera manual ever written.” Andrew Laszlo, ASC “Not often does one meet someone with the technical understanding, the practical knowledge, the writing skills and the wit of Jon Fauer.” Volker Bahnemann, Pres. ARRI Inc. Jon FauerOtto Nemenz Andrew Laszlo

A complete camera workshop in a book and on DVD

All about the ARRICAM 35mm Motion Picture rental house personnel, film students and any- of high-end technique and technology in film, Camera System: ARRICAM Studio, ARRICAM one else who plans to come in contact with video and digital production – and not just on Lite, Lenses, Modular Accessories and more. an ARRICAM. the 235. The inaugural issue, available at NAB DVD includes: DVD production was made possible through and Cinegear, features the ARRIFLEX 235 and • THE DIGITAL AGE OF FILM the generous support of ARRI, Kodak, Techni- how to use it. • ARRICAM TEASER color, AVID, Clairmont Camera, CSC, Illumi- For less than the price of just one of Jon Fauer’s • ARRICAM INTRO nation Dynamics, ARRI Media, JDC, Fisher, books, readers get an entire year of how-to • ARRICAM NUTS AND BOLTS Chapman Studios, Paramount Studios, secrets-of-the-pros, nuts-and-bolts information Interviews with leading cinematographers on Cinegear and many others. delivered directly: on equipment, inventions, film origination, digital intermediates, scan- All proceeds from the sale of the ARRICAM techniques and tools, style and strategies, tips ning, color management, and film recording. BOOK and DVD will be donated to the ASC and trends. It’s intended for Cinematographers, 60 minutes of nuts and bolts, how-to tips and Building Fund, to help support the new Ameri- Photographers, Videographers, Directors, Pro- techniques on camera prep, setup, loading, can Society of Cinematographers Museum ducers, Camera Assistants, Camera Operators, wireless lens controls, lens data system, speed and Education Center. Crews, Rental Houses, Manufacturers and ramps, and more. The first edition ARRICAM Paperback with companion DVD, Students. Book, by Jon Fauer, ASC, sold out in less than ISBN 0-935578-25-0, B&W illustrations, The newsletter will look at products and pro- a year. 408 pages, Actual size 7.5“ x 10.5 cedures in practical production – here’s the Jon Fauer, ASC, with seemingly inexhaustible job at hand: how do we use these tools and reserves of energy and enthusiasm, totally Order online from the ASC Bookstore: techniques to get the results we want? www.theasc.com revised and updated the book to include all Jon Fauer, ASC is an award-winning Director the new ARRICAM improvements, functions Order by Phone: of Photography and Director who has written and accessories, and added a DVD featuring 1-800-448-0145 (USA and Canada) 10 best-selling books, famous for their user- 1-323-969-4333 (All Other Countries) interviews with leading cinematographers and 1-323-876-4973 (By Fax) friendly way of explaining things as if you’re 60 minutes of nuts and bolts, how-to tips and ASC-American Cinematographer right there on location with him. Over 120,000 techniques. 1782 No Orange Drive, Hollywood, CA 90028 of his books on cameras, cinematography, Anyone who bought the original book will film and digital video have been printed. Film want to replace it with this completely revised What’s Next? and Digital Times, his bimonthly newsletter, second edition, because while ARRI was busy FILM and DIGITAL TIMES Newsletter. could be considered the 11th book – arriving updating and improving the camera system, No sooner had Jon Fauer finished the ARRI- a year early, with up-to-the minute information Jon was feverishly writing to keep up with the CAM BOOK, than email started flooding in: in episodic format. changes. where’s the ARRIFLEX 235 BOOK? Jon had Here is Jon‘s 8th book on ARRI cameras, already used the 235 on two jobs, and re- For subscriptions, go to: www.fdtimes.com written by a cinematographer who uses the ported, “this is the most exciting camera and equipment. His breezy style makes you feel the best thing for handheld work since the to order by phone: like you‘re working along with him on set or 16SR.” But another book would take over a 1-877-445-8301 (USA Toll Free) 1-203-445-8301 (Everywhere Else) location. Complex terms are explained clearly, year to complete. 1- 203-445-0735 (Fax) and a little humor makes reading his advice On a cold day in November, a friend who to order by mail: an enjoyable experience. publishes a newsletter on advanced sailboat Film & Digital Times, PO Box 422 This book and companion DVD is intended for racing had the answer: Film and Digital Times. Easton, CT 06612-0422 directors of photography, camera assistants, The Film and Digital Times Newsletter is a producers, directors, production managers, bi-monthly, by-subscription, how-to newsletter Worldwide_USA 71

