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Camera                                                        Lighting

Shooting in 3k RAW Mode with the ARRIFLEX D-20           04   BMW Welt – A Spectacular Location                         42

Examining the ARRIFLEX D-20 on G R E Y ’ S A N AT O MY   08   MAX Files Part IV                                         44

Data Capture on N A R N I A I I                          10   High Speed Technology – Testing of New Ballast            46
                                                              Technology by Weisscam Shows Great Promise
On Target with LDS System for S H O O T ’ E M U P        12
                                                              Lighting Up the Prague Quadrienale                        47
ARRICAM Lite Gains Speed – 48 fps                        14
                                                              Bright, Flexible and Cool – Wide Area Illumination        48
High Speed ARRIFLEX 235 –                                15   in TV Studios with ARRI Ceramic Lights
Not Only Frames per Second …
                                                              ARRI Demonstrates Turn-Key Lighting                       50
AICHA   – Danish Kung Fu Film Uses Super 16              16   Solution During SHOWTECH 2007

Otto Nemenz Revitalizes Super 16 with the ARRIFLEX 416   18   Supreme Lighting, Premium Support                         51

ARRIFLEX 765 Shoots for the Venice Film Festival         19

                                                              News around ARRI
The Power of Film                                        20
                                                              A Persistence of Vision                                   52
                                                              ARRI Celebrates 90 Years of Excellence
Digital Intermediate Systems
                                                              Max Welz Retires After 62 Years at ARRI                   58
4k+ Part II – Into the Digital Realm                     22
                                                              ARRI in the Balkans                                       60
Does 4k Look Better Than 2k?                             30
                                                              Japanese Film Industry                                    61
Digital Dailies                                          32   Celebrates NAC’s 50-Years Anniversary

ARRISCAN Goes Archive                                    34   ARRI Australia at SMPTE 2007                              61

ARRISCAN Gets Commercial                                 36   Big Success for the First ARRILASER in Romania            62

ARRISCAN Software Update 1.3                             38   Emirates Media Inc Visits ARRI                            62

The ARRISCAN Arrives at NoloDigitalFilm                  39   A Good Tradition Continues                                62

Introducing the New ARRILASER                            40   Eric Ferranti Awarded the Michael Ballhaus
High Speed Package 2 Camera                                   Young Talents Award 2007                                  63

                                                              German Cinematography Award 2007                          63

                                                              C I N E M AT O G R A P H E R S T Y L E                    64

                                                              Ser vices

                                                              A Selection of Currently Serviced Productions             65
                                                              ARRI Rental Germany · ARRI Media · ARRI Lighting Rental
                                                              ARRI Lab – TV Drama · ARRI Sound · ARRI Commercials
                                                              ARRI CSC · ARRI Australia · ARRI DI / VFX

                                                                                    F.l.t.r.: Prof. Dr. Dejan Ilic,
                                                                                    Jens Schäfer, Franz Kraus

Creativity Meets High-Tech
  “My best picture is the one I will take tomorrow” – At the age of almost 90, long after she had achieved fame as one of the most
  gifted photographers of the 20th century, Berenice Abbott was asked what she considered her best photograph, and this was her
  answer. ARRI shares this spirit of indefatigable, forward-looking enthusiasm as we approach the company’s own 90th anniversary.
  Of course we are pleased that we have been able to support all aspects of moving images over the years with milestones of technology:
  be it with developments like the first industrially manufactured camera with mirror-reflex viewing, the standard 16 mm news-gathering
  camera for the nascent television industry, the first studio-quiet camera for on-location sync-sound shooting, the ARRISUN daylight
  luminaire, which saw its first application at the Olympic Games or with post production equipment – today comprising the most
  advanced digital products but in the early days, the company’s first real product. ARRI’s 1916-vintage printer has found an honorary
  place in Munich’s famous Deutsches Museum. A retrospective like this is certainly a common way of looking at a company anniversary.

  However, ARRI’s unique and central position in the industry allows us – and even obliges us – to undertake something far more
  exciting: a glimpse into the future. Not only individual technical solutions will be called for but rather entire workflows that intermesh
  seamlessly and facilitate new business opportunities. Know-how from many different areas of film and digital cinema comes together
  at ARRI making it an ideal foundry for groundbreaking developments and further refinements, for completely new products or
  approaches such as a far-reaching “data management”, as is suggested by the 3k RAW-Data-Workflow described in this issue.

  Highly innovative lighting technology complements the camera and digital systems and opens completely new fields of endeavour
  such as “true” high speed filming or event application. The BMW Welt (BMW World), that is just about to open its gates, is a
  prestigious example.

  A necessary and comprehensive source of input for technical developments is provided by ARRI’s rental division. Without this
  gruelling real-life test track, many products would never have been conceived, let alone perfected for the needs of the professional
  users. Which brings us back to the starting point of the company: practical experience was the foundation on which Arnold and
  Richter built up the company. And practical experience has always meant more than just a few individual tests. Today, it encom-
  passes the performance and dependability of products in use all over the world.

                                                    Prof. Dr. Dejan Ilic              Franz Kraus                     Jens Schäfer


   A clear view towards the future is also represented by ARRI’s new organizational structure. A fresh corporate spirit is represented by
   Prof. Dr. Dejan Ilic, who was appointed earlier this year as chairman of the executive board. In an ideal way, he combines the
   qualities of an entrepreneur with those of a scientist. Ilic has gathered numerous accolades for his innovative approach, receiving
   among others the “First Innovation Award” in 2006 and the award for “Entrepreneur of the Year” in 2005.

   His entrepreneurial credo is easily summarised: “A great product no longer suffices in today’s world. Manufacturing, sales,
   marketing and administration all have to work hand in hand to ensure a product’s success in the market – and that is the real
   innovation. Thus, clever innovation management coupled with the right corporate culture forms the key.”

  ”We are dependent on our customer’s success. This is why we at ARRI invest so much in the cooperation with our partners,” explains
   Dejan Ilic. “We expect our technicians and service partners to be on-site with our customers. Creating new products from our customers’
   ideas and by our ability to listen – that is our goal.”
04   Camera

            3k RAW MODE with the
     Shooting in
     ARRIFLEX D-20 Digital Camera
                    Practical Experience from
                    the Feature Film K R A B AT

                                                  D-20 HD signal

                                             D-20 raw data signal
                                                                                                                                               Camera    05

                                                                                  Alex Lemke,         Marco Kreutzpaintner,   Daniel Gottschalk,
                                                                                  VFX Supervisor      Director                DoP

        In July 2007, CWP production and 20th Century Fox shot the last takes for the production KRABAT . The movie
        is based on the popular book by Ottfried Preußler. It was shot in 80 days on locations in Germany and
        Romania by director Marco Kreutzpaintner and DoP Daniel Gottschalk, who already collaborated before on
        SO M M ERSTU R M and TRAD E. Most of the production was shot on film but for the last 3 days, when

        composite shots were planned, VFX Supervisor Alex Lemke opted to use the ARRIFLEX D-20.

“The D-20 delivers a stunningly clear signal        other pre-recorded footage. The extra infor-       Apart from the new approach, there was
 that makes compositing easier,” Alex Lemke         mation we capture is like an insurance that        also an HD signal recorded to HDCAM SR,
 says. “But instead of using the typical work-      the compositing will work,” Lemke says.            as the insurance company required a mag-
 flow of recording an HD signal to tape, the       “And besides this, it makes camera tracking         netic tape as direct recording media. This
 D-20 team proposed to record the raw data          easier, too.”                                      recording was also used for offline editing,
 signal of the camera directly onto hard disk                                                          as well as for on set reviewing of critical
 field recorders. The advantage of this work-      For Alex Lemke, the main advantage is to            takes. “Focus was tricky in some situations,
 flow is independence from the HD picture          have a resolution of 2880 pixels horizontally,      where we had actors and cameras delicate-
 raster and color space, as well as having         which contains more detail than an HD sig-          ly moving at the same time. The possibility
 the data on IT friendly recording media.”         nal, and the ‘picture raster’ corresponds           of judging focus right after the take gave us
                                                   exactly to the data from the scanned nega-          an enormous amount of security, especially
Another advantage is the usage of the entire       tives. “For K R A B AT, we go through a DI          when thinking of the elaborate postpro-
sensor area in full resolution. Especially with    at 2k. If we had recorded an HD signal, we          duction work that follows,” says DoP Daniel
chroma key shots this allows for reframing in      would have to blow up the picture, which            Gottschalk. “I was astonished how good the
postproduction. “This is a great advantage         would not serve the image quality.”                 picture from the D-20 looked,” he continues.
when it comes to integrating the shot into

HD vs. R AW Image Workflows
                             2880       Downconvert 1.5 : 1                                                         Upconvert 1.06 : 1
                                            + Crop                                                                      + Crop
                                                                 1920                                1920                            2048

    HD                                     1620                            1080                                 1080                               870

                             2880                                2880                                   2880


    R AW                                    2160                                  2160                                                             870

                                                                                                                    Downconvert 1.4 : 1
                                                                                                                        + Crop

                           Sensor                             Recorded                             Postproduction                    Final
                           Output                              Image                                   Image                        Delivery
06     Camera

          R AW DATA CHAIN

                                HD Preview

                                                                                Tape Transport
                         HD Tape                                                                                                Grading

                                       HD         TimeCode
                                                                                                            Postproduction                     DPX
                                       Raw                                                                       SAN                           Files
             ARRIFLEX D-20
                                                                     2nd RAID

                                        Raw                                                      RAID
                                                                                                                              Raw Files
                                                                                     1st RAID

     KR A BAT Workflow

     The raw data signal for the final pictures, a
     proprietary format that utilizes the dual-link      Uli Putz,                    Uwe Wessely,             Dr. Achim Oehler,
     HD SDI interface, was recorded on a Mega-           KR A BAT Producer            ARRI R & D               Head of D-20 development team
     Cine field recorder designed by the IIS Fraun-
     hofer Institute Erlangen. This recorder sup-        Two and sometimes three MegaCines were              higher data rates than the HD-SDI standards
     ports all modes of the D-20 and has a capa-         used and swapped during breaks so the               must be based on a raw data chain – this
     city of 1 TB, or 1 hour of D-20 raw data.           data was constantly being backed up. At             is one of the main reasons for developing a
                                                         the end of the day, one RAID was brought            different workflow. To use the HD-SDI alpha
     The data was transferred on the set via a           to the post production facility and trans-          channel to transport higher bit depths than
     workstation with a capture card to two RAIDs        ferred onto its SAN. For compositing work,         ‘allowed’ in the HD-SDI stream is a trick that
     with a total capacity of 12 TB each. “We            the raw files from the SAN were transformed         may eventually be useful in the future (i.e.
     developed a software which records the raw          into DPX-Files with the ARRI Image Booster          for transporting 14 bit data via a 12 bit HD-
     data that is played back from the MegaCine          software, which reconstructs a full RGB             SDI stream).” In an approach as described
     in our own raw data file format,” says Uwe          image from the raw data.                            above, he says that one of the next steps
     Wessely from ARRI R & D. “To make sure that                                                             will be to provide a complete digital dailies
     no picture was lost, we already recorded            The RAID was brought back to the set for            system running on a standard PC that is
     timecode on the MegaCine. The timecode              the next day of shooting. One RAID con-             connected to the local storages. The key
     was generated by the tape recorder – conse-         stantly stayed on the set in case something         technology for this are GPU (graphical pro-
     quently the EDL from the offline edit can also      happened to the other RAID during trans-            cessing unit) based processing and display
     be used for the processing of the raw data.         port. Everything went fine, which not only          systems. “In addition more variants of the
                                                         pleased the production: the D-20 team is            workflow shown here will come up because
     For on set viewing of the raw data, an Iridas       very happy about the way things worked              ARRI is working with recorder manufacturers
     FrameCycler with real-time raw data recon-          out: “This was our first step into the next gen-    on implementing realtime unpacking and
     struction was used.                                 eration of digital filmmaking. By just using        debayering of the D-20 raw data.
                                                         proven components we were able to estab-
     After recording the data on the RAID, which         lish a non-expensive raw-data workflow             The cornerstones necessary for using the raw
     was already internally protected against            which now has shown that it works well under       data workflow, especially the Image Booster
     data loss, we cloned the data onto another          production conditions,” says Achim Oehler,         software, are currently entering the beta
     RAID as an extra backup. With this approach,        head of the D-20 development team.                 testing stage.”
     there was absolutely no risk of losing the
     data. “In comparison to a negative, which “In the future, raw data will be used more                   K R A B AT is currently in postproduction and
     still has to make the way to the lab, this is and more for a data centric workflow with                will be released in October 2008.
     much safer,” says Wessely.                    digital cine cameras. All formats requiring
                                                                                                                                           Camera       07


• 12 bit 3k raw data are transported in the HD-SDI stream using            • Spezialized capture software (an ARRI in-house development)
  the RGBA 24 / 25 / 30 p video raster. 2880 × 2160 @ 24 and 25 fps,         transferring the takes on the MegaCine to a local RAID by capturing
  2880 × 1620 @ 30 fps                                                       played back data and doing the descrambling on the fly.

• Raw data are unprocessed linear Bayer data. Only gain offset,            • Iridas FrameCycler for review of the backed-up data
  white balance and dead pixel correction are applied.                     • Image Booster (an ARRI in-house development running under Linux
                                                                             or Windows) for doing the debayering and eventually color space
ADvANTAGES oF R Aw DATA                                                      conversion and LUT processing in the post house.

• Full 3k format (4:3 at 24 / 25 fps, 16:9 at 30 fps)
                                                                           EXPERIENCE GAINED
• Anamorphic lenses can be used because the 4:3 format is supported
                                                                           • The additional SRW recording was useful for having a first backup for
  (at 24 fps and 25 fps)
                                                                             the insurance company and it was also useful for producing the dailies.
• All processing steps can be controlled in postproduction
                                                                           • The Image Booster realizes a reference implementation for the basic
• All decisions regarding lookup tables and color space conversions          post processing steps, especially the debayering. Such a reference
  are shifted to postproduction                                              implementation is a must for making sure that more advanced processing
• Critical corrections can easily be done in postproduction                  steps always refer to a baseline.

• All processing steps are reversible as they are done in postproduction   • Utilizing the HD-SDI stream as a transport for raw data is a good idea.
                                                                             Standard field recorders can be used and recorded takes can be
• Image data has highest dynamic range possible with lowest
                                                                             backed up via an affordable HD-SDI capture card within a standard
  noise possible
                                                                             PC. This eliminates the need for using a high bandwidth IT interface
                                                                             like 10 GBit Ethernet or Infiniband.
                                                                           • Standard RAID enclosures can be used like film rolls. At the end of
• 1 ARRIFLEX D-20                                                            the day the enclosures can be transported to the post house and directly
• 3 MegaCine field recorders (IIS Fraunhofer Institute Erlangen)             backed up to the post’s SAN. As storage is so affordable nowadays,
                                                                             this is a very reasonable workflow.
• A local backup station consisting of two 12 TB RAIDs and a standard
  Windows PC holding a HD-SDI capture card from DVS.
08                                              Camera

                                                 EX A M I N I N G TH E ARRI FLEX D -20 O N

                     GREY'S ANATOMY IMAGES

                                                 ANATOMY                                                                          Sam Nicholson, Director of Photography and
                                                                                                                                  Visual Effects Supervisor relies on ARRIFLEX D-20

                                                           G REy'S ANATOMy is a popular, award-winning TV drama centered on the personal and professional lives

                                                           of a group of physicians at Seattle Grace Hospital. In the third season of the hit series, a three-episode
                                                           story arc involved a deadly explosion and fire on a ferryboat. Producers called upon Stargate Digital to
                                                           deliver visual effects on a catastrophic scale. Shot largely in a Los Angeles parking lot with extensive
                                                           greenscreens, Director of Photography and Visual Effects Supervisor Sam Nicholson relied on the ARRIFLEX
                                                           D-20 to capture imagery for this digital disaster. The hi-def footage also needed to blend with the show’s
                                                           first unit photography, shot on 3-perforation ARRICAMs (from Otto Nemenz International) by DP Herb Davis.

                                              For a complex triage scene, fire trucks,         of smoke and fire, along with greenscreen            D-20. Once you find something like that,
                                              ambulances and shipping containers were          work. Because the D-20 holds smoke on                you use it.
                                              assembled in the parking lot before a giant      green and bluescreen so well, we used the
                                              greenscreen. Stargate then comped in back-       D-20 in all principal photography for these          The serious advantage for using the D-20 is
                                              grounds of Seattle along with CGI helicopters    scenes. Also for continuity, we shot all the         when we’re shooting blue and greenscreen.
                                              and the ocean. In the end, the facility deliv-   interior scenes on the ferry with the D-20.          We found with the D-20 that we can shoot
                                              ered over 330 shots for the three episodes.      As predicted, it pulled the keys beautifully         bluescreen and greenscreen much more
                                              Nicholson, who founded the company back          and the cinematography looks great as                naturally now with glass in windows and
                                              in 1989, talked to ARRI about how using          well. That was a very successful use of the          with shaded gradation on the top of a car
                                              the D-20 was key to making the ferry crash       D-20 on set, and it mixed not only within            window – things we used to have to take out.
                                              sequence on time and on budget.                  the same frame, but the whole scene cut
                                                                                               very well with the D-20.                             You utilized on-set compositing for this
                                              Can you tell us about the overall setup                                                               project – what are the advantages?
                                              involved in carrying these sequences off?        why does the D-20 work so well with
                                                                                               bluescreen?                                          SN: You have the material immediately and
                                              Sam Nicholson: For principal photography,                                                             you can comp on set. It gives us a definite
                                              two, 100-foot by 30-foot greenscreens were       SN: When possible, we use the D-20 almost            edge in visual effects.
                                              set up in a parking lot. We then shot Seattle    exclusively on all blue and greenscreen
                                              separately using the D-20, getting footage       work because the blue channel is so solid it         were interiors shot on stage?
                                              of the ferry and ferry terminal in the city.     gives you superior keys to anything we’ve
                                              We blended all of the environmental work         been able to test to date – any film stock           SN: The interiors were shot at ABC Prospect
                                              on the D-20 with film shot on set for the big    or any digital camera. Blue is historically          Stage. We built the interior of the ferry and
                                              exterior disaster sequence. We went inside       weak in film and all telecine transfers. It gets     then extended it digitally, matting every-
                                              the ferry, and at that point there was a lot     really grainy, but it’s extremely quiet in the       thing outside the windows.
                                                                                                                                               Camera          09

It allowed us to put smoke on the set and        with greenscreen in Los Angeles. It’s com-           of post on a show for episodic television.
do bluescreen at the same time, which is         posite photography at a pretty complex               If you can save two days by shooting a
very unusual. The other thing we’ve found        level. It’s blending film and digital cinema-        clean, hi-def image up front that looks like
is due to the fact we use a lot of diffusion     tography together, doing it efficiently with         film, that’s a big deal. It’s definitely a para-
and filtration on actresses in these shows       a photo-real end result. That’s the trick and        digm-shifting event. I think the D-20 will
and everyone has their special filter, we can    the D-20 is getting us there.                        be very, very well accepted in television.
also use those on bluescreen. Previously,
we could only shoot bluescreen with an           The key to make it work for television is that       I’m looking forward to seeing a lot more
absolutely clean lens, no filtration. Because    we have to make it good, fast, and cheap             productions using the D-20 because it makes
of the quality of the D-20, we can use           all at the same time, which historically people      our lives a lot easier, and ultimately results
filtration on greenscreen.                       have only been able to get two parts of              in a better product. It’s a fascinating tech-
                                                 that triangle. The D-20 allows us to work effi-      nology, and I think it will be fascinating to
We generally have about 20 shows running         ciently, fast and get incredibly high quality        see where the people at ARRI take it.
and they determine what cameras we use.          results and that is the paradigm of television
We’ve dealt with all camera systems. The         that has to be met. We only have 10 days             Interview by An Tran
D-20 is undoubtedly the cleanest signal
we’ve been able to achieve yet, which
amounts to better results and cost savings
                                                                                                            Before compositing: the GREy'S ANATOMy ferry
because you can get good results faster
with a cleaner signal.

At Stargate Digital, you’ve innovated
the ‘virtual Backlot.’ Can you explain this
concept to our readers?

SN: The Virtual Backlot is essentially a com-
prehensive library of immersive locations
around the world. Right now, they are either
shot as stitched environments or 360-degree
environments supported by digital still pho-
tography, D-20, film – basically all sorts of
different media. It’s like ‘leasing’ environ-
ments. If you want to stage a scene in Tra-
falgar Square, we have Trafalgar Square
covered so you can do your wide shots, mas-
ters, overs, close-ups, medium shots, your
walk and talks – all in Trafalgar Square.
We’ve covered Times Square, a lot of
Morocco, Paris, a lot of driving footage,
                                                                       After compositing: the final scene with visual effects and Seattle background footage

 We’re not trying to replace reality. People
get a little confused. They say, “I’d rather
go out and shoot it myself or actually be in
San Francisco on a cable car.” We’re not
trying to replace that. This is an alternative
that costs far less than going to a location.
For a one-page walk-and-talk in Paris, you
can actually do it now rather than rewrite
the scene. It’s more of a creative and
empowering tool than a replacement for
reality. It looks very convincing.

