ARRI News 2005-04, English
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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).