New Head of Sales and Marketing

Serge Giordano has been employed in South East Asia, where he also acquired a Munich for the ARRI Group since September wide knowledge of international business. 2004 as Vice President Sales & Marketing for all product segments (Camera, Lighting, Serge Giordano’s new job responsibilities Digital). will concentrate on the consolidation and Serge Giordano reorganization of the entire Sales & Following his studies in electrical engin- Marketing with a view to giving the ARRI eering and business economics, Serge Group a uniform public appearance. In Giordano was able to gain extensive ex- addition, he will concentrate and focus perience in sales & marketing in various all internal and external communication positions in the industry such as Area Sales on customer service and will continue to Manager, BU Manager and Managing deepen and intensify customer support in Director. He spent many years abroad on order to ensure an increase of ARRI’s inter- behalf of his employer ABB (Asea Brown national market presence in all products Boveri) in the USA, Italy, Switzerland and segments.

Charlie Davidson has led ARRI’s US Lighting Division almost since its inception, joining the company in 1981 as Lighting Product Manager. He was named Vice President, Simon Broad Charlie Davidson John Gresch Lighting Division in 1986.

Simon Broad started his career in the film industry 1978. In July 2003 Simon moved New Management Structure to New York, accepting the title of Vice President, Marketing at Camera Service Center. at ARRI Inc and CSC Mark Machover joined Camera Service Center as controller in 1990. Mark was named Vice President, Finance and Admin- istration in 1997, handling a large and Earlier this year Volker Bahnemann, Presi- Volker Bahnemann. “With the appointment diverse range of responsibilities as the CSC dent and CEO of ARRI Inc. and Camera of two Chief Operating Officers – Charles Group has expanded. Service Center (CSC) announced major Davidson for ARRI Inc. and Simon Broad changes in the management structure of for CSC, we will shape the future of our or- John Gresch began his career in 1975 with both American operations: “The growth of ganization.” Concurrently Mark Machover Berkey Colortran and went on to form his our business, its expansion into new market was promoted to Chief Financial Officer for own business, Excalibur Industries. For the segments and the addition of more service CSC and John Gresch to Vice President, past 18 years he has been ARRI’s Lighting facilities required this reorganization,” says Lighting Division for ARRI Inc. Manager for the Western US and Mexico. 72 Worldwide_GB

DoP Jake Polonsky Reflects on Shooting Conman Drama HUSTLE

Described as engaging, well acted and snappily directed, BBC

ONE’s TV drama HUSTLE gained critical success and very respectable viewing fi gures right from its fi rst episode, resulting in a second series being commissioned while the fi rst was still running.

Produced by Kudos Film and Television, the team also behind BBC

ONE’s hit TV drama SPOOKS, HUSTLE follows a group of expert con artists performing the long con, but despite being on the wrong side of the law the gang only scam the unscrupulous and greedy, following the unwritten rule of ‘You can’t con an honest man’. DoP Jake Polonsky