We use it very regularly on the show UGLY
BETTY. UGLY BETTY is shot in Los Angeles
for New York. The characters walk on the
Brooklyn Bridge, they walk in parks, etc.
They are just walking around on a stage
10    Camera

                                                                           Director Andrew Adamson on location
                                                                           with the ARRICAM Lite

                                                                                     The epic commercial success of T H E LO R D
                                                                                     OF THE RINGS trilogy has shown that it is
                                                                                     possible to go beyond the paradigm of a
                                                                                     single feature film with optional sequels.
                                                                                     Studio executives are now actively looking
                                                                                     for content that can span multiple films from
                                                                                     the beginning. THE CHRONICLES OF NARNIA
                                                                                     by C.S. Lewis, a contemporary of J.R.R.
                                                                                     Tolkien, are perfect in that regard. They
                                                                                     consist of seven books telling the tale of
                                                                                     four children who escape World War II
                                                                                     London to find themselves as powerful pro-
                                                                                     tagonists, and ultimately kings and queens,
                                                                                     in the alternative reality of the land Narnia.
                                                                                     With the first Narnia film THE CHRONI CLES
                                                                                     OF NARNIA: THE LION, THE WITCH AND
                                                                                     THE WARDROBE      exceeding the studio’s ex-

     Data Capture
                                                                                     pectations in terms of box office revenue,
                                                                                     the second one is now being shot in multi-
                                                                                     ple locations, including the Czech Republic,
                                                                                     Slovenia and New Zealand. “Huge pro-
                                                                                     ductions like these, with their logistic and
                                                                                     artistic challenges, can add pressure on
                                                                                     the crew” explains unit publicist Ernie Malik,

     on NARNIA II
                                                                                    “but Director Andrew Adamson and cine-
                                                                                     matographer Karl Walter Lindenlaub are
                                                                                     real pros and run a very efficient and calm
                                                                                     set. That helps tremendously in setting a
                                                                                     relaxed mood and tone for everyone.” The
                                                                                     set if not only closed to the public, but
                                                                                     sometimes also hard to reach, as cinema-
                                                                                     tographer Karl Walter Lindenlaub, ASC,
                                                                                     experienced: “We shot in some of the most
     TH E CH RO N I CLES O F NARN IA: PRI N CE CASPIAN is shooting                   beautiful places in New Zealand, but we
                                                                                     had to go to most by helicopter. They have
     with ARRICAMs, ARRIFLEX 435 and 235 cameras and Master                          a lot of beautiful land there, but no roads,
                                                                                     no infrastructure at all.” Gregory Irwin, first
     Prime lenses. Like the first Narnia epic, it promises to be a fire-
                                                                                     camera assistant, ads: “We went to these
     work of fantastic landscapes, creatures and adventures. To                      locations because we needed ancient forests,
                                                                                     and there are not that many of those you
     streamline the task of pushing the vast number of special effects               can get to easily.”
     shots through the pipeline, ARRI has built a sequel to the Data
                                                                                     Since the show includes a large number of
     Capture System (DCS) originally conceived for George Lucas´                     visual effects, the VFX team early on thought
                                                                                     about how to streamline the process. After
     STAR WARS – PHANTO M M ENAC E. Marc Shipman-Mueller
                                                                                     many conversations with ARRI Rental Ger-
     visited the highly secretive Narnia set in Prague and talked with               many, the rental house supplying cameras
                                                                                     and lights, it was decided to increase effi-
     the crew about their experience so far.                                         ciency by automatically carrying some infor-
                                                                                     mation from the set into postproduction.
                                                                                                                                                 Camera       11

                                                                            The video assist image (left) shows lens and camera status information,
                                                                            a useful tool for cinematographer, director and script supervisor. The same
                                                                            information is also displayed on the Lens Data Display for Focus Puller
                                                                            (LDD-FP, right) in a simple to grasp graphical format imitating the way iris
                                                                            and focus rings look on an actual lens

                                                                                                        Cinematographer Karl Walter Lindenlaub on one of
                                                                                                                 the huge forest sets in a Studio in Prague

ARRI engineers met with Dean Wright and          get it is there. It is continuously running and
Wendy Rogers, both SFX Supervisors on            no bother at all. Our shooting style is just
THE CH RO N I CL ES O F NA RN I A: PRINCE        like on any other normal production. I have
C A S P I A N and with cinematographer Karl      worked on some big SFX features, and
Walter Lindenlaub, ASC in Prague during          when we had motion control scenes, we
pre-production.                                  would be able to do 15 setups in a week.
                                                 Technology has advanced so much, that            CAM really is the best of both worlds. We
The results were specifications for the Data     we are now doing 15 setups per day.”             also use the 235 all the time. For action
Capture System (DCS-2), which the ARRI                                                            scenes, for hand held, as a crash camera.
engineers were then able to develop in re-     Felix Pomenranz, official VFX Lead Data            I sometimes just grab it when I have an idea.”
cord time before start of principle photo-    Wrangler, ads “I ensure that the DCS-2
graphy. The DCS-2 is a box that attaches to    boxes are jammed to timecode regularly,            Camera assistant Gregory Irwin is using
the camera and records information from        look out for errors and organize the data          every tool at his disposal to ensure a smooth
camera and lens into its memory while the      that is recorded. On my computer every-            running set and sharp images. The cameras
camera is rolling. ARRI Project Manager        thing is stored in folders based on the date       sport the Cinematography Electronics Cine
Michael Haubmann explains: “Since we had and if it was A, B, C, D or E camera. The               Tape Measure, as well as the ARRI Lens
done something very similar for STAR WARS – box records camera serial number, lens                Data Display for Focus Puller (LDD-FP).
THE PHANTOM M ENACE in 1997, we had a          focal length, focus, iris, fps, shutter, tilt and “First we used the Lens Data System as input
pretty good understanding of the require-      pan. I also measure the sets and take lots         for the Data Capture System. But Walter
ments. Technology has advanced since then, of reference photos. We have these large               and director Andrew Adamson want a lot
so we could make the box smaller and give      spheres with various levels of reflectivity        of depth of field. When we have a lot of
it more functions. Where we had used cum- (shinning chrome, matte silver, etc.) that              people in the shot, they want them all to be
bersome encoded heads and dollies on           we use for reference later in post. The mea-       in focus. The depth of field display on the
S TA R WA RS, we are now able to use posi-     surements, photos and DCS-2 data are               LDD-FP allows me to pull the split and have
tion sensors in the DCS-2 box to record        then shipped to the VFX post houses.”              a graphic reference of what I am doing. I
camera movement in two axis. That makes                                                           could do the math on the fly, but the LDD-FP
the system much more versatile.” First camera Cinematographer Karl Walter Lindenlaub              is safer and faster. With the LDD-FP I see
assistant Gregory Irwin experimented with      barely notices the DCS-2 system while shoot- a visual bar graph of the depth of field, and
various mounting options, and ended up         ing, but appreciates what it does for post:        that has been very helpful. The display of
placing the DCS-2 box on the ARRICAM          “These new movies have so many VFX shots            camera status info is also very useful.”
Studio in place of the Speed Control Box.      in them now, this one will have 1300 to
                                              1500. Big films now need to be more and            There is still a lot of work to be done before
Mr. Irwin explains further: “It was important  more visually exiting, more and more CGI,          the release date of May 16, 2008, but the
to me that we figured out from the very be-    and anything we can do to speed up this            innovative use of metadata on this film will
ginning who was responsible for the data       process helps.” When asked how he felt             help speed the images and information
capture. The division of labor was very im-    about the cameras, he responded: “ARRI has through postproduction.
portant. Felix Pomeranz from the VFX team      now the furthest developed film cameras.
was designated as the guy responsible for      Everything is compatible, top class, the ARRI- Marc Shipman-Mueller
the data capture boxes on the camera. He
manages the homing, he does all the mea-          Gregory Irwin during equipment check-out in        ARRI engineer Franz Wittmann tests the DCS-2
surements and at the end of the day he down-      Munich. Note the DCS-2 box (the black box with     box with the ARRI Wireless Remote System on an
loads the data from the boxes onto a mem-         the white ARRI logo) attached to the ARRICAM       ARRIFLEX 435 Xtreme
ory stick. He is very diligent, and so far        Studio instead of the Speed Control Box
everything has gone smoothly. Originally
we wanted to run the DCS boxes only on
designated VFX shots, but I suggested early
on, to have the boxes running all the time,
since that gives them the option to do what-
ever they want later in post. We are doing
that now, and once the box is on, we for-
12    Camera

     On Target with LDS System for

     When Ciaran Copelin was tasked with pulling focus on A-camera for
     a high-adrenaline action film starring Clive Owen, he was prepared for
     some challenging work. Shot completely on Steadicam or handheld,
     S H O OT ‘ EM U P was directed by Michael Davis ( M O N STER M AN, G I R L                  Pau brought together Copelin as 1st assis-
     FEVER) and shot by Oscar winner Peter Pau ( C RO U C H I N G TI G ER,                       tant camera, along with Keith Murphy and
                                                                                                 Mike Hall as operators, John Harper as
     HIDDEN DRAGON). The relentless chase film takes viewers through gun-
                                                                                                 B camera 1st assistant, Key Grip Michael
     fights, narrow escapes and big budget stunt work to deliver a testosterone-                 O’Connor and Gaffer Chris Howard during
     pumping pursuit. Owen plays Mr. Smith, a homeless man who finds                             the early stages of prep to talk about the
                                                                                                 film’s shooting style. Pau is no stranger to
     himself protecting a newborn baby in the midst of a gunfight. Turns out the
                                                                                                 the action genre, bringing years of exper-
     killers are after the child and Mr. Smith must uncover why the baby is                      tise shooting Hong Kong-style thrillers for
     a target to save both of their lives. A relentless chase ensues and Smith’s                 John Woo and Hark Tsui. Says Copelin,
                                                                                                “Peter’s plan for the film was it would be
     hidden talents as a gunman come to light as he defends the child.
                                                                                                 shot completely handheld and Steadicam.
     SHOOT ‘EM UP also stars Monica Bellucci as a prostitute who helps Smith                    The camera was going to be constantly
     and Paul Giamatti as the maniacal bad guy out to get him.                                   moving. Even if it was on an extremely long
                                                                                                 lens like a 12:1, the camera would be on a
                                                                                                 sandbag and have some movement to it.
                                                                                                 He was going to light quickly. A lot of light
                                                                                                 would come from above and we were go-
                                                                                                 ing to be ready and set to shoot. I think the
                                                                                                 longest day we had on the show might
                                                                                                 have been 12.5 hours. Peter would shoot
                                                                                                 two or three takes maximum and then we’d
                                                                                                 move on. It was really a show about get-
                                                                                                 ting a lot of setups. I think one day we did
                                                                                                 34 setups with two cameras.”

                                                                                                To properly capture all of this nonstop
                                                                                                action, Copelin relied on the ARRI Lens

                                                             Preparing for a motocam shot: Copelin in blue jacket sits in the side car,
                                                             Operator Keith Murphy (in black jacket) readies the Steadicam
                                                             to a hard mount assisted by 2nd AC Zena Bielewicz (in brown parka)

                                                            A rickshaw rig with Operator
                                                                   Keith Murphy, 2nd AC
                                                            Zena Beilewicz and Copelin
                                                                          with the remote
                                                                                                                                                 Camera        13

Data System (LDS) and Wireless Remote           roof. You put Clive Owen in there, Keith the
System (WRS). “We were going to shoot fast      Steadicam operator, a grip behind Keith to
and we were going to shoot lots of action.      guide him down the hall and there really
Peter wanted all the cameras to have the        was nowhere to be – but behind everyone.
ARRI WRS on them. Right off the bat, Peter      From that point of view, the Cine Tape feed-
decided we would use an ARRICAM Lite, an        ing the information back to the WRS was
ARRICAM Studio and an ARRIFLEX 235 –            a real advantage.”
all with the ARRI LDS lens system so the LDS
would speak to the WRS units. He knew           With an extremely fast schedule that needed
the cameras were going to be in situations       to cover a lot of quick action, the assistants             Monica Bellucci stars as DQ in SHOOT ’EM U P
where the focus puller couldn’t always be        could rely on the operators and the ARRI-
beside it. Whether or not the camera was         CAM viewfinder to judge focus. “Being
going to be on Steadicam or it was hand-         handheld, constantly moving with the cam-
held, he still wanted to use the LDS system      era and moving with the actors is probably
and WRS system.”                                 the most challenging environment to pull
                                                 focus. At least by shooting handheld you’ve
The LDS system displays lens and camera-         got someone looking through the eyepiece
related information on Lens Data-Displays        and one of the bonuses to the ARRICAM is
or the video assist. The LDS also acts as an     that the viewfinder is really, really bright.
interface for external distance measuring        Both operators have a great eye for focus,
devices and allows focus tracking. The pro-      so you do the first take and they might say,
duction used Cinematography Electronics’        ‘You were a little behind him right there …’
Cine Tape Measure Systems, feeding the           Getting that sort of feedback is always                    Clive Owen as Mr. Smith, protects
information to the LDS system to receive a       great. I’d rather be handheld than Steadi-                 the child with his gun skills
readout on the ARRI WRS handset.                 cam because at least you’ve got someone
                                                 looking through the camera as opposed
“My initial thoughts were there might be         to looking at a monitor.”
 too much information on the screen,
 but it was great,” notes Copelin, whose        Copelin credits Pau’s organization and artis-
 credits include GET RICH OR DIE TRYING         try in making the 11-week schedule move
 and WHERE THE TRUTH LIES. “If you were         smoothly. “It really was a fun shoot. It was
 hooked up to a Preston you could see           a chase movie from start to finish and it
 that you’re at 30 feet, with the WRS and       was a good experience because Peter was
 the LDS system it shows you are at 29 feet,    very prepared. He knew exactly what he
 8 inches – it’s that precise. The LDS system   wanted, which makes it really easy to work
 tells the camera exactly where the lens is     for him. You go in, and you know exactly
 and then it transfers that information to      what you’re going to be doing. We didn’t                    Paul Giamatti and Clive Owen in a scene
 the WRS.”                                      do long days. It went by really fast, we were               from SHOOT ’EM UP … 1st AC Ciaran
                                                never sitting around waiting for something.                 Copelin depended on the Lens Data System
                                                                                                            and ARRICAMs to capture the action
The tools demonstrated their usefulness for     The cast was wonderful. Clive, Monica and
 setups in small spaces where the camera        Paul were all really great people to work
 assistants could not be close to the camera.   with and there were some good laughs on
“We had this one hallway set that was built     set. All around, it was a really enjoyable
 specifically very narrow. We could get on      experience.”
 top of the set to look down because the
 lighting was brought right to edge of the      An Tran

                                                                The crew gets a camera car shot ready
                                                      (f.l.t.r. on the lower deck): Operator Mike Hall,
                                                                       1st AC John Harper, Copelin and
                                                                                  Operator Keith Murphy     Paul Giamatti stars as the villain
                                                           Upper deck (f.l.t.r.): Peter Pau oversees shot
                                                                    in blue parka, beside him is director
                                                                                           Michael Davis
                                                                                                                                                           PHOTOS COURTESY OF NEW LINE CINEMA

Copelin with WRS in hand, discusses the shot
with Operator Keith Murphy
14     Camera

                                                                                                    ARRICAM Lite
                                                                                                    Main Features
                                                                                                    • Small & lightweight
                                                                                                       Super 35 sync sound camera
                                                                                                    • Ergonomic design and ease of use
                                                                                                    • Brilliant viewfinder
                                                                                                    • High quality video assist
                                                                                                    • Camera speed: 1 – 48 fps
                                                                                                    • Electronic shutter: 0° – 180°
                                                                                                    • 4 or 3 perforation movement
                                                                                                    • Modular concept
                                                                                                       — four viewfinders available
                                                                                                       — two 100 % video-only tops
                                                                                                       — two video assist units available
                                                                                                       — four magazine types give

     ARRICAM Lite
                                                                                                          great flexibility
                                                                                                    • Extensive range of accessories
                                                                                                       — wired & wireless remote control
                                                                                                          of camera & lens
                                                                                                       — external synchronization

                                                                        48 fps
                                                                                                       — ramping (speed, depth of field

                             Gains Speed                                                                  ramps, timing shift)
                                                                                                    • Built-in Lens Data System

     The ARRICAM system, consisting of the          just a bit faster. Taking the lessons learned

                                                                                                                                                         PHOTO COURTESY OF CL AUDET TEBARIUS FOR HBO
     super quiet ARRICAM Studio and its smaller     from the recent 235 speed bump, we have
     sibling, the lightweight ARRICAM Lite,         analyzed the ARRICAM Lite motor, move-
     has by now become the favorite sync sound      ment and magazine, and by optimizing all
     camera system for feature films and com-       operational parameters (and months of rig-
     mercials. Various Oscar-winning and Oscar-     orous testing) we were able to increase the
     nominated feature films utilized these cam-    maximum forward speed to 48 fps.
     eras, and demand for rental as well as sales
     is continuously high.                          Not only will all ARRICAM Lite cameras be
                                                    shipped with the speed upgrade, it is also
     Since the release of the ARRICAM system,       possible to upgrade already shipped cam-        ENTOU RAGE's many ‘walk-and-talk’ scenes
     we have received persistent requests from      eras. For more information, contact your        are captured handheld with the ARRICAM Lite.
     cinematographers who want the Lite to run      local ARRI Service Center.”                     F.l.t.r.: Kevin Dillon, Adrian Grenier,
                                                                                                    Kevin Connolly, Jerry Ferrara

                                                                                                    Steven Fierberg, ASC worked on the US hit
                                                    “Clairmont Camera has purchased another         show ENTOUR AGE for many seasons. He used
                                                                                                    an ARRICAM Lite, and shared some of his
                                                     ARRICAM Lite in the past few months. We        views with us recently: “I love the ARRICAM
                                                     now have a total of 21 ARRICAMs, of            Lite, it’s an almost perfect camera. The viewing
                                                     which 9 are Lites. The ARRICAM system is       is great, but most importantly it‘s the best hand-
                                                                                                    holding camera since the 35 BL1. On a series
                                                     clearly top of the line, and for the crews
                                                                                                    like ENTOUR AGE , which is 90 % handheld, it
                                                     the ARRICAM Lite has become the camera         would have been much more difficult to do this
                                                     of choice.”             Denny Clairmont        series with any other cameras. It is so well-
                                                                                                    balanced that when I operate, even with the
                                                                                                    1000 ft mag, I sometimes keep it on my shoulder
     ”Once we started renting the ARRICAM, our rental house                                         between takes. It has a broad range of frame
      became a major player. We’ve been outfitting many high                                        rates that can make it a workhorse for 90 % of
                                                                                                    a production’s needs, or even 100 %, depend-
      profile television series and big budget films. We were
                                                                                                    ing on how much slow motion is needed. I just
      only able to do those shows because of the ARRICAMs,                                          finished the action movie DAYS O F WR ATH
      otherwise we wouldn’t have been up to par with the                                            and it was a great ‘A’ camera, only necessi-

      demands of the studios. Right now in TV we’re doing                                           tating 435 rentals a few times for extreme slow
                                                                                                    motion shots. The ARRICAM Lite is a great
      GREY’S ANATOMY, BONES and ENTOURAGE .” Otto Nemenz                                            camera – I love it!“
                                                                                                            Camera           15

235 km/h speed , 50 seconds free fall time, 200 ft of 35 mm film in the magazine

Greg Gasson has been flying cameras since 1995. As a two-time world champion and Best Cameraflyer Award winner
from 2003 to 2006, he always had the dream of filming 35 mm in the sky. With his company he films,
coordinates and conceives commercials, film- and TV productions.

For three years he had saved to buy his           In only three days of shooting and about
first rebuilt ARRI IIC in 2001. Modified by       ten jumps Greg and his crew were able            Greg Gasson
SL Cine for Super 35, a PL mount, and a           to film spectacular footage for the ARRI
crystal control, this model was the only 35 mm    NAB-promotion. Because of the extraordi-         Aerial and extreme
camera from ARRI which was light and              nary aerodynamics of the 235 and the             cinematographer,
small enough to film in free fall at that time.   unique angle of the Ultra Prime 8R, visuals      first skydive in 1984
                                                  never seen before were presented at the          • 6000+ skydives
In 2004 he traveled to ARRI Munich, where         ARRI booth in Las Vegas.                         • 100+ Base jumps
Manfred Jahn introduced him to the 235.                                                            • 2 times World Champion
He immediately tried to figure out how to         After the great response, Greg and ARRI            Camera-flyer
get the money to buy one, but it took him         decided to continue the project with more        • 3 times US National
three more years to finally fly the 235 for       adventurous scenes including rock climbing,        Champion Camera-flyer
the first time. In cooperation with ARRI´s        water skiing and scuba diving to be pre-         • Stunt work for TV,
product manager for cameras and lenses,           sented at IBC 07. Stay tuned to read the           Commercials and Film.
Marc Shipman-Müller, he started an ex-            whole story in the next ARRI NEWS.               • Hopelessly ARRI addicted ;-)
treme-filming-advertising-project for this
astonishingly small and lightweight but           Anouschka Fiedler and                  
technologically advanced film camera.             Stephanie Ahlen                                  Tucson, Arizona
X6     Camera

                                                                                                             Sebastian Winterø operating the Steadicam
                                                                                                                                during a fight sequence

     Danish Kung Fu Film Uses
                                                                            SUPER 16
     When considering the production of the Danish kung fu feature film AI C HA ,                    “Before the shoot extensive tests of both the
                                                                                                      35 mm and the Super 16 formats were made.
     DoP Sebastian Winterø, DFF, and producer Johnny Andersen of Nimbus Film
                                                                                                     As the film contains many action scenes with
     decided to use the ARRIFLEX 16 SR3 HS, the Super 16 shooting format and                          actors hanging on wires, which have to be
     a 1 : 2.35 distribution format. Hans Hansson, FSF talked with DoP Sebastian                      erased in post, it was important to conduct
                                                                                                      thorough tests,” DoP Sebastian Winterø
     Winterø about the production.                                                                    says. “The tests showed that with Super 16
                                                                                                      it was technically fully possible to get the
     During a six-month period, the Danish pro-       the rules of kung fu, and Aicha is forced       look we were aiming at in the 1 : 2.35 for-
     duction company Nimbus Film shot a kung          to decide who she is and what she wants.        mat, a format which suits this type of action
     fu film in Copenhagen. The director was                                                          film well. The effects artists could with good
     Natasha Arthy, Director of Photography           As stunt coordinator and kung fu coach          results erase wires and in some scenes add
     Sebastian Winterø, DFF and Producer Johnny the famous Chinese martial arts and action            digital snow. Since everything ends up in 2k
     Andersen of Nimbus Film. The shoot, which        specialist Master Gao Xian was hired. He        in the digital realm workflow anyway, I think
     effectively lasted for 55 days, was divided      and his stunt team of 6 – 10 people spent six   Super 16 should indeed be considered for
     into three periods with breaks in between,       months in Denmark. Master Gao Xian is           more projects, if your desired look supports
     when the actors were trained by the Chinese known for his work on the film CROUCHING it, but that's my personal opinion. We did
     kung fu team for upcoming action scenes.         TIGER, HIDDEN DRAGON . Master Gao Xian          choose the slowest speed possible whenever,
                                                      is a multifaceted talent: martial artist, kung  just to be on the safe side. Grain was an
     The film is about Aicha, a female high-school fu movie star and teacher. He also has a           issue during testing, but only in the way that
     student and a passionate kung fu fighter.        considerable cinematic experience as a cho- it could be matched by the digital artist like
     Her Turkish parents expect her to get good       reographer and trainer. Master Gao Xian         every other texture.”
     grades so she can get into medical school,       began studying kung fu at the age of 7, and
     like her brother Ali. But school doesn’t in-     has been teaching for more than 20 years       “But there were other factors in favor of
     spire her. Defying her family, Aicha starts      in China and the United States. The film’s      Super 16,” he ads. “35 mm of course had the
     secretly training at a professional, co-ed       director, Natasha Arthy, and the leading        best test results, but would have been both
     kung fu club. A boy, Emil, helps Aicha train     actor, Semra Turan, as well as most of the      more expensive and slower to work with. Be-
     for the club championship and they fall in       other actors, all have backgrounds in martial cause the use of 35 mm would require two
     love. But the rules of life are not as simple as arts and have black belts in karate.            different cameras in the package at all time
                                                                                                                                                                                                    Camera         17

(to be able to shoot with a quiet camera                                                obvious advantage with 16 is that, within     The interior scenes of the training hall and
for dialogue, and with a high speed camera                                              the framework of the film’s budget, we were    the apartment of the main character were
for action) we finally decided to use the                                               able to use more film, which was important     staged at De Danske Filmstudier in Lyngby
16 mm format. At a very early stage we                                                  to director and DoP since many of the actors   outside Copenhagen. All the other scenes
decided that we didn’t want to match the                                                were amateurs.”                                were shot on location in and around Copen-
very polished and static look of other kung                                                                                            hagen. 25 % of the scenes were night shoots,
fu films like C RO U C H I N G T I G E R, H I D D E N                                   When it came to selecting lenses, Sebastian    exterior and interior. In terms of the light-
D R A G O N . We wanted our film to have a                                              Winterø chose two Angenieux zoom lenses, ing package, Sebastian Winterø notes that
very high level energy, to use a very moving                                            11.5 – 138 mm T2.3 and 7– 81 mm T2.4, as      “Some of the night shots needed a large
camera, and 16 mm is perfect for this.                                                  well as a series of ARRI/Zeiss high-speed      amount of lighting. For one action scene we
Because of the need for extreme high frame                                              prime lenses, T1.3. With the zoom lenses       used 40 Blondie’s 2 kW, 6 Maxi Brutes, two
rates (150 fps) to facilitate all the slow                                              they were able to work quickly and the high- 18 kW ARRIMAX units and 8 × 5 kW fresnels,
motion sequences, planned at a very early                                               speed lenses were mostly used during night     as well as a movable key-source for close-
stage by Sebastian and Natasha, we went                                                 scenes. All camera and lens equipment came ups, consisting of six pancakes with addi-
for the HS-model of the SR3. Another                                                    from Blixt Camera Rental in Copenhagen.        tional diffusion fabrics, rigged on a cherry
                                                                                                                                       picker. Everyone on the project put a lot
                                                                                                                                       of effort into developing new methods or
Sebastian Winterø operating the Steadicam                                                                        Stills from A I C HA
during a fight sequence
                                                                                                                                       modifying existing ones to facilitate our ever-
                                                                                                                                       changing needs. Especially Gaffer Martin
                                                        PHOTOS BY JENS JUNCKER-JENSEN

                                                                                                                                  PHOTOS BY SEBASTIAN WINTERø
                                                                                                                                       Lerche and his crew, who worked almost
                                                                                                                                       non-stop pre-rigging, key grip Magnus Ohm-
                                                                                                                                       sen, who developed grip tools from scratch,
                                                                                                                                       and 1AC, Niels A. Hansen, who probably
                                                                                                                                       had the most unfair and challenging task of
                                                                                                                                       keeping track of everything I wanted, helped
                                                                                                                                       to achieve what we wanted on a very fast
                                                                                                                                       moving show. I owe these guys so much
                                                                                                                                       when it comes to the final product.”

                                                                                                                                                                The choice of film was Kodak Vision 2 / 50D,
                                                                                                                                                                100T, 200T and 250D and – on rare occa-
                                                                                                                                                                sions – also 500T. The film was developed
                                                                                                                                                                and transferred to video by Nordisk Film Lab
                                                                                                                                                                in Copenhagen.

                                                                                                                                                                During production, Sebastian Winterø used
                                                                                                                                                                a digital still camera and took pictures of
Sebastian Winterø (left) and Steadicam Operator Malte Udsen, DFF                                                                                                the scenes which he ‘photoshopped’ in his
                                                                                                                                                                computer into the look he wanted. He then
                                                                                                                                                                sent the pictures to the telecine operator over
                                                                                                                                                                the Internet as a guide for the best light grad-
                                                                                                                                                                ing of dailies. Regarding their dailies pro-
                                                                                                                                                                cess, he remarked that “We were looking at
                                                                                                                                                                the dailies on DVD in SD-video definition,
                                                                                                                                                                which is far from optimal when it is concern-
                                                                                                                                                                ing a film which will be shown in cinemas
                                                                                                                                                                in the 1 : 2.35 format. It can be hard to see
                                                                                                                                                                if the focus is perfect, but that is the price
                                                                                                                                                                you pay when you screen the dailies on such
                                                                                                                                                                a poor format. It would have been better
                                                                                                                                                                to make an HD transfer to HD-tape and Blu-
                                                                                                                                                                Ray HD-DVD, or just to use a better com-
                                                                                                                                                                pression-rate when transferring to DVD,
                                                                                                                                                                which I’ll try to do next time. Fortunately, we
                                                                                                                                                                have also been doing small film-outs during
                                                                                                                                                                shooting, that really helps to gauge how the
                                                                                                                                                                negative looks.”

                                                                                                                                                                Postproduction will be carried out by
                                                                                                                                                                Nordisk Film Lab, who will scan the film on
                                                                                                                                                                an ARRISCAN, color grade on the Lustre
                                                                                                                                                                and then create a 35 mm anamorphic IN
                                                                                                                                                                on an ARRILASER film recorder. The film is
                                                                                                                                                                planned to be released in December 2007.

                                                                                                                                                                Hans Hansson, FSF
18    Camera

     Otto Nemenz Revitalizes Super 16
          with ARRIFLEX 416
     Since 1979 Otto Nemenz International has provided filmmakers with the latest camera gear for television,
     commercials, music videos and features. When the ARRIFLEX 416 was introduced last spring, founder Otto Nemenz
     recognized the innovative design and engineering would elevate Super 16 mm filmmaking to another level.
     He promptly placed an order to purchase a dozen cameras right off the bat.

                                             “The viewing system and the video assist        there was a time when a lot of the Super 16
                                              are superb,” Nemenz describes. “Normally,      cameras were sitting on the shelves. We
                                              I’m very careful before I buy a brand new      now have a total of 32 Super 16 cameras
                                              camera system, but I felt very comfortable     all together, with more 416s on the way –
                                              with this new camera system for one main       it’s quite a nice inventory.“
                                              reason: the moving parts were basically the
                                              existing, dependable technology. ARRI took     Due to advances in film stocks, digital
                                              the best of the ARRIFLEX SR3 design and        intermediates and lenses, Super 16 mm is more
                                              incorporated it with better features. Every-   viable than ever; and now with the 416,
                                              thing that we had issues with on the SR3 has   Nemenz admits he is witnessing another
                                              been improved for the 416. The total pack-     resurgence. Recently, Nemenz camera
                                              age is wonderful: lighter, smaller and much,   rental equipped a commercial campaign for
                                              much quieter.”                                 Mc Donald’s. “For me it’s something brand
                                                                                             new again because three or four years ago
                                             The Nemenz facility in Hollywood was the        McDonald’s would have never shot on
                                             first rental house to receive the 416s in the   Super 16. Their nationwide spots were always
                                             United States and since then the cameras        on 35 mm. We’re seeing a lot more jobs going
                                             have been used on a variety of productions,     Super 16 that would normally have gone
                                             including a feature film shot by five-time      35 mm or high definition. Because of its small
     Otto Nemenz with the new ARRIFLEX 416   Emmy winner Donald M. Morgan, ASC.              size, light weight, the nice video assist and
                                             Morgan’s latest film I V O R Y was shot on      you don’t have to run with cables – the 416
                                                location in Oklahoma with the 416. Says      is pulling jobs away from high definition.
                                                   Nemenz, “Don loves the look and the       Besides running long 20-minute takes, this
                                                   brightness of the viewing system. He      camera will do anything that an HD cam-
                                                   also liked the size of the camera, it     era will do.”
                                                  enabled him to get into tight corners.”
                                                                                              It’s a return to his roots for Nemenz,
                                                 Despite the increase of digital produc-      who worked as a director of photography
                                                 tions through the years, the Nemenz          before opening the camera house. He says,
                                                 rental house has remained fully invested    “My whole shooting career started with
                                                 in the well-known strengths of Super        16 mm and I was very excited when I heard
                                                16 mm and 35 mm film cameras. “We’ve          about the 416. I can’t wait to go back to
                                                always been a serious Super 16 camera         shooting again!”
                                               company with 25 SR3s. For a while, I
                                             thought the format was going to die since       An Tran
                                                                                                                                                                 Camera         19

                                                                                        ARRIFLEX 765
                                                                                        Shoots for the
                                                                                        Venice Film Festival

Actors and crew at the sets of the short films

Michael Ballhaus and Alexander Kluge shot
                                                           PHOTOS BY PATRICK VOLLRATH

a series of ’MINUTE FILMS’ using the 65 mm
ARRIFLEX 765 on behalf of the dctp Research
and Development Company for TV Programs
(dctp Entwicklungsgesellschaft für TV Pro-
gramme mbH, Düsseldorf) at the HFF in
Munich. The shooting was supported by
ARRI Film & TV Services GmbH and Kodak.                                                 Michael Ballhaus and Alexander Kluge (right) with the ARRIFLEX 765
The ‘MINUTE FILMS ’ feature e.g. Hannelore
Hoger as a film star with a cold or Peter
Berling as a living statue. Despite its motto,    with the highest possible level of innovation                             in 1962) turned out to have high potential
this is a really large-sized project. The short   from the 21st century.                                                    for the development of new forms of expres-
films carry names like THE SOFT MAKE- UP                                                                                    sion, particularly for the fusion of classic film
OF LIGHTING (Die sanfte Schminke des Lichts),     As opening of the ORIZZONTI series, the                                   traditions with latest technical tools.
AT NIGHT, THE L AMPHEADS IN THE STUDIO            short films will be shown in 4k format on
DREAM OF THEIR REAL LIVES (Nachts träumen         August, 30 in the grand hall (sala grande)                               Michael Ballhaus, Alexander Kluge and Franz
die Scheinwerfer des Ateliers von ihrem           in conjunction with the LIDO programs 1                                  Kraus agree that „In the 21st century, motion
wahren Leben) or CANDLE- LIGHT FACES              to 5 of Alexander Kluge. According to the                                pictures face a roaring redevelopment. In
(Gesichter im Kerzenlicht).                       wish of Chris Dercon of the ‘Haus der                                    the future, established virtues of the classic
                                                  Kunst’, Munich, the ‘MINUTE FILMS ’ will also                            movie will be coming up to us as new chal-
The one to four minute long films were pro-       be shown in Germany end of November                                      lenges.“ When asked about the ARRIFLEX
duced for this year’s 64th MOSTRA (Venice         together with the LIDO programs.                                         765, Ballhaus and Kluge unanimously respon-
Film Festival). The underlying idea came                                                                                   ded: „A wonderful instrument with lots of
from Marco Müller, director of the Venice         Short films with a length of one to four min-                            potential not really taken advantage of yet.
Film Festival and from Franz Kraus, who           utes used to be a classic genre in the be-                               It combines the benefits of classic cameras
unremittingly promotes the combination of         ginning of movie history. Such ‘one minute                               with the highest degree of rigidity and depth
the best virtues of the classic movie picture     films’ (already propagated in Oberhausen                                 of data – lively and efficient.”
20     Camera

               The P OWER of FIL M
                                       Exactly 100 years ago, the Lumière brothers
                                       manufactured the first commercial color film, the
                                       Autochrome plates. The technique, conceived by
                                       the inventors of the cinematograph, is based on
                                       pulverized potato starch, dyed in red-orange, green,
                                       and violet, that is coated onto a glass plate. The

                                                                                                                                                               P H OTO S CO U R T ES Y O F KO DA K
                                       production continued until the early 1930’s when a
                                       film-based medium was introduced. Its success was
                                       short-lived, as Kodak and Agfa began to produce                                                  The Tabular Grain
                                       the multi-layer color film, which we know today.

     “Reports of my death are greatly exaggerated,”      Room for Improvement                               is used in all motion picture films of the Kodak
      the words by Mark Twain may be said for            Even while trapped in this tricky triangle,        Vision 2 series. Fuji’s Eterna films incorporate
      silver halide film. It is deceptive to think of    photo scientists have managed to increase          the Super Nano-structured S Grain Tech-
      film as a technology that is 100 years old.        the performance of film greatly. And they          nology that reduces the grain thickness by
      Film has been and is still continuously improv-    still see considerable room for improvements       40 % compared with the former type.
      ing – there is a long way from dyed potato         against the known theoretical limits. It is
      starch to tabular grains with monomolecular        judged that light absorption can be improved       In some of its latest films, the Vision 2 50 D
      layers of sensitizing dye molecules. If this       by at least a factor of two, the efficiency of     for example, Kodak uses advanced develop-
      is all gibberish to you, stay on, I will explain   latent image formation could be improved           ment accelerators. This compound improves
      in a few moments.                                  more than threefold. As each of these steps        the probability that the developer molecules
                                                         in the image capture chain contributes to          will identify latent image centers.
     What do filmmakers expect from film? The            the overall efficiency, the room for speed
     ability to shoot in low light? Wide landscape       increase in the future should be several-fold.     Fuji is relying on a super efficient coupler,
     shots where one can recognize each twig                                                                a technology that boosts the color develop-
     on a tree? A film’s performance can be char-        In modern films, the halide crystals are           ment efficiency and dye generation. It allows
     acterized by three attributes. Granularity is       coated with a monomolecular layer of sen-          for a reduced thickness of the blue layer,
     the microdensity fluctuation in an area of          sitizing dye molecules, which absorb light,        which improves sharpness.
     uniform exposure, commonly referred to as           and then inject electrons into the silver halide
     grain. Acutance is the ability to reproduce a       compound. By this means silver ions are            An important strategy used by both manu-
     high edge contrast, a mixture of contrast and       converted to metallic form. The sensitizing        facturers is the layer segregation. Each layer
     sharpness (See the 4k + article in this and         dye increases the efficiency of the light ab-      is subdivided in two or, in latest film stocks,
     the 04 / 2007 issue of the ARRI News). Sensi-       sorption. Further improvements are possible        three layers with low, medium, and high sen-
     tivity is the minimum amount of exposure            by using multimolecular layers and so-called       sitivity, respectively. This reduces the contri-
     required to achieve a response. All three are       antenna dyes.                                      bution of larger components (larger crystals,
     related in such a way that an improvement                                                              higher granularity) throughout the tonal scale.
     in any of them would lead to a degradation          One can further enhance the sensitivity by
     in the other. For example, an increase in sen-      growing crystals that are thin and flat, called    So far, we have not covered another impor-
     sitivity generally comes with a higher granu-       tabular grain. This structure maximizes the        tant characteristic of film, the quality of the
     larity. A coating with thinner layers decreases     surface area per unit volume and thus enhan-       color reproduction. Obviously, even a sharp
     the scattering of light, which produces sharp-      ces the utilization of light. Also, tabular        image with low granularity is not usable if
     er images, but it reduces the sensitivity.          crystals tend to lie along the film´s surface      the colors look wrong.
                                                         when coated and dried, which minimizes
                                                         scattering of light and therefore increases        In some film stocks, Kodak added an addi-
                                                         acutance.                                          tional magenta filter layer between the green-
                                                                                                            sensitive and red-sensitive layer. This pre-
                                                         Invented in 1986 by Kodak and honored              vents green light from exposing the latter and
                                                         with an Oscar in 1991, tabular grain (T-Grain)     improves the separation of the color channels.
                                                                                                                                                                                           Camera         21

The Fuji Reala 500 D film contains a fourth
photosensitive layer to depress the develop-
ment in the red-light-sensitive layer according
to the exposure with blue light. The addi-
tional layer enhances the color reproduction
especially under fluorescent lighting.

All manufacturers incorporate B/G and
G/R interlayers that intercept oxidized devel-             Kodak has released the Vision 2 HD Color
oper generated in one specific color layer,                Scan Film 5299 / 7299 that is deliberately
for example the green-sensitive layer, such                made for telecine transfer. The non-printable
that it cannot form colored dye in the blue-               film has a low gamma, which gives a larger
sensitive or red-sensitive layer. Again, this              exposure range than traditional negatives.
improves the separation of the color chan-
nels resulting in more vivid colors.                       Also designed for the hybrid workflow is the                     Possibly driven by the digital competition,
                                                           new Fuji Eterna-RDI intermediate film stock.                     a lot of technological advances happened in
As we have seen, the architecture of color                 The spectral sensitivity of the film is designed                 film during the last years. Even more impor-
negative films has become increasingly com-                to match the wavelengths of the three lasers                     tant, researchers see great opportunities for
plex. Since most future application of nega-               in the ARRILASER film recorder. Unwanted                         a further increase in film performance.
tive films will be in a hybrid workflow, manu-             densities, in green for example, when a high-
facturers could adopt a different line by                  ly saturated blue is recorded, are avoided.                       If you are interested in a list of references,
relying on digital image processing after                  Furthermore, the film has an improved line-                       please contact the author at
scanning. Omitting some of the chemical                    arity in higher densities, which allows to
color processing results in simpler silver                 reduce the maximum light output of the ARRI-                   Harald Brendel
halide films, which can be manufactured at                 LASER. This reduces flare and improves the
lower costs.                                               overall sharpness of the image.

                                                                                                                                                         Undeveloped                Developed
                                                                                                                                                                   SOC                    SOC

The Layers of Film
                                                                                                                                                                    UV                     UV
                                                                                                                                                          Blue Sensitive Layers     Yellow Dye Layers

                                                                                                                                                            Yellow Filter Layer       Gel Interlayer

The photosensitive layer of film is an emulsion of
                                                                                                                                                          Green Sensitive Layers   Magenta Dye Layers
silver halide crystals in gelatin. Silver halides are
                                                                                                                    I M AG E CO U R T ES Y O F KO DA K

binary compounds of silver and a halogen, like                                                                                                             Magenta Filter Layer       Gel Interlayer
chlorine. When light hits the compound some silver
reverts to metallic form. This first stage of the photo-                                                                                                   Red Sensitive Layers      Cyan Dye Layers
graphic process forms a latent image, which is
invisible as it contains only a few silver atoms.

In the next stage, the latent image is developed by                                                                                                          Acetate Support         Acetate Support
immersion of the film in a chemical bath that turns
crystals containing silver atoms into metallic silver.
Areas of the emulsion receiving larger amounts of          any blue light reaching the green-light-sensitive                                                      Remjet
light undergo greater development and become               and the red-light-sensitive layer, which are sensi-
darker. In black and white film the silver itself          tive to blue light as well. An additional magenta
forms the inverted image. The developed silver             filter layer may be used to further shield the red-
crystals are what you see as grain.                        sensitive layer. Each layer, in addition to the light-
                                                           sensitive components, contains dye couplers.
Color negative films are a three-dimensional struc-        When developing the exposed film, the couplers                                                The layers are segregated in two or three sub-
ture made up of several layers. The first layer is         react with the oxidized developer and form yellow,                                            layers, each providing a different sensitivity
sensitive to blue light. A yellow filter layer prevents    magenta, and cyan dyes, respectively.                                                         and granularity.
22     Digital Intermediate Systems

          4K + PART II
              How large is the storage capacity of the film negative? How many pixels does one need to transfer this
              spatial information as completely as possible into the digital realm, and what are the prerequisites for a
             4k chain of production? These are some of the questions that this part of the article hopes to answer.

     This is the second of three parts on the sub-   Sharpness does not only depend on reso-         Our analyses are deliberately limited to the
     ject of “4k +”. The first part addressed the    lution. The modulation at lower spatial         criteria of resolution, sharpness and local
     topics resolution and sharpness. In summa-      frequencies is essential. In other words:       information content. These, of course, are not
     ry, here are the most important conclusions     Contrast in course details is significantly     the only parameters that determine image
     from the previous article, which will form      more important for the impression of sharp-     quality, but the notion of 4k is usually asso-
     the foundation for the next parts:              ness than contrast at the resolution limit.     ciated with them.

                                                     The resolution that delivers sufficient modu-
                                                     lation (20 %) at 16 mm and 35 mm film
                                                     is reached at a detail size of 0.006 mm,
                                                     which corresponds to a spatial frequency
                                                     of 80 lp / mm (resolution limit < 10 %!).
                                                                                                      Digital Intermediate Systems     23

                                                                                                   Super 16 mm

                                                                                                   Super 35 mm


  16 mm, 35 mm, 65 mm – Film as a Carrier of Information

No matter how it is cut – film material always The film format becomes relevant, however,          65 mm (70mm print)
possesses the same performance data:             when it comes to how many such very small
the smallest reproducible detail (20 % modu- details are to be stored on its surface – that
lation) on a camera film negative (up to         is the question of the total available storage
200 ASA) is about 0.006 mm – as was deter- capacity. In the table below the number of
mined in our analysis from part 1. We can       “pixels” are indicated for the image’s width
think of this as the size of film’s “pixels”, a  and height.                                                                     5P
concept that is well known from electronic
image processing. And it does not matter if      Based on the smallest reproducible detail
it is 16 mm, 35 mm, or 65 mm film: the crys-     of 0.006 mm the table gives an overview of
talline structure of the emulsion is indepen-    the storage capacity of different film formats.
dent of the film format. Also, the transmission
capability of the imaging lens is generally
high enough to transfer this spatial frequency
(0.006 mm = 80 lp/mm) almost equally well
for all film formats.

              Format           width × Height (SMPTE / ISo Cameragate)    Pixels
              S 16 mm         12.35 mm × 7.42 mm                         2058 × 1237 pixels
              S 35 mm          24.92 mm × 18.67 mm                       4153 × 3112 pixels
              65 mm            52.48 mm × 23.01 mm                       8746 × 3835 pixels
24     Digital Intermediate Systems

     These – up to now still „analog“ – image           Converted to the width of the Super 35 mm
     pixels must now be transferred to the digital      negative this adds up to 24.92 mm /
     realm. Taking a Super 35 mm image as an            0.006 mm = 4153 pixels for digitalization.
     example, the situation is as follows:
                                                        All is well – if there wasn’t the “at least”,
     The maximum information depth is                   which was accentuated in the sentence
     achieved with a line grid 80 lp /mm. The           before.
     largest spatial frequency in the film image
     is therefore 1 / 0.012 mm (line 0.006 mm +
     gap 0.006 mm). According to the scanning
     theorem of Nyquist and Shannon the digi-
     tal grid then has to be at least twice as fine,
     that is 0.012 mm / 2 = 0.006 mm.

     Let us stick with our line grid as a test image,   While the film negative reproduces the test       So if the sample to be transferred consists
     and let us assume a small error has crept in.      grid unperturbedly and thereby true to orig-      of spatial frequencies that become increas-
     One of the lines is 50 % wider than all others.    inal, the regular digital grid delivers a uni-    ingly higher – as in fig. 2 – all of a sudden
                                                        form grey area starting at the faulty line –      the digital image shows lines and gaps in
                                                        simply because the pixels, which are marked       wrong intervals and sizes.
     Fig. 1: Principle of aliasing
                                                        with an “x”, consist of half a black line and
                                                        half a white gap, so the digital grid percieves   This is a physical effect whose manifestations
                                                        a simple mix – which is grey.                     are also known in acoustics and the printing
                                                                                                          industry. There, the terms beating waves and
                                                                                                          moire are in use. In digitization technology,
                                                                                                          the umbrella term for this is aliasing. Aliasing
       Image                                                                                              appears whenever there are regular struc-
                                                                                                          tures in the images which are of similar size
                                                                                                          and aligned in the same way as the scanning
                                                                                                          grid. Its different manifestations are shown
                                                                                                          in fig. 3. The advantage of the “film pixel”,
                                                                                                          the grain, is that they are statistically distri-
                                                                    Testimage error line 50 % wider
       Signal                                                                                             buted and not aligned to a regular grid
                                                                                                          and it is different from frame to frame.

       Scan (pixel)

       Digital image (pixel)
                                                                                                            Digital Intermediate Systems        25

                                                Fig. 2: 6k scan of a frequency sweep
   Incipient destructive interference

   Pseudo modulation
   This describes the contrast for details
   which lie beyond the threshold frequency,
   and which, in the digital image, are indi-   Fig. 3: 3k scan with severe aliasing
   cated in the wrong place (out of phase)
   and having the wrong size.

This, by the way, is a phenomenon that does
not only apply to test grids: even academy
award winners respectively their jackets may
fall victim to aliasing.

To prevent speculations about the origin of             Fig. 4: Digital still camera with 2 mio pixel   Digital still camera with 1 mio pixel
these examples, this be said: Neither a blue
nor a red digital camera were used.

N.B.: Alias is a nasty artefact for still
pictures as you can see, it becomes signi-
ficantly worse for motion picture because
it changes dynamically from frame to frame.
26      Digital Intermediate Systems

     Impact on the MTF

                                                                                                                                           Fig. 5: 3k scan of frequency sweep glass test

                                    0                                                                                              450

                                                                                                                                           It is very obvious that the aliasing effect
                                                                                                                                           also has an impact on the MTF (for
                                                                                                                                           modulation transfer function, see part 1).
                            35000                                                                                                          Pseudo modulation manifests itself as a
                                                                                                                                           renewed rise (hump) in the modulation
                            30000                                                                                                          beyond the scanning limit .
        HG L GKEI

                                                                                                                                           “Pseudo” because the resulting spatial
                                                                                                                                            frequencies (lines and gaps) do not have
                                                                                                                                            anything to do with reality: instead of
                            15000                                                                                                           becoming finer, as they do in the scene,
                                                                                                                                            they actually become wider again in the
                            10000                                                                                                           output image.


                                                                                                                                           Fig. 6: Luminance along yellow arrow

                                    0      50      100      150          200             250          300          350      400    450


                                                                                                                                           Fig. 7: MTF



     H E LM T F E I T







                                    0.0   10.0   20.0    30.0     40.0          50.0           60.0         70.0     80.0   90.0   100.0

                                                                               lp / mm
                                                                                                                         Digital Intermediate Systems                     27

      Avoiding Alias
                                                                                                                Scanning resolution /
                                                               Format           width             Pixels                                       Final image size
                                                                                                                Digital acquisition
      The only method to avoid aliasing is to physi-           S 16 mm          12.35 mm          2058 pixels   3k                             2k
      cally prevent high spatial frequencies from
      reaching the scanning raster, i.e. by defocus-           S 35 mm          24.92 mm          4153 pixels   6k                             4k
      sing or through a so-called optical low pass,
      which in principle does the same in a more                                                                                                      Fig. 8: Microscan
      controlled fashion. Unfortunately, this not only       The currently common maximum resolution
      suppresses high spatial frequencies. At the            in post production is 4k. The gained 6k data
      same time, the contrast of coarse detail, which        are calculated down with the help of a filter.
      are important for sharpness perception, are            In the process, the MTF is changed so
      also affected.
                                                                the response at half of the 4k scanning
      A different alternative would be to use a                 frequency itself is zero,
      higher scanning rate with more pixels. But
      this would bring disadvantages, as well.                  spatial frequencies beyond the scanning                               1st pass: 3k subimage
      Since the area of a sensor cannot become                  frequency are suppressed and
      unlimitedly large, the single sensor elements
      have to become smaller to increase the reso-              the modulation in low spatial
      lution. However, the smaller the area of a                frequencies is increased.
      sensor element becomes the less sensitive it
      will be, too. Accordingly, the aquired signal          While measures       and     help to avoid
      must be amplified again, which leads to high-          aliasing artefacts in the image, measure
      er noise and again to limited picture quality.         serves to increase the surface ratio under
                                                                                                                          2nd pass: horizontal micro-shift (half pixel)
                                                             the MTF. As already seen in part 1, this
      As is so often the case, the best solution lies        improves the visual impression of sharpness.
      somewhere in between. The intensive R & D
      work put into developing the ARRISCAN has              To transfer the maximum information to
      led to the current state of the art in alias sup-      be found in the film negative into the digital
      pression. A combination of a 3k sensor area            realm without aliasing and with as little noise
      (large pixels, little noise) and the use of micro-     as possible, one needs to scan the width of
      scanning to increase resolution (doubling it           the Super 35 mm negative with 6k. This con-
      to 6k) is the best solution to the problem.            clusion can be scaled to all other formats.                    3rd pass: vertical micro-shift (half pixel)



                                                             4k scanner MTF downresed

                                                                                                                                          fourth pass:
      0.70                                                                                                                     horizontal micro-shift (half pixel)
                                                             6k scanner MTF




                                                                                                                                      completed 6k image


         0.0     10.0      20.0     30.0    40.0     50.0       60.0     70.0     80.0     90.0      100.0
                                                   lp / mm

      Fig. 9: 6k / 4k scanner MTF
28                      Digital Intermediate Systems

                  The Theory of MTF Cascading
                   what losses actually occur over the                                                                       There is a bit of theory needed for this – but                                                              out any subjectively influenced evalu-
                   course of the digital, analog or hybrid                                                                   do not fear, it will not be that bad. I hope                                                                ation. Even more: once we know the MTF
                   postproduction chain?                                                                                     I have aroused your interest for MTF – a                                                                    of the individual links of the production
                                                                                                                             downright useful tool to objectively describe                                                               chain we can very easily compute the ex-
                                                                                                                             image sharpness and resolution. With the                                                                    pected result at every location within the
                                                                                                                             help of two or more MTF curves one can                                                                      chain, through simple multiplication of the
                                                                                                                             quickly do a comparison – above all with-                                                                   MTF curves.