A driving factor behind HUSTLE was to large number of scenes that take place on footage as you can so that there is enough create a series that was entertaining and these sets that ultimately help the viewer to edit with because you don’t want loads fun, its stories are smart enough to keep understand the story, the con that the and loads of scenes that are made up of you guessing but at the same time raise characters are planning, and one challenge one or two shots.” a smile through the audacity of it all. The for me was how to keep them interesting. drama also looks smart, bringing the movie Ideally, you want as many moving shots as A key style signature of the series is its tradition of the con to TV with its slick and you can have, and scenes that develop out freeze sequences, scenes where the action glossy style. of interesting blocking, but at the same time freezes but the characters can still be seen it is also about trying to get what needs to interact with each other. “When I was Shot in Super 16 on two ARRIFLEX 16SR3 to be done within the time available.” In working out how to continue what was a Advanced cameras supplied by ARRI order to try and accelerate the process of very successful style, I decided that I really Media London, it was DoP Jake Polonsky getting the coverage required two cameras wanted the process of the action stopping who had the task of continuing the style were used. “If we were using two cameras to be visible to the viewer, rather than it just established in the fi rst series. Polonsky, who I would get the main shot but also try and suddenly stopping. So we ramped down after having previously worked with Kudos get a tight shot at the same time. So with a the action from normal to 150 frames per on the third run of SPOOKS, was invited to scene with all fi ve of the characters talking second and then from there went into the shoot the fi rst two episodes of the second together, just at times I would pick off a freeze. I’m hoping its going to be quite series of HUSTLE. “Kudos sent me the couple of them.” But using two cameras an interesting effect, suddenly you see whole of the fi rst series and when I started didn’t always accelerate shooting. “When everything go into extreme slow motion and watching it I was very impressed. It was you shoot with two cameras its very stopping rather than just instantly stopping.” obvious they really cared about the look of important that both are aware of each the show. It’s very rich, with interestingly other and slightly forgiving of each other’s When lighting HUSTLE, Polonsky choose to constructed shots. Part of my job as DoP requirements. The ‘A’ camera will always use Tungsten lighting, which he prefers over is to carry on all the stylistic elements that be slightly compromised by the ‘B’ camera HMI. “I’m personally a big fan of Tungsten. create that look.” and that whole process can end up taking A lot of my work is based around two more time. There are some scenes where lamps. I favour the ARRI T12, which I think One of the main considerations for Polonsky using two cameras enabled us to get the is one of the most brilliant tungsten lights was the visual design of each scene. “The coverage, but perhaps didn’t end up saving that there is. It’s a big light you can use fi rst thing the Director (Otto Bathurst) said time, on the day you try and get as much to cover a big space, but in my opinion it to me was, he really liked the idea of just nicely designed wide shots, holding things in, which is a style I also like, it is much more cinematic. The structure of the show is that the characters live in a hotel suite and hang out a lot in a bar, which were both sets that Kudos had built on the fi fth fl oor of a business complex. There are a Worldwide_GB 73

ARRI Lighting Rental Luncheon

Once again ARRI Lighting Rental’s Managing Director, Tommy Moran and his team hosted their annual New Year luncheon at La Rucola, Italian Restaurant just around the corner from Highbridge, ARRI’s UK headquarters in Uxbridge. With over eighty guests made up of Directors of Photography, Hotel set of HUSTLE with First Assistant Jon Beacham Camera Opera- tors, Gaffers DoP Remi Aderfarasin BSC, DoP and and Electricians President of the BSC Phil Méheux BSC doesn’t have the brutality of an HMI. It has “I think the bar set is going to look it was the ideal (left to right) a nice soft feel to it. The other units that I really good in this series, it is one of opportunity for all use every day are Lowel Rifa lights, which those places that has a lot of colour to catch up with are very lightweight tungsten softlights that and contrasty lighting. We spent quite each other at the you can pretty much put anywhere and they a lot of time looking at how contrasty beginning of the make things look good.” we wanted to make it as it was all very year before their deep colours but the initial feedback was commitments take Three weeks were spent fi lming on location that it looked too good. Kudos didn’t them off to far followed by two weeks on sets. It was the want the bar to be a sexy place, but its fl ung destinations. sets that presented the biggest lighting nice to have the criticism that something challenge. “I love working on location looks too good, so we worked on taking Tommy Moran because its real, but its a challenge working that back a bit.” commented “Its DoP Sean Bobbitt, DoP David Odd BSC, on sets and stages creating that element of always great DoP Nina Kellgren BSC & DoP Mike realism, you want people to instantly buy HUSTLE is obviously an ambitious show. to have the Southon BSC (left to right) into what they are looking at. The onus Its look is as important as the scripts opportunity to falls on you as the Lighting Cameraman to and casting. Polonsky refl ects, “Having thank the industry actually make the sets come to life. One worked with Kudos, one thing I really for it’s loyalty and of things I wanted to do was to add an do think is how great it is to work with a support. The lunch element of realism by avoiding ‘white out’ company who are not only passionate has become more windows. There is a brilliant exterior of the about the programme, but also and more popular balcony outside the hotel room: You see passionate about its look and passionate and a great way all the characters going in and out, and I about fi lm.” to start the year.” wanted to make it possible for the viewer to see somebody go outside from the hotel HUSTLE was produced by Karen Wilson Judith Petty room set and then be outside, so we had and executive produced by Jane Gaffer Mickey Brown and Gaffer Alan a backdrop made which I think will work Featherstone, Simon Crawford Collins Martin (left to right) well. With the bar we also tried to have and Gareth Neame. some elements you can always see through the windows, they are kind of frosted so Michelle Smith you can’t really see what’s actually there but you can see shapes, I wanted to give the impression there were some buildings across the road.”