                                  MTF camera (lens)                                            ×

                                                                                                                                           MTF film                                          ×

                                                                                                                                                                                                                                    MTF scanner                                            =   ?
            0.8                                                                                           0.8                                                                                           0.8

            0.7                                                                                           0.7                                                                                           0.7

            0.6                                                                                           0.6                                                                                           0.6
     MT F

                                                                                                   MT F

                                                                                                                                                                                                 MT F

            0.5                                                                                           0.5                                                                                           0.5

            0.4                                                                                           0.4                                                                                           0.4

            0.3                                                                                           0.3                                                                                           0.3

            0.2                                                                                           0.2                                                                                           0.2

            0.1                                                                                           0.1                                                                                           0.1

             0                                                                                             0                                                                                             0
                  0.0   10.0   20.0   30.0   40.0   50.0   60.0   70.0   80.0   90.0   100.0                    0.0   10.0   20.0   30.0   40.0   50.0   60.0   70.0   80.0   90.0   100.0                    0.0   10.0   20.0   30.0   40.0   50.0   60.0   70.0   80.0   90.0   100.0
                                                Lp/mm                                                                                         Lp/mm                                                                                         Lp/mm

                                                                                                                                                                                                                                         An absolutely permissible method for a
                                                                                                                                                                                                                                         first estimate is the use of manufacturers’
                                                                                                                                                                                                                                         MTF data for multiplication. However, it
                                                                                                                                                                                                                                         must be remarked that there usually are
                                                                                                                                                                                                                                         very optimistic numbers behind this data
                                                                                                                                                                                                                                         and calculating in this way shows the best-
                                                                                                                                                                                                                                         case scenario.

                                                                                                                                                                                                                                         For our calculations we use actually mea-

                                                                                                                                                                                                                                         sured values. What this means is that we
                                                                                                                                                                                                                                         do not use the MTF of the raw stock and
                                                                                                                                                                                                                                         multiply it by the MTF of the camera lens.
                                                                                                                                                                                                                                         Instead, we directly measure the resulting
                                                                                                                                                                                                                                         MTF of the exposed image and multiply
                                                                                                                                                                                                                                         it by the MTF of a 4k (ARRI-)scan.
                                                                                                                   Digital Intermediate Systems                 29

What Does the Result Show Us?
The MTF of a 35 mm negative scanned with
4k contains only little more than 56 lp / mm
(the equivalent of 3k with the image width of
Super 35 mm) usable modulation.

The resolution limit is defined by the spatial
frequency which is still transferred with 10 %

This result computes from the multiplication
of the modulation of the scanner and of the
film material for 57 lp / mm:

   MTF_4k_scanner ( 57 lp / mm ) × MTF_exposed_film ( 57 lp / mm ) = MTF_in_4k_scan ( 57 lp / mm)

              36 %              ×                 28 %             =          10.08 %

By the way – the same goes for a digital             4k information if they were created pixel by       resolution – everything else would need
camera with a 4k chip: There, a low pass             pixel on a computer – without creating an          a new title.
filter (actually a deliberate defocussing) must      optical image beforehand. Of course, this
take care of pushing down the threshold              cannot be the solution, since we would then        For this reason the issue of the 4k DI chain
frequency (80 lp / mm) to 0, because other-          in the future have to make do with anima-          will not be dealt with further in this series,
wise aliasing artefacts develop.                     tion movies only. A scenario where actors          but in an article of its own that will follow.
                                                     and their affairs could only be created on
Ultimately that means: neither a 4k scan nor         the computer. A tragic loss, not just for the      Dr. Hans Kiening
a (3-chip) 4k camera sensor can really Trans-        yellow press!
fer resolution up to 4k.                                                                                Again all images are available in hires to
                                                     This set of articles is titled „4k +“, imply-      download at
This is a not an easily digestible paradigm.         ing that we want to concern ourselves                              login: 4Film
It basically means that 4k data only contains        with media featuring 4k or more spatial                            Password: ARRI

  4k projectors will be available in the foreseeable future, but their
  full quality will only come to its own when the data they are fed
  will provide this resolution without loss. At the moment, a correctly
  exposed and 6k / 4k scanned 35 mm film negative is the only practi-
  cally existing acquisition media for moving pictures that comes
  close to this requirement.                                                               35 mm Film                  6k / 4k scan              4k projector

  Viewing things from a different angle one could say that the 4k
  projection technology will make it possible to see the quality of                      All this statements are based on the status quo in film
  35 mm negatives without incurring losses through analog process-                       technology – for an outlook on the potential of tomorrow’s
  ing lab technology. This gives 35 mm film enough information                           film characteristics see Harald Brendels article in this
  reserves for a digitization with 4k+.                                                  ARRINEWS (The Power of Film).

                                                                                         The limiting factor in this connection is not the (ideal ex-
                                                                                         posed) 35 mm film but the 4k workflow. As you can see in
                                                                                         fig. 10 a gain in sharpness is still possible when you switch
                                                                                         to higher resolutions. Now imagine how much more image
                                                                                         quality could be achieved with 65 mm (factor 2.6 more
                                                                                         information than 35 mm)!

      2k                              4k                               10k               Fig. 10: 2k, 4k and 10k scan of the same 35 mm camera negative
30     Digital Intermediate Systems

         Does 4k Look Better Than 2k?
          The two most frequently asked questions regarding this subject are:
               How much quality is lost in the analog chain? and
               Is 2k resolution high enough for the digital intermediate workflow?

     The Analog Process
     “An analog copy is always worse than the
      original.” This is an often-repeated assert-
      ation. But it is true only to a certain extent
      in the classical postproduction process; there
      are in fact quality-determining parameters
      that, if controlled carefully enough, can en-
      sure that the level of quality is maintained:
      when photometric requirements are upheld
      throughout the chain of image capture,
      creating the intermediates and printing, the
      desired brightness and color information can
      be preserved for all intents and purposes.

     Clear loss of quality can, however, indeed
     occur where structures, i.e., “local image
     information”, are transferred. In other words,
     resolution and sharpness are reduced. This
     occurs as a result of the rules of multiplica-
     tion (see page 22). This illustration shows
     how 50 lp / mm with a native 33 % modulation
     in the original is transferred throughout
                                                                                                                    Fig.1: 2k and 4k cutout of a 2k DI and a 4k DI
     the process.

                                      MTF at 50 lp / mm
 Exposed Film Image                                     33 %
 Kodak 5205 (Camera + Film)                                              33 %          ×           70 % = 23 %      ×         70 % = 16 %        ×           70 % = 11 %
 Kodak 5242 Intermediate (Copy to IR)                   70 %
 Kodak 5242 Intermediate (Copy to IN)                   70 %
                                                               OCN                         IP                           IN                           PRINT
 Kodak Print Film 2393                                  70 %

     This, however, is an idealized formula, as it                       4k
     assumes that the modulation of the film ma-                                                    3k                                      2k                         2k

     terial and the contact printing show no loss
     of quality. That this is not the case in reality                                                    2k
     can be seen in the differences between the
     horizontal and vertical resolutions.
                                                                                                IP 2nd Generation            IN 3rd Generation          Print 4th Generation

                                                                Fig. 2: 10k scans of the imagecenter (green)
                                                                                                                                          Digital Intermediate Systems            31

Is 2k Enough for the DI Workflow?
Although the word “digital” suggests a digi-
tal reproduction with zero loss of quality,
the DI process is bound by the same rules
which apply to the analog process because
analog components (i. e. optical path of
scanner and recorder) are incorporated.

To make this clearer, let us again perform
the simple multiplication of the MTF resolu-
tion limit in 4k (= 80 lp/mm). The MTF data
illustrate the best filming and DI components
which can be currently achieved.

                                                    OCN Original Camera Negative                                          4k Scan                                      DI

                                    MTF at 80 lp / mm
Exposed Film Image 5205                           20 %
(ARRICAM, VP, OCN)                                                                   20 %             ×                     5% = 1%                 ×             20 % = 0,2 %

Film Scanner MTF at 4k (ARRISCAN)                  5%                                                          Per definition to avoid Alias
Recorded Internegative Fuji RDI                   20 %

As the multiplication proofs, inherent to the
4k DI chain, there cannot be modulation at
80 lp / mm. Even though the digitally exposed
internegative shows considerably more
image information than can be preserved
throughout the traditional analog chain.

Why, then, is a 4k digital process still a good
idea, even though it cannot reproduce full
4k image information? The answer is simple:
                                                      4k DI                                           IN photochemical lab
according to the Heynacher Integral (the                                                              (3rd generation)
area beneath the MTF curve), the perception
of sharpness depends on the modulation of
                                                    100 %
course local frequencies (see “4k+” in ARRI
                                                     90 %
News 04/2007) When these are transferred             80 %                                                            Film
with a higher modulation, the image is per-          70 %                                                            2k Filmscanner
                                                                                                                     2k Filmscan (data)
ceived as sharp. Illustration fig.1 shows the        60 %                                                                                     A 4k workflow is advantageous
results of a 2k and 4k scan.                         50 %
                                                             78 % 53 % = 42 %                                                                 for DI and film archiving: The
                                                     40 %

                                                     30 %
                                                                         2k                                                                   MTF characteristics seen in 4k
Because a 4k scanner offers not only more            20 %                                                                                     scanning will transfer course
resolution, but also more modulation in lower        10 %                                                                                     detail (which determine the per-
local frequencies, the resulting 4k images              0%                                                                                    ception of sharpness) with much
                                                             0      10          20     30   40   50       60   70    80      90       100
will be perceived as being sharper.                                                                                                           more contrast than 2k scanning.
                                                     Fig. 3: MTF of a 2k Filmscan
When this data is recorded out on the ARRI-                                                                                                   It is thereby irrelevant if the reso-
LASER in 4k on Fuji RDI, for example,                                                                                                         lution limit of the source material
we achieve the results seen in Illustration                                                                                                   is resolved or not. The most im-
                                                    100 %
fig. 2 left.                                         90 %                                                                                     portant thing is that the available
                                                     80 %                                                            Film
                                                                                                                                              frequency spectrum is transferred
                                                             80 % 80 % = 70 %
Dr. Hans Kiening                                     70 %                                                            4k Filmscanner           with as little loss as possible.
                                                                         4k                                          4k Filmscan (data)
                                                     60 %

                                                     50 %

                                                     40 %

                                                     30 %

                                                     20 %

                                                     10 %

                                                             0      10          20     30   40   50       60   70   80       90       100

                                                     Fig. 4: MTF of a 4k Filmscan
32    Digital Intermediate Systems

         A Concept and a New Solution with the ARRISCAN

     After hard production work on set, a 35 mm telecine transfer or workprint is     The ARRISCAN approach is exactly target-
                                                                                      ing to this direction, to use the ARRISCAN
     a common standard for screening dailies. This is the moment when you
                                                                                      for the dailies transfer and also to use the
     experience either joy or sorrow over some of the footage you laboured so         ARRISCAN to do the high quality / high reso-
                                                                                      lution scans. The big advantage of this con-
     hard to capture. However, the whole process of postproduction is suffering       cept is based on the unique consistency of
     by the fact that the dailies do not match to what the filmmaker will see,        the ARRISCAN: the scans are stable over
                                                                                      time and between machines, not only in geo-
     when the High-Res work starts. The new buzzword of the industry is ‘digital      metry but also in colorimetry. For the down-
     dailies’ and that has an important reason. Instead of doing the dailies          stream work this is an important factor, as
                                                                                      it soon becomes a time and money saver,
     transfer on a very different system than the high resolution scans, people       as well as a decisive leap in quality and
     more and more appreciate the idea of having ‘one system for all’.                production safety.

                                                                                      A lot of time consuming tasks can be started
                                                                                      right after the dailies transfer from the
                                                                                      ARRISCAN, like grading, garbage mask
                                                                                      creation and visual effects work in general.
                                                                                      Once the high resolution scans are coming
         A Data-Centric Workflow – ‘Digital Dailies’                                  in, setups can be easily transferred from the
                                                                                      dailies to the high quality scans. The direc-
                                                                                      tor or DoP is not ‘surprised’ by a different
                                                                                      look of the High-Res scans as the colorime-
                    OCN                        Scanner                                try will stay exactly the same. Also the whole
           (Original Camera Negative)
                                                                                      grading process doesn’t need to start from
                                                                                      scratch again. A big plus and a big relieve
                                                               Mismatch in Color      for many colorist – but also for many direc-
                                                               Mismatch in Geometry   tors and DoPs …

                  Telecine                        DI


                                             DLP Projector

                                                                                         SD-Telecine output …
                                                                                                                           Digital Intermediate Systems             33

                                                      Most commonly asked questions:
                                                      Is it possible to scan to a smaller resolution for dailies?
                                                      Yes, the ARRISCAN current software version includes user definable proxy sizes. So you will
                                                      be able to scan: PAL, 1k, HD, 2k, or everything in between.

                                                      If you scan to 2k for dailies, do you have to scan again the selected takes for ingesting
                                                      for the DI process?
                                                      The quality of the single-flash scans is really very good. The noise level is comparable to what you
                                                      get from a Telecine (Telecines are not capable to do a double exposure).
                                                      So you might decide that you don’t need to scan the selected shots again in double-flash mode.
                                                      Eventually, that is something you have to decide together with the client.
                                                      It will be, as always, a trade-off between money and quality.

                                                      Is it possible to scan for a higher resolution?
                                                      For 4k the speed is 1 fps, we do not offer a single-flash mode in 4k.

  Frameline detection and automatic correction
                                                      Is it possible to implement Digital Ice technology?
                                                      Using Digital ICE for the 8 fps / single exposure 2k files will definitely slow down the
                                                      scanning noticeably. The question is whether you need all the material cleaned when
                                                      you will only use a twentieth of it in the final program.

                                                      why can a frameline appear in the scans even though the framing was right when starting the scans?⌦
                                                      After each take the assistant performs a gate or hair check. The camera assistant may use the ‘pull
                                                      the gate’ procedure instead of only checking the gate through the lens mount. After pulling the gate
                                                      and unthreading the film he may rethread the film with an offset of 1, 2 or 3 perforations. When the
                                                      scan operator now loads the reel he will adjust the framing based on the first image frame. A frameline
                                                      detection helps to work seamlessly with such described perforation offsets inside the film reel.

  ARRI has presented a new option at NAB
  2007, which leverage the whole workflow
  for digital dailies.

   The Digital Dailies Base Package
  By using the complete-reel scan mode a
  roll of negative is scanned from start to end.      The ARRISCAN flash detection will put the
  The scanner will automatically realign the
  position of the film relative to the registration
                                                      information about the detected camera
                                                      flashes in the DPX header, or in a separate                   The ARRISCAN
  pin at each splice, which is detected by the        file. A digital dailies application can use
  keycode change. After scanning the roll the         this information to place locators in the                     Launched in 2004, the ARRISCAN is now
  user can export an ALE or FLEX file with the        timeline that indicate the positions where                    deployed at more than 70 facilities worldwide
  timecode / keycode information.                     the operator should start looking for the                     such as: Weta Digital, New Zealand; EFILM
                                                      slates. There is also a life preview in b & w                 Hollywood, Co3 Santa Monica, Co3 New York,
  In addition, a frameline detection will stop        during winding, a very unique feature                         USA; Imagefilm, Spain; Mikros Image, France;
  the scanner and alert the user if a frame-          with filmscanners. This feature faciliates to                 MosFilm, Russia; Tokyo Lab, Japan; Shortcut,
  line is detected in a consecutive number of         scan selected takes.                                          Sweden and Drylab, Norway.
  scans. This is done to avoid scanning frames
  being out of rack.                                  The ARRISCAN can output all the informa-
                                                      tion that has been acquired during the
                                                      scanning process, for example the keycode
                                                      information can be put into a FLEX file for
                                                      further workflow processing.

                                                      The Digital Dailies Base package is now
                                                      available and will be presented at IBC
                                                      in September 2007. For further product
                                                      information and pricing please contact
                                                      the ARRI Digital Systems Team.

                                                      Elfi Bernt, Product Manager ARRISCAN

ARRISCAN 2k scan …      shows mismatch in colour and geometry
34   Digital Intermediate Systems

                                    FILMARCHIVE VIENNA OPTS FOR ARRISCAN
                                    we have opted for the ARRISCAN because it is a very flexible
                                    machine with superior image quality. However, most important
                                    for us was ARRI's dedication to support archiving applications.
                                    we are confident that with the help of the ARRISCAN team we
                                    will solve the problems that are inevitable when working with
                                    badly damaged non-standard film stock.

                                    Nicolaus Wostry, Filmarchive Vienna
                                                                                                            Digital Intermediate Systems          35

ARRISCAN Goes Archive
‘Soft Archive Mode’ and 16 mm Wet Gate
Since ARRI joined the EU Project RACINE-S a lot of investigation has gone into supporting archives in their daily
work. With the experience collected from conferences (fiaf, JTS, AMIA) and from discussions with film archives
and postproduction facilities, ARRI has come up with additional powerful options that are extending the current
functions of the ARRISCAN in a unique way.

The ‘Soft Archive Module’ makes the para-        The ‘Soft Archive Module’ is part of software    The leakage-free connectors and the ap-
meters of the highly adaptable film transport    version 1.3 and works with 35 mm as well         proved gate exchange technology enable
system of the ARRISCAN available to the          as with 16 mm. It can be considered as a         safe and quick operating. The liquid supply
operator. The transport speed, the mechani-      first step in order to meet the requirements     and return system is located in an extra
cal pin registration and the film tension can    of the archival community.                       chassis near the scanner and needs a com-
be easily controlled and adjusted by the                                                          pressed air connection as well as an
software. Dealing with delicate and shrunken     The ‘16mm wet gate’ is another new option        exhaust system.
film becomes more gentle and safe. Addi-         for the ARRISCAN that integrates well with
tional parameters like loading the film with-    the other archival features. The system uses     The 16mm wet gate will be launched and
out using the pins or even aligning the film     a special liquid with a low toxicity level       presented at IBC this year. It will be become
manually with a step precision of 0.1 microns    instead of the trichloroethylene that is com-    available later in 2007.
are adjustable as well as simply decreasing      monly used for wetgates and requires spe-
the transport speed continuously. By retract-    cific safety precautions in the laboratory.      Thilo Gottschling, Product Manager
ing the mechanical registration pins even film   An advantage – aside from the easier hand-       Restoration & Archive Applications
material with ashrinkage of up to 3 % can        ling in terms of safety and environmental
be transported and scanned. While this leads     issues – is that the liquid perfectly matches
to a slight loss of image steadiness, the        the refraction index of the film carrier. Dust
image sequence can be stabilized in a sepa-      and fluff are washed away and scratches
rate step using the visible perforation as       are concealed before scanning. The wet             The new 16 mm wet gate
tracking markers. There are many powerful        gate system works on colour film as well
software tools available for exactly this kind   as on black & white film stock.
of task, for example ‘Diamant’ from HS-Art
or ‘Revival’ from DaVinci.
36     Digital Intermediate Systems

     F.l.t.r.: Paul Breuer, Biggi Klier and
     Christian Lessner

     Postproduction facilities start to use
     the high quality output of the
     ARRISCAN for commercials. Optix
     Digital Pictures, Hamburg,
     installs ARRISCAN in July 2007.

     While the original motivation for the ARRI-         Managing Director of Optix, “especially in          prefer rather to work with clients than to
     SCAN was to produce film scans of the high-         demanding productions with 2D and 3D                ingest footage into the SAN,” Levai affirms.
     est quality for digital intermediate, commer-       elements.” He sees several advantages of
     cial post facilities are starting to use the        the ARRISCAN in a data-centric environ-             Being a top address in Germany for commer-
     scanner for HD productions. The latest case         ment. A key point is the separation in tech-        cials, the team of Optix Digital Pictures wants
     is Optix Digital Pictures Hamburg (http://          nical transfer and creative work. Since the         to work with cutting-edge film scans. HD is, one of the top facilities   ARRISCAN captures the full latitude of cam-          already used for corporate image films and
     in Germany for commercial postproduction.           era negative, color grading with the scans          they expect an increase in high-definition
     Recent projects are OSRAM D OT- I T and a           is as good as working directly from film.           productions within the next years. But even
     series of VOLKSWAGEN ads mocking the               “No colorist needs to supervise the transfer         for the SD format the ARRISCAN delivers
     cliché of German lack of humor.                     as it is the case when film scans are made          scans with a visible advantage in quality.
                                                         with telecines. Their limited dynamic range         Optix plans to carry out productions in a
     “A data-centric workflow increases our              makes it necessary to individually adjust the       1440 × 1080 format, which can be stored on
      creative possibilities,“ says Attila Levai,        lights for each scene. Obviously, our colorists     HD tapes. Only after compositing and color

                                                                          The creative department at Optix      The Optix VTR room
                                                                                                      Digital Intermediate Systems            37

  Optix’ color grading

correction are the images down-sampled to      to the company’s SAN (see sidebar). The
the SD resolution of 720 × 576 pixels. This    unique illumination system and the overall
over-sampling approach produces sharper        stability guarantee low operating costs.                           Attila Leval
and cleaner looking images.
                                               The ARRISCAN team is excited to have
The management has to have one eye on          Optix as a new client. “We are very inter-
quality and the other on money and produc-     ested to see new applications for our film
tivity. While Attila Levai wishes the ARRI-    scanner,” says Elfi Bernt, Product Manager at
SCAN to be faster than its current speed of    ARRI. “We know that clients like Optix are
8 fps in single exposure mode, he concedes     very interested in higher scanning speeds
that the system is quite cost effective. No    and that’s something we are working on. But
additional equipment like a transfer engine    it’s too early to disclose any figures.“
or a controller is needed to operate the
scanner. Out of the box, it can be connected   Harald Brendel

                                     DvS                        HD SDI        Pandora          The ARRISCAN at Optix Digital Pictures
                                   Clipster                                     Pixi           will be mainly used in combination with an
                                                                                               Autodesk Lustre color grading system. The
                                                                                               images are stored on a DVS SAN system,
                                                                                               which allows real-time transfer to HD.
                         Fibre       DvS                                                       Lookup-tables from the ARRICUBE color
                         Channel     SAN
                                                                                               management system convert the logarith-
                                                                                               mic film scans into data that can be used in
                                                                                               a video environment. “This allows us to use
                                                                                               the ARRISCAN with our HD color corrector
                                   Autodesk                                                    as well,” explains Optix’s MD Attila Levai.
38      Digital Intermediate Systems

 The new live preview window
                                            Software Update
                                            The wait is over – software release 1.3 is now being installed at customers’
 Keycode based workflow
                                            sites, and it includes some exciting hot and new features like the new live
                                            monitor image during shuttling, frame line and camera flash detection and
                                            support for the ARRISCAN’s new lens combinations.

                                            The ARRISCAN has pioneered a number               and over 8 fps with single exposure (both
                                            of new technologies and its live preview          without DICE). Following the initial roadmap
                                            image is another first for a film scanner.        for the ARRISCAN SpeedPack, the single
                                            During film transport, a black-and-white          exposure mode now becomes part of the
                                            preview image is updated at a rate of up          Digital Dailies Base Package.
                                            to 10 frames per second. The preview image
                                            works on both the ARRISCAN’s touch panel          ARRI has partnered with Zeiss to develop
                                            and the remote PC, which can sit anywhere         a new add-on lens for scanning Super 16
                                            on the network. To make searching for slates      on the ARRISCAN. With this lens, the S16
                                            and punch frames as comfortable as possible,      frame fills the entire sensor of the scanner,
 Automatic frame line and flash detection   the ARRISCAN also introduces a telecine-          allowing true 3k oversampling for even
                                            style jog dial and a range of new keyboard        better 2k scans. Software release 1.3 intro-
                                            shortcuts for fast navigation through the         duces support for multiple optics and is
                                            software.                                         required to use the 16 mm adapter lens. The
                                                                                              adapter will be shipped with all new 16 mm
                                            If you ever had to scan a roll with sections      sets and will be retrofitted to all existing
                                            that were spliced together out of rack, you       16 mm systems as part of the ARRISCAN
                                            know what a nuisance these splicing errors        service contract.
                                            can be. Often, the shifted frame line is only
                                            spotted further up the processing chain, re-      Other improvements in software version 1.3
                                            sulting in time consuming rescans. The ARRI-      include improved handling of the resample
                                            SCAN now has an automatic frame line              filters. It is now possible to adjust the filtering
                                            detection feature that detects the frame line     for each color channel individually. ARRI
                                            and automatically re-racks the film. Of course,   has also developed a new filter set for origi-
                                            if everyone would just use the ARRISCAN’s         nal camera negative that allows higher sharp-
 Adjustable filter parameters               perf-accurate key code, you wouldn’t have         ness settings while minimizing alias.
                                            to worry about splicing problems at all …
                                                                                              With the installation of version 1.3, all exis-
                                            Both the live preview image and the frame         ting ARRISCANs are being switched over
                                            line detection are part of the ARRISCAN’s         to a revised operating system kernel. While
                                            new Digital Dailies Base Package, which is        fully compatible with the current system, the
                                            targeted at productions that want to scan         new kernel is a genuine Red Hat Enterprise
                                            their dailies on an ARRISCAN. The Dailies         Linux that was certified for the CXFS SAN
                                            Package also includes an automatic detec-         file system by SGI. Of course, ADIC is also
                                            tion of camera flash frames, which can be         supported. In addition, the new kernel also
 Support for new lens types                 used to automatically split the scan files        includes drivers for Quantel’s new Genetic
                                            from a complete reel into sections. There is      Engineering file system. This was demon-
                                            more information about this on page 32.           strated at Quantel’s NAB booth, where an
                                                                                              ARRISCAN captured its frames directly onto
                                            With this latest software release, the ARRI-      the Quantel disk array.
                                            SCAN reaches a scanning speed of 5 fps
                                            when scanning at 2k with double exposure,         Dr. Jens Rumberg, Project Manager ARRISCAN
                                                                                                           Digital Intermediate Systems              39

The ARRISCAN Arrives at NoloDigitalFilm
When the founders of NoloDigitalFilm decided to open a new postproduction facility in Chicago, they wanted to offer
the best, state-of-the-art equipment to their clients. “It’s been pretty exciting, production has been doing well in
Chicago,” says Joe Flanagan, the company’s producer. “It was about a year that we started talking about the facility.
We included ARRI right off the bat.”

Since the post house would specialize in         Due to its innovative design, the ARRISCAN      color control, visual effects, digital opticals
digital intermediates and color grading, one     is suited for almost any scanning applica-      and dust busting. The facility is also able to
of the first plans on the agenda was to ac-      tion including digital intermediates, visual    provide 4k, 10-bit log digital intermediates.
quire an ARRISCAN to bring film material         effects, restoration and archival. The film     To certify the ARRISCAN was the right choice
into the digital realm. Explains Nolo engi-      scanner enables digital laboratories and        for Nolo, the team went through careful eval-
neer Boris Seagraves, “We wanted to build        postproduction houses to drastically increase   uations and comparison testing.
a facility without the burden of the video       their productivity and experience a new
workflow and be completely data-centric.         standard of quality in film scanning.           “We did test scanning in both 2k and 4k.
Doing so provides the ability to handle pro-                                                     We found the image quality to be excellent.
jects of all types from digital intermediates    By employing the ARRISCAN, NoloDigital-          One of the things that made the ARRISCAN
to color correction for television to restora-   Film offers film scanning in 2k, 4k and 6k       stand out was the capability to be able to
tion work. ARRISCAN was a natural choice         resolutions. Through the data-centric pipe-      scan at up to 8 frames a second. That, along
to fit into this workflow because of its fast    line, image quality and resolution are not       with availability of the dailies package and
scanning speed and general overall flexibil-     sacrificed while more tools are available for    how well suited the scanner is for restora-
ity to accommodate all types of projects.”       creatives to push visual boundaries with         tion jobs in dealing with damaged film,
                                                                                                  definitely tipped the scales toward ARRI,”
                                                                                                  says Seagraves.

                                                                                                 Although NoloDigitalFilm is located in Chi-
                                                                                                 cago to serve its thriving industry, the post
                                                                                                 house is ready to accommodate filmmakers
                                                                                                 from any location. “We designed a facility
                                                                                                 from the ground up and being that we’re an
                                                                                                 all-data workflow, we can do things very
                                                                                                 efficiently, allowing our clients to focus on the
      F.l.t.r.: Boris Seagraves                                                                  creative part of the process instead of the
      (engineer), Joe Flanagan                                                                   technical. Our aim was to bring high-end
      (producer), and Mike                                                                       digital intermediate tools to Chicago and
      Matusek (colorist)
                                                                                                 now that we’ve opened, I think we’re confi-
                                                                                                 dent that we can attract business from out
                                                                                                 of town as well.”

                                                                                                 An Tran
40        Digital Intermediate Systems

                                                    INTRODUCING THE NEW

                                                             HIGH SPEED
                                                             PACK AGE 2
                                                             C A MER A
                                                    Although it looks quite familiar from the outside, the new ARRILASER
                                                    camera that comes with the High Speed Package 2 has been completely
                                                    redesigned. Based on the new control electronics of the just recently
                                                    released ARRIFLEX 416, the ARRILASER High Speed Package 2 camera
                                                    offers a full set of exciting new features.

                                                    The communication between the camera and       The camera main electronics is now placed
                                                    the ARRILASER main electronics is now          beneath the display cover, resulting in a better
                                                    CAN-bus based. Commonly used in the            heat dissipation. This also reduces the film
                                                    latest ARRIFLEX cameras, this fast and reli-   stock’s sensibility to any latent-image drift.
                                                    able interface is also utilized on a bigger    The connector between the camera and the
                                                    scale in the automotive industry and other     ARRILASER has also been simplified and is
                                                    industrial applications. Communication speed   now self-centering. This improves the elec-
                                                    and transmission safety are its core advan-    tronic connection and extends the usability
                                                    tages, as it is a protocol-based communica-    for operators as well as for service engineers.
                                                    tion with accordant cyclic redundancy check.
                                                    All sensor information from the camera will    Any firmware updates can now be done
                                                    be sent to the host PC through the CAN-        from the host PC so that there is no more
                                                    bus. This enables all user and service rele-   need to do an on-site EPROM exchange.
                                                    vant information to be pulled directly from    This even opens up the possibility for remote
                                                    the host (e.g. magazine size, camera lid       firmware updates from the ARRI Munich
                                                    closed or open, filmloop status …).            Service office.
     The two camera buttons work now as soft keys
     to navigate through the new camera menu
                                                                                                              Digital Intermediate Systems                41

An increased CPU capacity of the new elec-         wanted errors once the host PC starts an         sequently the gate does not need to be ad-
tronics enables a more sophisticated con-          exposure. The display will then show the         justed for exposure and transport position
trol of all of the motors of the camera and        message ‘RECORDING’ together with addi-          anymore. To further enhance the operating
the magazines. Consequently, the camera            tional information about the progress of         reliability every single transport step as
control with the display and the camera but-       the whole recording queue. The last line now     well as the spooling is now executed by the
tons was re-designed and simplified for a          indicates the current film supply for both       same sprocket motor. Rarely occurring mis-
more target-oriented and faultless operation       magazines.                                       counts of the perfs, caused by dust on the
of the camera and loading of the negative.                                                          perf light traps on the current camera, are
The camera buttons are now used as soft            The film transport mechanism has also been       now effectively avoided.
keys with their respective function listed in      completely redesigned. Instead of the pre-
the last line of the display. All necessary set-   viously employed transport claw, a sprocket      Together with the already released alumi-
up entries can be made with just two buttons.      wheel is now utilized that moves together        num magazines, which are less sensitive to
                                                   with the gate, following the movements of the    dirt and temperature due to the aluminum
The operator is now able to select the film-       linear drive. This allows the backhaul of the    covers and the planetary gear motor, the new
type and emulsion that is loaded in the            gate (with the linear drive) to be uncoupled     camera provides a very gentle film handling
feed magazine. With those parameters the           from the film movement. After the exposure,      even at the increased speeds of ARRILASER
amount of the remaining negative in the            the linear drive can now instantly reverse       High Speed Package 2.
magazines will be displayed optionally in          to the start position without having to first
feet or meters, based on the diameter of           tranfer the negative from the registration       After the very successful introduction of
the feed and take-up magazine. This gives          pin to the transport claw. The frame transport   High Speed Package 1 for the ARRILASER,
the operator an easy control of the remain-        now happens while the linear drive is moving     the High Speed Package 2 is also designed
ing film stock in the feed magazine once it        back to its starting position. With this new     to be available for any ARRILASER in the
is connected to the camera. With this new          cycle scheme, a speed increase of 500 ms         field as an upgrade. Aside from the new
and more accurate way of measuring the             per exposure cycle is achieved.                  camera, this new ARRILASER speed upgrade
stock inside the magazine, the amount of                                                            includes a redesigned electronic module to
negative that gets thrown away is reduced          Without the transport claw, the access to        enable a true 16 bit workflow, a new soft-
significantly as the new ARRILASER GUI will        the pressure plate is now simplified, which      ware package based on Linux with a client-
now calculate if there is sufficient stock         facilitates an easier cleaning of the gate.      server architecture and database support
left for the jobs ready for recording in the       There is no ‘cleaning position’ needed any-      and a speed enhancement by a factor of 2
queue. Additionally the setup for the camera       more. There is also no more need for             compared to the current speed specification
negative option has moved into the new             extensive adjustment of the registration pin     of the ‘top of the line’ ARRILASER Speed
display menu.                                      position as in the past.                         Performance for both 2k and 4k resolution.
                                                                                                    Availability is scheduled for NAB’08.
To increase production safety, both camera         The encoder for the voicecoil has been
buttons will be disabled to avoid any un-          replaced by an absolute-encoder: con-            Roman Gadner / Dr. Johannes Steurer

                                                                                                                                 The sprocket wheel
                                                                                                                                 of the new gate replaces
                                                                                                                                 the old transport claw
                                                                                                                                 resulting in a new film
                                                                                                                                 transport cycle scheme.
                                                                                                                                 This also allows for easier
                                                                                                                                 access to the pressure
                                                                                                                                 plate to simplify the
                                                                                                                                 cleaning process for the
                                                                                                                                 ARRILASER operator
42     Lighting

     ARRISUN Event System Presents the Latest in Car Technology

                                                   BMW WELT
                                                   The versatility of the Event Series is
                                                   proven again by a spectacular
                                                   application in the new BMW Welt
                                                   (BMW world). The multifunctional
                                                   venue in the heart of Munich will
                                                   serve as a delivery centre for BMW
                                                   automobiles as well as providing a
                                                   unique location for cultural events.

                                                   In the delivery centre, customers will be           154 luminaries with cabling and 19” rack
                                                   met by their designated car specialist and          ballast are installed in the delivery centre
                                                   walked to their newly purchased automo-             to light 20 rotating and 10 static platforms.
                                                   biles, which are situated on platforms.             120 black Event 5 lamp heads are mounted
                                                   While walking from the reception area to            recessed in channels with an SH-5 shutter
                                                   their new purchase, a group of ARRISUN 5            in front for decorative purpose. Another 34
                                                   Event luminaries is switched on and shines          ARRISUN 5 Event in silver are visible, with
                                                   on the car to demonstrate its beauty in high        shutter mounted as well.
                                                   brightness. Upon arriving at the car, the
                                                   group of lights is then dimmed such that the        In order to achieve the effect, lamps remain
     A successful cooperation between eventa AG
     who integrated the ARRISUN Event System and
                                                   instruction session for the new car owner           permanently switched on during the day
     ARRI – Florian Felsch, CEO of eventa AG and   can start.                                          and the shutter is used to control the light
     Herbert Van Hille from ARRI

                                                   ARRISUN 5 Event Lights with shutters are the                      The ARRISUN Event 5 Systems are
                                                   perfect addition to the luminous space of the new                 mounted invisibly – the luminaries
                                                   BMW Welt in Munich                                                can be quickly set up
                                                                                                                                       Lighting    43

– A Spectacular Location

                                                                                                A new stunning location in the heart of Munich –
                                                                                                The BMW Welt. The incoming daylight in the
                                                                                                double cone is perfectly complemented by the
                                                                                                ARRISUN 5 Event luminaries

output. In this way there is no warming up      each ballast has been provided with potential   to our products, it was possible to achieve
time or hot restrike to wait for. The way in    free contacts, which allow the read-back of     the desired effects and complete a spec-
which the entire system is operated and         the lamp status. Whenever a lamp is not         tacular and successful project.
controlled is unique as well: PDA based         operating, the end user receives immediate
software enables the user to remotely start     information on which lamp needs service.        For more information about this project or
the lighting session of a certain platform.                                                     the Event product line, please contact
Furthermore, an intelligent control system      The unique installation was made possible       Herbert Van Hille under
provides centralized monitoring of the          through a close cooperation between             or your local ARRI dealer.
Event Six ballasts in order to detect whether   eventa AG and ARRI Lighting. Through
a lamp is operating or not. To this extent,     extensive testing and special modifications

A spectacular location to present
the latest technology in cars
44     Lighting

      Mexico City                                    to be shot in Mexico and I have used it             Los Angeles
     The ARRIMAX was introduced in Mexico            whenever I could on any production since           At the 2007 TOURNAMENT OF ROSES PARADE,
     at the country’s capital for a MCDONALD’S       then. It is a great light!” – Director of Photo-   Max celebrated the New Year by illumi-
     USA commercial shot by the production           graphy, Eduardo Martínez Solares (MALOS            nating floral floats and marching bands in
     company Cedro Producciones, S.A. de C.V.        HáBITOS , TODO EL PODER ).                         a procession for a live broadcast by the
     The lighting equipment was provided by                                                             Home Garden TV network. The Southern
     the local rental house Revolution 435 D&C,      Max also worked on the set of the feature          California festivities have been a tradition
     S.A. de C.V., who had just received the first   film VANTAGE POINT, directed by Pete Travis        for 118 years.
     ARRIMAX in Mexico.                              and shot by Amir Mokri (LORD OF WAR,
                                                     TAKING LIVES). The powerful thriller exam-         For the romantic comedy MADE OF HONOR,
     “I really was impressed by the brightness of    ines an assassination attempt on the US            starring Patrick Dempsey, Gaffer Pat Murray
      the ARRIMAX when I first saw it in the US.     president, while showing multiple points of        (EVAN ALMIGHTY) and cinematographer
      I decided to use it on my next commercial      view from five characters. VANTAGE POINT           Tony Pierce-Roberts, BSC (HOME OF THE
                                                     stars Dennis Quaid, Oscar-winner Forrest           BRAVE, UNDERWORLD) put the ARRIMAX and
                                                     Whitaker, William Hurt and Sigourney               MaxMover automated stirrup to the test.
                                                                                                        “…We were shooting on the umpteenth
                                                                                                         floor of a skyscraper and I had to balance
                                                                                                         the interior to the exterior. What a truly
                                                                                                         fantastic piece of kit. The range between
                                                                                                         spot and flood is phenomenal and I loved
                                                                                                         the [MaxMover] controller especially, and no
                                                                                                         sending guys up in cherry pickers!” – Director
                                                                                                         of Photography Tony Pierce-Roberts, BSC.

                                                     By now, we figured everyone was familiar with the power and intensity of
                                                     the ARRIMAX. However, we have reports of people discovering the benefits
                                                     of this great lighting fixture every day. Fifty percent brighter than a 12k PAR,
                                                     the ARRIMAX has a lensless design and arc like shadow quality. Also known
                                                     as ‘Max,’ the light has been busy on film productions and used for other

THE MAX FILES: PART IV                               applications where bright light is required. When paired with MaxMover the
                                                     automated stirrup, the two combined offer remote pan, tilt and focus for the
                                                     large lighting fixture on tall platforms or hard-to-reach places. Here, we take
                                                     you along on some of Max’s latest journeys.
                                                                                                                                               Lighting       45

Attendees at the 11TH annual Cine Gear         to stand in as natural lighting for exterior                 generator. In many states for concert venues,
Expo had the chance to see the ARRIMAX         shots.                                                       you must provide exit and entrance illumi-
and MaxMover up close and in the air.                                                                       nation. You put the light on a stick that is on
The event featured demonstrations for local    Filmwerks International, a provider of power                 the trailer – and you have safety lighting.
crew members.                                  and temperature control for live sporting                    In New Orleans after Katrina, there were
                                               events and concerts, tested a new applica-                   problems illuminating large areas. With
For SWING, a Grolsch beer spot, Director       tion for the ARRIMAX and MaxMover at                         the ARRIMAX and MaxMover in this con-
Irv Blitz wanted such specific illumination    ARRI Inc. headquarters where the light was                   figuration, we could set up in one hour or
that in addition to a powerful set of large    mounted on a retractable tower. By incor-                    less and light a massive area.” – Michael
ARRI lights, he utilized the ARRIMAX in his    porating the MaxMover, the moveable yoke                     Satramezis, CEO of Filmwerks Intl.
arsenal. Blitz specializes in tabletop cine-   and focus can be manipulated using controls
matography and the resulting commercial        from the ground. The innovative concept                      An Tran
is a vibrant dance of bottles and sparkling,   was nicknamed ‘Max on a Stick,’ intended
bubbling beer choreographed to Louis           to shine light over large expanses quickly
Armstrong’s music. Blitz liked working with    and efficiently.
Max so much, he bought one himself.
                                               “The ARRIMAX and MaxMover are magnifi-
New York                                        cent, they are beautiful products that are
I AM LEGEND is a post-apocalyptic science       rugged and travel well. We saw how power-
fiction film starring Will Smith as perhaps     ful the ARRIMAX was, and thought if we
the only human in New York who is unin-         could get it on a lightweight trailer and
fected from a deadly virus. Shot on location    in the air, it would serve well not only on
in New York City by Andrew Lesnie, ASC,         film productions, but municipalities and for
ACS (KING KONG, THE LORD OF THE RINGS           emergency management. We tested this
TRILOGY) with gaffer Mo Flam (MUSIC AND         concept, putting the ARRIMAX on a tower
                           the film called
LYRICS, ALL THE KING’S MEN),                    that can extend itself and also collapse
for the ARRIMAX supplied by ARRI CSC            into a trailer. The trailer also carries the

Croatia                                        illuminate Knin Castle for the annual celebra-               middle of the town, Tatar and Hrvoje Bilic,
Lighting Designer Marijam Tatar used the       tion of Croatia’s liberation day. For a live                 Head of Lighting Technology at the HRT
ARRIMAX on a very prestigious project to       broadcasting of the HRT (Croatia’s national                  were really impressed by the result that it
                                               television) the façade was lit utilizing just                was possible to light the whole Knin castle
                                               one ARRIMAX at about a mile distance.                        with just one luminaire.
                                               Set up on the roof of the main station in the
                                                                                                            Mathis Richter
                                               r.t.l. Vlaho Krille LB Elektronik Croatia ARRI Distributor
                                               for Croatia, Slovenia and Bosnia, Hrvoje Bilic HRT,
                                               Marijam Tatar HRT, Mathis Richter ARRI
46     Lighting

     Stefan Weiss is a DOP and founder of Weisscam.
     He specializes in digital high-speed photography for
     commercials and documentaries. Next to his film
     shooting activities, he has also developed a special
     digital high-speed camera addressing the various needs
     on the set. Regularly facing problems with adequate
     lighting, he contacted ARRI Lighting for a solution.

     Testing of New Ballast Technology by
     Weisscam Shows Great Promise

High Speed Technology
     Cooperation between ARRI and Weisscam             be flicker. Even tungsten light flickers at these   • 50 Hz flickers heavily
     was started to test ballast technology for        frame rates!                                        • 75 Hz was way better, but still flickering
     driving lights at higher frequencies in prac-                                                           too much
     tical situations. The first results are very      How did you get rid of flicker until now?           • 1,000 Hz was not flickering at all. Even
     promising, as Mr. Weiss described in the                                                                when watching the material with a histo-
     following interview. ARRI’s industrial lighting   Sw: Up to now, the only solution was to use           gram, there was no amplitude. We were
     product manager Herbert Van Hille spoke           big tungsten lights like 10 K’s or 20 K’s. With       also thoroughly checking the blue channel,
     with Stefan Weiss.                                the big bulb inside I could be sure that there        which is the most difficult one.
                                                       won’t be any visual flickering in the image. But
     Mr. weiss, could you please briefly describe      working with tungsten light heats up the set        Currently, you are mostly working at 1,000 fps.
     your main activities?                             too much and the colors are pretty poor. That’s     Have you also tested at higher speeds?
                                                       why I prefer shooting with HMI. But all HMI’s
     Stefan weiss: I am working as a DoP mainly        flicker free ballast is just 75 Hz and therefore    Sw: Because of the good result at 1,000 fps,
     in commercials and I am specialized in digi-      will flicker. To solve this problem, I mixed up     I was wondering if the ballast is stable at
     tal high-speed photography. After working         three 4 K’s to one light source and separated       2,000 fps, 4,000 fps and 5,000 fps. And
     with almost every digital high-speed camera       the phases and run them through one frame.          it is…
     in the market, I decided to build my own          This was a pretty good way to minimize
     camera, with the aim of achieving the best        flickering, but it doesn’t work for background      Do you plan on using these ballasts for your
     possible image quality and meeting the DoP’s      lighting and reflecting surfaces like water.        future projects when they are available?
     needs on set.
                                                       You have been engaged in a testing pro-             Sw: Yes, I definitely will put these ballasts
     How do you define high speed filming?             gramme for high-speed ballast prototypes.           on the light list for every future high-speed
                                                       what is your experience with these ballasts?        project. It gives me the security that I will
     Sw: Because there is no definition of high-                                                           have a real flicker free light on set. During
     speed, everything over 150 fps is more or         Sw: I was specially testing for the most            past projects, I sometimes lost a lot of time in
     less high-speed. But most of the time, I am       difficult lighting situations in high-speed         finding and solving the flickering problem.
     shooting at 1,000 fps and for me; this is         photography. That means using a single light        Now, I can concentrate on the creative part
     where high-speed really starts in order to        source with a spot lens (the spot lens shows        of the shooting…
     achieve the effects I am looking for.             the flickering most directly) and lighting a
                                                       gradient background or a reflective surface.        Mr. weiss, thank you for working together
     Does high speed filming have special require-     When you just using a single light source,          with us on this project and for your time
     ments towards the lighting?                       the light does not mix up with other lights,        during this interview.
                                                       which may reduce the flickering.
     Sw: Yes, one of the biggest problems is to        We built two setups (vodka and drop) with           If you wish to receive more information
     achieve flicker free lighting when you are        just one single light source, a 4 K HMI PAR.        on high speed technology from ARRI
     shooting with 1,000 fps. Standard flicker         The test ballast was able to switch from 50 Hz      please contact Herbert Van Hille under
     free ballasts are great with frame rates up to    to 75 Hz (flicker free) and to 1,000 Hz. So I and
     150 fps like what you can do with the 435.        recorded the two setups with all three different
     But once you go up to 1,000 fps, there will       frequencies at 1,000 fps and the results were:      Herbert Van Hille
                                                                                                                                      Lighting      47

Lighting Up the Prague Quadrennial                                                                       20 07
 The Prague Quadrennial, the world largest        ‘Tower of Babel’ was erected in the great        was to create the show lighting for the
 assembly of stage designers, is held every        central hall of the ‘Scenofestival’. The con-   appearance of the ‘Mirrorman’ in addition
 four years. The event is organised by             struction was made up of scaffolding-poles,     to the basic architectural lighting. Lighting
 OISTAT, an international organisation of          was accessible in three levels and used         design students of the Bavarian Theatre
 stage designers, stage engineers and light-       both as an exhibition space and for show        Academy August Everding and the Royal
 ing designers. At the same time, students         purposes. The base area of the tower was        Welsh College of Music & Drama present-
 are offered a number of workshops in the          a regular dodecagon with an outside             ed a marvellous lighting design, solving
 halls of the Prague Industrial Palace. During     diameter of 13 m. There were two chal-          these two quite complex challenges.
 its 10 day duration from June 15th to June        lenges for the offspring light designers:
 24th, 23,000 visitors attended the Prague         The first was to illuminate the tower as an     ARRISUN 5 Event lampheads were placed
 Quadrennial, among them some 5,000                architectural object; the second challenge      at every corner of the tower. While six of
 registered theatre professionals from all                                                         them were equipped with blue dichroic
 over the planet.                                                                                  glass filters, the other six lampheads were
                                                                                                   equipped with orange dichroics and were
 Since 2003, ARRI has supported the event.                                                         used alternatingly to the blue light cones.
 This year, training courses in lighting design                                                    All 12 event lampheads were equipped with
 for students were also provided by ARRI.                                                          ARRI SH-5 event shutters. By controlling
 In addition to a theatre, built out of pack-                                                      the shutters accordingly, it was possible to
 ing cases filled with rockwool, a 18 m high                                                       fade the tower from being lit in blue to an
                                                                                                   orange lighting scene and back in a pre-
                                                                                                   programmed time. The show lighting part
  The Tower of Babel
                                                                                                   for the ‘Mirrorman’ was created with the use
  illuminated using AS 5 Event
                                                                                                   of 1,200 W HMI moving lights from Czech
                                                                                                   manufacturer Robe.