Gaffer Terry Lewis, Gaffer Jim Gilligan, Gaffer Pat Devemey, DoP John Daly BSC, Best Boy Dave Gurney, Gaffer, Paul Evemy, Best Boy Dick Reed, Managing Director – ARRI Lighting Rental Tommy Moran (left to right) 74 Worldwide_Germany ARRI at Berlinale 2005

Thomas Struck and Angela Reedwisch with young film makers

At the Berlinale Talent Campus experienced professionals and talented young film makers from around the world get the chance to meet in the atmosphere of a major film festival. ARRI was involved in several of the events taking place in the “Haus der Kulturen“ during the 55th Berlinale 2005 in Berlin.

At the event “The Daily Digital Soap: Pro- work on the D-20, the more we realize just Angela Reedwisch, Thomas Struck (Talent Campus), duction“ Marc Shipman-Mueller, Techni- how significant film is as the superior Thierry Perronnet (Kodak) at the ARRI-Kodak Happy cal Marketing Camera, lectured about image recording medium,“ Shipman- Hour the current state of digital camera technol- Mueller explains. “We want to continue to ogy and the new ARRIFLEX D-20 camera. supply the best equipment to the entertain- Following an introduction covering devel- ment industry. To do so, we see both film In a relaxed atmosphere during the Happy opment, design and technology he spoke and digital technology as parallel routes Hour hosted by ARRI and Kodak at the about positive experiences with the D-20, into the future.“ Talent Campus, selected films by an inter- stressing the advantages of this camera, national group of young film makers were e.g. the fact that the whole range of ‘nor- The following day Prof. Jürgen Schopper, awarded. ARRI was represented by Key mal’ 35 mm film lenses can be used. He Creative Director at ARRI Film & TV, lectur- Account Manager Angela Reed wisch and also described the image sensor the size ed at the Talent Campus about “The Future Kodak by Marketing Director Thierry of a 35 mm frame, which is custom made Of Digital Color Grading”. Perronnet, who were both on stage for a for ARRI. Then Marc Shipman-Mueller Q&A with the young film makers. answered the questions of the aspiring film- Based on selected samples Prof. Jürgen makers. The audience was particularly Schopper demonstrated a reasonable digi- Jochen Hähnel interested in the digital recording formats tal workflow: starting with the ARRISCAN, that ARRI is presently using and testing. followed by the color grading software The comparison of ‘classical’ 35 mm and ‘Lustre’ to the ARRILASER. He emphasized 16 mm film cameras with digital recording on the topics Digital Intermediate and were discussed as well. “The more we Digital Colorscheme, which are employed concern ourselves with the differences be- increasingly, and which became a full part tween film and video, and the longer we of film grammar by now. Worldwide_Germany 75

AEON FLUX The success story goes on: more and more international film productions worldwide work closely with ARRI, like in August 2004, when shooting for

AEON FLUX commenced at Studio Babelsberg and in the outskirts of Berlin. The adaptation of the futuristic MTV cult show is produced by Paramount Pictures in collaboration with MTV Films and Studio Babelsberg.

AEON FLUX is directed by Karyn Kusama and photographed by Stuart

Dryburgh. First AC on this production was Christian Almesberger, and Stuart Dryburgh Michael Scheel was the Unit Production Manager.

The complete package of camera, lighting transferred film- and video dailies back to It took Christian Hoffsten, head of the tech- and grip equipment came from ARRI Rental Berlin. The dailies were also sent to Para- nical camera department at ARRI Rental Berlin. AEON FLUX was filmed with two mount Pictures in the US. Berlin, and his team just two days to retrofit ARRICAM ST, one ARRICAM LT and one all cameras: “We had one 4 perforation ARRIFLEX 435ES. The highspeed camera “On location we could watch video dailies movement here in Berlin. The rest was sent was also used on Steadicam. DoP Stuart only in Beta SP on a video projector. This from Munich, and we did the conversion Dryburgh chose the Cooke S4 range isn’t enough to really make judgments about here,“ reports Fritz Sammer, head of ARRI of lenses, the Cooke 18 –100 mm T3 zoom image quality and focus. Therefore in addi- Rental Berlin. “This was pretty tense, but lens and the Angenieux 24 – 290 T2.8 tion we used the ARRI Locpro 35 to watch everything worked out perfect. All three Optimo Zoom. selected film dailies on. This was the best ARRICAMs worked permanently and with- solution, on location as well as at Studio out any technical problems. The same is Stuart Dryburgh started his career in New Babelsberg,“ Stuart Dryburgh reports. The true for the ARRI lab in Munich,“ Christian Zealand shooting with ARRI cameras, which ARRI Locpro 35 operates in 3 perforation Almesberger adds. The switch to 3 perfora- always proved to be the best choice, accor- mode and in 4 perforation mode. tion, including all the testing, took not more ding to his own words. Asked whether he than three days. After that all cameras were is lighting AEON FLUX specifically with the Shooting AEON FLUX started out in 3 perfo- back and ready to shoot. digital color timing in mind, he said: “I did ration. However, shooting had to stop due everything as I do when going the tradi- to an accident – Oscar winner Charlize Post production on AEON FLUX is done in tional post production route on film. And Theron got injured in a stunt scene and had the States right now. The theatrical release as far as the look is concerned I didn’t do to be hospitalized. This caused a five weeks is scheduled in fall 2005. anything differently. During shooting I was break. Shortly before shooting commenced in constant contact with the color timers in again production decided to switch to 4 Jochen Hähnel Munich. We were on the phone every day perforation. to discuss specific requirements.“ First AC Christian Almesberger “Because of the tight schedule the ARRIFLEX AEON FLUX was shot on Kodak Vision 2 435ES in 3 perforation was just replaced 5217 (200 ASA) and Kodak Vision 2 by the same model in 4 perforation. The 5218 (500 ASA) film stock. Developing ARRICAMs had to be quickly converted and transfer was done at the ARRI lab in from 3 to 4 perforation, as well. Actually Munich, supervised by Josef Reidinger. there were no technical reasons for this ARRI color timer Traudl Nicholson was in decision – cameras, lab, transfer, sound charge of the film- and video dailies, Chris etc. – everything worked out well and the Berg was the project manager. Two drivers switch happened without any problems,“ were employed to bring the exposed foot- Christian Almesberger recalls. age to Munich and the developed and 76 Worldwide_Japan

Image Studio Japan109 To be a competent partner in the visual communications industry

In an environment of globalized and expanded communications, The studio rental business was already started in 1981 at Setagaya-ku, Tokyo, as the visual industry plays an increasingly important role. Uniting a part of the Tokyu Group, which holds cutting-edge equipment, long-time experience and highly professional many other operations under its umbrella – from a railway company to building con- skills under one roof, Image Studio 109 has proofen itself to be struction – but has also a strong foot in pro- the most competent partner to a wide field of clients from all parts ducing TV commercials within the group. In 1988, the Meguro office was established of the industry. in Meguro-Ku, Tokyo.

Today 13 rental studios in the metropolitan area of Tokyo belong to the company as well as post production and graphic pro- duction facilities, and a distribution for CCTV with cutting-edge equipment and well trained staff. To have both facilities – the rental studio and the post production – under one roof is very unique in Japan, and one of Image Studio 109’s strongest advantages in the business, because it allows for a straight forward workflow in a mainly hybrid production chain.

Mr. Yano, president of Image Studio 109, comments: “One of the key issues for successful studio business is to maintain the quality level of the products. The close cooperation with NAC and ARRI further increases the high level of confidence in our business. We have even been able to visit the ARRI Stephanskirchen factory with the help of NAC Image Technology Inc (the exclusive distributor of ARRI in Japan) to get a first hand insight and in-depth product knowledge. For us, this is a very fruitful exchange, and we will enhance this contact, not only for the lighting part, but also to set up a production environment for the ARRIFLEX D-20. For our clients and partners in the industry, this will represent a decisive step forward.” Worldwide 77