                                                                                                   I would like to thank all the colleagues of
                                                                                                   ARRI Lighting Rental in Prague who have
                                                                                                   helped us with excellently looked-after
                                                                                                   material and beautiful dichroic glass filters.
                                                                                                   However, my special thanks goes to Mr.
                                                                                                   Michael Ramsaur, professor of lighting
                                                                                                   design at Stanford University in Palo Alto,
                                                                                                   California and president of OISTAT. Michael
                                                                                                   has also helped me to shape my career in
                                                                                                   lighting design.

                                                                                                   The event proved to be a very successful
                                                                                                   gathering where ARRI could help students
                                                                                                   from all over the world create sophisti-
                                                                                                   cated lighting design under the supervi-
                                                                                                   sion of professional instructors.

                                                                                                   Stefan Schmidt

                                                   The appearance of the Mirrorman
48   Lighting

     B R I G H T, F L E X I B L E
      Wide Area Illumination in TV Studios   “Free your mind“ is the slogan for
                                             the biggest private Romanian station

      with ARRI Ceramic Lights               PRO TV, which is considered to be
                                             one of the most innovative and
                                             dynamic stations in Eastern Europe.
                                             The station is a member of the
                                             CENTRAL EUROPEAN MEDIA
                                             ENTERPRISE (CME) group, which is
                                             owned by Ronald Lauder. PRO TV
                                             is becoming a trend-setter for the
                                             application of innovative lighting
                                             technologies with the expansion
                                             of its media centre in the middle of
                                             Bucharest. Three TV studios between
                                             100 and 200 square meters in size
                                             were just added, and so-called
                                             ‘cool-lights’ are being used for more
                                             than 2/3 of the lighting.

                                              Staying cool is the key for the Bucharest-
                                              based television studio Pro Tv

                                             ARRI Ceramic Studio 250 and 500 series
                                             luminaries are utilized as key lights as a
                                             replacement of the traditional halogen
                                             lamps with 1000 and 2000W power
                                             consumption. Fluorescent lights of the
                                             Studio Cool series and Ceramic X series
                                             lampheads are in place for fill lights, bright
                                             lights and for the background. The possi-
                                             bility to operate four times the number of
                                             lamp heads from the same power installed
                                                                                                                                    Lighting      49

was just one of the benefits. Long durabil-       like halogen lamps do. They operate              The industry is working on a solution to
ity, low heat, low maintenance costs and          effecting a manner that can be compared          dim these lights at least 70%. In coopera-
easy conversion of the lighting system for        to a daylight discharge lamp. The major          tion with Pro TV, ARRI has developed a
fast changing sets, presented additional          difference is the material of the discharge      solution to meet the demands of TV studios
advantages for Pro TV to invested in cool         piston, which consists of the ceramic            with primarily non-fiction productions. The
new technology.                                   material polycrystalline aluminium (PCA),        required functionality was provided by ND
                                                  is supplemented with a special metal             gel changers, which reduce the lights up
Halogen lights may be less expensive              iodine filling. This combination guarantees      to four steps. In combination with diffusing
(about 25% of the initial investment ex-          high energy yield and durability with            and colour foils, this concept offers addi-
panses compared to ceramic lights), but           excellent colour stability. The optimal colour   tional benefits.
their use is highly inefficient: they produce     rendering is another attribute, that the
much more heat, are less stable and need          camera crews from Pro TV appreciate in           Flexibility was another keyword during the
a much higher level of maintenance. Based         connection with their HD productions.            development of a concept for vertical and
on the anticipated production schedule of                                                          horizontal positioning of the lights. The
the TV studios in Bucharest, the initially                                                         planning and project team of ARRI Lighting
higher costs are paid off in just two years.      Especially suitable for use in                   Solutions, together with the operators of
Reduced power consumption and a lifetime          HD productions                                   Pro TV, developed a low-cost solution con-
of the burners of at least 4000 hours (after                                                       sisting of a combination of slide and power
this they still retain about 60% of their light   Because the ceramic material allows for          rails. This individually customized rigging
power) are the main arguments in this cal-        operational temperatures of up to 2000°C,        allows the lights to run across the entire
culation. Other positive effects are lower        a consistent spectrum is achieved. This          area of a studio without interference of
air conditioning costs for the studios, lower     guarantees optimal colour rendering and          cables or limitations in the freedom of
maintenance costs, as well as operational         a consistent colour temperature of 3200K         movement.
advantages achieved through wide toler-           throughout the entire life cycle. Long term
ances for voltage fluctuations between            application of ceramic technology will be        The positive experiences Pro TV gained
90 to 265V.                                       less expensive and more flexible. At the         in working with ARRI Lighting Solutions
                                                  same time, better electronic characteristics     and its local partner Centron Technische
With a light yield of 85 Im/W, ceramic            faciliate the transition from SD to HD pro-      Handelsgesellschaft m.b.H. during imple-
lights are four times as efficient and do         ductions in television.                          mentation of this innovative and flexible
not convert the energy mainly into heat,                                                           concept, will be a model for further appli-
                                                                                                   cations in TV studios of the new generation
                                                                                                   within the CME-group.

                                                                                                   Interested in further details of the ARRI
                                                                                                   Ceramic concept for TV studios?
                                                                                                   Don’t hesitate to contact the ARRI Lighting
                                                                                                   Solutions team at +49 30 678 233 - 0
50     Lighting

ARRI Demonstrates Turn-key Lighting Solutions
During                  2007
                                                                                        Berlin has always been the heart of events and is
                                                                                       strong source of trends – today more than ever before.
                                                                                       Small wonder that the SHOWTECH – the bi-annual
                                                                                       international trade show and conference for event
                                                                                        technology and services held below the venerable
                                                                                        radio tower – has established itself as an outstanding
                                                                                       showcase. Last June, ARRI had its products and
                                                                                       services on display on an impressive, high-tech stand.

                                                        created a segment of a cyclorama (3 by
                                                        3 m, equipped with 36 modules) in order to
                                                        demonstrate the luminous intensity.

                                                        On the day before the official show opening,
                                                        ARRI Lighting Solutions invited system inte-
                                                        grators from the broadcast industry to par-
                                                        ticipate in a special project workshop at
                                                        the Media City in Berlin-Adlershof. Questions
     Lighting solutions, from lampheads and sus-        regarding products and technology as                trade show, 7,340 trade and professional
     pension equipment, rails, controls, dimmers        well as team work in the course of project          visitors attended; this means an increase of
     and curtain systems to back-lighting fixtures      realisation were discussed in several user          almost 7% compared to the figures of 2005.
     were presented on a dedicated booth area           groups. All participants were awarded with          30% of the attendees were international,
     as turn-key systems in operation. Of special       a certificate from ARRI Lighting Solutions          an increase of 5% compared to the preced-
     interest to most visitors were the novel           after having completed the workshop.                ing exhibition. This year saw 350 exhibitors
     monopole of the TLH series, the innovative                                                             from 25 countries – meaning an increase of
     hoist, the new LED back-lighting system for        Days at a trade show are usually quite hectic       13%. Of course ARRI will attend the upcom-
     TV studios (see ARRINEWS 4/2007) and               and exhausting. Therefore, parties are              ing SHOWTECH trade show, scheduled
     the position-control system PCS 2100 for           always a welcome occasion to chill out and          from June 16th to June 18th, 2009 and will
     suspension equipment. Along with the TV            to exchange opinions. On the first night of         again present many novelties.
     studio solutions, people were impressed by         the SHOWTECH exhibition, ARRI invited
     the ARRIMAX, the most powerful daylight            more than 150 customers to an informal              Mathis Richter/Norbert Wunderlich
     lamphead on this planet. In combination            get-together at the restaurant ‘Speicher’, a
     with the motorised yoke MaxMover, avail-           historic venue at the heart of Berlin, near
     able with both analogue and DMX control            the former Berlin Wall. The motto of the
     and flexibly adaptable for all lampheads           event, the ‘roaring twenties’, was meant as
     from 6 to 18 kW, the duo of ARRIMAX and            an homage to the 90th anniversary of ARRI
     MaxMover cannot be outperformed when               and built a bridge to the early days of the
     it comes to luminous efficacy and flexibility      company, when lampheads with facetted
     in use. ARRI also noticed a big interest in        reflectors, power generator vans and similar
     the “cool” ceramic lampheads that can be           equipment were developed to meet the de-
     used in broadcast or movie productions as          mands of the then emerging movie industry.
     well as on theatre stages or for event lighting.
                                                        The increased interest of the trade profes-
     Domestic as well as international visitors         sionals in ARRI and its new products and
     were thrilled by the colour space and satu-        solutions also reflects the growing interna-
     ration of the new LED back-lighting system.        tional reputation of the SHOWTECH exhibi-
     Especially for trade show purposes, ARRI           tion: According to the official statistics of the
                                                                                                                                           Lighting     51

    Supreme Lighting, Premium Support
Designing new lampheads from scratch, developing brand new lighting
technologies, perfecting the system with innovative equipment: this is just
one part of the game. The other – and sometimes even more important part –
is the after-sales service. This is what we really call supporting your visions.

In order to decisively shorten turn-around          For the 2007 seminar in Seoul/South Korea,
times, we carry an extensive stock of spare         it was even possible to have an interpreter
parts. Comprehensive spare part lists in-           to translate all of the sometimes technically
cluding a visual reference for extra safety         elaborate contents into the native tongue
are available on the ARRI website. Another          of the Korean technicians. To be trained
service that is highly appreciated is the           in one’s own language proved to be a big
availability of parts even for products that        benefit. A Service Training Roadmap is al-
are older than ten years – though beyond            ready in preparation and will be published
the common service lifetime, they are               on the ARRI website.
usually still supported on a goodwill basis.                                                        Proud and happy participants with Product Manager
                                                    The service network of authorized ARRI          Brigitte Horn in Stephanskirchen

Service training is another key to success for      Lighting Service Centers is currently being
our customers. A better understanding of            strengthened and reorganized to ensure
the technical principles and the basic main-        support in the respective native language.
                                                                                                    The ARRI Service
tenance procedures provides the basis for           All service centers will meet ARRI’s service    Center Certificate
avoiding many everyday problems, be it in           requirements such as the availability of
the field, in the studio or at rental facilities.   expensive but necessary tools, technical
As a part of the course, the customers also         education and especially a high level of
learn how to maintain and carry out repairs         training on the products. A certain level of
on lampheads and ballasts. The usual size of        spare parts will facilitate immediate help in
these four-day workshops does not exceed            many emergencies.                               We are already
20 persons to ensure maximum time for the                                                           looking forward
individual training and Q&A sessions.               The very first authorized ARRI Lighting &       to announcing the
                                                    Camera Service Center has already been          next authorized
A minimum of two workshops are offered              proudly announced: Cine Equipment in            and certified
per year with the main one in October, right        Singapore and Bangkok. Cine Equipment           Service Centers
in the ARRI’s lighting factory in Stephans-         has made major investments in tools, facili-    on our website
kirchen, close to Munich. Since some of our         ties and education to support its customers.    by the end of
customers have encountered problems with            On June 20th the Suppliers and Customers        this year to
visas and in traveling, seminars have also          Nite was celebrated at the Sheraton Tower       ensure the best
been held in the Asian-Pacific region since         in Singapore together with the Broadcast        possible after
last year, with the first one taking place in       Asia Cine Equipment Pte Ltd – a perfect         sales support.
Bangkok/Thailand. Participants came from            event to hand over the first Service Center
all over Asia.                                      Certificates.                                   Brigitte Horn

                                                    Congratulations to Mrs.Tng Siew Moi and
                                                    her team from Mr. Reinhard Kulterer             Lighting Service Training Seoul 2007
52   News around ARRI

     A Persistence of
     ARRI Celebrates 90 Years of Excellence
                        Aside from simply entertain-
                        ing us, motion pictures have
                        offered some of the most
                        memorable images of our
                        times. Film can reflect our
                        culture, our history and who
                        we are. Behind this artistry
                        is the technology necessary
                        to communicate these
                        fascinating and compelling
                        visions. Inspired by the
                        magic of flickering images
                        in a dark cinema, founders
                        August Arnold and Robert
                        Richter were so moved by
                        this newly invented art form
                        as students, that they aspired
                        to become filmmakers
                                                                                                                           News around ARRI            53

Recognizing that the imagination of the film-
maker is limitless but that tools and techno-
logy do have their limitations, ARRI constantly
strives to offer something better to assist the
artist in creating their vision. The last ninety
years have shown significant advances in
technology and ARRI has seized the challenge
to continue to take those advances to the
next level.

Named after a combination of the first two
letters of each of the founders surnames,
ARRI set up in a modest shop on Tuerken-
strasse in Munich. That same address con-
tinues to be in use by the same occupant
now, but on a much grander scale as the
international headquarters of the largest          firm friends based upon a passion and flair      established their company in 1917 and it
film equipment manufacturer in the world.          for all things technical. Their friendship       wasn’t long before they had their first official
                                                   flourished as did their passion for the images   success with the sale of several printers.
It all started with a chance meeting at a          of the flickering screen as it gathered popu-    Both had gained an extraordinary amount
grammar school where the pair became               larity and momentum at this time. It was in      of technical knowledge and expertise by
                                                   1916 this industrious pair designed and built    assisting film-makers such as Michael Kopp
                                                   their first film printing machine, made from     and Peter Ostermayer. It was the sale of
                                                   old sprockets and various drive parts from       the printers that allowed them to finance
                                                   an old film projector which they had bought      the design and manufacture of their first
                                                   at a second hand goods stall in a local          film cameras.
                                                   Munich market. Arnold & Richter officially
                                                                                                    The first camera developed was a small,
                                                                                                    portable, hand cranked 35 mm camera
                                                                                                    housing 100 ft of standard film named the
                                                                                                    KINARRI 35. Amidst this innovation in
                                                                                                    35mm film capture, the team also began
                                                                                                    constructing their first instruments for light-
                                                                                                    ing and shortly after that a 16 mm camera,
                                                                                                    the KINARRI 16 followed by its successor
                                                                                                    complete with clockwork drive.

                                                                                                    One of the early objectives of Arnold &
                                                                                                    Richter was to offer not only cameras but
                                                                                                    also the corresponding lighting equipment.
                                                                                                    The company built the first studio lights
                                                                                                    with facetted reflector and the first mobile
                                                                                                    power supply unit in 1924.
    54          News around ARRI

             The Mirror Reflex Shutter Camera                              lite technologies that opened up new possibi-                    The films of Swedish Director Ingmar
             A landmark year came in 1937 with the                         lities. The consequence was a growing de-                        Bergman are some of the most influential in
             design and development of the reflex mirror                   mand for more programmes and therefore an                        world cinema and with CRIES AND WHISPERS
             shutter camera, the ARRIFLEX 35. So ground-                   increasing demand for cameras. The popular                       (1972); it garnered cinematographer Sven
             breaking and revolutionary, the design prin-                  mass medium demanded faster and cheaper                          Nykvist his first Oscar. Shot inside an old
             ciple continues to be incorporated in every                   production methods, taking advantage of                          mansion with walls painted red, Nykvist
             modern motion picture film camera today. For                  16 mm film. In 1952 ARRI brought to market                       used his signature naturalistic lighting design
             the first time in moviemaking history, a cam-                 the ARRIFLEX 16 ST, the first professional                       to allow the shattering family drama to
             era operator could focus through the view-                    16 mm film camera incorporating the reflex                       play out. Nykvist would later win another
             finder and see without any parallax errors.                   mirror shutter. At this time the 16 mm format                    Oscar a decade later, again on the Bergman
             The ability to actually see through the lens                  was still used for the capture of news and                       collaboration FANNY AND ALEXANDER , shot
             empowered filmmakers by giving them more                      sports reports however, in future years for                      with the 35 BL.
             control over their creative vision.                           this particular segment of the industry
                                                                           this format was to be taken over by video                        The fresh take on cinema seen with the Euro-
             The ARRIFLEX 35 was so enduring that after                    cameras.                                                         pean film movements began to have an
             selling almost 17,000 units, 45 years later                                                                                    impact on the Hollywood system. A younger
             in 1982, an Academy of Scientific and Engi-                    During this era, Hollywood filmmaking had                       generation began making films and like Euro-
             neering Class I Award was presented for the                    created a different working style compared                      pean films, the productions became increas-
            “concept and development of the first 35mm                      to that in Europe. Studio pictures used                         ingly more realistic. This meant getting into
             motion picture reflex camera.”                                 large, stationary cameras while the Euro-                       real locations, lower budgets, and being
                                                                            peans had lightweight shoulder-mounted                          able to shoot quickly with lighter cameras
             Urged on by their success Arnold and Richter                   cameras. The Europeans were more mobile,                        that were quieter. With new materials and
             expanded the product range despite the war.                    worked with smaller crews and cameramen                         technology, ARRI was aware it was possible
             They built their own film processing machine,                  often pulled their own focus. Many American                     to improve existing camera equipment. In
             and this part of the business continued to                     cameramen were getting acquainted with                          1972 the first self-blimped ‘studio silent’
             flourish.                                                      these cameras and working practices from                        35 mm film camera was released with the
                                                                            shooting overseas.                                              ARRIFLEX 35BL. Previously blimped cameras
             The 16 mm Standard Camera                                                                                                      were extremely cumbersome and weighed
             Mid-century brought The Golden Age of                          Highly Mobile Self-Blimped Cameras                              up to 80 pounds, but with the compact
             Television to the world, followed later by the                The famous counterculture film EASY RIDER ,                      35 BL, handheld work was possible since
             era of home video, these brought about                        directed by Dennis Hopper and shot by                            it weighed only 33 pounds. Some iconic
             changes in the use of film cameras and there-                 Laszlo Kovacs, ASC took advantage of                             films shot with the camera from this era
             fore the requirements they had to fulfill. The                these shoot-from-the-hip techniques. Using                       included TA XI DRIVER, DAYS OF HEAVEN ,
             broadening media horizon, first in the USA                    available light and shooting with an                             APOCALYPSE NOW, THE SHINING and REDS .
             and then the rest of the world led to greater                 ARRIFLEX 35 IIC, the filmmakers literally
             demands for programmes not only in the pub-                   took to the road. For the many famous                            With the advent of self blimped cameras,
             licly owned national companies but also                       scenes of driving motorcycles, Kovacs shot                       high speed lenses and higher speed film
             the private media sector of cable and satel-                  handheld out of a convertible.                                   stocks more and more features were shot

     ARRI is founded by August Arnold and Robert
     Richter in September 12th 1917, with their first
     product being a printer

                                                                                 1950                     1953                                                                               1977
                                                                                 ARRI Film Production     ARRI Studio                                                                        ARRI USA
                                                                                 ARRI Stephanskirchen

Printer                    ARRI Lab                                                                                       ARRI Lab-Machines         ARRITECHNO

Facet Reflector Design Luminaires                             Fresnel Lamphead                                               ARRI Gigant          ARRI Duplo     ARRI Sonne     ARRI Follow Spot      Apollo

            Kinarri 35                  Kinarri 16      ARRIFLEX 35    ARRIFLEX 35 II    ARRIFLEX 16 ST   Camera Blimps    Electronic Cam     ARRIFLEX 16 BL   ARRIFLEX 35 BL   ARRIFLEX 16SR      ARRIFLEX 35III

1917 1924 1927 1928                                     1937             1946               1952           1953              1955               1965             1972             1975              1979
                                                                                                                                                                                   News around ARRI               55

                                                                                      on location with the industry evolving to yet                       cameras. An investment that payed off for
                                                                                      another level.                                                      many long years: Vadim Ivanovic Yussov, for
                                                                                                                                                          example, shot his successful film B O R I S
                                                                                      One of the filmmakers at the forefront of this                      G O U D N OV (Dir. Sergey Bondarchuk) in
                                                                                     ‘New Hollywood,’ was Cinematographer                                 1986 with a BL4. Pavel Timofyeevich Lebesher,
                                                                                      Haskell Wexler, ASC who purchased his own                           the recipient of multiple awards, shot all
                                                                                     ARRIFLEX 35 BL. Wexler shot the Woody                                his films from 1978 on with the ARRIFLEX
                                                                                      Guthrie biopic BOUND FOR GLORY, which is                            35 BL. His sucessful BARBER OF SIBERIA in
                                                                                      credited with the first use of the Steadicam                        1999 was then produced with the ARRIFLEX
                                                                                      for a long tracking shot through a Depression-                      535B, the technically advanced successor.
                                                                                      era work camp. Wexler received his second
                                                                                      Oscar for the film, which was directed by                           Covering the Film world
                                                                                      Hal Ashby.                                                          During these years ARRI continued to grow
                                                                                                                                                          on an international scale. In 1977 the
                                                                                     A worldwide trend had started: The Russian                           forming of an ARRI subsidiary in the USA
                                                                                     film industry also invested immediately in the                       with offices in New York and Los Angeles
                                                                                     silent, compact, hand-held ARRIFLEX 35 BL                            insured ARRI’s growing presence in the
                                                                                                                                                          Hollywood market where a permanent foot-
                                                                                                                                                          hold has remained ever since. By establish-
                                                                                                                                                          ing American-based subsidiaries, ARRI’s
                                                                                                                                                          technological influence grew from the strong
                                                                                                                                                          relationships established with American
                                                                                                                                                          studio filmmakers.

                                                                                                                                                          This strategy for growth lead the way for the
                                                                                                                                                          opening of other outlets around the world
                                                                                                                                                          including United Kingdom, Canada, Italy
                                                                                                                                                          and Australia. At the same time operations
                                                                                                                                                          at head-quarters continued to diversity. By
                                                                                                                                                          the 1980s, ARRI in Munich had become a
                                                                                                                                                          total end-to-end production entity, offering
                                                                                                                                                          camera and lighting rental, complete pro-
                                                                                                                                                          duction and processing services from studio
                                                                                                                                                          production to post and a cinema all under
                                                                                                                                                          one roof.

                                                                                                                                                          The ARRIFLEX 535 introduced in 1990
                                                                                                                                                          gave more image control by allowing the
                                                                                      A R R I FLEX 535

                                      1991         1992                                                                                                     2003
… for the continued design improvements            Gordon E. Sawyer Lifetime Award                        … for their continuing development and innovation in the
               of the BL series of cameras         for Erich Kästner                                     design and manufacturing of advanced camera systems
                   culminating in the BL 4s

 1979         1983          1985              1994
 ARRI GB      ARRI TV       ARRI Italia       ARRI Digital Film
                                              ARRI Canada

                                                                         ARRI LOCPRO 35              ARRILASER                                                                  ARRISCAN

         ARRI Studio       ARRI Compact          ARRISUN 40/25                      ARRI X         ARRI Pocket PAR ARRI Event System          Sky Panel          Studio Cool   ARRI Ceramic     ARRIMAX       MAXMOVER

                                           ARRIFLEX 535B                                                                  ARRIFLEX                                                                            ARRIFLEX 416
  ARRIFLEX 765         ARRIFLEX 535       ARRIFLEX 16 SR3         Variable Primes   ARRIFLEX 435     Ultra Primes     16 SR3 Advanced ARRICAM System           ARRIFLEX D-20   ARRIFLEX 235   Master Primes     Ultra 16

    1989                1990                   1992                 1994             1995            1998                 1999               2000                2003           2004           2005            2006
56     News around ARRI

                                                                                                      ARRI focused on lights, cameras and lenses,
                                                                                                      ARRI had also maintained a successful film
                                                                                                      printing and processing laboratory business
                                                                                                      from the beginning that is still in existence
                                                                                                      today. The company manufactured editing
                                                                                                      tables, film printers and has been a service
                                                                                                      provider in post and video production for
                                                                                                      decades. With this exceptional background
                                                                                                      in postproduction, it was no surprise the
                                                                                                      company would continue to advance tools
                                                                                                      in this area. Awarded an Academy Scientific
                                                                                                      and Technical Achievement plaque in 2001,
                                                                                                      the ARRILASER has become the industry stan-
                                                                                                      dard for film recording with credits including
                                                                                                      4k digital intermediate projects such as
                                                                                                      S P I D E R M A N 2, T H E D AV I N C I C O D E and
                                                                                                      L I T T L E C H I L D R E N . Films originated with
                                                                                                      digital capture such as ZODIAC, STAR WARS:
                                                                                                      P H A N TO M M E N AC E and S U P E R M A N also
                                                                                                      rely on the ARRILASER to bring their movies
                                                                                                      onto film for theatrical projection and for
                                                                                                      archival purposes.