Congratulations

Congratulations to all award winners

Awardwinner Henning Benzen (middle) Reinhard Hauff, Max Penzel, Michael Ballhaus Max Penzel and Mogens Gewecke, Bico

Kurzundschön 2004 and Special Award Michael Ballhaus Award Golden Frogs at Camerimage Film of the Medien Campus Bayern In February at the Arsenal Cinema in Berlin Camerimage becomes more sucessful by VIDEO KILLED THE RADIO STAR: the second Michael Ballhaus Award was the year. At last years’s festival numberous Oliver Kussinger and Lauri Trillitzsch presented to a young camera student with awards have been presented: (FH Nuremberg) an extraordinary talent– to Max Penzel. The award winner did already prove him- David Watkin (OUT OF AFRICA) received Kluk Prisen self on several film projects and just fin- the Livetime Achievement Award, Bick Henning Bendtsen received this year’s ished a feature for children, shot in China, Pope was awarded the Camera Award, Kluk Prisen for long years of committed which is in postproduction right now. for his film VERA DRAKE. KODAK’s Color work as cinematographer. The award Three years ago, when Michael Ballhaus Manage ment System got the Technical was presented by last year’s winners, was awarded the Lucky Strike Designer Award in the category Postproduction. The Claus and Michael Rosenloev. The Kluk Award, he had the idea to use the price of acting award was presented to actress Prisen is sponsored by Bico Professionel at that time 100.000 DM to start a founda- Charlize Theron. A/S together with ARRI. tion which every year is to set an award to a young camera student at the Deutschen Another Golden Frog was awarded to Another happy occasion: This year the Film- und Fernsehakademie Berlin (German Slawomir Idziak for his achievements as Danish Society of Cinematographers cele- Film and Television Academy – dffb). cinematographer (KING ARTHUR, BLACK brates its 50th anniversary – Congratula- Among the guests of this year’s award cer- HAWK DOWN, GATTACA, THREE COLORS tions! emony have been such well-known cinema- BLUE). In addition to the special ARRI tographers as Martin Kukulla (GOOD BYE AWARD (in shape of a Golden Frog as LENIN), Hans Fromm (GESPENSTER) and well), Piotr Sobocinski, student at the Lodz David Slama (THE CHAU NGO). filmschool received a lighting kit worth 2500 Euro, presented by Mr. Popp and Prices of 3000 Euro, a statuette designed Mr. Kulterer from ARRI. by ARRI, a voucher worth 5000 Euro for equipment rental from Cinegate, and dona- tions by Kodak and FGV Schmidle support- ed this event, which was hosted by the Ballhaus Foundation together with the dffb.

ARRI congratulates all OSCAR award winners and nominees in 2005 78 Services ARRI Commercials ARRI Lighting Rental ARRI Media ARRI Rental Germany THE THIEFLORD 3 SCHWESTERN il Pouto opn Drco DP afr BestBoy Gaffer Title Production DoP Director Company ProductionCompany Agency Director Title DoP Title Production Company DoP Equipment Title Production Company Director DoP Equipment crin Kp netimn Wolfgang Moselle KapaEntertainment Somat Scorpions x sitne odrosFl mH ebwrsat Toa ihe SeanMiros ThomasRichter Werbewerkstatt Wonderboys FilmGmbH Axa Assistance AFTERLIFE ARCHANGLE AHEAD OFTHECLASS AFTERLIFE VELVET SIDEOFHELL imrdkinGb Wregnu Food: David Wynn-Jones Werbeagentur FilmproduktionGmbH imrdkinGb Wregnu Food: David Wynn-Jones Food: David Wynn-Jones Werbeagentur FilmproduktionGmbH Productions

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ARRICAM ST, LT DeclanQuin Number 9 Films oyn etoa t. gisk oln Ahe oe apelMits PhilReid CampbellMcintosh AshleyRowe AgnieszkaHolland CopyingBeethovanLtd. .. aei uih pigr&Jcb ie aoieLn StefanAustmeyer Life: Caroline Link / Springer&Jacoby M.I.MMadeinMunich alnFls nhn o ate ARRIFLEXSR3Advanced AnthonyDodMantle MarlinFilms .. aei uih Wnae Lf:PtrKen Life:HiltonGoring / Life: Peter Kleine / Wensauer M.I.MMadeinMunich V0im r ge Mri uua ARRIFLEX16SR3,Lighting,Grip Kukula Martin UrsEgger TV60Film enrHlee PeterAichholzer ReinerHolzemer e + p aaoaPoutosLd akMrh Hn aly oanCucsak SteveAnthony JohannCruickshank HongManley MarkMurphy CasanovaProductionsLtd ee omlPouto AdesDee AdesHfr ARRIFLEX16SR3,Lighting AndreasHöfer AndreasDresen PeterRommelProduktion PcueSak ie ee&Prnr Pu aahr RobbyMüller PaulHarather Heye&Partner PictureSharks / Life B eeiin ed ara TmPle SeeBae Tom Mcginley SteveBlake Tim Palmer FerdyFairfax BBCTelevision BOCmage LnsEes JoachimBerc LinusEwers BBDOCampaigne e + p Rapid Eye Movement Movement Eye Rapid /Food rs af ChristianReim Kalff Ernst Goldammer Werbeagentur Wüschner RohwerBaier er ega Bill Heath GeorgDehghan hre tde Stefanvon Borbely Charley Stadler A SelectionofCurrently Serviced Productions Serviced ARRI Lab – TV Drama TRAUMHOTEL –MEXICO TRAUMHOTEL –BALI THIRD WATCH THE SWAN THE REALGILLIGANSISLAND THE LOSTCITY 3° KÄLTER Title Production Company DoP Gaffer Equipment Serviced by Serviced Equipment Gaffer DoP ProductionCompany Title Title Production Company Director ANTIKÖRPER AGATHE HAT NOCHNICHTERMITTELT ALL THEKINGSMEN WINTERREISE WEISSBLAUE WINTERGESCHICHTENII ARRIFLEX16SR3Advanced ARRIFLEX435Advanced ARRIFLEX435Advanced for Hallmark Lighting&grip SIEGFRIED OKTOBERFEST GLORY ROAD UNTER VERDACHTVI–DEALER QUATERLIFE JONNY ZERO JIM JARMUSCH(UNTITLED) PRIME PLEDGE THIS NOMAD LADY LUCK DUKES OFHAZZARD ROSA ROTH–INGUTENHÄNDEN ROSA ROTH–IMNAMENDESVATERS LUFTBRÜCKE LETZTES KAPITEL LAURAS WUNSCHZETTEL HYPOCHONDER HELEN, FREDUNDTED ES ISTEINELCHENTSPRUNGEN EMILIA EIN FREUNDVONMIR DRESDEN DERBRAND DIE STURMFLUT DIE LIEBEEINESPRIESTERS DIE BLUTHOCHZEIT DER LENKBAREGROSSVATER DER FISCHERUNDSEINEFRAU DAS DUO–UNTERSTROM MCBRIDE IN ORBIT rm imPos L Wl ee ARCMS ARRICSCNY ARRICAMST WillRexer PrimeFilmProds.LLC TV60Film Tim Trageser aahtnNtoa imBad a ate ARFE 3B ARRICSCNY ARRIFLEX535B DanLautsen KazakhstanNationalFilmBoard M im AngelinaMaccarone MMMFilm ar eisnPoutos Dn eesn atWead ihig&gi Illumination Dynamics Lighting&grip MattWieland DanePeterson LevinsonProductions Larry leee ito FlorianHoffmeister blueeyesFiction osatnFlpouto SvenUnterwaldt ConstantinFilmproduktion ayLc rd L AatsMco Ade a Lgtn rp ARRICSC NY Lighting&grip AndrewDay AnastasMichos LadyLuckProd.LLC anrBo.Tlvso OcrDmnuz ihig&gi IlluminationDynamics Lighting&grip OscarDominguez Warner Bros.Television efr al Rbr rmsAC nrwSih ihig&gi Illumination Dynamics Lighting&grip AndrewSmith PrimesASC Robert BedfordFalls teamWorx Dror Zahavi einotrMveGb ChristianAlvart MedienKontorMovieGmbH 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ARRI Visual Effects ARRI Sound ARRI CSC Key Contacts Expo Calendar 2005 Vice-President Sales & Marketing Serge Giordano These are the most important exhibitions where you can find out about +49 - (0) 89 - 38 09 – 1384 ARRI products and services [email protected] ARRI Rental Deutschland Thomas Loher 2005 +49 - (0) 89 - 38 09 – 1440 [email protected] April 06 – 09 Prolight & Sound Frankfurt ARRI Film & TV Services Key Account: Angela Reedwisch April 11 –15 MIP-TV Cannes +49 - (0) 89 - 38 09 – 1574 [email protected] April 18 – 21 NAB Las Vegas ARRI Film & TV Services May 17 – 20 Koba Seoul International Sales: Thomas Nickel +1 - (0) 323 - 650 – 3967 May 22 – 24 Showlight Munich [email protected] ARRI Film & TV Services May 25 – 27 SMPTE Tokyo National Sales: Walter Brus +49 - (0) 89 - 38 09 – 1772 May_June 31 – 02 Testing Expo Stuttgart [email protected] ARRI Film & TV Services June 01 – 03 Showtech Berlin Feature & TV Drama: Josef Reidinger +49 - (0) 89 - 38 09 – 1339 June 03 – 04 CineGear Los Angeles [email protected] June 14 – 17 Broadcast Asia Singapore ARRI Film & TV Services Digital Film: Henning Rädlein June 14 – 17 Expo Cine Video Mexico +49 - (0) 89 - 38 09 – 1970 [email protected] August 02 – 04 Siggraph Los Angeles ARRI Film & TV Services Sound: Thomas Till August 25 – 28 BIRTV Beijing +49 - (0) 89 - 38 09 – 1292 [email protected] September 09 – 13 IBC Amsterdam ARRI Lighting Solutions September 11 – 14 Plasa London Sigrid Müller +49 - (0) 30 - 678 23 30 October 18 – 20 SATIS Paris [email protected] ARRI GB Ltd., Judith Petty October 28 – 30 Broadcast India Mumbai +44 - (0) 1 89 54 57 000 [email protected] November 01 – 04 TRBE Moskow ARRI Media, Philip Cooper November 03 – 06 IBTS Milan +44 - (0) 1 89 54 57 100 [email protected] November 11 – 13 LDI Orlando ARRI Lighting Rental, Tommy Moran +44 - (0) 1 89 54 57 200 November_December 26 – 03 Camerimage Lodz [email protected]