                                                                                                      ARRI enhanced abilities in postproduction
     open angle of the mirror shutter to be           Lighting                                        by introducing the ARRISCAN film scanner.
     changed while the camera was running,            Filmmakers have always needed light to          The superior resolution of film can be brought
     creating a so called “speed ramp“.               expose correctly and throughout the years,      into the digital realm through scanning, pro-
                                                      ARRI has become known for the design and        cessed as digital intermediates and then out-
     Five years later the ARRIFLEX 435, a camera      manufacture of robust, well-made lighting       put back onto film with the ARRILASER. The
     that also had the ability to run forward and     products with an unceasing dedication to        complete ARRISCAN to ARRILASER chain
     reverse from 1 to 150 fps, was introduced.       developing the right product for the right      has been used on TH E LO RD O F TH E RI N GS
     The 435 has become the workhorse high-           time. This belief and drive still stands true   TRILOGY, DIE HARD 4.0 and TR ANSFOR MERS.
     speed MOS camera of the film industry and        today with the development of the ARRIMAX
     can be seen on almost any big budget             18 / 12, the company’s newest and brightest     ARRI has always maintained a commitment
     Hollywood action film where ramping is           fixture taking lighting to new levels, used     that lies beyond the usual commercial consid-
     needed including those shot digitally like       on productions such as INDIANA JONES 4 ,        erations by continuing to lead the industry in
     MIAMI VICE and APOCALYPTO.                       the next installments of BATMAN and THE         developing products that have defined state
                                                      CHRONICLES OF NARNIA .                          of the art in motion picture camera technol-
     The current top of the line sync sound camera,                                                   ogy and thus furthering the craft of filmmak-
     the ARRICAM Studio and Lite, are accom-          Setting Standards in the Digital world          ing. This dedication was recognized by the
     panied by the smallest modern 35 mm film         The late 1990s witnessed ARRI’s step into       Academy in 2002 with an Oscar statuette.
     camera, the ARRIFLEX 235, and a brand new        postproduction hardware with the ARRI-
     16 mm camera, the ARRIFLEX 416.                  LASER film recorder. Although in past years     The Real Digital ‘Film’ Camera
                                                                                                      In the new millennium it became apparent
                                                                                                      that digital moviemaking was becoming a
                                                                                                      viable option for image capture. The first
                                                                                                      model of the ARRIFLEX D-20 film style digi-
                                                                                                      tal camera was introduced at IBC in 2003
                                                                                                      and has since worked on many productions
                                                                                                      such as HOGFATHER, AFRIK A MON A MOUR
                                                                                                      and TH E COM PANY.

                                                                                                      ARRI is continuing to develop both film
                                                                                                      and digital cameras, recognizing that film-
                                                                                                      makers are now familiar with both technol-
                                                                                                      ogies and that a hybrid production environ-
                                                                                                      ment is developing. Since images captured
                                                                                                      in any format can easily be combined in dig-
                                                                                                      ital postproduction, creative professionals
                                                                                                      are often choosing multiple formats based on
                                                                                                      their appropriateness for a given sequence,
                                                                                                      instead of being tied to a single format for
                                                                                                      an entire production. Thus one project may
                                                                                                      include footage shot on 16 mm film, 35 mm
                                                                                                                      News around ARRI                57

                                                                                                               A R R I FLEX 235

                                                                                                               A R R I FLEX 416

                              A R R I FLEX D -20

film, 65 mm film or the D-20, and both
technologies will co-exist for the foreseeable
future. As the premiere supplier of profes-
sional cameras, ARRI is striving to provide
the very best film and digital cameras.

Into the Future                                    complexities of the very nature of the indus-
Over the years ARRI products have earned           try ARRI supplies the simplest solution possi-    Robert Arnold                Dr. Walter Stahl
their place in history with an ARRIFLEX 16 mm      ble thus becoming a solution provider.
camera capturing passing images of Earth
                                                                                                    A change of generation took place in 1977/78:
from the viewing window of the NASA space          With the convergence of media ARRI has
                                                                                                    Robert Arnold and Dr. Walter Stahl took over
shuttle Atlantis, or with the ARRIFLEX 435         developed a systematic approach where for-
                                                                                                    the management of ARRI at a time when modern
taken to new heights on the highest point          mats play a role. In a world of ever chang-      camera technology was evolving rapidly and
on earth to shoot some of the most breath-         ing technology ARRI fulfills that role supply-   sometimes erratically. In the time period up to the
taking scenery in the world on the peak of         ing the technology support and service,          turn of the millennium, alone ARRI was awarded
Mt. Everest. ARRI lighting has lit some of the     taking the burden away from the creatives        8 additional Academy Awards honoring its
most famous stadiums in the world for vari-        to allow them the freedom to dedicate their      developments. Further subsidiaries (USA 1977,
ous Olympic games such as Albertville and          thoughts to their creative vision.               GB 1982, Italy 1985) were founded and a wide
Barcelona.                                                                                          network of agencies was created. In the year
                                                   Despite all the awards and accolades in recog-   2001 the company was converted to a privately
In the very beginning innovation became one        nition of technical achievements, ARRI's goal    owned joint-stock company.
of Arnold & Richter’s business principles and      is to empower creative professionals to real-
that same mind-set remains today. In order to      ize their imagination and vision. That philos-   Robert Arnold and Dr. Stahl moved to the super-
better serve the creative professionals ARRI       ophy still stands today and will continue to     visory board, to which other eminent members
has always adapted to the latest trends and        remain for the next ninety years and beyond.     belong. Chairman of the Supervisory Board is
has developed the technology accordingly                                                            Prof. Dr. Hans-Jörg Bullinger, who also is Presi-
for the emerging markets. Along with the           An Tran / Judith Petty                           dent of the Fraunhofer Institutes.
58     News around ARRI

     A look inside the milling shop – at that time
     the huge blimp casings were still being produced

         Max Welz Retires After
     “So far everyone that left ARRI has made something of himself,” laughs Max
     Welz, “because ARRI always has good people.” And he should know:
     82 years young (since August 6th 2007) and after being with the firm for
     nearly 62 years, Max Welz has now decided to direct his energies he is
     known for towards his own duties. He started working at ARRI way back on
     August 1st 1945: “My first thought then was: I’ll be out of here within a year,”
     Max Welz recalls with a grin. On reflection he himself seems a little
                                                                                                           1995 als Geschäftsführer mit der ARRIFLEX 16 SR3
     surprised that he actually stayed a bit longer.

      Joining ARRI in 1945 took next to no time.        diately shown a lathe and started work the          our ARRIFLEX 16ST,” Max Welz explains.
     “I cycled from Rosenheim to Brannenburg,”          same day as an operator on 63 pfennigs             “Demand was so huge that we were selling
      he explains, “because a neighbour had             an hour at ARRI. And what had started so           100–120 ARRIFLEX 16ST cameras and up to
      told me there was work there. And after           quickly carried on at the same rapid pace –         60 ARRFLEX 35 mm cameras a month.
      the war we were all desperate for a job.          just three months later Max Welz was in             In order to be able to ensure the production
     At the firm that had evacuated to Brannen-         charge of the machine shop.                         of these high quantities of cameras, we
      burg the first person he met, in heated dis-                                                          were forced to run 2 shifts in our machine
      cussion with an employee, was the boss            Great tasks lay ahead – not only with the           shops. “There were times I would start at 5
     August Arnold, who paid him scant atten-           factory’s move back to Munich. “It wasn’t           in the morning and not finish until midnight,”
      tion at first. As he was about to leave,          just about developing technical film equip-         he recalls. Of course the cameras were
     Arnold called the young man back: “What            ment, it was also a case of building work-          a lot simpler in design in those days. But
      can you do then?” The reply was at once           shops and offices, organising production            we worked very briskly, and it was a time
      self-assured and purposeful: “What do you         cycles, purchasing material, taking on staff        of unusual solutions: you shot a report (soccer
      need me to do? – That was the whole job           and so on…”                                         for example), tore off on a motorbike to
      interview,” says Max Welz with a laugh,                                                               the lab to have the film developed, and two
     “I never was too shy to open my mouth.”            The Fifties saw the first leap forward: “Practi-    hours later you presented the result to the
     Twenty years old at the time he was imme-          cally all reporting was filmed at that time with    viewer,” he remembers.
                                                                                                                            News around ARRI              59

                                                                                                   Max Welz in his office

                                                                                                   Welz as a glider pilot

62 Years at ARRI
                                                                                                   F.l.t.r.: Dr. Walter Stahl, Max Welz, Bob Arnold

 There was plenty of work: at peak times
 ARRI had a workforce of some 1,300.
                                                 cy and save time at work,” he sums up. This
                                                 was precisely what he was yet able to               Track record
                                                 prove when he took over the responsibiliy            6. 8. 1925 Born in Bernstadt (near Breslau), Schlesien
 For all that no-one was squeamish. Prob-        for the ARRI foundry which, after 10 years          1. 8. 1945 Joined ARRI in Brannenburg, after two
 lems were tackled with gusto and imag-          of operation in the red, he reorganized             years of military service as a paratrooper
 ination: “At that time work preparation with    and modernized. Today he knows it is in             1. 11. 1945 Master turner / milling machinist
 the respective departments were located         good hands under his successor.
                                                                                                     1949 Moved from Brannenburg to Munich
 on the 3rd floor, right under the roof. Some-                                                       In charge of the machinery shop, casting shop,
 times in the summer it was so hot that we       So what is ‘Papa ante portas’ doing these           milling shop, machinery repair shop, control,
 rigged a perforated garden hose up on the       days? That’s a question many ARRI col-              tool distribution, raw material store, operations
 roofing and had water flowing over the hot      leagues could not even imagine asking.              scheduling, building up purchasing, material
 tin roof. Before, the assembly department for   Now Max Welz wants to spend more time               planning, machinery materials design and planning
 the ARRIFLEX 16ST was located on these          with his family and in pursuit of his hob-          1960 Head of the entire division
 floors, and on hot days the employees had       bies such as skiing, philately and watches.
                                                                                                     1971 Head of all production / control
 their feet in film cans filled with water in    He talks proudly of his two sons and his
                                                                                                     1986 Joint power of attorney
 order to cool off.” Working conditions that     grandchildren, who he sits down for a meal
 staff usually took on the chin with a grin.     with almost every weekend. He is particu-           1991 Member of the Board of Management with
 After all, they were working in a highly        larly pleased that he always found time to do       overall technical responsibility for the apparatus
 respected company ‘in the film industry’.       so despite his heavy workload. When you             engineering division
 It was not unusual for someone to spend his     look at him these days it is hard to believe         2000 Casting technology director and in conjunction
 entire working life at ARRI – from appren-      that this agile ‘ARRI institution’ is no longer      with Franz Kraus director of Arnold & Richter
 tice to pensioner, like father like son. Max    involved in the day-to-day running of the            2007 After nearly 62 years
 Welz remarks with a laugh that his son          company. His energy and vitality simply rub          at ARRI awaiting
 has just retired, too. Not from the same com-   off on you, and it is easy to imagine how he         new assignments …
 pany but in the same year as him.               inspired the “ARRI men” to great feats with
                                                 his infectious enthusiasm. A good thing           The first factory ID card
 Max Welz’s favourite cameras include the        he stayed on in 1945 instead of moving on         for the factory
 16 SR and the ARRIFLEX 535, which he also       quickly. Returning to August Arnold’s             in Brannenburg
 helped to design, but “one of my most im-       question: what he needed him to do Max
 portant tasks was to always buy in the very     Welz did for 62 years. Thank you, Max             Brannenburg Castle

 latest machinery to ensure maximum efficien-    Welz and all the best for the future.

                                                 Marita Müller / JT
60   News around ARRI

      “I don’t normally open congresses and company presentations. The fact that
       I am making an exception here is down to Prof. Dr. Ilic, who combines
       scientist and entrepreneur in one person.” With these words Serbian Deputy
       Prime Minister Bozidar Djelic opened the ARRI product presentation in
       Belgrade in early July. ARRI accepted the invitation of the Republic of
      Serbia’s Ministry and hosted over 200 guests from the Serbian, Croatian
       and Macedonian artistic and business communities, with a focus on
                                                                                                           F.l.t.r. Thomas Popp, Prof. Dr. Dejan Ilic,
       representatives of the respective film industries.                                                  Bozidar Djelic, Alexander Vlajcovic

                                              ARRI products have a long history in the                   ARRI’s special guest, DoP Frank Küpper has
                                              Balkan countries and represent a very famous               recently completed shooting AFRIK A, MON
                                              brand. From this point it was an easy task                 A M O U R with the D-20. He reported on his
                                              for Prof. Dr. Dejan Ilic to present ARRI’s new             experiences and answered questions from
                                              technologies: “ARRI’s vision is to develop                 the audience. The lively discussion was fol-
                                              new technology for digital cameras, digital                lowed by a well appreciated hands on ses-
                                              post production and innovative lighting                    sion with the ARRI products in a miniature
                                              systems. To achieve this target, ARRI works                film studio. Aside from the ARRIFLEX D-20,
     Deputy Prime Minister Bozidar Djelic     very closely with European universities                    an ARRICAM Studio, an ARRIFLEX 416
     during his opening speech                and different institutes. The students from                Plus and a selection of ARRI daylight and
                                              the Balkan countries are always welcome                    tungsten luminaires were available. Thomas
                                              to join us for the realisation of different                Popp, ARRI Sales Director: “We shall be
                                              projects like new sensor chips, 3-D, new                   further developing the good contacts we
                                              software for digital cameras and post                      already have in Eastern Europe. We feel
                                              production equipment.” Prof. Dr. Ilic’s open-              there is great potential for placing our pro-
                                              ing words met with unanimous approval                      ducts there in the future and for stepping
                                              among the specialist audience, which inclu-                up co-operation with scientific agencies
                                              ded representatives from film equipment                    in Serbia as well.”
                                              distributors, TV station executives, the press
                                              and celebrities from the cultural scene.                   The evening cocktail party was attended
                                                                                                         by many celebrities from the film industry
     Milica Cubrilo and Dejan Ilic            During his presentation of the ARRIFLEX                    and the cultural scene as well as by a
                                              D-20 digital film camera Prof. Ilic pointed                number of high-ranking political represen-
                                              out the emphasis ARRI is placing on an                     tatives. Milica Cubrilo, General Director
                                              even easier handling of the camera to in-                  of TOS, the National Tourism Organisation
                                              crease its effectiveness. Afterwards ARRI                  of Serbia, expressed his thanks to Prof.
                                              product managers provided a comprehen-                     Dr. Ilic and his team for their commitment
                                              sive synopsis of the camera, light and                     and presented him with a statue of the
                                              digital product areas.                                     inventor Nikola Tesla.

                                              F.l.t.r.: The ARRI team with Timo Müller, Thomas Popp,
                                              DoP Frank Küpper, Michael Zeisse, Dejan Ilic, Elfi Bernt
                                                                                                                                  News around ARRI                   61

 Japanese Film Industry Celebrates
 NAC’s 50-Years Anniversary
                                                      As part of the show, a seminar and an                NAC president Kenichi Ueki and general manager
                                 Franz Kraus          exhibition followed. “Digital technology is          of sales Koichi yamamoto at the press conference
                                 (right) presented    being increasingly adopted by film and
                                 the highly           TV productions to compliment and add to
                                 acclaimed “ARRI
                                                      long term reliable analog systems. This
                                 Lion” to Kenichi
                                                      refers not only to the acquisition side but
                                 Ueki on the
                                 occasion of
                                                      also post production and of course to the
                                 NAC´s 50-years       projection in theaters – today there are plenty
                                 celebration          of new options,” said Koichi Yamamoto,
                                                      NAC’s general manager of sales. Conse-
                                                      quently the concept for the seminar session
In July 2007, NAC Image Technology                    was to invite professionals from all areas
Inc. celebrated their 50th anniversary                of production, post production and the pro-
                                                      jection to cover all of the workflow. During
and thanked all business partners                     the exhibition, state-of-the-art products
in the film industry who have contrib-                were shown, such as the ARRIFLEX D-20,
uted to NAC’s growth and success.                     the ARRICAM ST, ARRIFLEX 235, and also               Mr. Kawashima from NAC (middle) explains the
                                                      the ARRIFLEX 416.                                    latest updates and additions to the ARRI cameras to
The show was opened by Kenichi Ueki,                                                                       Mr. Nakamura (right) of Tohoku-Shinsha (TFC)
president of NAC, who gave an overview                More than 2,300 people from the industry
of the milestones achieved: “The first line           attended in the seminar sessions and Koichi
of products, the anamorphic lens series               Yamamoto said, “I am very happy that the
NAC-KM and NAC-HM were designed in                    concept of the seminar was so well-accepted.
1958. Utilized on an impressive number of             I believe that our message to the market
big film projects such as the Tokyo Olympic           gave the industry decisive impulses to review
Games in 1964, we are very proud that                 and discuss. The event was a big success
the product still performs well 50 years later,”      and NAC would like to continue and contri-
Kenichi said. “It is our commitment to the            bute to the industry from a global point of
film industry to strongly invest in R & D to          view. Last but not least, we would like to
develop new products and to provide the               express our thanks for the great coopera-
best service for industry leading products            tion provided by our long-term business
such as ARRI and Carl Zeiss. Based upon               partners.”                                           Mr. & Mrs. Suzuki (right), president of Le´space Vision
our past 50-year experience we can rely                                                                    with Franz Kraus, Paul Ivan and Stefan Kramper
on a strong foundation for the next 50 years.”        Tomofumi Masuda

ARRI Australia at SMPTE 2007
This year’s SMPTE (Society of Motion Picture and      and accessories. A well selected range of lights   July 19th, which 350 guests from the industry
Television Engineers) exhibition and conference in    was demonstrated as well and the ARRIMAX           attended. Overall the presence, visibility and
Darling Harbour, Sydney attracted around 200          18/12 – the brightest HMI on earth – was located   contribution of ARRI Australia was very much
suppliers and more than 8,000 visitors to the four    on a catwalk above the booth, mounted on the       appreciated by the clients and partners from
day show, which opened on July 17th 2007.             MAXMOVER and remotely controlled from the          the entire industry.
ARRI Australia showcased lighting and camera          ground – a big attraction when it was occasion-
equipment as well as presenting the services          ally fired up across the exhibition halls during
offered by the Australian subsidiary, all of which    the day.
was well received by the visitors and film pro-duc-
tion clients.                                         The exhibition was rounded off by a white paper
                                                      given during the conference on “Completing
The latest in camera technology was on display,       the Image Acquisition Path from Film to Data” on
from the ARRIFLEX 416 to the ARRIFLEX D-20            Wednesday, July 18th, and also by the co-spon-
including a 46" true HD LCD screen along with         sored ACS (Australian Cinematographers Society)
the ARRIFLEX 435 Xtreme plus all kind of lenses       50th Anniversary Launch Night on Thursday,
62    News around ARRI

     Big Success for the
     First ARRILASER
     in Romania
                                                                                                                   Director Cristi Mungiu – Palm D´Or winner
                                                          Abis Studios in Bucharest installed an                            at this year´s Cannes Film Festival
                                                          ARRILASER in August 2006 and integrated
                                                          it very quickly into their postproduction work-
                                                          flow. The first big success was soon at hand:     including the ARRILASER recording was
                                                          At this year’s Cannes film festival, the Roma-    done entirely at Abis Studios. It was the
                                                          nian production 4 M O I S, 3 S E M A I N ES E T   first movie Cristi Mungiu (Director) and
                                                          2 J O U RS by Cristi Mungiu already received      Oleg Mutu (DoP) completed as a digital
                                                          the prestigious Palm d´Or. The DI work            intermediate and they were very happy
                                                                                                            with the result. For their next movie they
                                                          F.l.t.r.: Gabi Antal, Cristi Mungiu and           look forward to working with an ARRI-
                                                          Oleg Mutu with the ARRILASER at Abis Studios      SCAN as well.

      Emirates Media Inc Visits ARRI                                                                        A Good Tradition Continues
     ARRI had the pleasure of welcoming a delegation from Emirates Media Inc (based                         ARRI´s Digital Intermediate Systems Group
     in Abu-Dhabi UAE) to the Munich facility last July. During a two day visit, the dele-                  again sent out invitations for an ARRILASER
     gation received a tour through various departments at ARRI and in particular ARRI                      advanced user training this July. ARRILASER
     Film and TV services. We look forward to having a close collaboration with EMI                         customers from England, Spain, Italy, Russia,
     in many different areas in the near future.                                                            Denmark, Sweden, Wales, Portugal and
                                                                                                            Japan learned about the newest develop-
                                                                                                            ments on the ARRILASER and the ARRICUBE
                                                                                                            Color Management. The meeting also offered
                                                                                                            a great opportunity to exchange experiences
                                                                                                            with colleagues from all parts of the world
                                                                                                            and to get plenty of answers along with fresh
                                                                                                            inspiration. Not only the new users but also
                                                                                                            some of the very first users took part and it
                                                                                                            turned out that all of them were very enthu-
                                                                                                            siastic about the opportunity to integrate
                                                                                                            new knowledge in their workflow. More ad-
                                                                                                            vanced user training courses are planned
                                                                                                            for the end of this year and for next year.

       F.l.t.r.: Markus Kannewischer (ARRI), Henning Rädlein (ARRI), Abdul Farid Kabani, Abdul Hadi
       Abdullah (Director of Media Technology), Fariborz Kamrani (Amaranthine), Thomas Popp (ARRI),
       Mr. Waleed Khamis Al Zaabi, Jihad Gerges Hashim, Achmed Al Menhali                                   The attendants of the ARRILASER advanced
                                                                                                            user training workshop
                                                                                                                                            News around ARRI              63

   Eric Ferranti Awarded
   the Michael Ballhaus
   Young Talents Award 2007
                                                                Eric Ferranti (left) and Michael Ballhaus

    Eric Ferranti, student of cinematography at the
   ‘Deutsche Film- und Fernsehakadmie, dffb’ (German
    academy for movie pictures and TV), is the lau-
    reate of this year’s Young Talents Award of the
    Michael Ballhaus foundation. The award was
    given to him for his work at the dffb, especially for
                                                                                                                                           Michael Ballhaus and the
    the film DÉLIRE DE NEGATION (Director: Janosch
                                                                                                                                           ARRIFLEX D-20 at the ‘Hands on
    Orlowsky). Michael Ballhaus personally handed                                                                                          HD’ workshop. This seminar,
    over the award statue to Eric Ferranti, together with                                                                                  held at the beginning of August
    6,500 EUR (approx. 8,800 US$) of prize money                                                                                           in Hannover, Germany, lasted
    and equipment vouchers worth 17,000 EUR                                                                                                for several days and allowed DoPs
    (approx. 23,000 US$) for his upcoming projects.                                                                                        to broaden their experiences
    The vouchers were donated by the sponsors ARRI                                                                                         in the master class directed by
                                                                                                                                           Michael Ballhaus. To date, the
    and Cinegate. Michael Ballhaus, winner of the
                                                                                                                                          ‘Hands on HD’ workshop has been
    Lucky Strike Designer Award in 2003, used his                                                                                          held for five times in a row and
    prize money to form the Michael Ballhaus foun-                                                                                         has become the biggest event of
    dation. It is the intention of the foundation to sup-                                                                                  this type in all of Europe.
    port students on the camera courses at the dffb.                                                                                       Contact:

  German Cinematography Award 2007
                                               Cinematography Tv series:
                                               Hans-Günther Bücking, BLACKOUT –
                                               DIE ERINNERUNG IST TöDLICH
                                               (Folge: Licht)

                                               Cinematography short film:
                                               Stefan Linn, LUMEN
The former head of WDR Fritz Pleitgen (left)
and Prof. Dr. Dejan Ilic                       Cinematography
                                               documentary / feature:
 Honorary DP 2007: David Slama                 Eva Maschke, ROAMING AROUND

                                                                                                        The winners of the German Camera Award 2007
David Slama. For his lifetime achieve-         Cinematography reportage:                                and honorary DP David Slama together with the Manager
ment, David Slama was awarded the
                                               Antonia Francis and Pascal-André                         of the VEREIN DEUTSCHER KAMERAPREIS KÖLN E.V.
title honorary DP of the year 2007.                                                                     Christoph Augenstein
                                               Villa, FEUERTOD
Born in Prague, David Slama worked
together with Michael Ballhaus on              Cinematography short feature:
such reknowned features like THE               Mike Steffl, ZWISCHEN SPESSART UND
                                               K ARWENDEL: ZELLULOIDPIONIERE –
GANGS OF NEW YORK . In 1981 he
                                               LEBEN ALS FIL MVORFüHRER
won the German Film Award and
in 1997 the Adolf Grimme Award.                 Editing feature film:

 Cinematography feature film:                  Uta Schmidt, VIER MINUTEN

Theo Bierkens for DER LIEBESWUNSCH              Editing documentary / feature:

 Cinematography Tv drama:                      Dominique Geisler, ROAMING AROUND

Tomas Erhart for DIE MAUER –                   Funding award cinematography
BERLIN ’61                                     documentary:
                                               Sebastian Bäumler, ZIRKUS IS NICH

                                                Funding award editing feature film:
                                                                                                        David Slama (left) with host Bettina Böttinger and
                                               Kai Schröter, WHOLETRAIN
                                                                                                        Adolf Winkelmann
64     News around ARRI

                                                                                                                                                Victor J.