ARRI Inc., Franz Wieser +1 - 845 - 353 - 1400 [email protected] ARRI CSC Simon Broad, Hardwrick Johnson +1 - 212 - 757 - 0906 [email protected] [email protected] CSC Camera Service Center (FL) Ed Stamm + 1 - 954 - 322 - 4545 [email protected] Illumination Dynamics (LA) Carly Barber, Maria Carpenter + 1 - 818 - 686 - 6400 [email protected] [email protected] Illumination Dynamics (NC) Jeff Pentek +1 - 704 - 679 - 9400 [email protected] ARRI Canada +1 - 4 16 - 2 55 33 35 Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 München seb arrican.com @ Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita Müller ARRI Italia, Antonio Cazzaniga With additional text by: Elfie Bernt, Simon Broad, Sven Beyer, Jon Fauer, John Gresch, Jochen Hähnel, Karl Herrmann, +39 - 02 - 26 22 71 75 Dr. Hans Kiening, Sibylle Maier, Florian “Utsi“ Martin, Stefano di Martino, Kara Misenheimer, Marc Shipman-Müller, Kornelius J. [email protected] Müller, Timo Müller, Judith Petty, Karen Raz, Angela Reedwisch, Claus Richter, Andrea Rosenwirth, Prof. Jürgen Schopper, www.arri.com Mauro Sembroni, Jon Silberg, Michelle Smith, An Tran, Natasha Wang, Franz Wieser, Norbert Wunderlich ARNOLD & RICHTER CINE TECHNIK Artwork: add cooperation Uwe Heilig Mediendesign, lucie_p, Matthias Göbel GmbH & Co. Betriebs KG Türkenstr. 89 · D-80799 München Printed by: Rapp-Druck GmbH, Flintsbach phone +49 - (0) 89 - 3809-0 fax +49 - (0) 89 - 3809-1791 The opinions expressed by individuals quoted in articles in the ARRI NEWS do not necessarily represent those of ARRI or the editors of the ARRI NEWS. Because of our constant endeavour to improve quality and design, modifications may be made to products from time to time. Details of availability and specifications given in this publication are subject to change without notice.