                                                                                                                                              Goi, ASC








     CINEMATOGRAPHER                                                                                                                           Michael


     C I N EM ATO G RAPH ER STyLE continues its way around the                                                                                   Lenoir,
                                                                                                                                              AFC, ASC

     world, screening for new audiences with three recent events
     in Sao Paulo, Rio de Janeiro and Rome.                                                                                                  Bill Bennett,

     Roberto Faissal, VP of the Association of Brazilian                   short, with great clips. Following that is a long evening          Paul Ryan,
     Cinematographers (ABC), organized a screening at the                  attended by thousands – with great food, drink, dancing,
     ABC Week held at the Brazilian Cinematheque in Sao                    films projected outdoors, and lots of conversation.”
     Paulo. C I N E M ATO G R A P H E R S T Y L E was screened to a full                                                                         Daniel
     auditorium, followed by questions and answers for                     In Rio de Janeiro, the April 2nd 35 mm screening at the Odean     Pearl, ASC

     Director                                                              Theater was a sold-out, standing room-only screening.
     Jon Fauer, ASC with simultaneous translation via wire-                                                                                    Kees Van
     less headsets.                                                        The next morning, C I N E M ATO G R A PH ER S T Y L E exhibited     Oostrum,
                                                                           for the film department at Pontifícia Universidade Cató­lica
     “The ABC Week is one of the most amazing events for                   in Rio de Janeiro. The presentation was led by the
      cinematographers in the world,” Fauer describes. “It is              Cinematography Department Chair and Director/Cinemato-              Roizman,
      an event produced by film professionals with support                 grapher Marcelo Taranto. The facilities offered simulta-                ASC

      of all in the industry – big companies and small vendors             neous translation for the audience and the screening was
      (about 30 companies participated). The seminars are                  followed by a Q & A session with Fauer.                                 Russ
      suggested by the associates and are followed by an                                                                                          ASC
      evening of awards for the best cinematography, sound, and            In Rome, the film was presented by Vittorio Storaro, ASC,
      artwork, presented by colleagues to colleagues. Follow-              AIC to an audience of filmmakers, actors and representa-             Matthew
      ing the seminars, the awards and speeches are mercifully             tives from various film companies like Kodak, ARRI,                 Libatique,
                                                                           Technicolor, Cinecittà, Panalight and Guzzini.
                                                                           Storaro tells us, “I did a long introduction explaining the          Beebe,
                                                                                                                                              ACS, ASC
                                                                           genesis of the project and the technical and cultural
                                                                           intentions of better understanding the figure of the
                                                 F.l.t.r.:                                                                                       Roger
                                                 Translator Tais Nardi
                                                                           cinematographer. The film was screened with the Italian             Deakins,
                                                 with Valdi Ercolani       version on a separate soundtrack. Everybody loved it. I            BSC, ASC

                                                 of Camera Dois and        received a lot of compliments in the name of all the
                                                 Roberto Faissal           authors and producers. All people applauded at the idea                 Tony
                                                                           to have a second part, CINEM ATOGRAPHER ST YLE II. It              BSC, ASC
                                                                           was a great evening.”
                                                                                                                                                                          Services    65

                           Title                  Production                    Director              DoP                           Equipment

                           ANONYMA               Constantin Film Produktion     Max Färberböck        Benedict Neuenfels            ARRICAM ST / LT, ARRIFLEX 435, ARRIFLEX 235,
                                                                                                                                    3-Perforation, Lighting, Grip

                           CAPTAIN ABU RAED      Gigapix Studios                Armin Matalqa         Reinhart Peschke              ARRIFLEX D-20
                           DER BAADER MEINHOF    Constantin Film Produktion     Uli Edel              Rainer Klausmann              ARRICAM ST / LT, 3-Perforation, Lighting, Grip
ARRI Re nt al G e r many

                           DIE WILDEN KERLE 5    SamFilm                        Joachim Masannek      Benjamin Dernbecher           ARRICAM ST / LT, ARRIFLEX 435, 3-Perforation
                           FEUERHERZ             TV60Film                       Luigi Falorni         Judith Kaufmann               ARRIFLEX 16SR 3, Lighting, Grip
                           HEXE LILLI             blue eyes Fiction / Trixter   Stefan Ruzowitzky     Peter von Haller              ARRICAM ST / LT, ARRIFLEX 235, 3-Perforation,
                                                                                                                                    Lighting, Grip
                           JOHN ADAMS             HBO Films                     Tom Hooper            Tak Fujimoto, Daniel Cohen    ARRICAM ST / LT
                           MORD MIT AUSSICHT      Pro GmbH                      Arne Feldhusen        Johannes Imdahl               ARRIFLEX 16SR 3, Lighting, Grip
                                                                                Christoph Schnee      Johannes Kirchlechner

                           RUBICON                United Artists / Sony         Bryan Singer          Newton Thomas Sigel           ARRICAM ST / LT, ARRIFLEX 435, ARRIFLEX 235,

                           SPEED RACER           Warner Bros. Pictures          Andy Wachowski,       David Tattersall              Lighting, Grip
                                                                                Larry Wachowski

                           THE CHRONICLES OF     Walden Media                   Andrew Adamson        Karl Walter Lindenlaub        ARRICAM ST / LT, ARRIFLEX 435, ARRIFLEX 235,
                           NARNIA: PRINCE                                                                                           Lighting, Grip

                           Title                  Production                    Director              DoP                           Equipment

                           ART IN LAS VEGAS       ART In LV Ltd                 Mary McGuckian        Mark Wolf                    ARRIFLEX D-20, Ultra Primes
                                                  Walden Media                  Gil Kenan             Xavier Grobert               ARRICAM ST / LT, ARRIFLEX 235
                                                  Samson Films                  Declan Rechs          Owen McPolin                 ARRICAM LT, ARRIFLEX 535
                                                  HCC Media                     Andrei Konchalovsky   Mike Southon BSC             ARRICAM LT, ARRIFLEX 235, ARRIFLEX 435
ARRI M e dia

                                                  Impossible Pictures           Michael Katelman      Graham Frake                 ARRIFLEX 416
                            Primeval 2                                                                Adam Suschitzky

                            ROCKNROLLA           Toff Guy Films                 Guy Ritchie           David Higgs                  ARRIFLEX D-20, Ultra Primes, Master Primess
                           TELSTAR                Aspiration Films              Nick Moran            Peter Wignall                ARRICAM LT
                           THE COLOUR OF MAGIC   The Mob Film Co                Vadim Jean            Gavin Finney BSC             ARRIFLEX D-20
                           THE CALLING            Medb Films Ltd                Jan Dunn              Ole Birkeland                ARRIFLEX D-20, Zeiss Primes
                                                 Young Victorial                Jean Marc Vallee      Hagen Bogdanski              ARRICAM ST / LT
                            Young Victoria       Productions

                           WILD CHILD             Lacrosse Films                Nick Moore            Chris Seager BSC             ARRICAM ST / LT, ARRIFLEX 235

                           Title                 Production Company             DoP                         Gaffer                 Equipment                           Serviced by

                           BOURNE ULTIMATUM      Beach City Productions         Oliver Wood                 Russell Engels         ARRICAM ST / LT                     ARRI CSC NY
                                                                                                                                   ARRIFLEX 435, ARRIFLEX 235
                                                                                                                                   Lighting, Grip

                           MANCORA               Pacificus LLC                  Leandro Filloy                                     ARRICAM LT, 3-Perforation           ARRI CSC FL
                           OCTOBER ROAD          October Road Prods.            Theo Van Sande                                     ARRICAM ST / LT, ARRIFLEX435        ARRI CSC FL

                           ON THE LOT            Shooting Stars Pictures        Various                     Oscar Dorminquez       Automated Lighting                  Illumination

                           PATHOLOGY             Lakeshore Entertainment        Ekkehart Pollack            Justin DuVal           Lighting, Grip                      Illumination

                           PROM NIGHT            Original Film                  Checco Varese               Danny Ecclestone       Automated Lighting                  Illumination

                           REVOLUTIONARY ROAD    DWNY Prods. Inc.               Roger Deakins ASC, BSC      Bill O´Leary           Lighting, Grip                      ARRI CSC NY
                           SUNSHINE CLEANING     Sunshine Cleaning Prod.        John Toon                                          ARRICAM LT, 3-Perforation           ARRI CSC FL
                           SYNECDOCHE            Mysterious Condition LLC       Frederick Elmes ASC         Jonathan Lumley        ARRICAM ST / LT                     ARRI CSC NY
                                                                                                                                   Lighting, Grip

                           THE RETURN            Return Prods. Inc.             Declan Quinn ASC                                   ARRIFLEX 416                        ARRI CSC NY
                           30 ROCK               NBC                            Vanja Cernjul                                      ARRICAM LT, 3-Perforation           ARRI CSC NY
66                        Services

                          Title                   Production Company                Director                     DoP                       Equipment

                          EAST OF EVERYTHING –    Twenty Twenty Pty Ltd             Stuart MacDonald &           Brendan Lavelle           ARRIFLEX 16SR 3
                          SERIES 1                                                  Matthew Saville

                          HUTCHINSON 3            Plaza Films                       Nicholas Reynolds            Tristan Milani            ARRIFLEX 416
 ARRI Aust ralia

                          MC LEOD´S DAUGHTERS –   Millennium Television             Various                      John Stokes               ARRIFLEX 16SR 3
                          SERIES 8

                          SHOT OPEN               AFTRS                             Scott Pickett                Greg de Marigny           ARRICAM ST
                          THE PACIFIC             First Division Pty Ltd           Tim Van Patten (Episode 1)    Remi Adefarasin           ARRIFLEX 235, ARRICAM LT, LDS Ultra Primes
                          VIRGIN BLUE             Good Oil Films                    Hamish Rothwell              Jac Fitzgerald            ARRIFLEX 435, LDS Ultra Primes
                          VISA BOPO               Brilliant Films                   Simon Bookallil              Tristan Milani            ARRIFLEX 416
                          WESTFIELD               Brilliant Films                   Lee Rogers                   Tristan Milani            ARRIFLEX 16SR 3, ARRIFLEX 416

                          Title                    Production Company              Director                DoP                     Gaffer                Rigging Gaffer        Best Boy

                          ASHES TO ASHES           Ashes Ltd                       Johnny Campbell         Julian Court            Dan Fontaine                                John Walker
                          CITY OF EMBER            Walden Media                    Gil Kenan               Xavier Grobert          Chuck Finch           Brian Livingstone     Billy Merrell
                          CRANFORD                 BBC                             Sue Birtwhistle         Ben Smitthard           Alan Martin                                Terry Montague

                          ECHO BEACH               Echo Beach                      Beryl Richards          John Daly BSC           Tom Gates                                  Toby Flesher
                                                   (Echo Beach) Ltd

                          EDGE OF LOVE             Jitterbug Productions           John Maybury            Jonathan Freeman        John Coley            Vince Madden          Andy Cole
 ARRI Lighting Re nt al

                          HOLBY BLUE 2             Red Planet (Holby) Ltd                                  Ian Leggitt             Jo Allen
                          HOW TO LOSE FRIENDS      Alienate Ltd                    Robert B Weide          Oliver Stapleton        Larry Prinz           Phil Penfold          Mark Funnell
                          AND ALIENATE PEOPLE                                                              BSC

                          MI HIGH                  MI High (MI High) Ltd           Simon Hook              Stephan Pehrsson        Haydn Boniface                              Gavin Ogden
                          MISS AUSTEN REGRETS      BBC                             Jeremy Lovering         David Katznelson        Otto Stenov                                 Wayne Mansell
                          MOVING WALLPAPER         Moving Wallpaper                Andrew Gillman          Ian Leggitt             Jo Allen                                    Carolina
                                                   (MW) Ltd                                                                                                                    Schmidtholstein

                          PRIMEVAL 2               Impossible Pictures             Micheal Katleman        Adam Suschitzky,        Stewart King                                Steve Anthony
                                                                                                           Graham Frake,
                                                                                                           Chris Hartley
                          ROCK N ROLLA             Toff Guy (RNR) Films Ltd.       Guy Ritchie             David Higgs             Dan Fontaine          John Walker           Andy Bell
                          UNTITLED 06              Untitled 06 Ltd                 Mike Leigh              Dick Pope BSC           Matthew Moffatt                             Kevin Fitzpatrick
                          THE COLOUR OF MAGIC      The Mob Film Company Ltd        Vadim Jean              Gavin Finny BSC         Terry Hunt                                  Steve Cortie
                          YOUNG VICTORIA           Young Victoria                  Jean Marc Vallee        Hagen Bogdanski         Jimmy Wilson          Ian Franklin          Mark Funnell
                                                   Productions Ltd.

                          Theater Release                                                                  Foreign Dubbing

                          ANONYMA                              Constantin Film Produktion                  ASTERIX BEI DEN OLYMPISCHEN SPIELEN               Constantin Film Verleih
                          DIE FRAUEN DES ANARCHISTEN           P´ARTISAN Filmproduktion                    RESIDENT EVIL II                                  Constantin Film Verleih
 ARRI S o und

                          DIE WELLE                            Rat Pack Filmproduktion
                          DIE WILDEN KERLE 5                   SamFilm
                                                                                                           DAS WUNDER VON BERLIN                             teamWorx
                          HANAMI                               Olga Film
                                                                                                           DIE LIEBE EIN TRAUM                               sanset Film & Fernsehproduktion
                          KRABAT                               Claussen + Wöbke + Putz Filmproduktion
                                                                                                           FEUERHERZ                                         TV60Film
                          SOMMER                               SamFilm

                          Title                                Production Company                                                             Director                           Services

                          BONES                                Blue Eyes Fiction                                                              Milcho Manchevski                  DI, VFX
                          DIE ROTE ZORA                        Studio Hamburg Filmproduktion                                                  Peter Kahane                       DI, Title
                          FUORI DALLE CORDE                    Bianca Film, Radiotelevisione Svizzera Italiana (RTSI), Ventura Film S.A.      Fulvio Bernasconi                  DI

                          HANAMI                               Olga Film                                                                      Doris Dörrie                       VFX
                          KRABAT                               Claussen+Wöbke+Putz                                                            Marco Kreuzpaintner                DI
                          LOBOS                                Clap Filmes, Madragoa Filmes                                                   José Nascimento                    DI
                          PORNORAMA                            Constantin Film Produktion GmbH, Erfttal Film, Sommer 69 Film                  Marc Rothemund                     VFX, Title
                          SARA                               Trigger Happy Productions                                                        Basia Baumann                      DI, VFX
                          WARUM MäNNER NICHT                   Constantin Film Produktion                                                     Leander Haußmann                   HD-DI, VFX
                          ZUHöREN UND FRAUEN NICHT
                          EINPARKEN KöNNEN
                                                                                                                                                                       Services   67

                          Title                                                           Production Company            Director                   DoP

                          ALTE LIEBE                                                      Kunsthochschule für           Irene Graef                Kai Rostasy
                          ANONYMA                                                         Constantin Film               Max Färberböck             Benedict Neuenfels
                          CLARA                                                           Integral Film                 Helma Sanders-Brahms       Jürgen Jürges
                          DAS WUNDER VON BERLIN                                           teamWorx                      Roland Suso Richter        Holly Fink
                          DER BAADER MEINHOF KOMPLEX                                      Constantin Film               Uli Edel                   Rainer Klausmann
                          DER BERGDOKTOR                                                  ndF                           Axel de Roche              Hartmut E. Lange
                          DER ROTE PUNKT                                                  Münchner Filmwerkstatt        Marie Miyayama             Oliver Sachs
                          DIE ANDEREN                                                     Komplizen Film                Maren Ade                  Bernhard Keller
                          DIE FRAUEN DES ANARCHISTEN                                      P´ARTISAN Filmproduktion      Marie Noëlle, Peter Sehr   Jean Francois Robin
ARRI L a b – T V D rama

                          DIE WELLE                                                       Rat Pack Filmproduktion       Dennis Gansel              Torsten Breuer
                          DIE WILDEN KERLE 5                                              SamFilm                       Joachim Masannek           Benjamin Dernbecher
                          DR. PSYCHO FOLGEN 7 –14                                         Brainpool TV                  Richard Huber              Diethard Prengel
                          FAMILIE SONNENFELD FOLGEN 6 + 7                                 Post One                      Christine Kabisch          Charly Steinberger
                          FEUERHERZ                                                       TV60Film                      Luigi Falorni              Judith Kaufmann
                          FRECHE MäDCHEN                                                  collina filmproduktion        Ute Wieland                Peter Przybylski
                          HERZOG                                                          Sony Pictures                 Ulli Baumann               Fritz Seemann
                          HEXE LILLI                                                      blue eyes Fiction / Trixter   Stefan Ruzowitzky          Peter von Haller
                          MEINE SCHöNE BESCHERUNG                                         X Filme                       Vanessa Jopp               Hans Fromm
                          MORD MIT AUSSICHT                                               Pro GmbH                      Arne Feldhusen,            Johannes Imdahl, Johannes
                                                                                                                        Christoph Schnee           Kirchlechner
                          NORDWAND                                                        Dor Film West                 Philipp Stölzl             Kolja Brandt
                          POST MORTEM II                                                  Sony Pictures                 Thomas Jauch               Jan Fehse
                          RUBICON                                                         United Artists / Sony         Bryan Singer               Newton Thomas Sigel
                          SOMMER                                                          SamFilm                       Mike Marzuk                Ian Blumers
                          VALENTIN                                                        Hofmann & Voges               Jo Baier                   Gunnar Fuß
                          WARUM MäNNER NICHT ZUHöREN UND FRAUEN                           Constantin Film               Leander Haußmann           Tillmann Büttner
                          NICHT EINPARKEN KöNNEN                                          Produktion

                          Customer         Title                  Production Company      Agency                        Director                   DoP

                          CALGONIT         Tab-Regen              e + p commercial        Euro RSCG                     Gerhard Hirsch             Gerhard Hirsch
                          CAOTINA          Lippenbekenntnis       GAP                     Advico Young & Rubicam        Ivo Mostertman             Jean Paul Seresin
                          CORTAL CONSORS Stier                                            Serviceplan Zweite WA
                          DIE WOCHE        Die Woche              Seven Senses
                          FREUNDIN         Sommerfrisuren                                 Heye & Partner
                          ING DIBA         Markenfilm             Helliventures           Wüschner Rower Baier          Joachim Hellinger          Dieter Deventer
                          MAZDA MOTORS     Mazda2 Competition     Hager Moss Commercial   JWT Düsseldorf                Paula Walker               Rolf Kestermann
ARRI Co mm e rcials


                          MC DONALD´S      Geschenkekette         Hager Moss Commercial   Heye & Partner                Martin Haerlin             Sven Lützenkirchen
                          MC DONALD´S      Brand 2007 Unterhal-   Hager Moss Commercial   Heye & Partner                Martin Haerlin             Sven Lützenkirchen
                                           tung mit Heidi
                          MC DONALD´S      Brand 2007 Mundvoll,   Hager Moss Commercial   Heye & Partner                Martin Haerlin             Sven Lützenkirchen
                                           Pommes, Freundinnen,
                                           Langeweile, Münze
                          MüLLER MILCH     Verkostung             Made in Munich          Springer & Jacoby             Spielteil: Vivian Naefe    Spielteil: Michael Hornung
                                                                                                                        Foodteil: David Wynn-Jones Foodteil: David Wynn-Jones
                          PLAYMOBIL        Herbst 2007            e + p commercial                                      Reiner Holzemer            Peter Aichholzer
                          SATURN           LED Berlin                                     redblue Marketing
                          WILLIAMS         Formel 1 Branding      R.TV Film & Fernsehen                                 Tobias Heppermann          Thomas Stokowski
                          WAGNER PIZZA     Durchreiche            Laszlo Kadar            Heye & Partner                Laszlo Kadar               Laszlo Kadar
                          WIN WIN              Rapid Eye Movement      Basis Media                   Lili Clemens
                          ZWEIFEL CHIPS    Cractiv                GAP                     Advico Young & Rubicam        Nic & Sune                 Richard Mott
Key Contacts                              Expo Calendar 2007_2008
Director Sales & Marketing
Thomas Popp                               These are the most important exhibitions where you can find out about
+49 - (0) 89 - 38 09 – 1289               ARRI products and services
ARRI Rental Deutschland
Thomas Loher
+49 - (0) 89 - 38 09 – 1440               2007
ARRI Film & TV Services                   September                              07 – 11                IBC                                   Amsterdam
Key Account: Angela Reedwisch
+49 - (0) 89 - 38 09 – 1574               October                                08 – 11                Bifcom                                Busan
                                          November                               01 – 03                Broadcast India                       Mumbai
ARRI Representative India:
Thomas Nickel                             November                               16 – 18                LDI                                   Orlando
+91 - 98 2072 4312                    November                               19 – 22                NAT                                   Moscow
ARRI Film & TV Services
National Sales: Walter Brus               November                               20 – 22                Interbee                              Tokyo
+49 - (0) 89 - 38 09 – 1772                             November_December                      24 – 01                Camerimage                            Lodz
ARRI Film & TV Services
Feature & TV Drama: Josef Reidinger
+49 - (0) 89 - 38 09 – 1339
jreidinger                       2008
ARRI Film & TV Services
Digital Film: Henning Rädlein
                                          January_February                       30 – 01                IDIFF                                 Paris
+49 - (0) 89 - 38 09 – 1970                         March                                  04 – 06                CABSAT                                Dubai
ARRI Film & TV Services                   March                                  12 – 15                Prolight & Sound                      Frankfurt
Sound: Bernd Clauss
+49 - (0) 89 - 38 09 – 1810               March                                  17 – 20                Filmart                               Hongkong
ARRI Lighting Solutions                   April                                  11 – 17                NAB                                   Las Vegas
Sigrid Müller
+49 - (0) 30 - 678 23 30                  May                                    06 – 08                testingexpo                           Stuttgart
                                          May                                    18 – 21                CPS                                   Moscow
ARRI (GB) Ltd., Don Harris
+44 - (0) 1 89 54 57 000                  May                                    n. a.                  Koba                                  Seoul
ARRI Media, Philip Cooper                 September                              12–16                  IBC                                   Amsterdam
+44 - (0) 1 89 54 57 100
pcooper                    November                               05 – 08                BIRTV                                 Beijing
ARRI Lighting Rental, Tommy Moran
+44 - (0) 1 89 54 57 200
ARRI Inc., Franz Wieser
+1 - 845 - 353 - 1400
Simon Broad, Hardwrick Johnson
+1 - 212 - 757 - 0906
ARRI CSC (FL), Ed Stamm
+ 1 - 954 - 322 - 4545
Illumination Dynamics (LA)
Carly Barber, Maria Carpenter
+ 1 - 818 - 686 - 6400
Illumination Dynamics (NC), Jeff Pentek
+1 - 704 - 679 - 9400
ARRI Canada, Sebastien Laffoux
+1 - 4 16 - 2 55 33 35
ARRI Italia, Antonio Cazzaniga            Published by: Arnold & Richter Cine Technik, Türkenstr. 89, D-80799 München
+39 - 02 - 26 22 71 75
                                          Editor, editorial office, text: Jochen Thieser (Executive Editor), Marita Müller
                                          With additional text by: Stephanie Ahlen, Harald Brendel, Anouschka Fiedler, Thilo Gottschling, Hans Hansson,
ARRI Australia, Stefan Sedlmeier
                                          Herbert Van Hille, Brigitte Horn, Dr. Hans Kiening, Tomofumi Masuda, Timo Müller, Judith Petty, Mathis Richter,
+ 61 (2) 9855 4300, + 61 (2) 9855 4301                    Jens Rumberg, Stefan Schmidt, Marc Shipman-Mueller, An Tran, Norbert Wunderlich
                                          Artwork: add cooperation Uwe Heilig Mediendesign, Matthias Griessel
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